Books of the Year, 2020

It’s Christmas Eve. I’m still on the clock for another few hours, but apart from monitoring three inboxes, there’s not much that needs doing. It has been three months since I last posted anything about books, and now is the first time in those three months that I’ve started to feel as though maybe I have the time, energy, or inclination to try.

It wasn’t the year I expected, in a number of ways. I fell in love. There was a pandemic. Both of these things, plus renewed social justice movements in both my home countries, impelled me to read in particular ways, and to forego habitual patterns of book consumption. I read many, many fewer hardbacks and new releases this year, and found myself drawn much more to backlist titles (both fiction and non), filling gaps in my reading knowledge, and increasing the diversity of what I consume and recommend. It’s been a very rewarding year in that sense, and has helped to unshackle me somewhat from an old feeling of constant vigilance: must read the latest release, must know about all the big authors’ newest titles! No, I mustn’t. There’s no real need. If they’re very good, they’ll stick around.

Not that I didn’t read a number of excellent new releases. Some of the best, most memorable books I read this year were from debut authors whose next outing I await with excitement. Others were new releases but were perhaps a second or third foray from authors I already knew. I read a handful of the year’s It Books and, on the whole, was glad that I did.

I can never narrow a list down to ten. I read too much for ten to be reasonable (158 books thus far in 2020; down considerably from last year, but still a decent showing, and many of them excellent). My preliminary list was nineteen titles strong; after being very stern with myself, I managed to highlight six that were absolutely exceptional, that I’ll probably carry with me forever. Those six are below, with the honourable remaining thirteen to come in a later post. All of these are amazing and recommended without reservations.

  1. Kingdomtide, by Rye Curtis. Imagine that Olive Kitteredge is a septuagenarian Texan Methodist, then add a survivalist bent worthy of Cormac McCarthy, and you have the outline of Cloris Waldrip, Curtis’s protagonist in this brilliant, heart-bending debut. Cloris is the only survivor of a light plane crash in the mountains of Montana that kills her husband of many decades and the pilot. She must walk out of the hills if she wants to live: no one from the outside world believes there were any survivors, except for tenacious, alcoholic park ranger Debra Lewis. Oh: and Cloris isn’t alone in the mountains. Encompassing theology, sex, grief, and culpability, Kingdomtide asks what we owe to each other, individually and as a community, and challenges the contexts in which we judge one another. It’s also, dryly, quite funny.

2. Ducks, Newburyport, by Lucy Ellmann. Yes, it is a thousand pages long, and yes, it is all stream of consciousness, and no, there’s more than one sentence (several interludes from the perspective of a mother mountain lion are written in regular, multi-sentence prose), and yes, it really does need to be this long. Ellmann’s protagonist is a home baker who has turned her hobby into a business. The process of circling her head, voyeuristically privy to the themes, symbols and memories to which she frequently returns, is analogous to the lamination of dough for croissants: you genuinely need those many layers in order to build up a broad, rich picture of her state of mind. And when the plot (there is one!) takes a turn for the melodramatic near the end, we realize the significance of everything that’s gone before.

3. Parable of the Talents, by Octavia E. Butler. Someone this year tweeted, “Every time I hear a white woman say ‘We’re living through The Handmaid’s Tale‘, all I hear is ‘I haven’t read Parable of the Sower.'” Parable of the Talents is that novel’s sequel, and although I haven’t yet read Sower either, Talents shares its alarming characteristic of feeling like both a prophecy and a history lesson. Butler describes an America ravaged by economic hardship and religious fundamentalism, electing a hard-line right-wing fundamentalist soi-disant “Christian” named Andrew Jarrett Steele, who promises to make America great again. Steele’s supporters attack the self-sufficient community that our protagonist, Lauren Olamina, has created in an effort to propagate her own religion, Earthseed, which teaches that God is change and that humanity’s destiny is to leave Earth and populate the stars. Written by a Black American author twenty-five years ago, it also engages closely with racism and cultural imperialism in a deeply relevant and necessary way. Profoundly disturbing, and incredibly moving.

4. Women, Race and Class, by Angela Y. Davis. Without a shadow of a doubt, the most intellectually sophisticated yet accessibly written book of its kind I read this year, or indeed any year. Davis weaves together the histories of feminism, abolitionism, and the labour movement to show the natural interconnectedness of these fights: it’s a primer on intersectionality in action, and on how, when intersectionality fails, its failure is due to a form of short-sightedness that sets everyone back. I found her analysis of the late 19th- and early 20th-century struggle for worker’s rights especially interesting, as those were stories I was less familiar with, but every page of this slim volume contains the names of heroes and heroines both well-known and obscure. Penguin Modern Classics reprinted a beautiful edition of this earlier in 2020, and for people wanting to get their heads around the sociocultural problems that sparked Black Lives Matter and #MeToo, this is an ideal starting block.

5. In the Dream House, by Carmen Maria Machado. This earned an instant place on my Books To Save From Fire shelf. Telling of Machado’s experience of domestic abuse within a lesbian relationship, it is simultaneously an excavation of how narrative works in folklore and myth, a revelation of how humans use those same narrative tropes to make sense of our experience, and a gut-wrenchingly immediate yet bruisingly poetic portrait of the betrayal of trust that occurs when abuse does. Machado also weaves in brilliant, shockingly funny pen sketches of friends and family, serious discussions of how lesbian experience is erased in broader conversations about abuse, and digressions on topics such as the queerness of seemingly all Disney villains. Utterly unlike any book I’ve ever read before, and serves as a perfect blend of craft, skill, humour and intellect. It’s particularly hard-hitting for people who have suvived an abusive relationship, although has a lot to offer even readers who have not. (It was also my boyfriend’s favourite book of the year, because he accepts my recommendations and has great taste.)

6. Reynard the Fox, by Anne Louise Avery. This brand-new retelling of William Caxton’s classic medieval trickster tales, featuring sly Reynard the Fox, pompous King Noble the lion, brutal Isengrim the wolf, stalwart Grimbart the badger, and silly Bruin the bear, amongst many others, is one of the most delightfully playful, erudite, and generous-hearted books I’ve read in a very long time. Glorying in multilingualism, it incorporates slang from Middle English and Middle Dutch, German, French and Latin, and contains wonderful asides, anecdotes, and even recipes in the footnotes. The tales themselves are small miracles: surprisingly dark and violent in places, they reinforce the values of individualism, rebelliousness, resourcefulness and quick wit that we so love in our anti-heroes. Reynard is an unforgettable character, and Anne Louise Avery’s work in bringing his stories to a modern audience would be rewarded with a prize, if the world was just.

