The End of the Affair by Graham Greene read by Colin Firth

Greene’s God works in mysterious ways indeed…

🙂 🙂 🙂

When Bendrix meets Henry in the park by chance one rainy night, it takes him back to the time, a couple of years earlier, when he was having an affair with Henry’s wife, Sarah. Now Bendrix is bitter – she left him and he has never really understood why. And Henry, unaware of their affair, now tells him that he thinks Sarah may be seeing someone else. All the old feelings brought to the surface, Bendrix feels he must know – did Sarah ever love him? Or was he just one in a long line of men…

This is a book of two halves for me, and so I must warn those who love it that I am going to be quite critical of it. I’m also going to go much further into spoiler territory than I normally do, so if you haven’t read the book and intend to, then you would be best to skip my review…

The first half of the book is quite wonderful. It’s a study of how jealousy and insecurity can lead someone to destroy the very love that is causing those emotions, and how easily a failed love can turn to bitterness, even hatred. Bendrix, the first person narrator, is arrogant and can be cruel, but he is also self-aware, which makes him tolerable if not likeable. The writing is fantastic from the very first sentences – lean and direct. Greene never tells us anything – he lets his characters speak for themselves, though we see them mostly through the filter of Bendrix’s jumble of emotions. Greene understands the vulnerability that comes with love, the weakness and insecurity that can cause us to seek excuses in advance for love’s failure, and, by doing so, create that failure through our own actions. There are occasional passages of pathos, done with a simplicity that makes them deeply moving without ever verging on the mawkish.

I listened to Colin Firth’s narration of the book and he does a superb job, making it feel both tense and intense. He doesn’t ‘act’ the dialogue, but uses the subtlest shifts in tone to convey the different characterisations. All the anger and bitterness is there on the surface, but he lets us hear the sorrow and love that still underlie those emotions. It’s not at all surprising that he won the Audie Award for Best Solo Narration for this in 2013.

Unfortunately the second half fell away sharply for me – and this is where spoiler territory begins.

Van Johnson and Deborah Kerr as Bendrix and Sarah in the 1955 movie directed by Edward Dmytryk

Many of Greene’s books reflect his own personal struggle with faith and his strange relationship with the Catholic Church, and this book is no exception. But whereas in other novels – The Heart of the Matter, The Power and the Glory – I’ve found that both interesting and moving, in this one somehow it all feels forced and rather… OK, I’ve tried to think of a better word, but the one that suits is… silly. First we find the reason Sarah finished the relationship is because of a promise she made to a God she did not at that point believe in. I could accept that, just about.

But when, towards the end of the novel, Bendrix begins to think that she may be performing miracles from the great beyond, I choked. I hold my hands up – I’m a life-long atheist and that may have affected how I felt about it. But I actually don’t think it’s that – it seems to me the way Greene does it is crass, and I think I’d feel that way, perhaps even more so in fact, if I were a believer, particularly a Catholic. For one thing, we suddenly start being told by all and sundry what a ‘good’ woman she had been. In what way, I found myself asking? We know almost nothing about her except that she has been serially unfaithful to her husband throughout their marriage because he doesn’t provide her with sexual satisfaction. If she does good works or contributes to society in any positive way, we are not told so. And she has certainly never been devout. It seems to me this is a major failure in characterisation. This woman whom I thought I knew – a creature of emotion, a rather weak, shallow personality looking for episodes of love to fill her dull and rather pointless existence, is suddenly being lauded as a saint, in the literal sense of that word.

I could have accepted it had it only been Bendrix who was viewing her that way – love and grief do strange things to the memory and the mind, after all. But other people, even the priest, seem to be ready to beatify her within weeks of her death.

Julianne Moore and Ralph Fiennes in the roles in Neil Jordan’s 1999 version

There’s another suggestion that sat uneasily with me too. We discover late on that Sarah had been baptised as a Catholic, though it happened when she was too young to remember so she lived her life unaware of it. It hovers not quite spoken that this is at the root of her later dalliance with religion and possibly also her posthumous miracle-working. Hmm! I’m not sure even the Catholic Church would think it works quite like that.

So, in short, what starts as a wonderfully truthful depiction of love, jealousy and grief, turns into a superficial and incredible account of some kind of miraculous conversion. My real problem with it is that I have been saying for many years that The Heart of the Matter is one of my favourite books, and have put it on my Classics Club list for a re-read – and now I’m scared to re-read it in case Scobie’s struggles with his faith strike me in the same way. In other words, perhaps it’s this book, or perhaps I’ve just become too cynical for this kind of shallow, sentimental mysticism.

Audible UK Link
Audible US Link

Harriet Said by Beryl Bainbridge

Lock up your daughters…

😀 😀 😀 😀

Our unnamed narrator (I shall call her Elsie, just because I can) has returned from boarding school for the summer and is excited about getting together with her closest friend, Harriet. The girls have been in trouble in the past, and this is the reason Elsie’s parents sent her away to school. It’s quickly apparent they intend to get into just as much trouble in the future – constantly seeking new experiences they can record in their diary, each experience must top the one before. They are at that age, thirteen or fourteen, when their fantasies run to men and sex. And with Harriet’s encouragement, Elsie has developed a fascination with an unhappily married middle-aged man whom they call ‘the Tsar’. She sets out to tempt him and he is open to being tempted, but we know from the beginning that things aren’t going to end well…

Please God (I could feel the Tsar’s hand on my shoulder) please God, send Harriet. Then I turned to face the tiger. So dingy he was with his sallow skin and thin hair brushed carefully back. For all his elegance, and graceful walk, the delicate way he moved his head, indefinably he lacked youth. Later I was to remember the stillness in the woods, the evening in an avenue of light between the tree trunks, and the Tsar with his hand on my shoulder. I did not know I loved him then, because as Harriet wrote later in the diary, we had a long way to go before we reached the point of love.

This is an intriguing look at the secret lives of adolescent girls, set in the ’50s, at a time when many parents still demanded obedience rather than offering guidance. Both sets of parents care about their daughters in their own ways but clearly have no idea how to handle them, so that Harriet and Elsie are left to navigate their own way through their burgeoning sexuality. The thing that makes the book so disturbing is that their thoughts and behaviour will be recognisable to any woman, since we all went through that difficult stage when our physical selves were maturing far more rapidly than our emotional selves. It’s also a reminder of how female friendships at that age can become obsessively close, to a point where they can take precedence over all other relationships, even family, and can develop their own secret codes of communication and behaviour. In the end, Harriet and Elsie go much further along the path of acting out their fantasies than most of us did (I hope!), but their first steps feel like ones any one of us might have taken, perhaps with similar consequences.

The book was famously inspired by the case in New Zealand where two teenage girls murdered the mother of one of them, but the story isn’t a slavish copy of that, so knowing the original case is not a spoiler for the book. It was also apparently Bainbridge’s first novel, though it was rejected at the time, and was only published much later once she had become an established name.

I haven’t read any of her later books, so can’t compare the quality of the writing, but I felt this one was a little patchy. Some of the writing is wonderful, but for such a short novel I still found the pacing rather slow, finding myself wishing it would hurry up and get to where it was going. Perhaps this was because I had more or less gathered the major points of the plot from the many, many reviews I’ve read of it, or perhaps it was because the end was so blatantly foreshadowed at the beginning – I’m not sure.

I had tried to explain to my mother that it was awful to go so early; that one looked so silly when the field was full of small children. I could not explain that when it was dark a new dignity would transform the fair into an oasis of excitement, so that it became a place of mystery and delight; peopled with soldiers from the camp and orange-faced girls wearing head scarves, who in strange regimented lines would sway back and forth across the field, facing each other defiantly, exchanging no words, bright-eyed under the needle stars. I could not explain how all at once the lines would meet and mingle performing a complicated rite of selection; orange girls and soldier boys pairing off slowly to drift to the far end of the field and struggle under the hedges filled with blackberries.

The characterisation of both girls is somewhat vague, but I felt that fitted well with the first-person narration. Elsie’s obsession with Harriet and desire to impress her is portrayed excellently, but Harriet herself remains something of an enigma because we only have Elsie’s account to go on. Elsie also hints that she, Elsie, is the submissive one in the relationship, but sometimes the reader is made to wonder if this is a true representation of their friendship, or some kind of deflection so that Elsie should be seen as the more innocent of the two.

Beryl Bainbridge

Times change and attitudes change with them. It may be harder for a modern reader, having lived through all the horror stories about paedophiles and grooming, to feel as sympathetic towards the Tsar as I suspect a reader was expected to feel when the book was published in the ’70s. It’s also less politically correct (though no less true) to see young teenage girls as potential temptresses, using their sexuality as a game, only half innocently, testing their new-found power over men. All of that rang true for me, though, however much we like to gloss over the sometimes dark complexities of teenage sexuality these days.

So while I wasn’t quite as blown away by this as I’d hoped, I think it’s a fine example of a story that becomes very dark while still retaining a chilling level of credibility. Recommended, and it will certainly encourage me to seek out more of Bainbridge’s work.

Amazon UK Link
Amazon US Link

The Gowk Storm by Nancy Brysson Morrison

A Scottish classic…

😀 😀 😀 😀 😀

This is the tale of three sisters, daughters of the minister in a parish in the Highlands of Scotland. Our narrator is the youngest of the three, Lisbet, who over the course of the couple of years of the book’s story grows from a girl only half comprehending her elder sisters’ early forays into the world of romantic love, into a young woman on whom the two older girls come to depend for support. The date is unspecified, I believe, but the book was published in 1933 and it reads as if the story is set somewhere in the decade or two before that, at a time when young girls had more freedom than Austen’s heroines, for example, but were still confined by lack of opportunity and girded round by social restrictions, breaches of which would inevitably lead to scandal and ruin.

I mention Austen in my little introduction because the comparison was running in my head throughout most of my reading of the book. Like Austen, this is fundamentally a book about young women seeking the men they will eventually marry but, also like her, it’s much more than that. It portrays the society of a particular place at a moment in time and does so brilliantly, showing the subtle social stratifications that limit the lives and suitable marriage prospects of these moderately privileged girls still further. Since this is Scotland, the book also shows the stranglehold of Protestant intolerance that has blighted the country since Knox, and the anti-Catholic discrimination that goes hand-in-hand with that.

The dominie could read from a snail on a blade of grass or the flight of a bird every whim of the weather. He would tell us it was not going to thunder because he had noticed a trout jumping in the loch or that we must expect rain for he had seen a craikie heron ‘take to the hill’. There were other things he told us of as he helped us over dykes or went in front to guide us through boggy places: how death and the eddying fairies came from the pale west, and the white chancy south brought summer and long life, giants and ill-luck strode from the black north, and only good could come out of the sacred east.

The writing is superb and, to continue the Austen comparison a little further, the characterisation of these young girls is beautifully done. None of them is perfect – each has her flaws and idiosyncrasies. The two eldest, Julia and Emmy, are a little like Elinor and Marianne from Sense and Sensibility – Julia’s strong feelings masked by her outward calm, and with the intellect and strength of character to overcome the slings and arrows of her fortune; Emmy driven by emotion, unwilling, perhaps unable, to accept society’s restrictions. Lisbet is clear-sighted about her sisters, and about herself. Although she is young during the events of the book, it is written as if by her older self looking back, giving her narration a feeling of more maturity and insight than her younger self may have had at the time. Lisbet is also profoundly affected by her physical surroundings, describing the landscape and weather in lush passages of great beauty, full of colour and a sense almost of mysticism.

A pale green light poured down from the wintry sky, as though this earth were lit by chance rays from some other world. Grey sheep silently ate split turnips in the brown fields. The snow had melted in the low lands, leaving everything sad dun shades, and only streaked the mountains, where it lay like the skeletons of huge, prehistoric animals. The shouldering outline of the mountains cut against the horizon, their detail of burn, crag and ravine lost in the immensity of their shadowed bulk. It was as though, in those transient windless seconds between dawn and daylight, the world had resolved itself again into the contours and substances that composed it before man trod on its earth and drank in its air.

But despite all my comparisons, there are elements that make the book very different in tone from Austen. Although there are plenty of moments where we see the touching love and loyalty among the sisters, there is little of the wit and humour displayed in most of Austen’s works. This book is darker, with a tone of pathos and impending tragedy created by the subtlest hints of foreshadowing. I don’t want to tell any of the story because its gradual unfolding is one of the book’s great strengths. But there isn’t that feeling of certainty that all misunderstandings and obstacles will be cleared away in time for a happy ending for all of these girls. And, dare I say, the eventual outcomes have something more of the ring of truth about them as a result.

‘There’s plenty of time for my breakfast and your wedding,’ he informed her, ‘as I’m sure Drake would tell you. You know, our whole lives consist of this kind of thing – seeing things out of proportion. Think of the furore and fever we worked ourselves into last year over something that now leaves us quite cold.’

‘I hope it will take more than a year for my marriage to leave me cold,’ Julia rejoined.

‘You never know,’ he replied lugubriously, ‘for after all love is merely seeing the loved one hopelessly out of proportion. Then, you’ll find, you’ll both waken up one day to the fact that the other is quite ordinary and is peopling the world in hundreds. That’s why I never married,’ he added complacently, ‘ I always knew I would be the first to waken up.’

The vast majority of the book is written in standard English, with just some Scottish dialect in the dialogue of one or two characters. However there is a sprinkling of Scottish words throughout, some of which have faded into complete obscurity now, but many of which are still used by older Scots. The meanings of most of them are clear by their context, but I was a little disappointed that my Canongate Classics edition has neither a glossary nor footnotes – not that they are essential, but to add to the interest for non-Scots and younger Scots alike. I would also warn forcibly not to read the introduction by Edwin Morgan before reading the book – he gives away the entire plot (and frankly adds little depth to the understanding of the book).

I was not, however, disappointed in any way by the book itself. In my opinion, it’s easily of the quality of Lewis Grassic Gibbon’s much better known Sunset Song and, in fact, I think I enjoyed it even more. I am sorry it seems to have sunk into relative obscurity. The quality of the writing and characterisation; the beautiful descriptions of the wild landscape and weather of the Highlands; the delicately nuanced portrayal of the position of women within this small, rather isolated society; the story that manages tragedy without melodrama and hope without implausibility – all of these mean it richly merits its status as a Scottish classic, and deserves a much wider readership than it has.

The carriage moved forward. We turned the bend in the road where we used to stand to see if any one were coming. I heard the immeasurable murmur of the loch, like a far-away wave that never breaks upon the shore, and the cry of a curlew. All the world’s sorrow, all the world’s pain, and none of its regret, lay throbbing in that cry.

Amazon UK Link
Amazon US Link

Book 11 of 90

Doctor Zhivago by Boris Pasternak

A candle burned…

🙂 🙂 🙂

Set to the background of Revolutionary Russia, this is a sweeping saga of doomed love. Separated from his family by war, Yuri Andreevich Zhivago is torn between his duty to his wife and family and his adoration of the lovely nurse Lara. Unfortunately, he seems to suffer from severe commitment issues alongside a healthy dose of narcissism but, fortunately, he’s such a wonderful, intelligent, incomparably talented poet and sensitive human being (we know this because he tells us himself) that all the people he abandons throughout his life still adore him – because they recognise his innate superiority to all other mortals. I think it was when Pasternak finally seemed to be trying to draw some kind of vague parallel between Yuri Andreevich and Christ that I really began to feel bilious.

I make it a general rule to try not to find out too much about authors because knowing about their lives tends to intrude on my feelings about their books. Unfortunately a couple of years ago I read The Zhivago Affair, an interesting (and recommended) book that tells the story of the publication of this book, and makes it clear that the parallels between Pasternak’s and Zhivago’s lives are so great that Yuri Andreevich can only really be seen as the author’s alter-ego. Pasternak himself moved his mistress in more or less next door to his wife and children and insisted on them all living in harmony, so he’s not up there on my list of favourite human beings. Therefore, I found Pasternak’s raptures over Zhivago’s character, intellect and poetic ability as nauseating as his justification of his adultery and treatment of his various women, all of whom simply adored him while recognising they really weren’t fit to shine his shoes.

….The night was filled with soft, mysterious sounds. Close by in the corridor, water was dripping from a washstand, measuredly, with pauses. There was whispering somewhere behind a window. Somewhere, where the kitchen garden began, beds of cucumber were being watered, water was being poured from one bucket into another, with a clink of the chain drawing it from the well.
….It smelled of all the flowers in the world at once, as if the earth had lain unconscious during the day and was now coming to consciousness through all these scents. And from the countess’s centuries-old garden, so littered with windfallen twigs and branches that it had become impassable, there drifted, as tall as the trees, enormous as the wall of a big house, the dusty, thickety fragrance of an old linden coming into bloom.
….Shouts came from the street beyond the fence to the right. A soldier on leave was acting up there, doors slammed, snippets of some song beat their wings.

Trying hard to put my antipathy to the author and main character to one side, there are some positives. Some of the descriptions of the freezing snow-covered landscape are excellent, as are the often poetic scenes of daily life in either city or country, and the Pevear/Volokhonsky translation serves them well. Pasternak assumes his readers will know the history of the period, so doesn’t tell it in any structured form. Instead, he gives sketches of various aspects of life – the breakdown of order in the cities, the drunkenness, brutality and hunger in the country, life as a forced conscript in the Red Army during the Civil War. In a sense, he uses Zhivago’s various women to illustrate or symbolise aspects of Russian society after the Revolution – those who emigrated, those who conformed as best they could to the new regime, those who were destroyed by it. There is an underlying, and largely underdeveloped, theme of individuality and art struggling to survive under first chaos and then growing state control of every corner of existence.

Zhivago and his lover, Lara

However, for me, the negatives outweigh the positives. The book is poorly structured, has no flow and relies far too heavily on increasingly ridiculous coincidences. There are parts where the author doesn’t bother to fictionalise at all, instead simply dumping factual information on the reader. The characterisation starts out fairly well but seems to fade as Pasternak becomes distracted, first by his vague and unsatisfactory forays into the political/historical aspects, and then by his increasing tendency to use Zhivago as a conduit to allow Pasternak himself to waffle on pretentiously about art and literature and indulge in a good deal of barely disguised self-adulation.

….Gordon and Dudorov belonged to a good professional circle. They spent their lives among good books, good thinkers, good composers, good, always, yesterday and today, good and only good music, and they did not know that the calamity of mediocre taste is worse than the calamity of tastelessness. . . .
….He could see clearly the springs of their pathos, the shakiness of their sympathy, the mechanism of their reasonings. However, he could not very well say to them: ‘Dear friends, oh, how hopelessly ordinary you and the circle you represent, and the brilliance and art of your favourite names and authorities, all are. The only live and bright thing in you is that you lived at the same time as me and knew me.’ But how would it be if one could make such declarations to one’s friends! And so as not to distress them, Yuri Andreevich meekly listened to them.

The extracts from Yuri’s journal, where – in the midst of war, with people around him starving to death, with an abandoned pregnant wife and an increasingly neurotic mistress – he takes time out to do a bit of lit-crit of earlier Russian authors, feel like the ultimate self-indulgence. And to top it all off, Pasternak gradually begins to incorporate a kind of religious symbolism into the story, but again without enough depth or direction to make it work.

Pasternak and his lover, Olga Ivinskaya, the inspiration for Lara

I admit I always struggle with Russian literature, partly, I think, because even good translations still leave them feeling clunky and partly because the Russian propensity for having a cast of thousands, each with four or five variations of their names, means I always find reading them a tedious slog. In this one, a character mentioned once hundreds of pages earlier will suddenly re-appear with no re-introduction, no reminder of who they are or what role they have played. If that happened in a modern novel, I’d criticise it as poor writing, so I reckon the same standards ought to apply to classics. My truthful feeling about this one is that it may have come to be seen as a classic not so much because of its quality, but because at the time of publication in the midst of the Cold War, its mildly unflattering portrayal of the communist regime, added to the romanticism of its having been smuggled out of Russia and printed in the West, may have fed into the Western intelligentsia’s support for artistic dissidents and led to it being lauded because of its very existence rather than judged on its literary merits.

In conclusion, then, a flawed work in terms of plot, structure and characterisation but with the saving graces of some fine descriptive writing and occasional insights into Russian society before, during and after the Revolution. I’d recommend it more in terms of its historical significance than its literary worth and, on that basis, I’m glad to have read it.

Amazon UK Link
Amazon US Link

House of Names by Colm Tóibín

Dysfunctional family…

😀 😀 😀 🙂

When Agamemnon decides to sacrifice his daughter to the gods to gain their support for his war, his wife Clytemnestra plots a bloody and horrific revenge. In her grief and rage, she doesn’t consider the profound effects her actions will have on her surviving children – Electra, silently watching as her mother finds herself at the mercy of her lover and fellow conspirator, Aegisthus; and young Orestes, exiled from his home and facing many dangers as he fights for survival.

This retelling of the Greek tragedy is given in three voices. Clytemnestra comes first and it’s through her eyes, the eyes of a mother, that we see Agamemnon’s trickery and the horror of Iphigenia’s sacrifice. Tóibín shows us the full brutality of both Agamemnon’s act and Clytemnestra’s revenge in all their blood-soaked horror. Clytemnestra tells us what she thought, said, did, but it’s in the gaps between that the reader learns how she felt – helpless in the face of a savagery she shares. Agamemnon’s murder is frighteningly well done, but then Clytemnestra finds herself not the mistress but the property of Aegisthus, a man revealed as a cold and cruel tyrant.

None of us who had travelled, however, guessed the truth for one second, even though some of the others standing around, maybe even most of them, must have known it. But not one of them gave a sign, not a single sign.

The sky remained blue, the sun hot in the sky, and the gods – oh yes, the gods! – seemed to be smiling on our family that day, on the bride-to-be and her young brother, on me, and on her father as he stood in the embrace of love, as he would stand eventually in the victory of battle with his army triumphant. Yes, the gods smiled that day as we came in all innocence to help Agamemnon execute his plan.

On the night of the murder, Orestes is kidnapped and held with the sons of other important men, all hostages to ensure their families’ compliance with the new regime. After some time, Orestes falls under the influence of Leander, who persuades him to escape along with a third boy, Mitros. Orestes’ section tells of the boys’ lives as they find ways to survive until they reach manhood. Again, there are some scenes of brutality but there is also love in this section as the boys, separated from their families, create a kind of new family of their own.

I found these first two sections excellent – Clytemnestra’s full of bitterness and rage, Orestes’ softer and quieter despite the episodes of violence. Unfortunately, after that point the book fell away for me rather. The third section is seen from Electra’s point of view. Ignored by her mother and grieving her father, Electra has inherited the family desire for revenge, but somehow I didn’t find this as convincing as Clytemnestra’s vengefulness. And when Orestes returns as a man, I fear I found him rather pale and insipid. Tóibín’s writing is always rather understated when it comes to emotions, and that usually works wonderfully for me – his descriptions of the actions and thoughts of his characters is enough to allow me to feel I understand the emotions that are driving them without Tóibín having to spell them out. And that’s how I felt about Clytemnestra and the younger Orestes. But with Electra and the older Orestes, the understatement is less successful, leaving me struggling to empathise with either.

Perhaps the days before her death, and the way death was given to her, are nothing in the place where she is. Perhaps the gods keep the memory of death locked up in their store, jealously guarded. Instead, the gods release feelings that were once pure or sweet. Feelings that mattered once. They allow love to matter since love can do no harm to the dead.

They approach each other, my father and my sister, their movements hesitant. I am not sure that, once they have seen each other, they still see me. I am not sure that the living interest them. They have too many needs that belong to themselves only; they have too much to share.

Tóibín’s writing is excellent as always, especially powerful when showing the brutality in the earlier passages. But I found the latter half lacked that power and that, added to my lack of sympathy for the younger characters, meant I was left rather unmoved by their eventual fates. Of course, it’s an essential read for any fan of Tóibín, and it’s quite probable that my slight disappointment is largely caused by my overly high expectations. But it’s not one I would recommend as an introduction to his work – for me, it doesn’t quite reach the heights of many of his earlier books.

NB This book was provided for review by the publisher, Scribner.

Amazon UK Link
Amazon US Link

Lorna Doone: A Romance of Exmoor by RD Blackmore

An everyday story of country folk…

😀 😀 😀 😀

When John Ridd’s father is robbed and murdered by the infamous Doone clan, this should make young John their blood enemy. Instead, he falls in love with Lorna, the beautiful young granddaughter of Sir Ensor, the head of the Doones. Because, massive though he is and with a reputation throughout Devon and Somerset as a great wrestler, at heart John is a lover, not a fighter. Unless you threaten the people he loves…

After an exceptionally tedious first quarter, during which I many times considered abandoning the book, I gradually grew to quite enjoy it. Biographical fiction of this era tends to include the early years of the subject, meaning it’s often a long time before the story gets properly underway. Sometimes this works, if the writer fills it with interesting stuff – witness David Copperfield and his time living with the Micawbers. Other times it’s less successful, and I found John’s early life dragged, with very little incident to break up the admittedly excellent descriptions of rural life. The only real event of note is his accidental meeting with the child Lorna, whose infant beauty even then arouses his boyish fancy.