There: my top six books from 2020. Magnificent, all of them. I’ve started a new shelf on Goodreads called “breaks your heart and puts your chin up”, and each of these titles deserves its place there. They offer us what we most need right now. Go get them and read them at once!

And, of course, have a very merry Christmas. I’ll be back later with the thirteen(!) runners-up…

Reading Diary: 7 Sept.-13 Sept.

The Short Knife, by Elen Caldecott: This children’s novel is set in a time often ignored by historical fiction writers: early post-Roman Britain, when the Empire has retreated and the physical infrastructure it built is crumbling, but elderly people can remember a time when everything was different. Saxon invaders/settlers/colonialists (pick your favourite noun) are starting to battle it out for land and supremacy with the native British warlords. Caught in this historical maelstrom is thirteen-year-old Mai, who loses her family farm one night to the drunken fury of three Saxons, and who vows vengeance. Her father badly burnt and her older sister Haf hurt in a way Mai doesn’t understand (although the reader thinks they do, given that the novel is intercut with flash-forward scenes nine months later to Mai’s sister giving birth), they make their way to the camp of the local British strongman, Gwyrthaeyr, hoping that ethnic ties (all the native Britons consider themselves kin) will prompt him to help them. All does not go as planned, and Mai finds herself a slave in a Saxon camp, instead.

Caldecott engages gracefully and forcefully with the limited options available to the two sisters. Haf makes herself useful with “honey smiles” and “sweet words”, becoming a storyteller and adviser under the assumption that getting closer to power is the safest place to be. Mai, who is repeatedly told by various characters to “grow up”, doesn’t understand Haf’s strategy, seeing it as betrayal, and takes a more overtly resistant approach, which frequently endangers her. My primary frustration is a stylistic one: to achieve an archaic tone, Caldecott often relies on kenning-like constructions, some of which work well (“infant-small”, “dust-crumbled”) and some of which only get in the way (“bitter-coiled ferns”–why?; “trip-tangled” brambles–that being a defining feature of brambles). But it’s a strong entry for children’s fiction, with engrossing characters, and rarely have I had such a sense of how far back cultural diffusion goes in the history of these islands.

Kindred, by Octavia Butler: You shouldn’t really need me to tell you how excellent this book is, but in case you don’t know: it’s excellent. The premise is that Dana, a Black woman in contemporary California (the novel was written in 1979), finds herself being repeatedly pulled back in time to save the life of her ancestor Rufus Weylin, the scion of a white slave-owning family in Maryland. The first time she meets him, it’s 1815, and they encounter each other again and again over the next few decades, every time his life is endangered and Dana is summoned out of the future to rescue him. Dana’s white husband, Kevin, is also pulled into the past at one point, and his experiences there are–by virtue of the colour of his skin and his gender–very different, although Butler is perhaps fairer than she needs to be in pointing out that Kevin, too, faces dangers in the antebellum South. Perhaps the hardest-hitting element of the novel, though, is Butler’s repeated demonstration of the ease with which enslaved people can be forced into complicity: through a fear achieved by threats of extreme bodily violence and extreme emotional torment (largely because families can be torn apart on a master’s whim at any time). Dana explicitly discusses the idea of complicity more than once, although she also recognizes coercion and rape: her ancestress, Alice Greenwood, is bought by Rufus because he is in love with her, but his love does not extend to permitting her choices about where she sleeps at night, or to freeing her children. (He does dangle the promise of freedom, though, which is partly what keeps Alice in place.) After Kindred, every other time-travel novel feels a little anaemic, a little under-examined. It’s a magnificent piece of work.

recent reading thoughts: I’ve been very slow this month, so far. I’m blaming it on the anxiety of moving and a lot of weekend activities. At the moment I’m nearly finished with Where the Crawdads Sing, which I don’t love, although I’m warming up to it now that the trial has commenced. More on that next week.

Reading Diary: 24 August-30 August

The Liar’s Dictionary, by Eley Williams: I hadn’t read Williams’s debut story collection, Attrib., but everyone I knew who did read it thought it was fantastic. The Liar’s Dictionary is a dual-timeline novel set in the offices of an eccentric fourth-rate enyclopaedic dictionary in the present day, and during its heyday a little over a hundred years ago. Our contemporary protagonist, closeted-at-work intern Mallory, never becomes aware of the identity of perpetually-belittled Peter Winceworth, but his lasting contribution to the dictionary–a series of entirely invented words scattered throughout its text–becomes her problem, as her boss instructs her to find and remove them before the whole thing is digitized. Winceworth, meanwhile, we learn, is inserting the words as a means of relieving his feelings, both about his place of work and about the enigmatic fiancee of his most unbearable colleague. Williams’s style really carries the book, with a kind of madcap yet melancholy glee, and a glorying in words–not in a wishy-washy oh-the-wonder-of-language sort of way, but in a way that takes a very Edwardian pleasure in precision and elegance. The plot in the contemporary sections becomes increasingly frenetic, but that felt somehow right; both narratives possess a kind of surreal sheen, which led a colleague to compare the book, in a way, to Wodehouse’s work (though much more conscientious and less privileged). I loved The Liar’s Dictionary and found it heartbreaking at the same time; it’s just the right level of weird for me.

Scabby Queen, by Kirstin Innes: It’s an old adage of criticism that it’s easier to write about something you hated than something you loved. I loved Scabby Queen, and I’m going to try to write about it anyway. It opens with the death of fifty-one-year-old Clio Campbell, who achieved moderate levels of fame as a protest singer in the ’90s and who has just overdosed on pills and vodka in the flat of her long-suffering (and, we realize, taken-advantage-of) friend Ruth. Over the next three hundred pages, various people who entered and exited Clio’s life—her godfather, a music journalist half in love with her, several women who lived in a Brixton squat with her, someone she only met once on a train—give their perspectives on a woman whose relentless political activism and manipulative social charm were both entrancing and infuriating. It’s very rare, especially now, to get a look at both sides of activism, particularly historic activism: the genuineness of early-days-of-a-better-world idealism mixed with what can be a disturbing willingness to sacrifice whatever gets in the way. Innes nails that balance, and nails her portrait of Clio, who becomes increasingly more difficult to sympathize with but also increasingly nuanced: by the end, when her suicide note is revealed, her motives seem simultaneously obtuse and entirely in keeping with what we know of her. I suspect people who remember the ’90s and early ’00s as adults will find even deeper resonances in Scabby Queen’s political aspects. I loved them, but what I loved most was Innes’s brilliance at characterization. Like Daisy Jones and the Six, an oblique approach to a central character through the people whose lives they affected results in something both tough and touching, and utterly without condescension.