Eventually, however, John reaches manhood and, remembering the little girl, sets out to sneak into the Doone stronghold to find her again. The Doones are a gang of robbers and murderers living in a nearby valley, headed by Sir Ensor, a nobleman dispossessed of his land and fortune over a dispute between his family and the King. Although they terrorise the countryside, the locals seem to feel some strange kind of pride over them, as if they lend an air almost of glamour to the area. Which seems a little odd, since apart from murdering and robbing the men, they have an unfortunate habit of raping girls and women, and stealing them away from their families to force them into marrying the Doone men, who are not averse to a bit of polygamy. Call me old-fashioned, but the glamour escaped me…

By the side of the stream she was coming to me, even among the primroses, as if she loved them all; and every flower looked the brighter, as her eyes were on them, I could not see what her face was, my heart so awoke and trembled; only that her hair was flowing from a wreath of white violets, and the grace of her coming was like the appearance of the first wind-flower. The pale gleam over the western cliffs threw a shadow of light behind her, as if the sun were lingering. Never do I see that light from the closing of the west, even in these my aged days, without thinking of her. Ah me, if it comes to that, what do I see of earth or heaven, without thinking of her?

Having now fallen hopelessly in love with the lovely Lorna, John is conflicted about the Doones – he sees that they are bad, but doesn’t want to go against them for love of Lorna. Though remarkably, having been brought up by this horrid crew, Lorna has turned out sweet and moral and pure, and apart from old Sir Ensor whom she loves, has no high opinion of them; especially since she is being put under pressure to marry the nastiest of them all – the evil Carver Doone. (Cue booing and hissing…) Eventually, there will have to be a showdown, between the men of Exmoor and the Doones, and between John and Carver.

The major problem with the book is that it is incredibly slow. The actual plot is pretty underdeveloped – we are told about how horrible the Doones are rather than seeing it for ourselves. In fact, considering their central role, they appear very rarely. There’s a sort of detour into the politics of the time – the anti-monarchist plots and the Monmouth rebellion – but Blackmore assumes the reader’s familiarity with these events so doesn’t explain them, which left me heading off to wikipedia on more than one occasion. I don’t blame him for my ignorance, but nonetheless I always feel historical fiction should give enough background to allow the reader to understand what’s going on. There’s also a lengthy section where John is in London, where I swear nothing at all happens – nothing! John mentions afterwards that he met the King three times, but clearly this wasn’t important enough to show us as it occurred. Blackmore gives no feeling of what London may have been like in the period, beyond some discussion of bedbugs in various rooming-houses where John stayed.

Then the woods arose in folds, like drapery of awakened mountains, stately with a depth of awe, and memory of the tempests. Autumn’s mellow hand was on them, as they owned already, touched with gold, and red, and olive; and their joy towards the sun was less to a bridegroom than a father.

Yet before the floating impress of the woods could clear itself, suddenly the gladsome light leaped over hill and valley, casting amber, blue, and purple, and a tint of rich red rose; according to the scene they lit on, and the curtain flung around; yet all alike dispelling fear and the cloven hoof of darkness, all on the wings of hope advancing, and proclaiming, ‘God is here.’ Then life and joy sprang reassured from every crouching hollow; every flower, and bud, and bird, had a fluttering sense of them; and all the flashing of God’s gaze merged into soft beneficence.

Where the book does shine, though, is in its depiction of rural life. John loves his life as a farmer and through his eyes we see nature in all her kindness and cruelty. The harsh and bitter winter of 1683 is brilliantly depicted: weeks of deep snow and freezing fog followed by flooding when the thaw finally arrives. We are shown the hardships undergone by the men trying to save the farm animals stranded in the snow-covered fields, and learn of the toll, emotional and financial, as so many of the animals are lost.

The strange (to urban eyes) mix of affection and pragmatism the farmers have for their animals is beautifully described, making me long for those earlier times when farming seemed somehow less cruel, more natural, than our soulless meat production factories of today. We are shown the dependence of the community on abundant harvests and the way they come together first to bring in the crops and then to celebrate. The description of the harvest itself is wonderfully done, full of warmth as Blackmore describes the age-old rituals that surround this most important point of the rural year. For this picture of farming life alone, the book is well worth reading.

There is also a good deal of stuff about the place of women in this society, which I’m fairly sure is meant to be tongue-in-cheek humorous rather than hideously sexist, though sometimes the dividing line is so faint as to be invisible. Certainly John is transparent enough to let us see that Lorna’s beauty of face and figure is as important to him as any loveliness of soul she may possess…

“What are you doing here, Annie?” I inquired rather sternly, being vexed with her for having gone so very near to frighten me.

“Nothing at all,” said our Annie shortly. And indeed it was truth enough for a woman. Not that I dare to believe that women are such liars as men say: only that I mean they often see things round the corner, and know not which is which of it. And indeed I never have known a woman (though right enough in their meaning) purely and perfectly true and transparent, except only my Lorna; and even so, I might not have loved her, if she had been ugly.

But there are also lovely sections, especially between John and his sister Annie, where John thinks he is showing his masculine superiority while in fact Annie is quietly guiding him and winding him round her feminine little finger. Much of John’s interactions with the many females in his life left me quietly chuckling, and suspecting that the women were chuckling too behind his back, but affectionately.

As the book nears its conclusion, the pace thankfully picks up and there are some fine dramatic scenes to end on. Is it a happy-ever-after or a tear-jerking tragedy though? Well, if you want to know the answer to that question, I guess you’ll just have to read it for yourself…

Book 10 of 90

White Tears by Hari Kunzru

Singing the blues…

😀 😀 😀 😀 😀

When Seth and Carter meet at college, they discover a shared appreciation for music – not as musicians, but as listeners and producers. Seth has the technical skills and Carter’s family is rich, so they’re able to set up their own studio. Loving the distinctive sound of vinyl, Carter eventually works his way back in time till he has become a knowledgeable collector of old 78s, especially blues. Seth too had gone on a musical trip back in time, during a period in his teens after his mother died, when he isolated himself from the world in his room and escaped into the world of early records. But Seth had reached a point where he believed he could hear ghosts behind the music…

This is another of these books that is quite hard to review because it only slowly reveals where it’s heading, and the journey is probably better the less you know going in. It’s also very distinctly a book of two halves, and other reviews I’ve read suggest that people who love the first half are disappointed with the second, and vice versa. I’m lucky in that I vastly preferred the second half, so that my final opinion of the book was much higher than it had been at the halfway point. I’ll try to give you an idea of it without spoilers, so forgive me if this review is rather vague.

….Every sound wave has a physiological effect, every vibration. I once heard a field recording of a woman singing, sitting on a porch. You could hear her foot tapping, keeping time. You could hear the creak of her rocking chair, the crickets in the trees. You could tell it was evening because of the crickets. I felt I was slipping, that if I wasn’t careful I’d lose my grip on the present and find myself back there, seventy or eighty years in the past. The rough board floor, the overhang of the roof, her voice travelling through the moist heavy air to the diaphragm of the microphone, its sound converted into electrical energy, frozen, then the whole process reversed, electricity moving a speaker cone, sound spilling into my ears and connecting me to that long-ago time and place. I could feel it flow, that voice, inhabiting the cavities of my body, displacing the present like water filling a cistern.

The first half is taken up with the boys, later young men, meeting and becoming friends and then business partners. Seth is the narrator and he tells about how he records street sounds while he’s wandering about, often finding when he listens back to them that he can hear things he wasn’t aware of at the time. At first, this is normal stuff – the kind of sounds we all tune out as we pass through noisy places. But one day he discovers that he has recorded a man singing an old blues song – he remembers the man singing a line or two but not the whole song. This is the beginning of a train of ever stranger things that happen until eventually the narrative becomes fractured and disjointed, as the book moves further from reality into a kind of weird, hallucinatory stage in the second half.

The first half contains a lot of music jargon, production techniques, comparisons of analogue and digital, and so on; and I frankly found it dragged. But once it began talking about early blues musicians, I found my interest reviving a little, especially since it sent me off to youtube to listen to many of the recordings Kunzru mentions. Even so, for too long I found I didn’t really have a feel for where the book was heading.

I’m glad I stuck with it, though, because the second half not only gives the book its ultimate meaning, but as Seth’s life, or perhaps mind, or perhaps both, spiral out of control, I loved what Kunzru does with the writing. It becomes almost like reading a vivid dream – short sentences giving us a glimpse of a thing or snatching at a sound, then moving wildly away to the next thing. Often just a few words create a picture in the mind. It becomes disorientating and strangely disturbing after a bit, and I found it totally compelling. The narrative shifts around in space and time, in reality and illusion (delusion?), and the story gradually gets darker and more violent. It’s only towards the end that the destination becomes clear, and only then that I was able to truly appreciate how each stage, each strand, had added to the depth beneath the surface words – not unlike listening to the analogue rather than the digital.

….Day after day. Always on the move. My boot heels quite worn away. Wolfmouth only left me alone when I came home at night. Even then he followed me through the hallways, tap dancing up the stairs. He followed me, he follows me. Step scuff smack step, step scuff smack step. Echoing in the stairwell at the end of another long day.
….– The kooks, there are more of them all the time.
….– That’s right, Mrs. Waxman.
….Carrying my groceries past her door. The stink of her cats.
….I hole up, lock the door, fix the chain. Step scuff smack step, shuffling in the hallway. Then, at last, silence. I am not sure if he goes away.

Hari Kunzru

And, in the end, it’s about race, and cultural appropriation, and race guilt. About how music, specifically recordings, can let us visit the past. How acquisition can become more important than art – ownership and control above appreciation. There are references to blackface and minstrelsy, and white tourism of black history. The last chapter becomes a little polemical for my taste, but until that point I felt the messages were handled with both surface subtlety and underlying power, and a great deal of originality. And it has stayed in my mind in the couple of weeks since I finished it, growing in stature the more it settles, so that, despite the fact that it took me a while to get into it, I now feel that the long first half was necessary to create the foundation for the weirdly wonderful second half. Highly recommended.

NB This book was provided for review by the publisher, Penguin Books UK.

Amazon UK Link
Amazon US Link

 

 

The Tsar of Love and Techno by Anthony Marra

Only connect…

😀 😀 😀 😀 😀

Narrated by Beata Pozniak, Mark Bramhall, Rustam Kasymov

Leningrad, 1937: in the Department of Party Propaganda and Agitation, a failed artist spends his days airbrushing enemies of the Soviet regime out of history, while retouching pictures of Stalin to ensure that he always looks great – in fact, getting younger by the year. The artist understands the danger of photographs, so when his brother is killed by the regime, he persuades his sister-in-law to destroy all pictures of him. But he begins to paint his brother’s face over those faces he has been tasked with removing, so that over time his brother appears in many pictures, even alongside Stalin. Then, as a small act of rebellion, he leaves a trace of a ballerina he has been told to erase – an act that will cost him dearly…

Kirovsk, 2013: a chorus of the women of this poisoned industrial town tell the story in first person plural of Galina, granddaughter of a ballerina who had been sent to Siberia after falling foul of Stalin’s regime. Galina’s beauty allows her to rise out of the poverty of her beginnings, becoming a beauty queen and marrying the 13^th richest man in Russia. Along the way, she breaks the heart of her first love, and perhaps also her own…

Grozny, Chechnya, 2003: since the local museum burned down, the Deputy Director of Regional Art has been forced to take on the role of head of the tourist board – a difficult task in a city still scarred by war…

These are the three locations in which this collection of stories take place, over the period of the last century. Although each story is separate and could easily be read on its own (in fact, I believe some of them were first published as individual short stories in various papers and magazines) they are so beautifully interlinked that the eventual effect is to create something that really must be considered a novel. The central linking stories are those of Galina and her first love, Kolya, who later becomes a soldier in the war in Chechnya; and of a painting by the Chechen artist, Zakharov – the painter is real, the painting, as far as I can gather, is an invention of the author. The painting is repeatedly altered by the people into whose hands it falls over the decades, till it becomes a kind of metaphor, partly for the way history can be altered to suit the agenda of the historian, and partly of the different perceptions people can have of the same events.

Through the stories we gradually learn the history of Kirovsk through the people who have lived there. A small town founded to house the workers in the nearby apatite mines, everything is poisoned by the pollution from the mineworks – the air, the water, the people, a huge proportion of whom die young from cancer. A place so ugly that the wife of the local Communist Party boss had a forest created from metal and plastic to provide a little beauty (another invention, but made entirely believable in the context). A place where many of the present-day residents have links to those dissidents exiled to the north under Stalin’s regime. A place where being different has always been dangerous – where mothers believe the best gift they can give their daughters is to bring them up to be unremarkable.

Kirovsk

This book will undoubtedly appear in my Book of the Year round-up – the stories are so wonderful I really want to tell them all to you. The first story, Leopard – the one about the failed artist – blew me away with its power and deep humanity. It’s moving, frightening and funny all at the same time. The writing is incredible – there are sentences which made me cry at the beginning and had me laughing by the end, and vice versa. The pacing is perfect, slowly stripping the layers away to reveal, not the simple core of the character, but his entire complexity – the mix of fear and courage that have defined his actions and will determine his fate. Sobbed buckets, I did! And yet I laughed too, in places, and the ending left me with a mix of hope and despair – a belief that redemption is possible, but only remotely.

And this sets the tone for the rest. Some of the stories are tragic, some more uplifting, but none are monotone – each has moments of heartbreak and, not joy perhaps, but fellowship and humour, humanity breaking through in even the most inhumane circumstances. The characterisation is superb throughout – so many characters and all very different, but each ringing entirely true; no real heroes or villains, just people trying to get through their lives as best they can. Family is at the heart of it, mothers and daughters, fathers and sons, brothers, lovers. Marra’s sense of history is impeccable as we see the changes in society over the decades, and he matches it with changes to the language he uses in each different time period. In format, the book is designed like an old mixed cassette tape, with an A- and B-side, each consisting of four longer stories, and an “interval” in the middle, made up of short sections which explain the reason for the format and provide many of the links that eventually bring the thing together into one complete and immensely satisfying whole.

Anthony Marra

I listened to the Audible audiobook version, and the narration is wonderful – if you can take audiobooks, then I highly recommend listening to this one rather than, or as well as, reading it. Each of the narrators speaks with a Russian accent, and each deals brilliantly with the changes in tone between emotionalism and humour, not overplaying either but letting the words speak for themselves. I often struggle to concentrate on audiobooks, but not this one – it held my attention through every word, and despite the complexity of all the links I never found myself lost. It took me a while to attune to each voice – there are three narrators, two male and one female – but once I had, it seemed in each case as if no other voice could have spoken these words. A stunning performance of a stunning book – my highest recommendation for this one.

NB This audiobook was provided for review by Audible via MidasPR.

Amazon UK Link
Amazon US Link
Audible Link UK
Audible Link US

The Cone-Gatherers by Robin Jenkins

Seeds of evil…

😀 😀 😀 🙂

Brothers Neil and Calum work as foresters in Ardmore in the Scottish highlands. Calum is a simple-minded but happy soul, his twisted, hunched back making him clumsy on the ground, but once he is climbing in his beloved trees he is agile and sure-footed. Neil, the older brother, has devoted his life to looking after Calum, resenting every slight and insult that’s been directed at him far more than Calum himself. Now they have been sent to the estate of Lady Runcie-Campbell to gather cones from the trees in her woods, prior to the woods being chopped down as part of the war effort.

But Lady Runcie-Campbell’s gamekeeper, Duror, has taken a strong dislike to them, especially to Calum. Partly this is because Calum’s soft heart has led him to free animals caught in Duror’s traps, but mainly it’s an irrational horror of the stunted body and mind of the man, mirroring Duror’s own stunted life, which has turned out so differently from what he expected. Duror’s young wife whom he loved was struck by an unspecified illness three years after they wed, leaving her bedridden and obese. Now, twenty years on, she is needy and whiny, mainly because Duror makes it so plain that he can’t bear to spend time in her company. Duror has buried deep within himself his resentment at the unfairness of his life, as he sees it, but something about the little hunchback Calum has triggered his pent-up anger, turning him into a malevolent, bullying monster.

Hidden among the spruces at the edge of the ride, near enough to catch the smell of larch off the cones and to be struck by some of those thrown, stood Duror the gamekeeper, in an icy sweat of hatred, with his gun aimed all the time at the feeble-minded hunchback grovelling over the rabbit. To pull the trigger, requiring far less force than to break a rabbit’s neck, and then to hear simultaneously the clean report of the gun and the last obscene squeal of the killed dwarf would have been for him, he thought, release too, from the noose of disgust and despair drawn, these past few days, so much tighter.

The Second World War is happening in the background, so that this small community is missing young men. Lady Runcie-Campbell is only in charge because her husband is away in the army, and obviously, being a woman, she’s not very good at man management. (Well, it was written in 1955.) She’d prefer not to know about anything that might disrupt her perfect lifestyle or prick her conscience, like the atrocious conditions the cone-gatherers are expected to live in, so leaves everything she can up to Duror. She is always striving to become a better Christian and wants her children to grow up with true Christian values. On the other hand, she has been tasked by her husband to make sure their son grows up to be a true aristocrat, confident in his superior breeding and properly haughty to the hoi-polloi. Lady Runcie-Campbell’s own upbringing means she sees no problem in reconciling these things, but her son shows an irritating capacity to feel sympathy for the people she bullies and demeans.

The still is from a BBC Bitesize production for use in schools as a teaching aid.

As a Scottish classic, I tried hard to love this book, but failed, though I certainly didn’t hate it either. It has an air of impending doom from the first pages, a tragedy so well signalled that the end is never really in doubt. This can work, so long as the journey is interesting enough. Here, while the writing is skilled and often very powerful, the characters never came to life for me, each feeling like a representative of an aspect of humanity that Jenkins wanted to show, rather than a truly rounded individual. It comments a little on the changing social order of the time, when the lower classes were no longer prepared to accept without criticism the inequality in society, nor to obey without question the orders of their social superiors. But it does it in a way that I found rather obvious, without nuance. There’s a similar lack of subtlety in the direct comparison it draws between Duror’s irrational hatred of the hunchbacked Calum and the atrocities carried out by the Nazis. I feel the author should sometimes leave the reader to do some of the work.

He had read that the Germans were putting idiots and cripples to death in gas chambers. Outwardly, as everybody expected, he condemned such barbarity; inwardly, thinking of idiocy and crippledness not as abstractions but as embodied in the crouchbacked cone-gatherer, he had profoundly approved.

Robin Jenkins

Elsewhere, religious symbolism abounds in an Old Testament, Garden of Eden corrupted by nasty humanity kind of way, but it’s all a bit simplistic – the good people are so very innocent, and the bad people are hissably dastardly villains. There’s an odd episode in the middle when the brothers visit the nearby town, where everyone is preternaturally nice to them, in too stark contrast to the evil that surrounds them in the woods. It reminded me a little in tone of Of Mice and Men – the book that taught me how easily pathos can turn to bathos if an author isn’t careful. Jenkins narrowly avoids bathos, but in the process he also loses the emotionalism, the light and shade, that might have lifted this book above being a simple allegory of good and evil. My lack of belief in the characters as people meant that the long-anticipated tragic ending left me disappointingly unmoved, despite my admiration for the prose.

Book 7 of 90

Amazon UK Link
Amazon US Link

Rebecca by Daphne du Maurier

“…the slaughterous red, luscious and fantastic…”

😀 😀 😀 😀 😀

(This review contains mild spoilerish bits, so if you haven’t yet read the book, do it now and then pop back… 😉 )

We first meet our unnamed narrator when she is in Monte Carlo, working as the paid companion to an elderly American lady, Mrs Van Hopper. Still more girl than woman, the narrator is shy and unsophisticated, not bothering much about the clothes she wears or the style of her hair. Mrs Van Hopper scrapes an acquaintance with Maxim de Winter, a rich and handsome Englishman staying in the hotel alone because, as Mrs Van Hopper informs the narrator, his wife recently died in a tragic sailing accident. Our girl is rather dazzled by this man of the world who so easily deals with all the little social problems she finds so difficult, and he in turn seems to like her quietness and unadorned simplicity. Within a few weeks, Maxim proposes and finally, thank goodness, our narrator has a name – the second Mrs de Winter.

(FF’s Sixth Law: Unnamed narrators should never be used by authors who would like people to review their books.)

The book begins, of course, with one of the most famous opening lines in literature – “Last night I dreamed I went to Manderley again.” The ensuing dream sequence acts as a prologue and warning of what is to follow, and straight away du Maurier builds up an atmosphere full of unease. As Mrs de W2 in imagination moves towards the house, she describes the lush vegetation taking back the once cultivated grounds and gardens, now growing out of control. There’s an earthiness and sensuality to the descriptions, and a sense of growth and decay – a kind of raw, malignant vitality that seems to represent the first Mrs de Winter, Rebecca, while being a stark contrast to the rather sexless childlike personality of Mrs de W2. It’s a magnificent start to the book, setting the mood superbly for what is to follow.

I saw that the garden had obeyed the jungle law, even as the woods had done. The rhododendrons stood fifty feet high, twisted and entwined with bracken, and they had entered into alien marriage with a host of nameless shrubs, poor, bastard things that clung about their roots as though conscious of their spurious origin. A lilac had mated with a copper beech, and to bind them yet more closely to one another the malevolent ivy, always an enemy to grace, had thrown her tendrils about the pair and made them prisoners.

The book is famously compared to Jane Eyre, but the dead Rebecca is much more vividly alive in Manderley than the madwoman in Mr Rochester’s attic ever is. She infuses every room with the strength of her personality, as our narrator flits through the house like a ghost, or like the lowliest little maid, afraid to touch anything. Beautiful and vibrant, no-one who knew Rebecca remained untouched – it seems to Mrs de W2 that everyone adored her, some to the point of obsession. Even Mrs de W2’s beloved dog Jasper was Rebecca’s dog first. Gradually Mrs de W2 begins to think that Maxim made a mistake in marrying her – that he’s still in love with Rebecca. And then one day, a storm leads to the discovery of Rebecca’s lost boat, and suddenly everything Mrs de W2 thinks she knows about Rebecca and her husband is turned on its head…

All three of the female characters in the book are brilliantly drawn; dead Rebecca, her glittering exterior hiding a more complex personality underneath, whom we only get to know through other people’s memories of her; the housekeeper Mrs Danvers, whose grief for her first mistress makes her cold and cruel to the point of madness to the woman who has replaced her; and Mrs de W2 herself, a woman who seems to exist only to serve as an adjunct to people who need a doormat, moving from being the paid companion of a peevish and demanding elderly lady to becoming the unpaid companion of a peevish and bullying middle-aged man. I couldn’t help but wonder if life with Mrs Van Hopper wouldn’t have been more fun in the end…

Oh, I do apologise to Maxim fans! The first time I read the book many years ago, I’m sure I fell a little in love with Maxim myself. This time round, I wanted to slap him with the proverbial wet fish. He treats Mrs de W2 as just slightly lower down the social pecking order than Jasper the dog for most of the book. Granted, she kinda asks for it but she’s only young. Too young, Maxim – too, too young for a man of your age! Patting a woman on the head, physically or metaphorically, is never a good idea – if you behaved like that to Rebecca no wonder she turned out as she did! Couldn’t you have reassured Mrs de W2 – told her you loved her, maybe even called her by her name occasionally? Why were your tender little feelings so much more important than hers? Your behaviour at the party was a piece of shameful bullying and a man of your age should have shown more understanding, and a bit of kindness. And, you know what? Last time I forgave you for what you did. But not this time! You behaved abominably and you should have paid a higher price! And don’t think you can wheedle your way back into my affections just by looking like Laurence Olivier…

Clearly my attitude to men who treat women like doormats has changed somewhat over the years! More seriously, though, the book gives a great picture of the relative positions of the genders at the time, especially how Rebecca’s unconventional behaviour, which would have barely merited a raised eyebrow had she been a man, put her beyond the social pale as a woman. Du Maurier is just as incisive in her portrayal of the British class system in operation, with the squirearchy ready to build a defensive shield round one of their own regardless of his merits or otherwise.

That corner in the drive, too, where the trees encroach upon the gravel, is not a place in which to pause, not after the sun has set. When the leaves rustle, they sound very much like the stealthy movement of a woman in evening dress, and when they shiver suddenly, and fall, and scatter away along the ground, they might be the patter, patter, of a woman’s hurrying footstep, and the mark in the gravel the imprint of a high-heeled satin shoe.