The Odyssey, by Homer: I’d never actually read it! Isn’t that weird? It must be the case for quite a lot of people. The stories are so familiar from excerpted children’s versions and adaptations that we feel as though we have. Anyway, I think the primary thing to be aware of while you’re reading is the very different weight and pacing present in the poem. The first four books are about Odysseus’s son, Telemachus, who embarks on his own short journey to find out more about where his missing father could be; Odysseus himself doesn’t appear until book five, by which point he’s already lost all of his ships and companions to various disasters and is reduced to telling the tale of his adventures to the friendly Phaeacian court during books nine to twelve. (Interestingly, Doug Metzger suggests on his podcast Literature and History that these books are no more likely to be “true”, within the world of the poem, than any of the other lies Odysseus tells about his origins. I’d contest that, since much of that lying is done in order to protect himself upon his return to Ithaca, which is essentially an occupied territory, but I love the idea: we’ve only Odysseus’s word to say that the Lotus-eaters, Circe, Scylla and Charybdis, the journey to the underworld, the Cyclops episode, etc., actually happened at all, and he’s a notorious fibber.) They send him back home under escort in book thirteen, and the entire second half of the poem is about him regaining his property, murdering the men who’ve been harassing his wife, and Telemachus’s coming of age.

It’s known as an adventure/travel poem, but it’s very much more, I think, a poem about restitution, espousing a fundamentally socially conservative view of the world’s proper order. (It’s Tom Jones. Or rather, Tom Jones is the Odyssey. Hey!) For all that, it’s much more engaging to me personally than the Iliad was, perhaps because the emotional atmosphere is much more immediately identifiable for a reader who’s never been to war. Be warned: the final books are brutal. Margaret Atwood’s poem A Chorus Line neatly sums up the breathtaking hypocrisy of the murder of the maids (from one perspective; from another, of course—that socially conservative one the poem partakes of—Odysseus is merely ensuring that loyalty to his person and his dynasty, even when they’re not present, is the order of the day. Fascinating how that always seems to involve punishing women. I wonder if the housekeeper Eurycleia, who eagerly provides her returned master with the names of maids who’ve “behaved shamefully” in his absence, was a model for Aunt Lydia.) Anyway, the Oxford World’s Classics edition I read was translated by Anthony Verity and is, from a non-classicist’s perspective, excellent; you get a good sense of the original Greek’s use of repetition, but not so much so that it’s annoying, and thank God Verity does not attempt to match an antique meter or rhyme scheme. If you’re relatively new to antique poetry, I’d recommend this edition particularly: the end notes are also good and there’s a handy index of first names in the back.

Reading Diary: 17 August-23 August

Descendant of the Crane, by Joan He: This ancient Chinese-inspired fantasy novel isn’t my usual fare, but it’ll be somebody else’s cup of tea, without question. Princess Hesina’s father, the king, has just been killed, and she is determined to find out by whom. But with a wily Minister of Rites, a kingdom so terrified of magic that it slaughtered all (spoilers: not quite) of its “sooths” three centuries ago, and invasion threats from the neighbouring country of Kendi’a, finding the murderer is the least of Hesina’s problems. This, in turn, presents the reader with a problem: there are so many plot strands fighting for primacy that it’s difficult to know where to place one’s attention and investment, and He’s characters, while endearing, also perform a lot of cliched actions. Hesina is constantly blushing, gasping, fighting for breath, inwardly cursing, feeling her throat constrict, and so on. (A lot of this overcooked rhetoric is respiratory, now that I think of it. I wonder why authors go for it so often?) The characters’ reactions frequently slow the pace of the action; when the dead king’s tomb is opened, whole paragraphs go by in lavish descriptions of bafflement before we’re told what Hesina and her peremptory love interest Akira are actually seeing. It’s a lot of fun–it reminds me forcefully of the fantasy novel I spent much of my pre-teen years writing, which was sort of equal parts Tolkien, Pierce and Pascal–and it sets up a sequel, which I wouldn’t spurn if it was offered to me, but there’s definitely a sense of too much material, not quite tightly enough controlled.

The Searcher, by Tana French: A new French novel is always cause for celebration. The Searcher (out in November; my copy is from Netgalley) continues her move away from the traditional cop protagonists that characterized her first six books, although it’s kind of a lateral move: here, our investigator is an ex-policeman and an American ex-policeman at that, Cal Hooper, formerly of the Chicago PD. Chicago is fairly notorious for police violence, and Hooper’s experience reflects both the truth and the nuance of that: he has never killed an unarmed young black man, but an incident where his partner nearly does so is ultimately what pushes him into early retirement. A divorce and a move to rural Ireland later, he hopes to find peace and quiet in the country, but is instead recruited by a young kid, Trey, whose brother Brendan has gone missing, and who demands that Cal find out where Brendan is.

The Searcher is as beautifully written as all of French’s books, but what it lacks, for want of a better word, is a sense of intoxication. This is not necessarily a bad thing. The professional detectives in her early books love their job, they live and breathe it, and that sense of drive, passion, righteousness, infuses their appreciation of the world around them and of human relationships within it. As French’s career has matured, her characters’ perceptions have too. Cal isn’t quite the hard-bitten cynic he considers himself, but his understanding of social dynamics, of how we fit in with each other, has less flash and snap than, say, Cassie Maddox’s or even Scorcher Kennedy’s; more resignation and determination. It’s a mystery novel for grownups, this–which isn’t to say that it’s excessively violent or disturbing, but rather that both French and her characters are increasingly interested in how to behave when the right thing and the correct thing are not the same. (Cal and Trey have a fantastic conversation about the difference between etiquette, manners and morals that sums up what I think French is getting at throughout the entire book.) A really promising turn for her. I can’t wait to read more.

In Praise of Shadows, by Junichiro Tanizaki: A rather lovely little essay on aesthetics (sort of, I guess?), clocking in at well under 100 pages but published on its own by Vintage Classics. Tanizaki was a 20th-century Japanese novelist who produced, amongst other things, the magnificent The Makioka Sisters, which has always reminded me very strongly of Jane Austen’s work, with its similar cultural context of a high value placed on reputation, limited economic options for middle-class women, and a codified (and coded) set of behaviours, from which deviation cannot be tolerated by polite society. In Praise… is a different beast: here, Tanizaki explores the distinction between a Western prioritization of light (specifically electric light) in design, and a traditional Japanese preference for “the pensive lustre” over “the shallow brilliance”. His arguments are both wide-ranging (he touches on toilet design, the unique properties of jade, why Japanese cuisine really must be eaten by candelight to be properly appreciated, and the allure of half-hidden women in old-fashioned brothels, amongst many other things), and intriguing in their engagement with cultural imperialism: he posits, for instance, that technologies such as mass-produced paper and modern interior lighting would look completely different worldwide had they been invented by the Japanese instead of Westerners (and mainly Americans). It’s a thoughtful and surprisingly profound piece of work; I’m glad I picked it up on a whim.