But as always with du Maurier it’s the atmosphere of growing tension that gives the book its true greatness. Even though we more or less know how it ends within the first two chapters, du Maurier holds enough secrets in reserve to ensure the reader is kept in suspense all the way through. The descriptive writing is fantastic, creating strong visual images and making both the house and grounds of Manderley become living things, playing their own role in the unfolding drama. If there’s anyone left out there who hasn’t already read this masterpiece of psychological suspense, then I highly recommend you grab it as soon as you can!

Audiobook

I part read/part listened to the book this time round. Anna Massey’s narration is very good – she has just the right kind of posh English accent for the subject matter, and every word is enunciated clearly. She does it as a straight reading; i.e., she doesn’t “act” the parts, though she does differentiate the voices to some extent. I wasn’t always totally thrilled by her “voices” – Maxim, for example, sounded a little gruffer than I would have gone for. But that’s simply a matter of personal interpretation. Overall I thoroughly enjoyed her reading, and would look out for her as a narrator again.

Book 6 of 90

Amazon UK Link
Amazon US Link
Audible UK Link
Audible US Link

The White Guard by Mikhail Bulgakov

“Blood is cheap on those red fields…”

😀 😀 😀 😀 😀

It is 1918, and Kiev in the Ukraine is at the swirling centre of the forces unleashed by war and revolution. The three Turbin siblings live in the house of their recently deceased mother in the city. They are White Russians, still loyal to the Russian Tsar, hoping against hope that he may have escaped the Bolsheviks and be living still. But there are other factions too – the German Army have installed a puppet leader, the Hetman Skoropadsky, and the Ukranian peasantry are on the march in a nationalist movement, under their leader Petlyura. This is the story of a few short days when the fate of the city seems up for grabs, and the lives of the Turbins, like so many in those turbulent times, are under constant threat.

Great and terrible was the year of Our Lord 1918, of the Revolution the second. Its summer abundant with warmth and sun, its winter with snow, highest in its heaven stood two stars: the shepherds’ star, eventide Venus; and Mars – quivering, red.

I found the beginning of this book rather difficult because I had no idea who all the various factions and real-life characters were, nor what they were attempting to achieve. But I soon realised that in this I differed less from the fictional characters than I first thought. This is a book about confusion and betrayal, shifting allegiances, chaos and fear. Bulgakov takes a panoramic approach, following one character and then panning off to another. This gives it an episodic feel and adds to the sense of events moving too quickly for the people involved ever to fully grasp. The Turbins actually aren’t in it a lot of the time, but they provide a thread for us to catch at in the maze, and a human side to the story for us to care about.

One of the early episodes tells the story of the soldier Victor, a friend of the Turbins, who with 39 companions is ordered to defend the city from the approaching forces of Petlyura. Ill-equipped and insufficiently clothed for the extreme cold, two of the men die of frostbite and the rest are lucky to survive. They achieve nothing. While reading this, I was simultaneously reading the beginning of Trotsky’s History of the Russian Revolution, where he talks of the mass mobilisation of workers and peasants into the Russian army to fight against Germany in WW1. His description of the ill-trained, poorly-equipped troops dying needlessly in vast numbers is chillingly similar and I found that each book lent verisimilitude to the other.

Mikhail Bulgakov at his Moscow flat, 1935.
Photograph: © Collection Roger-Viollet

Although the Turbins are on the side of the Tsar, the book itself doesn’t seem to take a political stance. If anything, it paints an equally despicable picture of all the various faction leaders, as cowards hiding behind the men they send carelessly to their deaths. As senior officers on all sides run into hiding, middle-ranking officers are left to decide whether to make a stand or disband their troops, many of them no more than young boys in cadet corps. It gives an only too credible feeling for the chaos in the city, for people not knowing what’s happening, and for each new rumour spreading like wildfire. Amidst all this, we see odd glimpses of life continuing – boys out playing in the snow, workers making their way to their jobs, people shopping. Through the Turbin brothers, Nikolka and Alexei, we see the battle each man must individually face between fear and heroism, while Elena, their sister, must wait at home, praying for their safety.

In the gaps between scenes of extreme brutality, Bulgakov lets us glimpse his love for the city. He describes the streets his characters pass through, the alleyways they use to escape, the ancient cathedral, the huge statue of Saint Vladimir on the hill above the city. But we are never allowed to forget the approaching threat…

But the brightest light of all was the white cross held by the gigantic statue of St Vladimir atop Vladimir Hill. It could be seen from far, far away and often in summer, in thick black mist, amid the osier-beds and tortuous meanders of the age-old river, the boatmen would see it and by its light would steer their way to the City and its wharves. In winter the cross would glow through the dense black clouds, a frozen unmoving landmark towering above the gently sloping expanse of the eastern bank, whence two vast bridges were flung across the river. One, the ponderous Chain Bridge that led to the right-bank suburbs, the other high, slim and urgent as an arrow that carried the trains from where, far away, crouched another city, threatening and mysterious: Moscow.

St Vladimir watching over the city…

As the chaos worsens, so we see the atrocities that are never far from war – the criminals jumping on the lack of order to terrorise an already demoralised citizenry, the bodies left unidentified and unclaimed in the City’s morgue, the wounded frightened to seek help for fear of capture. Not quite knowing who every faction was made it even more unsettling, though I wondered if Bulgakov’s first readers would have known, and so might have read it differently.

A truly brilliant book that, while concentrating on one small city, gives a brutal and terrifyingly believable picture of the horrors unleashed in the wake of bloody revolution. And here we are, one hundred years later, with Moscow again invading the Ukraine – this troubled and divided territory still fighting what is essentially the same war…

The snow would just melt, the green Ukranian grass would grow again and weave its carpet over the earth… The gorgeous sunrises would come again… The air would shimmer with heat above the fields and no more traces of blood would remain. Blood is cheap on those red fields and no one would redeem it.

No one.

Book 2 in the Reading the Russian Revolution Challenge

Amazon UK Link
Amazon US Link

Our Mutual Friend by Charles Dickens

The root of all evil…

😀 😀 😀 😀 😀

Old Mr Harmon has been a tyrannical father to his children, so that the odd terms of his will are in keeping with his character. He has left the bulk of his fortune to his one surviving son, John, on condition that he marries a girl his father has chosen for him – a girl he has never met. Bella Wilfer is a mercenary young lady, quite willing to go along with this scheme. But when John drowns on his way home from foreign parts, Bella finds herself in the unsatisfactory position of having to go into mourning for a man she didn’t know, without the benefit of receiving any of the wealth she was expecting. The money passes to the Boffins, who decide it is their duty to do something to help Bella.

Jesse Hexam is the man who dragged the body identified as John Harmon from the Thames. This is how he makes his living, rowing up and down the river looking for corpses, often taking his daughter Lizzie along to row for him. But during the identification of this corpse, Lizzie catches the eye of a young and rather unscrupulous lawyer, Eugene Wrayburn. Eugene’s pursuit of Lizzie will affect many people around them, leading to jealousy, resentment and dark deeds. But, as always with Dickens, there are possibilities for redemption too…

It was a foggy day in London, and the fog was heavy and dark. Animate London, with smarting eyes and irritated lungs, was blinking, wheezing, and choking; inanimate London was a sooty spectre, divided in purpose between being visible and invisible, and so being wholly neither. Gaslights flared in the shops with a haggard and unblest air, as knowing themselves to be night-creatures that had no business abroad under the sun; while the sun itself, when it was for a few moments dimly indicated through circling eddies of fog, showed as if it had gone out, and were collapsing flat and cold.

Hexam and Lizzie look for corpses

Much though I love Dickens, considering him the greatest writer of all time, I’ve never been blind to his faults. It’s always been a balancing act for me – the anger beneath the social satire, the wonderfully created and unforgettably caricatured minor characters, the brilliantly atmospheric descriptive writing; all offset against the parade of nauseatingly saccharin heroines, the occasional descent into an archness I try hard not to call twee, and the fact that sometimes the plots don’t quite gel – a result of them being serialised, I assume, and Dickens not really having decided on an ending when he published the beginning.

In this book, the seesaw falls slightly more to the side of the weaknesses than the strengths. I believe this was the last complete book he wrote, and he was involved in a serious accident in the middle of writing, when he was on a train that became derailed, leaving many people injured. He was unhurt physically but apparently the experience left him shocked. Perhaps it was that, or perhaps age was simply tiring him, but for me, this books lacks some of what makes his great books great.

The Boffins

The major theme of the book is money – how possession of it corrupts, and how lack of it causes great suffering. He satirises the class of society that hangs around the rich, especially the nouveau riche. Mr and Mrs Veneering seem to have come from nowhere, but their lavish hospitality wins them a whole host of new “oldest friends”. The Lammles show the pitfalls of marrying for money, each believing the other is wealthy till after the wedding, when they discover that they have each married a mirror image of themselves – another person on the make. Having inherited the Harmon wealth, kind old “Noddy” Boffin finds himself the target of conmen and would-be thieves, and begins to admire and emulate some of the great misers he finds in books. And, through old Betty Higden’s story, Dickens shows the iniquities of the Poor Laws of the time, and how many people would rather starve than end up living on the state’s merciless mercy.

That night she took refuge from the Samaritan in his latest accredited form, under a farmer’s rick; and if – worth thinking of, perhaps, my fellow-Christians – the Samaritan had in the lonely night “passed by on the other side,” she would have most devoutly thanked High Heaven for her escape from him.

All good, and all typically Dickensian, but it seemed to me that the old anger wasn’t there; especially with the Poor Law stuff, I felt his tone was resigned, almost defeated. The characters are well-drawn to serve his purpose of showing the shallowness and greed of this portion of society, but on the whole they’re not caricatured enough to make them unforgettable, in the way that, say, Sairey Gamp is, or Uriah Heep. In fact, I can’t think of a character from this book whose name has really become part of the general public consciousness, as, for example, Fagin has, or Mr Micawber, or Scrooge.

The plot takes an age to get going and I found myself wondering exactly where the focus was – again not a thing I usually find with Dickens. There are always multiple sub-plots and meandering detours, but generally it’s clear where the plot is heading. I found Bella’s story too light to hang a whole book around, while Lizzie’s story, much more darkly satisfying, keeps disappearing for large parts of the book. But the real problem with the plot is the end, so here goes with a major spoiler….

Betty Higden flees from the tender mercies of “the Parish”

* * * * * * * MAJOR SPOILER ALERT * * * * * * *

The idea that Mr and Mrs Boffin together with Mr Rokesmith keep up a charade for literally years to teach Bella a lesson is simply too unbelievable even for this reader who happily swallows most of Dickens’ amazing coincidences and contrivances without blinking. The thing is, Noddy’s descent into miserliness is one of the more interesting parts of the book, so that when it turns out to have been an act, it takes away much of the book’s substance. Furthermore, I feel I have to point out that the eventual division of the money represents a major fraud on the Crown, to whom it in fact belongs!

It feels to me as if Dickens had intended the miser storyline to be “true”, and then, having written himself into a corner, had to hastily contrive this twist to get himself back out – the major peril of publishing in instalments.

* * * * * * * END OF MAJOR SPOILER * * * * * * *

Bella and Lizzie are both good heroines, though. Lizzie in particular shows herself to be strong and self-reliant, and the scenes where she resists her own inclinations in the matter of love, or where she sees her brother’s selfishness clearly but still loves him, make her one of his most likeable. Bella’s redemption from mercenary little madam to loving little wife and mother has its nauseating moments, but on the whole she’s rounded and believable, and her alteration is given a proper foundation. Jenny Wren is also intriguing, and perhaps the most traditionally Dickensian caricature in the book – although Dickens clearly liked her, so that the caricature is kind with none of his occasional cruelty. But what on earth was Dickens playing at with all this daughters treating their fathers as children stuff? It was silly enough when it was only Jenny who kept referring to her father as her ‘bad child’ but when Bella started doing it with her father too… well, I’m still wondering what was going on in Dickens’ mind! Though perhaps I don’t really want to know.

Jenny Wren and Mr Riah

I was delighted with the positive way Dickens portrayed Mr Riah, his one Jewish character. Not only is Mr Riah shown as kind and generous, but Dickens takes the opportunity to discuss anti-Semitism and the unfairness of how minorities are often judged by the behaviour of the worst of them. This is Dickens at his best, when he tackles an injustice head on, and I felt it went a long way towards making up for Fagin – a great Dickensian character but not exactly flattering in its portrayal of Jewishness.

“I reflected – clearly reflected for the first time, that in bending my neck to the yoke I was willing to wear, I bent the unwilling necks of the whole Jewish people. For it is not, in Christian countries, with the Jews as with other peoples. Men say, ‘This is a bad Greek, but there are good Greeks. This is a bad Turk, but there are good Turks.’ Not so with the Jews. Men find the bad among us easily enough – among what peoples are the bad not easily found? – but they take the worst of us as samples of the best; they take the lowest of us as presentations of the highest; and they say ‘All Jews are alike.’”

Nobody does dark and wicked deeds quite like Dickens, and happily there’s plenty of evil to make us shiver. The filthy and polluted Thames runs through the heart of the book, appearing again and again as the place where the foulest acts take place, and Dickens uses it to great effect as he builds up an atmosphere of tension and horror. I’ve included enough spoilers, so I’ll just say that these river scenes are up there with the best of Dickens’ writing.

The white face of the winter day came sluggishly on, veiled in a frosty mist; and the shadowy ships in the river slowly changed to black substances; and the sun, blood-red on the eastern marshes behind dark masts and yards, seemed filled with the ruins of a forest it had set on fire.

Dark deeds by the river…

To sum up, then, there are too many weaknesses in this for it to count as one of Dickens’ absolute best, but then he sets the bar so high. Even as one of his second-tier novels, it’s still a greater book than the vast majority out there, and its strengths still justify a five-star rating. When you’re the greatest writer the world has ever known, you can get away with an occasional clunky plot device or two…

Book 5 of 90

Amazon UK Link
Amazon US Link

Titian’s Boatman by Victoria Blake

The art of living…

😀 😀 😀 😀 🙂

It is 1576, and Titian is living in plague-ridden Venice – an old man, refusing to flee from the city he loves. As he waits for death to find him, he thinks back to his young days, when his career was just beginning, recalling the time when he painted the portrait that became known as The Man with the Blue Sleeve. By the time his one surviving son, Pomponio, reaches Venice, Titian is dead; and, in the disorder of the time, his studio has been ransacked and many of his paintings stolen. As the plague eventually recedes from the city, we meet Tullia, one of the city’s courtesans, returning to find that she too has had her home looted. With her wealth gone, she realises she will have to start again, sending out signals to the rich men of Venice that she is available for their pleasure – at a price. In this city where the main mode of travel is by water, Sebastiano the boatman is an observer of the great people of the city, knowing their weaknesses and sometimes their secrets, their lives often touching on his.

In London in 2011, actor Terry Jardine is currently in rehearsal of A Winter’s Tale. Terry recently lost his beloved mother, and that, together with a break-up of a long-term relationship, has brought him to a kind of crisis in his life. When he breaks down during rehearsals, his director, Ludovico, comforts him, and so begins a love story between these two men. Meantime in New York, we meet Aurora, a Cuban-born maid working for Mr and Mrs Pereira, a couple who are being surreptitiously investigated by the police.

These four characters – Terry, Aurora, Sebastiano and Tullia – are all loosely linked through Titian and his art. The book jumps back and forwards between them, which could easily have made it feel disjointed. But the quality of the writing, together with some excellent characterisation, makes each section compelling, so that, rather than feeling irritated by the jumps, I found I was looking forward in each case to finding out a little more of the story of whichever character came to the fore. There is no over-arching plot as such, but the links to Titian’s paintings give the book a structure that stops it from feeling too fragmentary.

Blake has clearly done her research for the Venetian strands, and creates a marvellously authentic-feeling picture of the 16^th century society of the city. As we learn more about Sebastiano, we see how his family was severely affected when his father became briefly caught up in the schemes of Titian’s son, Pomponio, and how different the rules of justice were for rich and poor. But in the Venice section, it’s Tullia’s story that stood out for me – the precarious life of the courtesan dependant entirely on youth and beauty, and the need to achieve wealth before these begin to fade. There is a recurring theme throughout the strands of children separated from their mothers, and in Tullia’s case this is both fascinating and moving, as we learn of younger or less pretty daughters of the wealthy farmed off to convents to avoid the need for families to find dowries to enable them to marry.

In the contemporary section, Aurora is fascinated by a Titian owned by her employers, of the death of Saint Sebastian. Blake writes with a lovely light touch, so its only gradually that we discover why this painting means so much to her, and how it is connected to her own childhood when her parents sent her to the US to escape from Castro’s Cuba.

Terry’s connection to Titian begins in the National Gallery as he is admiring The Man with the Blue Sleeve, when it suddenly seems to him that the painting is talking to him, prophesying his death. The growing love between Terry and Ludovico is beautifully done, giving the book its emotional heart. We see the importance of the theatre to Terry – he can’t imagine himself as anything other than an actor, and can’t imagine life continuing if he were ever to become unable to act. Ludovico was also separated from his mother as a baby and never knew her identity, but now she wishes to meet him and he doesn’t know how to feel about that. The two men give each other the emotional support each needs to get through these difficult moments in their lives.

I’ve been deliberately vague about each strand, because the joy of the book is in the slow revelations through which the characters are gradually built-up, layer on layer, so that we see what has made them who they are. In the end, all the strands come together, but as with the whole book it’s done gently – there’s no big dramatic denouement or stunning twist, just a somewhat understated unfolding of the connections through Titian’s art that link these people about whom we’ve come to care.

Victoria Blake

I know Victoria Blake somewhat through our blogs, but as always I’ve tried not to let that colour my review. In truth, I loved this book. The slowish start when all the various strands are introduced meant that it took a little while to grab me, but the quality of the prose carried me until the gradual deepening of the characterisation caused me to become completely absorbed by the stories of these people. Of course, it’s about art and the effect it can have in many different ways, but mostly it’s about people, told with a depth of understanding and sympathy for human frailties, and the various kinds of love that give us the strength to withstand life’s blows. Highly recommended.

NB This book was provided for review by the publisher, Black & White Publishing.

Amazon UK Link
Amazon US Link

Animal Farm by George Orwell

“Fake news” and “alternative facts”…

🙂 🙂 🙂

Inspired by a dream had by Old Major, the white boar, the animals of Manor Farm rebel against their human master and throw him off the land. They agree to work the farm for their own mutual benefit, sharing the work and the produce fairly, each according to his ability and need. Being the most intelligent animals, the pigs take over the planning, both of how to maximise the farm’s yield and of how to protect themselves from outside hostility. But, as we all know, power corrupts…

Of course, this fable is an allegory of the Russian Revolution and the rise of the Soviet Union. First published in 1945, Orwell apparently wrote it as a warning to the nations of the Allies, who had been united with the USSR in fighting Nazi Germany and who therefore had been motivated to overlook some of the horrors going on under Stalin. He also felt there were many in the West who were happy to fool themselves that the USSR was a successful experiment in socialism, so he wanted to draw attention to the fact that the regime had become totalitarian, with a hierarchical power structure that Orwell saw as not altogether dissimilar to the power structures in the capitalist Western democracies, with an entrenched ruling class putting its own interests first. (All of this is paraphrased from Orwell’s own introduction to the Ukranian edition of the book, which is reproduced as an appendix in my Penguin Modern Classics edition.)

I first read this as a school text, when I was about thirteen, I think. I remembered it as having rather blown me away at the time, but truthfully because of the Boxer storyline rather than the politics. At that time – the early ’70s – here in the UK, public opinion had largely caught up with Orwell’s interpretation of the regime, and the USSR was seen by the majority as evil and scary, with it and the US facing off against each other over Europe’s head, each building bigger and bigger weapons. (There was a fairly significant minority view, too, that the USSR was indeed successfully socialist and a good thing, and that anyway, whether it was or wasn’t, pacifism and unilateral disarmament were the way to go.) So the message of the book wasn’t really shocking or new as it may have been to those first readers back just after WW2.

Now, another 40 years on, older, possibly more knowledgeable and certainly more critical, I found I had some issues with Orwell’s portrayal.

The reason Orwell gives for the pigs becoming the leaders is their intelligence. The other animals are fundamentally stupid. Is that, then, Orwell’s view of the leadership and people of the USSR? Are the leaders all brainy while the proles are basically thick? It’s not simply that the other animals are uneducated – in the first flush of enthusiasm after the rebellion, all are given the opportunity to learn to read, but only the pigs and the donkey succeed. Poor old Boxer the horse, the backbone of the revolution, hardworking and utterly loyal, never manages to get past ABCD in learning the alphabet. I fear it smacks of a kind of utterly misplaced intellectual elitism to me, a suggestion that those who become totalitarian dictators do it through superior intelligence. Later, the pigs resort to intimidation, misinformation and propaganda, but not till after the intelligence/stupidity divide has allowed them to take a stranglehold on power. But there’s another aspect to it too, which sat uneasily with me. In this fable, all intelligent animals become corrupt despots, while stupidity seems to equal loyalty and a sense of fairplay and sacrifice.

Good Heavens! Has Napoleon taken to Twitter…???

My second problem is with the idea that the pigs become more humanlike as they become more corrupt. Assuming Farmer Jones represents Czarist Russia, then OK – I can go along with that for the sake of the fable. But if you factor in the other humans on neighbouring farms, with whom the pigs sometimes form alliances and at other times fight, then presumably these other farms represent the countries neighbouring the USSR. So, if the humans in the allegory represent corrupt leadership, the message seems to be that all leaders of all forms of government are corrupt and abuse their proletariat just as much as the USSR does. Even if for the sake of argument one accepts this as true (which I struggle to do even hypothetically), I can’t help but feel it means Orwell undoes his own argument about the unique corruption of power in the USSR. If democratic governments are just as bad as totalitarian ones, then… what’s the point he’s trying to make? Orwell says in his introduction that he didn’t mean for the pigs and humans to appear to fully reconcile at the end, and indeed they don’t, but they have become so similar that it’s hard to say which ones are the more morally or politically acceptable.

The book foreshadows the idea of “double-think”, later developed much more effectively and credibly in 1984, as the founding principles of the regime change over time while Squealer, the regime’s spokespig, blatantly denies the truth of the past, and disseminates the new “truth” through regime propaganda. (But at least Orwell doesn’t have the pigs go completely over the credibility line by claiming, for example, that Snowball the pig can’t be the leader because he was born on a foreign farm, or perhaps that Napoleon the pig would have won the popular vote if only five million illegal pigs hadn’t voted for his opponent… 😉 )

In summary, I really preferred the book when I was twelve, when the simplified allegory and emotional appeal of Boxer’s story worked better for me. My adult self found it a bit too simplistic and reliant on the reader not making any serious critical analysis of the underlying messages, when it all begins to lack coherence. An interesting and cautionary re-read though, especially in this troubled time of “fake news” and “alternative facts”.

Book 1 in the RRR Challenge

Amazon UK Link
Amazon US Link

Selection Day by Aravind Adiga

The Gentleman’s Game…

😀 😀 😀 😀 😀

“India: A country said to have two real religions – cinema and cricket.”

Two brothers are being groomed by their father to become the greatest cricketers in India. Radha, the elder, with his film-star looks and love of the game, is the better of the two, and it’s accepted that he will be the star. But as they grow up, Radha’s skill diminishes, just a little, but enough for him to be eclipsed by the younger Manju, whose attitude to the game is more ambivalent. Their mother having disappeared when they were little (run away? dead? The boys aren’t sure), the brothers have been brought up by their tyrannical father Mohan, who is determined they will succeed in the sport as a way to raise the family out of the slums. So when the chance of sponsorship comes along, Mohan grabs it, even though it’s at best an unethical deal which sells his sons into a kind of bondage and, at worst, borders on the illegal.

This is a story of sibling rivalry, tied in with a wider picture of corruption in society shown through the corruption in cricket. The game, once the preserve of all that was considered gentlemanly, has become all about money. The days of languorous five-day test matches has morphed into not only one-day cricket, but the hideousness of the ultra-short 20-20, which Adiga describes in his humorous glossary of cricketing terms at the end of the book as “in the eyes of some older fans, almost as bad as baseball.” It’s not necessary, I think, to know about cricket to enjoy the book – Adiga doesn’t fall into the trap of lengthy descriptions of games, tactics or technicalities, and the sport could as easily be any other. But cricket has a particular resonance, because of its origin as a game of the British Empire, a period whose influence is still vital in understanding much of Indian society.

In the next few minutes, Anand Mehta came up with the following observations about cricket: that it was a fraud, and at the most fundamental level. Only ten countries play this game, and only five of them play it well. If we had any self-respect, we’d finally grow up as a people and play football. No: let’s not expose ourselves to real competition, much safer to be in a “world cup” against St. Kitts and Bangladesh. Self-obsession without self-belief: the very definition of the Indian middle class, which is why it loves this fraud sport.