The Picture of Dorian Gray, by Oscar Wilde: This tale of corruption, scandal and decadence is one of those books I constantly thought I’d read (and everyone else seemed to have done in school) but hadn’t actually, until this week. The Penguin clothbound edition is good because it contains the introduction by Robert Mighall from the paperback, which dwells on Wilde’s revisions between the original publication (in Lippincott’s Magazine in 1890) and the slightly longer printed-book version (1891). These were largely made in order to tone down the overt homoeroticism of the original material, which, I have to say, is blatant if not absolutely screaming. Basil Hallward, the painter who becomes obsessed with Dorian’s physical beauty, speaks repeatedly of “adoring” him, of being “jealous” and “romantic”; the Mephistophelean Lord Henry Wotton, who turns both Dorian’s head and his soul, mocks Hallward’s devotion in terms that render it explicitly romantic, but clearly desires erotic domination over Dorian himself, and encourages the latter to practice that same domination on other impressionable young men. The interpolated revenge-plot material focusing on James Vane is not especially interesting or good (it feels like the third-rate subplot of a Dickens novel; all the big ones have got one of those), and the scenes in high society… well, I tend not to like those even in Wilde’s plays; here they strike me as simultaneously silly and mean-spirited. The supernatural element of the book (the whole portrait scapegoat thing) is actually the least dwelt-upon, since Wilde is really more interested in philosophizing upon Art, Morals, and the relationship between the two (in Wilde’s ideal world, none). Divertingly grotesque, though.

Darkness at Noon, by Arthur Koestler: I had a rather rough afternoon on Friday and a friend suggested I pick up a YA fantasy novel, which usually soothes and resets me; when I told her I was halfway through this, she described it as “almost laughably the opposite” of soothing, which is true. It takes place during the Moscow show trials of 1936-8, during which Stalin purged most of the historic leadership of the Communist Party—”purge” being a light word for imprisonment, solitary confinement, torment, humiliation, forced confession, and execution. The protagonist here is Rubashov, an Old Bolshevik who has done some bad things in his time but who has become disillusioned with Soviet propaganda and ideology as a result of Stalin’s rule, and who is consequently imprisoned. Much of the novel is about Rubashov’s own struggle to determine whether he was right or wrong in his dedication to the Revolution as a younger man: if he was right, the only validation he’ll receive is from posterity, decades after he’s gone; if he was wrong, as he puts it, “I’ll pay.” And pay he does, in the end, as we know he will right from the beginning. The intimacy Koestler achieves in charting his psychological journey, however, is exceptional, disturbing, and moving. The evocation of prison—and particularly the solidarity shown between prisoners, even those who thoroughly disagree with each other ideologically—is perhaps the strongest part of a very strong book: the scenes where Rubashov and his neighbour in cell 402 tap out messages to each other, where Rubashov is initiated into the prison tradition of hammering on one’s cell door in percussive salute each time a fellow inmate is taken away for execution, and where finally Rubashov and 402 have their last conversation, will haunt me for a long time.

Reading Diary: 10 August-16 August

Afropean: Notes from Black Europe, by Johny Pitts: Pitts’s travelogue-cum-social/cultural history won the Jhalak Prize in 2020 for best book by an author of colour published in the UK, and it’s easy to see why. With immense grace, curiosity and goodwill, he spends about six months traveling continental Europe in search of the continent’s black communities, and specifically those who have forged a new identity as hybrid citizens, both African and European. His quest takes him from the alarmingly bleak suburb Clichy-sous-Bois outside of Paris, cynically patronized and abandoned by politicians, to the warmly welcoming bustle of Surinamese cafes and black cultural centres in Berlin, to an altogether more baffling experience in the museum of imperial history in Brussels which elides Belgium’s colonial atrocities altogether. Pitts is rather like a more understanding, less crotchety Bill Bryson; his eye for the spirit of a place, and his ability to convey the essence of an experience, is the same. If he sacrifices Bryson’s frequently snort-worthy comic observations for a rather deeper and more earnest approach to travel, frankly, I don’t mind (especially as the former’s observations often come at the expense of poor people, provincial people, fat people, and/or women; this is a sad thing you notice about Bryson as you get older). Pitts’s respect and, usually, affection, for his subjects’ lives opens doors: a wandering, shouting, apparently mad old African man in Moscow turns out to be a former anti-apartheid activist who last saw his parents forty years previously and knows they were too old then to still be living now. Pitts gains his story by not fleeing or ignoring him, as everyone else in the vicinity does. Afropean is gorgeous and bittersweet, and also provides perfect armchair travel; I can’t speak more highly for it.

Sisters, by Daisy Johnson: I read this in one evening, prompted by the rapturous reviews of two of my colleagues, and found it lived up fully to their praise. It may even be better (for my money) than Johnson’s Everything Under, although, like the former book, it promises an explanation only to complicate things with an ending that again blurs the line between fantasy and reality, fiction and sanity and the supernatural. It focuses on the two titular sisters, July and September, who are as close to twins as it’s possible to be without actually being so: born ten months apart, they both aren’t each other and fiercely identify with each other. This is compounded by September’s need to dominate and control her younger sister: halfway through the novel, we discover that they share a single mobile phone, and they often play a disturbing game called September Says, where July has to hurt herself. Presented to us through July’s eyes, these controlling actions often seem plausible for a time; July has internalized her sister’s behaviour, as so many children do, and understands it as a bond of love. The book opens as the pair and their mother move to a remote house in Yorkshire—where both their abusive, now-dead father and September were born—to escape a catastrophe that has occurred at the girls’ school in Oxford, but there’s something wrong with the house: footsteps where no person can be, shattering lightbulbs, a patch of paint on a wall that both absorbs July’s exploratory finger and explodes outward, pouring ants onto the floor. Body horror and the grotesque are well represented here along with psychological horror and illness, in a manner reminiscent of Shirley Jackson. The denouement, in which we discover what really happened at school, is perfectly paced (I worked it out at just the right moment), and the final few chapters leave a disturbing taste of ambiguity that feels bravely appropriate. A perfect novel for the electric, humid dog days of a difficult summer.

Cane Warriors, by Alex Wheatle: Out in October, this new novel from garlanded children’s/YA author Wheatle takes as its focus Tacky’s Rebellion, a historic slave revolt that occurred in Jamaica in 1760 and shook British colonial confidence so badly that a raft of new, brutally repressive laws were passed subsequently, including a law that outlawed the practice of obeah in the island. Our protagonist is fourteen-year-old Moa, the youngest member of the rebellion (a historical invention, I believe, though probably representative of many other young men who fought with Tacky). Through Moa’s eyes, we understand the fears and motives of the fighters: he is particularly worried for his mother, younger sister, and beloved friend Hamaya, who will soon be of an age to start being sexually abused by slavemasters and white overseers. Tacky (or Takyi), who led the rebellion, was said to have been a king in his village, and he is portrayed as a strong, natural leader here, as is Keverton, Moa’s slightly older friend and fellow fighter. My only reservation was a sense of distance from the characters; I can’t put my finger on what made it so, but it might simply be that I’m not the primary audience for this book, either in age group or in racial heritage. Certainly I think that a YA novel largely narrated in patois and detailing a heroic assertion of independence not habitually taught in schools is exactly the sort of book that publishing needs to champion, and exactly the sort of narrative young readers need to hear, and Wheatle is an accomplished pair of hands.

Reading Diary: 2 August – 9 August

This was a format that worked well for quite a long time a few years ago, and maybe it’ll be a little more manageable than a monthly roundup. It’ll also have the distinct advantage of forcing me to a) post more than once a month, so you won’t forget I exist, and b) corral my thoughts about books fairly recently after finishing them, instead of getting to the end of the month and trying to remember it all at once.

The Habsburgs: the Rise and Fall of a World Power, by Martyn Rady: I read this in proof so unfortunately did not get to glory in the finished edition’s excellent front cover. It’s also not necessarily my usual bag, but I picked it up because I knew a lot of my customers would be keen and I wanted to make up my own mind. And it’s excellent! Rady has about nine hundred years of history to distill into <350 pages, and does so masterfully; the occasional confusion about dynasties (so many Ferdinands!), genealogies, and religious affiliations were mostly easily resolved by consulting the multi-century family trees in the front of the book. (A lot of family-tree typos in the proof copy, though; more “Emporers” than you can shake a stick at. Presumably these have been dealt with in the finished version.) The chapters are a perfect length: long enough to provide an overview of a topic or period, short enough to feel manageable and give a pleasing sense of progress. And although Rady is a historian, not a comedian, he clearly has a keen sense of the ridiculous (such as the attempts to cure a particularly mad scion by forcing him to sleep with the mummified corpse of a saint, which–surprise–did not work). His style is light but not lightweight, witty but not intrusive, and intelligent but highly readable. The topic is also less Eurocentric than I’d imagined: the Habsburgs presided over the first genuinely global empire, with outposts in Latin America thanks to their Spanish connection as well as the occasional foray into Southeast Asia (who knew?!) and Africa (likewise). Highly, highly recommended.

Grace Will Lead Us Home, by Jennifer Berry Hawes: This was my next audiobook choice and it was a very good one – I was guided by the fact that it won an Audie Award for Best General Nonfiction. It is an account not only of the massacre of nine Black worshippers at Charleston’s Emanuel AME church in 2016, but of what followed: the national and local responses, the arrest and trial of Dylann Roof, and the incredibly painful journey of the survivors and the bereaved. This last is probably the most powerful element of the book. Although forgiveness was the watchword that got picked up by media when one of the survivors told Roof she forgave him just days later, this was not an easy or a universal response. Particularly tragic is the story of the husband of one of the murdered women, who returned from a merchant marine job halfway across the world and sank into depression, bitterness and apathy without his wife’s leavening presence. You find yourself unable to blame him, really. Roof is described about as objectively as possible—we learn about him through his actions and his reactions to his family and police—but it is highly evident that there is something wrong with him, perhaps undiagnosable, perhaps simply the manifestation of evil. A hard book but a very necessary one, and one that gives dignity and complexity to all of the actors in this horrible episode in American history.

Lot, by Bryan Washington: Washington’s debut connected-story collection focuses on the lives of Black and Latinx characters in Houston, Texas. About half of them focus on a particular young man who goes unnamed, but whose uneasy relationship with his family and his burgeoning sexuality is the focus of most of the stories in this main thread. Others, like “South Central” and “Waugh”, are snapshots of different individuals struggling to maintain integrity—or just survive—in a city beset by gentrification, poverty and racism. “Waugh” in particular is appallingly moving, its protagonist Poke a young prostitute forced to reckon with his pimp and protector’s HIV-positive status. It’s the story in which a cultural emphasis on the implicit, the unspoken or unarticulated emotion, is most evident. Elsewhere, our unnamed narrator’s uber-masculine brother Javi teaches him “what happens to faggots”, his father takes him on a visit to his “plainer than plain” mistress, his sister marries to get out of the neighborhood, and his mother suffers as gentrification forces her to give up the family restaurant. Washington’s prose style is clipped and succinct, which often creates a perhaps unintentional sense of emotional distance, but the final chapter—in which the narrator at last decides to commit to a romantic relationship with a man instead of the no-strings-attached sex he’s allowed himself up til now—holds out a delicate hope for fulfillment that only a rock could fail to find heartrending.

Set My Heart to Five, by Simon Stephenson: The premise here is perhaps cringey to a certain type of reader: in a near future containing “driverless ubers” but no New Zealand (casualty of a nuclear exchange with North Korea, apparently), Jared, a bot who looks exactly like a human but whose brain is a biological computer and who has no emotions, begins to develop feelings, along with a taste for classic movies. Pursued by an incompetent but dogged jobsworth from the Bureau of Robotics, he flees his comfortable, sterile dental practice in Ypsilanti for Los Angeles, intending to write and direct a movie that will change the way the world feels about bots. So far, perhaps, so cute (an impression backed up by Jared’s relentlessly slangy narration: “10/10” and “I cannot!” being but two of his many catchphrases). But what makes this stand out as more than just a big-hearted underdog novel with futuristic set dressing is its obsession, nay its love affair, with film tropes—which are, of course, storytelling tropes—and by way of which Jared comments, both explicitly and unconsciously, upon his own quest. I wrote “underdog” up there, for instance; Jared knows he’s in a quest story, and he knows how the logic of such stories works. He knows that Inspector Ryan Bridges of the Bureau of Robotics is his nemesis, and that (as per RP McWilliam’s Twenty Golden Rules of Screenwriting, a text he treats with reverence) coincidences should only occur in order to create obstacles, not to smooth the hero’s path. This incredible circular knowingness—a story about stories, and who gets to tell them, and how they can be hijacked (there’s a great subplot about an unscrupulous Hollywood producer), which also knows it’s a story, and comments on that, and the comments are both an integral part of the story and reinforce its thematic meaning—is quite brilliant, and further reinforced by form, as sections of the book are typeset to resemble a film script. If this all sounds a bit precious, please trust me when I say that it is not. There is something perfect and painful about Jared’s first viewing of Blade Runner, for instance—quite deliberately a movie about whether robots are people—or about his being reassured that the people sailing on Lake Michigan during inclement weather probably don’t want rescuing, because humans actually enjoy illogical risk. Not to mention his unexpected side trip to Las Vegas with a lonely, self-deluding fellow train traveler (who happens to hate bots), or the way he falls in love. Set My Heart to Five is poignant, funny, light on its feet, and very, very sharp. By the end, I felt—as Jared hears a famous screenwriter say—as though I’d been “f-worded in the heart”; I can’t recommend it more highly.