Poised to offer the world more deep thoughts about the gentleman’s game, Mehta heard:

Shot! Bloody good shot!…

Confronted by the sound and smell of an instant of real cricket, Mehta felt all his mighty observations turn to ashes.

As Manju hits adolescence, he becomes fascinated by another young player, Javed. Javed is gay and Manju’s attraction to him suggests that he is too. But Manju is of a lower class than Javed and has a father who’s not likely to be the most supportive, so it would take considerably more courage for him to admit his feelings than Javed. But his relationship with Javed isn’t purely about physical attraction – Manju finds himself influenced by the older, more confident boy in other ways. Javed, another talented cricketer, sees the corruption in the sport and wants Manju to give it up. So poor Manju has a jealous brother who feels he deserves to be the best, a friend pulling him away from cricket, and his father and his coach putting pressure on him to practice every moment he can. It’s not altogether surprising that he’s confused before he gets to Selection Day, the day on which the big teams pick which young players they will sign.

Sachin Tendulkar, India’s finest batman and constantly held up to the boys as an example of what they could be. He’s also much loved by advertising executives…

I love Adiga’s depiction of Mumbai or Bombay (names which he uses interchangeably). He shows the poverty, corruption and class divisions quite clearly but, unlike some of the (usually ex-pat) Indian writers who love to wallow exclusively in the misery, Adiga, who lives in Mumbai, also shows the other side – the vibrancy, the struggle for social mobility, the advances of recent years. His characters, even when they’re being put through the emotional wringer, manage to have some fun along the way, and the whole atmosphere he portrays lacks the irredeemable hopelessness of so much Indian literature. There’s also a good deal of humour, often very perceptive and coming at unexpected moments, startling me into laughter. This book tackles some tough subjects, but on the whole Adiga simply lays the arguments out and leaves the reader to come to her own conclusions – there’s no whiff of the polemical in his writing.

“People thought I had a future as a writer, Manju. I wanted to write a great novel about Mumbai,” the principal said, playing with her glasses. “But then…then I began, and I could not write it. The only thing I could write about, in fact, was that I couldn’t write about the city.

“The sun, which I can’t describe like Homer, rises over Mumbai, which I can’t describe like Salman Rushdie, creating new moral dilemmas for all of us, which I won’t be able to describe like Amitav Ghosh.”

Aravind Adiga

There is, however, some great characterisation, and he writes about them empathetically so that it’s hard not to see why even the less savoury characters have turned out as they have. One of the things I loved was seeing how the perception of Mohan, the boys’ father, changed as they grew up. This man who loomed over them in childhood shrinks as they grow – both physically and in terms of his influence. It’s the mark of the quality of Adiga’s writing that this happens so gradually there’s no jarring moment, but towards the end I realised I had come to feel about him quite differently than I had in the beginning.

For me, this was a slow-burn book. It took at least a third of the book before I was convinced that this tale of cricketing brothers was going to hold my interest. But as it progressed, I began to appreciate the subtlety with which Adiga was showing various aspects of contemporary Indian life, and as always I found his writing pure pleasure to read. And by the time I reached the end, I found he had again created some characters who had become real to me, in the way Masterji did in his excellent Last Man in Tower. This book confirms Adiga’s place as one of my favourite authors, and gets my wholehearted recommendation.

NB This book was provided for review by the publisher, Scribner.

Amazon UK Link
Amazon US Link

GAN Quest: Gilead by Marilynne Robinson

The workings of the human heart…

😀 😀 😀 😀 😀

When John Ames learns he doesn’t have much longer to live, he takes up his pen to write to his young son, to tell him some of the things he would have liked to tell him in person as he grew up. Ames is old, in his 70s, and his son is the product of a late second marriage, an unexpected second blooming of love for a man who had spent most of his life alone following the death in childbirth of his first wife and their daughter. As Ames writes, it is 1956, so his personal recollections take him back to the end of the previous century, but his knowledge of his family history allows him to go back a few decades further, to the Civil War and the struggle for the abolition of slavery.

The small town of Gilead in Iowa was founded by abolitionists, its main reason for existence in those early days to help the cause, and to assist in providing safe passage for escaped slaves heading towards the free states. Ames is the third generation of pastors in his family. His grandfather was a passionate abolitionist, willing to fight the fight with guns as much as with prayer, who ‘preached his people into war’. Ames’ father, on the other hand, was a Christian pacifist, horrified in his own time at the celebration of war during WW1, at the kind of patriotic fervour that drove the young men to go off to kill or die. As Ames gradually reveals the history of these two men, it is clear that he has been influenced by both; that their divisions perhaps have led him to be more introspective and questioning of his beliefs.

I am also inclined to overuse the word ‘old’, which actually has less to do with age, as it seems to me, than it does with familiarity. It sets a thing apart as something regarded with a modest, habitual affection. Sometimes it suggests haplessness or vulnerability. I say ‘old Boughton’, I say ‘this shabby old town’, and I mean that they are very near my heart.

And it’s Ames’ beliefs that are at the heart of the book. This is a man whose faith is thoughtful and profound, based on his lifelong study of the scriptures. He’s a bit touchy when people assume he became a pastor simply because his father and grandfather were – he’s keen to point out that his vocation is personal, founded on his relationship with God and nothing else. But he has made an effort to understand what brings people to atheism, too, partly because his brother gave up his religion as a young man, and partly because Ames sees the rise of atheism in the society around him. Much of his letter to his son is an explanation of his own faith, and an encouragement to him not to be swayed by the doubts and disbelief of others.

I was struck by the way the light felt that afternoon. I have paid a good deal of attention to light, but no one could begin to do it justice. There was the feeling of a weight of light – pressing the damp out of the grass and pressing the smell of sour old sap out of the boards on the porch floor and burdening even the trees a little as a late snow would do. It was the kind of light that rests on your shoulders the way a cat lies on your lap. So familiar.

I must say I was rather put off reading this book by some reviews and comments from a few people who suggested that it’s full of Biblical references and theology that would make it hard to understand for someone without a solid grounding in the Bible. As a lifelong atheist, brought up that way, there can be few people out there with less knowledge of the Bible or of the intricacies of the beliefs of all the different Christian churches than I, so for the benefit of others I’d like to say that’s total nonsense. At every step of the way, Robinson makes crystal clear the basis of whatever aspect of faith she is discussing. The possible exception is the idea of whether predestination exists, though even there, it’s quite straightforward to understand Ames’ position on the subject – which is primarily that he doesn’t know the answer, and gets fed up with atheists using the question as some kind of weapon. Perhaps there are nuances that I missed that would be picked up by people better versed in the Bible, but certainly I had no feeling of ‘missing’ anything. It seemed to me that Ames’ unshakeable faith is based as much on his love of the world and of humanity, as on obscure theological points.

I might seem to be comparing something great and holy with a minor and ordinary thing, that is, love of God with mortal love. But I just don’t see them as separate things at all. If we can be divinely fed with a morsel and divinely blessed with a touch, then the terrible pleasure we find in a particular face can certainly instruct us in the nature of the very grandest love. I devoutly believe this to be true. I remember in those days loving God for the existence of love and being grateful to God for the existence of gratitude, right down in the depths of my misery.

In the second half of the book, a young man returns to the town, the son of Ames’ oldest friend, the Presbyterian minister Boughton. This young man is called John Ames Boughton, a well-intentioned gesture from the elder Boughton which Ames has always rather resented. In fact, he resents everything to do with this young man, who has proved to be a disappointment throughout his life. Ames’ feelings about him are mixed with his sorrow for his lost daughter and for his brother’s atheism, and Ames himself is rather confused about why he feels so antagonistic towards the younger man. Now Ames is dying, and young Boughton seems to be forming a bond with his much younger wife, Lila, and his son. The latter part of the book is a very moving account of Ames wrestling with his own feelings and trying to come to a better understanding of the young man.

Marilynne Robinson

There is very little plot in this book, which is normally a real no-no for me. But somehow I found Ames’ story totally absorbing and full of emotional truth – a quiet account of an ordinary man who loves his family, striving to be good in his heart, struggling to see God’s will, accepting the mystery at the heart of faith. It reminded me of the way Colm Tóibín writes – rather plain and understated, but full of beauty and empathy for human frailties. But for all the emotionalism, there’s humour in there, too – wonderfully crafted set-pieces that in their own way shed more light on all the idiosyncrasies of human nature. Yes, it’s about faith, and about racial inequality to some degree, but fundamentally it’s about humanity and the search for a redemption that can come only through a deeper understanding of the workings of the human heart. A lovely book.

Well, I can imagine him beyond the world, looking back at me with an amazement of realisation – “This is why we have lived this life!” There are a thousand, thousand reasons to live this life, every one of them sufficient.

* * * * * * *

So…how does it fare in The Great American Novel Quest? To win that title it needs to achieve all five of the criteria in my original post…

Must be written by an American author or an author who has lived long enough in the US to assimilate the culture.

Achieved.

The theme must shed light on a specific and important aspect of American culture and society of the time of its writing.

Yes, it shows the importance of the Protestant faith in the history and making of the US, and casts a gentle light on the on-going racial divides at the time in which it’s set.

It must be innovative and original in theme.

I’m not sure about this one – certainly the race theme has been addressed frequently. But the dealing with it through an examination of faith, and the style of telling it in the form of a long letter to the future felt innovative to me, so I’m saying – achieved.

Must be superbly written.

Yes, and I hope the quotes I have chosen give an idea of the soft beauty of the writing.

Must capture the entire ‘American experience’.

There’s a big part of me that would like to say yes to this, because it seems to this outsider that faith and race are the two defining aspects of what makes the US what it is. But the small town setting narrows the focus a little too much, so reluctantly I have to say – not achieved. I’m open to persuasion though…

* * * * * * *

So not The Great American Novel but, with 5 stars and 4 GAN flags, I’m delighted to declare this…

A Great American Novel.

* * * * * * *

 

Slaughterhouse-Five by Kurt Vonnegut

Brutal and humane…

😀 😀 😀 😀 😀

The narrator, having survived WW2, intends to write a book about the bombing of Dresden, but can’t seem to think of anything to say. He visits an army buddy to share memories in a bid to get himself started, but his buddy’s wife is angry, thinking he will write yet another book glorifying war. He promises he won’t – and then he begins to tell the fable of Billy Pilgrim.

Billy Pilgrim is gifted, or cursed, with the ability to time-travel backwards and forwards through his life. He was given this gift by aliens from the planet Tralfamadore, who abducted him and put him on display in a zoo on their planet. They also taught him that, in a life where time-travel is real, no-one can truly be said to die, since they will still be alive in their own past and can be visited there. We first meet Billy years after the war has finished, when he has become a successful optometrist. But as we travel back with him through his past, we learn about his war experiences. Like the narrator, he was a survivor of Dresden and we gradually learn of the horrors he witnessed there.

“You know what I say to people when I hear they’re writing anti-war books?”
“No. What do you say, Harrison Starr?”
“I say, ‘Why don’t you write an anti-glacier book instead?’”
What he meant, of course, was that there would always be wars, that they were as easy to stop as glaciers. I believe that, too.
And even if wars didn’t keep coming like glaciers, there would still be plain old death.

Written during the height of the Vietnam War, Vonnegut uses his own experiences of an earlier war to produce a powerful protest novel, one that concentrates on the effects of war at the human, individual level. I’ve always thought this book was a sci-fi novel, and indeed that is how it tends to be classified, but in fact it’s nothing of the sort. Billy’s time-travel experiences and his meeting with the aliens arise clearly from what we now call post-traumatic stress disorder – they are his way of coping with the death and destruction he has witnessed.

The main story is of Billy’s time as a POW in Germany, when he was sent to work in Dresden just before the fire-bombing which destroyed that city and killed many thousands of civilians in the space of a few nights. There is a terrible anger in it, but it’s hidden beneath a kind of laconic manner of telling – a déjà vu, que sera, sera, feeling, summed up by the constant refrain of ‘So it goes’ every time a death is mentioned – as if the narrator is saying that anger is pointless in face of the inevitability of war. Frequently a sentence or paragraph is devastating in its perceptiveness and the cruelty of its clarity. Vonnegut never dwells mawkishly on the horrors, simply tells them and moves on. But, like the anger, sympathy and empathy are both bubbling beneath the surface, making this a profoundly emotional read despite its brevity and understatement. It manages the difficult balancing act of being simultaneously brutal and deeply humane, both bleak and blackly funny.