Remain Silent, by Susie Steiner: This is the third of Steiner’s Manon Bradshaw novels, and may be her last—she was recently diagnosed with what seems to be (going from her Twitter and the Acknowledgments page here) a pretty aggressive cancer. Bradshaw (or Manon, as most everyone in the books calls her) has always been an extraordinary creation: grumpy, dogged, keen on a custard cream, not so keen on buzzwords or bullshit. Here her smallest child is a toddler, her older boy Fly—adopted in an earlier novel—is about to sit GCSEs, her partner may or may not be terminally ill, and she is staring at the settlings, losses and alterations of middle age. The crime, on the other hand, could hardly be more contemporary: a dead immigrant hanging from a tree in Cambridgeshire, a note reading “The dead cannot speak” pinned to his clothing. Because this is a crime novel, of course nothing about it adds up, and of course Manon is determined to get to the bottom of it all. Steiner tells the story in a pretty effective multi-POV fashion, switching from the present (narrated alternately by Manon and by her deputy, Davy) to “Before” (narrated by Matis, best friend of the dead man, and Elise, a local girl whose father is a frothing xenophobe abetted by, and fawningly besotted with, a Nigel Farage analogue). Davy’s presence in the book is an interesting leaven to what could otherwise easily be a one-note political set-up: we know Manon has no time for Little England, National Front bollocks, for she tells us so frequently and forthrightly, but Davy is a white man of precarious status approaching middle age and his internal monologues often muse on the anger he sees in these men. He doesn’t quite agree with them, but he understands them, and in some moments even sympathizes, and through his eyes we can understand them too. Or at least understand how other people can understand. The solution to the murder is actually quite ingenious: it struck me as both believable and appalling, which is no mean feat for crime fiction. The believability rests on Steiner’s work with characterization, which she’s remarkably good at; if there is a slight wobble of “would someone really…?”, it’s covered by the fact that most of the other characters wonder that, too. If this is the last Manon Bradshaw book, it will be a very great loss: she is really one of the most exceptionally idiosyncratic characters—let alone detective characters—currently being written, and I would miss her. Let’s hope she rides again.

currently reading: Afropean, by Johny Pitts, which I am absolutely loving. No wonder it won the Jhalak Prize. More on that next week.

some children’s books

Therapist: and what do we do when we feel a tiny bit heartbroken but also dumb because we revealed our vulnerability to someone who rejected it, and additionally feel waves of acute terror that a no-deal Brexit will threaten our actual life because we need insulin and medicine shortages will be more than a minor inconvenience?

Me: walk to the nearest bookshop and purchase £50+ worth of children’s and YA novels

Therapist: NO

And so:

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A Wrinkle In Time, by Madeleine L’Engle: Not gonna lie, this one has aged weirdly. Not badly, exactly, but weirdly. There’s a level of sheer serene acceptance of Christian theology that would actually make me think twice before sending it to a child now—not because L’Engle ever advocates anything more controversial than the power of love, but because direct Biblical quotation in a book for eight-to-twelve-year-olds feels a bit…full on? Maybe that’s my problem, though; maybe a child would skate over whatever they didn’t need. They tend to. Also, I can’t quite shake my uncertainty about the characterisation of Meg, her genius-mystic little brother Charles Wallace, and her beautiful-genius mother Mrs. Murry, in particular, ever since reading this Paris Review article. Are they just prototypes of the Perfectly Flawed Protagonist trope in YA? I don’t know. There’s enough left in the book, even with my discomfort, to make it resonate with me very deeply: the way Meg is told that her weaknesses can also be her strengths, that what she has in her heart for her little brother is enough to save him from the cruelty that wants him for its own. And the description of the terrifying dark planet of Camazotz, with its authoritarian sameness and awful punishments for those who step out of line, retains all of its power to disturb.

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The Phantom Tollbooth, by Norton Juster: The complex delights of characterisation are not really an issue in The Phantom Tollbooth. Our protagonist, Milo, is a chronically bored little boy (one rather extraordinary feature of the book is that he appears not to have any parents; it’s not that he’s orphaned but that they simply aren’t mentioned. I guess he’s what that era might have called a latchkey kid, except that he literally never thinks about them, not once. It’s a fascinating omission. Is it that they don’t love him, or that they’re simply not necessary to the story? Or a bit of both?) Anyway, one day he finds a parcel in his room which turns out to be a flatpack toy tollbooth. He rouses himself from lassitude enough to put it together and drive through it in his little toy car, and suddenly finds himself in an entirely different world, where two brothers rule over words and numbers (respectively), the conductor Chroma directs the orchestra of the world to play every day into colour from sunrise to sunset, and Dr. Kakofonous A. Dischord collects loud noises along with his lab assistant, the Terrible Dynne. Milo acquires two faithful companions, Tock the Watchdog (watch + dog, you see?) and the Humbug (stripy, pompous, likes spats), and soon finds himself on a quest to bring back the princesses Rhyme and Reason from their exile in the Castle in the Air. The delights of The Phantom Tollbooth are in the rigorous logic of its nonsense world, in which it much resembles Lewis Carroll; if you eat subtraction stew, you get hungrier and hungrier, of course—why wouldn’t you?

*a personal disclaimer: I read The Phantom Tollbooth out loud to my kid brother when he was six or seven and I was eleven or twelve. It made the most enormous impression on him; until he discovered Roald Dahl, he called it his favourite book, and he used to talk about it loads. We never found another book that did quite the same sort of thing.

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Arsenic For Tea, by Robin Stevens: The second in Stevens’s Murder Most Unladylike series, and quite possibly even better than the eponymous first book. Daisy Wells (president of the Detective Society at Deepdean School) and Hazel Wong (Secretary) are at Daisy’s parents’ country house, Fallingford, for the summer holidays, but there is something rotten in the estate. Daisy’s mother (much younger than Daisy’s father) has invited a rather flashy and insincere antiques dealer named Mr Curtis to stay, and they seem entirely too chummy; Great-Aunt Saskia’s habit of pinching the silver spoons is becoming too obvious to ignore; and why does Uncle Felix (who does something top secret for the government) seem to know the girls’ holiday governess, when she’s only just been employed? When Daisy’s birthday tea ends with the unexpected demise of Mr Curtis, and flash flooding cuts off Fallingford from the surrounding countryside, it’s up to the girls to find out which of the houseguests is a killer… The reason Stevens’s books work so brilliantly is that, within this familiar framework of Christie-esque plot devices, she is absolutely committed to psychological realism. Daisy and Hazel have investigated one murder already, and they are only fourteen; where a lesser author would skip over any lingering effects of trauma, Stevens understands that the resilience of youth has limits, that Hazel is upset not just by this murder occurring but by the way murder seems to be happening all around her and her friends, that Daisy’s apparently lesser concern is not (as Hazel believes) a sign of her superiority but an indicator that something is not quite right with her. Daisy’s and Hazel’s characterisations have both developed between books one and two, and I’m very interested to see where Stevens takes them next. (She also has the extraordinary knack of dealing with topics like infidelity, lesbian relationships and pathological kleptomania in a way that feels entirely accurate to the 1930s’ schoolgirl point of view, but also entirely appropriate to her 21st-century audience, neither patronizing nor unsubtle. It is one of the hardest tricks in the world and she deserves to sell very well for it.)

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Howl’s Moving Castle, by Diana Wynne Jones: Wynne Jones mostly bypassed me, somehow; I had friends who loved Charmed Life and Dark Lord of Derkholm, and I think I read one or two, but they didn’t really sink in. And I’ve never seen the Miyazaki film of Howl’s Moving Castle, which is presumably how most people now come to the book. But the Folio Society—of all people—made Howl’s Moving Castle the subject of their most recent illustration competition, and artists produced such stunning and intriguing work for it that I found myself picking it up and thinking I’d give it a go. Well, it’s great. Wynne Jones, like Stevens, takes familiar and even goofy genre tropes (three daughters, a supposedly evil wizard, seven-league boots, curses cast by jealous witches), throws them all together with a huge dose of irony, sarcasm and bloodymindedness, and makes something entirely sui generis. Sophie Hatter is an eldest daughter, which means her life will be comfortable and boring; everyone knows only the youngest children in a family get to have adventures. But when she inadvertently offends the Witch of the Waste, a spell is cast on her that makes her appear to be an old woman. Making her way to the castle of the feared wizard Howl in hopes that he can remove the curse, she finds that being an old woman liberates her from caring for other peoples’ opinions, and she installs herself as Howl’s cleaner. But the Witch is after Howl, too, and Sophie needs to find a way to free Howl’s indentured fire demon, Calcifer, if she’s to rescue not only herself but her employer… Extremely funny, quite unpredictable, and with some action taking place in our world in a way that Wynne Jones simply declines to explain, which (instead of being annoying) makes it all the more magical. Also, and rather unexpectedly, features one of my favourite John Donne poems.

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Rules For Vanishing, by Kate Alice Marshall: Actually not part of the book haul, but a proof copy sent to the bookshop which I plucked off the shelf in anticipation of its October publication by Walker Books. It is an excellent instance of Internet-creepypasta-type horror, including an urban legend about a girl who disappeared, mysterious documents about “the road”, “the game” and “rules” that must be followed, and a fragmented, documentary-style structure. (I was forcefully reminded in the early pages of this exceptional Reddit thread.) There’s also a very impressive subtlety to the representation of deafness, bisexuality, and stammering; I often struggle with YA where the characters are DIVERSE!!1!1!!!1!, but Marshall does it brilliantly, making each character an individual with a given trait, as opposed to a walking trait. (The deaf character’s deafness, in particular, actually functions in the story: because of it, most of his friends know ASL, so they can communicate silently when they need to.) I’ll definitely be recommending this to thirteen-year-olds and up, for Halloween and beyond.

Currently reading: Mortal Engines by Philip Reeve, which I’m loving (more on that in another post, perhaps), and have two more from the book haul stack left: Frances Hardinge’s A Face Like Glass, which is new to me but which Abigail Nussbaum convinced me about, and Richard Adams’s Watership Down, a childhood favourite and also one of those books that, when read as an adult, make one wonder why on earth our parents thought this was appropriate for us at the tender age of nine.

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The Turn of the Key, by Ruth Ware: I finished this in a day; it is SO readable. A modern take on James’s Turn of the Screw, featuring all our faves (creepy kids, mysterious footsteps, an initially rational narrator with secrets of her own who is progressively broken down by fear), but with some modern twists (the house is old, with a terrible history, but has been renovated to make it a “smart house” which can be run – and also run remotely – via app. YES, horrifying.) I’m not so sure about the ending, which makes some leaps with regards to motive and capacity, but goodness me is it gripping.

 

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Seduction and Betrayal: Women and Literature, by Elizabeth Hardwick: I took this to Paris, because look at that title, how could I take anything else? Much of the criticism seemed outdated, at least in terms of its gender politics, but then, it was written in the ’70s, so it’d be sort of surprising if it wasn’t. The other thing I found tricky about it is that Hardwick’s particular brand of criticism doesn’t involve a lot of textual reference: she writes about the characterisation of Ibsen’s heroines – the terrifyingly empty and amoral Hedda Gabler, for instance, or the somehow untouchably free Nora in A Doll’s House – while rarely making reference to anything they say. The same is true, to a large extent, of the Bronte sisters, who are the subject of the first essay, and of the women both real and fictional whom she discusses in the title essay (including Anna Karenina and Richardson’s Clarissa). Still worth reading for the declarative power of her sentences, and for the essay on Sylvia Plath alone.

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Girl. Boy. Sea., by Chris Vick: A brave ten-year-old could handle this, but I’d suggest it for twelve and up, on the whole. Bill, a young English boy, is on a sailing summer course off Gran Canaria when a storm separates him from his shipmates. Drifting in the Atlantic, he comes across another shipwrecked adolescent: Aya, a Berber girl, who is keeping secrets of her own. Bill and Aya’s growing ability to communicate and trust one another is beautifully rendered, as are the stories Aya tells to keep them going (as not-so-subtle but still very moving symbols of the power of narrative to provide hope). Sort of like a junior Life of Pi without all of the clever-clever religiosity. Also a genuinely scary and thrilling survival/adventure story.

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The Truants, by Kate Weinberg: Whether you enjoy The Truants or not probably depends on how well you react to familiarity. When I read the proof blurb by Scarlett Thomas that claimed this was like a mashup of Donna Tartt, Agatha Christie, and Liane Moriarty, I wasn’t prepared for how entirely accurate that was: it’s The Secret History set in Norwich with Agatha Christie texts occupying the place that classical Greek culture takes in the former. If you’re keen on genre riffs, and sexily unpredictable men, and the erotics of pedagogy, pick it up. I rather enjoyed it, but I doubt I’ll remember much in a month.

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Death Comes for the Archbishop, by Willa Cather: Willa, my queen. Not much happens in Death Comes for the Archbishop, except for a whole life: that of the titular Archbishop, who’s mostly just a Bishop while we know him. He’s Jean Latour, the first Catholic bishop of New Mexico, and with him is Father Joseph Vaillant, his right-hand man. The friendship between the two men – Latour intellectual and kindly but aloof, Vaillant awkward and ungainly but easy to love – is the most beautiful part of Cather’s novel, although she’s also good on the shifting nineteenth-century politics of the West and Southwest, and describes Native American and Mexican customs with interest and respect. Her prose is like desert air: lucid, invigorating, vivid. *chef’s kiss*

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Ohio, by Stephen Markley: This. Is fucking brilliant. The best post-9/11 novel I’ve ever read: detailed, lyrical, raw, all those book review words. Four high school friends reconverge in their hometown, one night in the early 2010s. They don’t all meet, but that night illuminates the history they share and the path their country has taken since. The Iraq war, Alanis Morrisette, OxyContin, summers at the lake, your boyfriend’s truck, baby lesbians, post-industrial hellscapes, Obama’s election, white supremacists, memorial tattoos, homecoming dances, football games, small-town rumors, the mystery at the centre of existence – Ohio has them all, and all wrapped up in beautiful, headstrong, confident prose. Get it. Read it. 

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Supper Club, by Lara Williams: As excellent as I expected from the author of the short story “Treats”, which smacked me around the face when I read it in Best British Short Stories of 2017. I sort of thought this might be predictable (wild women, eating as resistance, awkward sexual interactions, all that stuff that’s rolling around the societal forebrain at the moment), but Williams’s antisocial anti-heroine is painted in shades of grey: sometimes she’s selfish, sometimes genuinely self-protective; sometimes she really is pushing boundaries, other times hiding behind them. It’s a smart piece of work.

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Exhalation, by Ted Chiang: A really outstanding collection of science fictional short stories from a master of the form, which you might not have been able to determine from the way I talked about this book on social media, which went as follows: “Reading Ted Chiang’s exceptional new collection and at the bottom of my 2nd G&T whilst wearing my least modest nightie, thanks, how’s your Friday night?” Anyway, he’s smart and rigorous as hell and his translucent prose serves as the foundation for explorations of how humans might think and live very differently. “The Lifecycle of Software Objects”, in particular, is going to be a really important story, which you should read.

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A Lost Lady, by Willa Cather: I love, love, love Willa Cather, but I haven’t read any of her work for over a decade, and this was the perfect book to get reacquainted with her (thanks, Second Shelf!) It’s very short but a devastating, nuanced portrait of a woman whose hidden depths we (through the medium of Niel, an infatuated neighbour boy and then a young man) are always aware of but never manage to plumb. What struck me about Cather’s writing for the first time here was how clear and daring she is: about sexuality, about age gaps in relationships, about deep generosity and married love and how our truest selves can be failures as well as triumphs. She reminds me of Elizabeth Gaskell in that way: never vulgar, but often radical. Amazing.

Son of Reading Diary round-up

Again–more for me than you. Enjoy ’em, though.

Star Maker, by Olaf Stapledon: Apparently Stapledon was genuinely surprised when people started telling him he’d written a “science fiction novel”, which actually makes perfect sense once you’ve read it because it’s not really a novel at all. Star Maker‘s closest generic ancestor is the medieval dream vision; like Chaucer’s narrators, Stapledon’s (never named) is vouchsafed a long journey into the heart of cosmic truth. There’s not much in the way of plot or character development, which hampers a reader’s ability to care, although Stapledon’s theology and conception of universal history (and obsession with “community”) is intellectually interesting. Worth reading, though, mostly because he anticipates huge numbers of science fictional tropes, including the Prime Directive.

Jack Glass, by Adam Roberts: A combination of Golden Age of SF and Golden Age of Crime elements into one occasionally frustrating, though generally satisfying, whole. Written in three parts–one a prison breakout mystery, one a whodunnit, and one a locked-room case–the novel’s overarching plot doesn’t quite come together (and by the book’s end I still didn’t feel convinced, as the jacket assured me I would, of the righteousness of the murders). The solutions are ingenious, if also fairly bonkers. This is my first Roberts novel and I’m not totally sold, but I’ll pick up more.

Sibilant Fricative: Essays and Reviews, by Adam Roberts: One thing I am sold on is Roberts’s criticism, though, which is funny and incisive. The best thing in this collection is probably his critical read-through of the entire Wheel of Time sequence, which, if you don’t remember it, absolutely dominated bookshelves of a certain ilk in the ’90s and consists mostly of painful attempts to recreate a Tolkien-esque atmosphere which fail because they’re not grounded in anything like intellectual coherence. Roberts’s increasing despair is articulated with precision and force. He’s also good on Philip K Dick, Neal Stephenson, Ursula K LeGuin and Tolkien himself.

The Neon Rain, by James Lee Burke: A pivot to a different genre thanks to my library expedition. This is the first of Burke’s New Orleans-set detective novels featuring Dave Robicheaux; it starts with a warning from a death row inmate due to be executed in three hours, proceeds through a series of frequently violet set pieces exposing gang violence and US government complicity in selling weapons to oppressive regimes in Central America, and concludes with our hero vindicated, though wiser, and having picked up a hottie along the way. It’s magnificent: southern Gothic meets urban noir. Clearly written in the ’80s (the love interest’s eyes are “childlike” a little too often), but I have high hopes for the rest of Burke’s canon and plan to read The Tin Roof Blowdown, set in the aftermath of Hurricane Katrina, next.


That was a lot of male authors (and the forthcoming entry in 20 Books of Summer happens to be William Shakespeare, which doesn’t help). I’m currently reading Kate Atkinson’s new novel, though–Big Sky–and can confirm that a) she’s at the top of her game right now, and b) no previous Jackson Brodie experience is necessary.

If you like what I write (and I freely concede that this particular reading diary entry may have been of no use to you at all, but maybe it diverted you from spreadsheets for a minute or two), why not buy me a coffee?