Vonnegut uses the time-travelling aspects brilliantly to show how Billy’s mind sets up defences to deal with the memories it can’t handle. It also allows him to create some wonderfully powerful imagery, such as when Billy finds himself watching war movies that are running in reverse.

American planes, full of holes and wounded men and corpses, took off backwards from an airfield in England. Over France, a few German fighter planes flew at them backwards, sucked bullets and shell fragments from some of the planes and crewmen. They did the same for wrecked American bombers on the ground, and those planes flew up backwards to join the formation… But there were still a few wounded Americans, though, and some of the bombers were in bad repair. Over France, though, German fighters came up again, made everything and everybody as good as new.

Kurt Vonnegut

Vonnegut also touches on Christianity, on questions of free will and predestination, and gives a pretty excoriating picture of an America obsessed with wealth and celebrity, leaving the vast majority of people who never achieve those things feeling like failures. He seems to be suggesting that religion won’t truly touch these people unless we look differently at how we perceive the idea of Christ, as ordinary rather than exceptional. While intriguing, I wasn’t at all clear where he really intended to go with this argument, and was ultimately unconvinced that it was much more than a clever conceit. But it’s a minor part of the book, so didn’t detract from the greater anti-war message.

Overall, I thought this was pretty stunning. The understated style of the writing, the use of the time-travelling to let us see the effects of war at a very human level and to allow Vonnegut to do some philosophising on what humanity means, the imagery, and even the black humour, all add power to this brief novel, so that it achieves a depth that many much longer novels never reach. One that fully deserves its status as a classic.

Amazon UK Link
Amazon US Link

GAN Quest: Moby-Dick: or, The White Whale by Herman Melville

Call me baffled…

😐 😐

Our narrator (call him Ishmael) signs up for a voyage aboard the whaling ship Pequod, only to find that the Captain, Ahab, is pursuing a personal vendetta against the whale which caused him to lose his leg – Moby-Dick.

See, I still find that blurb quite appealing, even knowing what I now know – that that whole story is crammed into a few pages near the beginning and the last few pages at the end, and all the rest is filled with digressions, varying in degree of interest from quite exciting to cure for insomnia status. I should declare a pre-existing grudge against Melville – it was primarily being forced to pretend that his Billy Budd was in some way worth reading that led to my final breach with the Eng-Lit department at Uni. But surely a book that is touted as a Great American Novel contender couldn’t be as bad as that one, could it? Hmm! Well, after the last few books I’ve read or abandoned in the GAN Quest, I have realised that perhaps America and I have very different definitions of greatness…

My first complaint is that Melville clearly couldn’t decide whether he was trying to write a novel or an encyclopedia of whales. I would suggest that the bullet point list really plays no part in fiction, and that any time an author feels the need to use it, then he should step back and wonder if he’s on the right track. Pages of descriptions of all the different types of whales might be interesting if you happen to be interested in that kind of thing, but a novel isn’t the place for it.

Secondly, what’s with the cod-Shakespearian? The thing is, it makes perfect sense for Shakespeare’s characters to have spoken in poetic Elizabethan English, for obvious reasons – i.e., Shakespeare was an English Elizabethan poet. Ahab, on the other hand, was a 19^th century whaling captain from Nantucket. One would therefore have expected him to speak like a 19^th century Nantuckian. I’m guessing poor old Melville mistakenly thought that if he managed to sound like Shakespeare, people might be fooled into thinking that he was as good a writer as Shakespeare. Ah, well, the best laid plans…

Thirdly, and I grant you Melville is by no means the only writer guilty of this one, if you’re going to use a first-person narrative then you can’t suddenly tell the reader all kinds of things the narrator couldn’t possibly know – like what other people are thinking! Or verbatim reports of conversations when the narrator wasn’t present. Not if you want to be taken seriously as a good writer, at least.

There are bits that are good, when Melville stops trying to be stylistically clever and just tells a plain yarn: for instance, the story of the mutiny aboard another ship, or when Stubbs tricks the crew of the Rosebud into giving him the whale containing ambergris.

I also enjoyed some of his digressions (though there were far too many of them) – like when he philosophises at length on how the colour white is perceived as scary, ranging from polar bears to ghosts. This is well written, and although the argument is stretched and shaky, Melville shows that he knows it with some humorous asides. And the section where he shows each crew member’s different reaction to the gold coin is, I admit, brilliantly done, with him showing how each brings his own nature, his optimism or pessimism, his cultural beliefs and superstitions to his reading of the symbols on the coin. (Though again – first person narrative issue here, obviously.)

The major problem, though, is the almost total lack of narrative drive. The book is nearly a quarter done before we even meet Ahab, the whole of that first section consisting of description after description, first of places, then of people. I was bored out of my head before the story even began. Then, having finally begun, it constantly stops again for vast swathes of time while Ishmael/Melville gives us all kinds of irrelevant information in what must be one of the earliest examples of info-dump: for example, when he gives us pages upon pages of him rubbishing all previous artists, writers and naturalists who have drawn or written about whales. The eponymous whale doesn’t appear until the book is 93% done.

But even aside from the main narrative, his style manages to suck the drama out of any bit of story he tells. We hear about a whale hunt that goes wrong, and it’s brilliantly told right up to the point where the crew are left in their damaged boat, with no oars, lighting their one small lamp against the huge darkness of the ocean… and then he stops and jumps to the biggest anticlimax of all time with a quick mention of a boringly straightforward rescue several hours later. And finally, the great showdown with Moby-Dick arrives – great stuff (if you ignore Starbuck and Ahab repeating themselves in endless asides), some fabulously horrific imagery and then… the end. Abrupt seems to be the appropriate word. However, on the upside, at least it is the end…

Herman Melville

So, to conclude, well written in parts, badly written in others. Lacks narrative drive – by my reckoning the actual story part probably only takes up about 10% of the whole book. The mock Shakespearian language and pastiching of his style is a strange and, in my opinion, unsuccessful stylistic choice. I understand the book was first rejected by publishers and then failed to sell for decades after it finally was published, both of which sound about right to me. The bit that baffles me is why later generations have declared it “great”. My verdict – shows potential in places but requires a severe edit to rid it of all the extraneous nonsense and to improve the narrative flow.

* * * * * * *

So, is it a Great American Novel?

No.

* * * * * * *

Book 3 of 90

Amazon UK Link
Amazon US Link

Passing by Nella Larsen

Colour me white…

😀 😀 😀 😀

When Irene accidentally meets her childhood friend Clare in a tea-house in Chicago, she’s not altogether surprised to discover that Clare is ‘passing’ as white. Clare had always wanted the good things in life and, when she disappeared from home as a teenager, her friends suspected she’d found a way to make use of her beauty. Now Clare is married to a rich white man, John Bellew, with whom she has a child. But John hates ‘niggers’ and Clare knows her marriage would be over if he ever found out about her mixed heritage. Irene rather despises Clare for, as she sees it, a kind of betrayal of her race, but nevertheless can’t resist the appeal of her charm. And so, their friendship is resumed – dangerous to Clare’s marriage, but as it turns out, dangerous to Irene too…

Despite the title and basic premise of the book, this is as much about marriage and status as it is about race. Irene is respected in her society in Harlem. Her husband Brian is a doctor and they have a relatively wealthy life. But we soon learn that Brian is discontented – he hates living in a country where he is treated as inferior because of his race. Irene on the other hand loves her life and wants nothing more than she has. Clare is the catalyst who brings this division into sharp focus, forcing Irene to question what’s important to her and to wonder if her marriage is as solid as she had always thought.

I appreciated that the book doesn’t focus exclusively on the race issues. Sometimes books become so polemical it feels as if the people are tokens rather than rounded characters in their own right – I’m thinking of Americanah, for example. In this one, none of the characters is defined entirely by race – the questions that absorb them most have little overtly to do with colour. In a way, that makes the incidents of racism feel all the more brutal and shocking when they do happen. Written in 1921 long before the civil rights movement really got underway, we see how white people felt it was totally acceptable to publicly and casually express views that many of us would now find repugnant (pre-Trump – sadly, it now appears to be the new normal again), and how black people, even wealthy ones, had no real recourse other than to accept it and try not to let it define their entire lives. Brian and Irene’s ongoing difference about how to bring up their sons encapsulates a debate that I’m sure must have been going on endlessly in the black community of the time – Irene wanting to shield them for as long as possible from the knowledge of how racist their society is, while Brian feels they should be taught early what to expect and taught to resent it.

Nella Larsen

The deeper question than simply colour is perhaps about the sense of belonging. Despite having wealth and a husband who loves her, Clare the risk-taker longs for the people and places of her childhood and is willing to gamble recklessly with everything she has for the fleeting pleasure of spending time back in that society. Irene on the other hand sees that same society as a place of security and contentment, and her sole desire is not to have her life disrupted. Both the women can tolerate the racism of their world so long as it doesn’t directly impinge on them. Brian, however, resents racism as a political thing, not just personal – a thing that makes him hate his nation and rather despise his peers for their acceptance of it. In him, we see the anger and discontent that would eventually lead to the rise of the civil rights movement.

The characterisation of Irene is the book’s major strength. It is from her perspective that the book is told, although in the third person. She operates within the conventions of her time, deferring outwardly to her husband, playing the little wife who’s always endearingly late for things and just a bit scatterbrained. But inwardly she has a core of steel – she has achieved exactly the life she wants and will defend it in any way she can. If that means she has to manipulate her husband to give up his dreams in favour of hers, so be it – she has the intelligence and fierce drive to do it, and the self-awareness to know that that’s exactly what she’s doing. But her slightly repelled fascination for her old friend allows Clare to sneak through her defences, and suddenly Irene finds she’s losing control of the situation – something she’s not used to and that frightens her.

I regret to admit that I think the ending is almost laughably silly, which is a major pity since I was loving it up to that point. I wonder if Larsen maybe just couldn’t think how to get her characters out of the situation she had so carefully and brilliantly crafted for them. Personally (and you don’t often hear me say this) I wished the book was a few chapters longer with a more complex and psychologically satisfying dénouement. But despite that disappointment, I still think this is an excellent book that gives real insight into this small section of black society at a moment in time, and would highly recommend it.

I was tempted towards the book by this excellent review from TJ at My Book Strings – only took me two years to get around to reading it!

Book 2 of 90

This is the book chosen for me by the Classics Club’s #14 spin.

Amazon UK Link
Amazon US Link

Himself by Jess Kidd

Original and intriguing…

😀 😀 😀 🙂

There’s an unusual heatwave going on when Mahony arrives in Mulderigg, a “benign little speck of a place, uncoiled and sprawling, stretched out in the sun. Pretending to be harmless”. But then everything about Mulderigg is unusual, not least the fact that dead people are wandering all through it. Ghosts, but very human ghosts, looking and acting much as they did when they were alive. Mahony has been in Mulderigg before, when he was a baby, though he has no memory of it. Now he’s back to look for his mother, Orla, and to find out why he ended up in an orphanage in Dublin. But most of the people of Mulderigg don’t seem to want to talk about Orla, and those who do have nothing good to say about her. The story they give is that she left the village and must have abandoned Mahony – but Mahony won’t accept this, and nor does Mrs Cauley, an old woman who used to be an actress and now fancies herself as something of a Miss Marple. This unlikely duo set out to discover the truth, with the dubious assistance of the dead…

The book starts with a strangely off-kilter prologue in which we see a brutal murder carried out, but told in language that reads more as if what we are witnessing is a scene of beauty. And this sets the tone for the whole thing really – the writing is wonderfully crafted and full of beauty, while the story is ugly and the vast majority of the characters are pretty repugnant. It’s executed superbly for the most part, with a good deal of humour, some of it of the black variety. The setting is somewhere in rural Ireland – I’m not sure that we’re ever really told where – and the time is split between a “present” of 1976 and a past in the late ’40s and early ’50s. But the time is pretty irrelevant – this village doesn’t feel as if it exists in normal space and time. It has a Brigadoonish quality to it and, although there are references to the outside world, it seems almost cut off and entirely self-sufficient.

The plot, such as it is, is very stretched out and becomes increasingly far-fetched as it goes along. After I’d reached the end, I was left with a whole slew of unanswered questions and a general feeling that the author had got so carried away with the creation of her setting and quirky bunch of characters that she’d lost interest somewhere along the line in the actual story. There’s no doubt Kidd brings this odd, mystical village to life, though I couldn’t help feeling that sometimes it slipped from being Irish into Oirishness – I found myself thinking I wouldn’t be at all surprised to meet a leprechaun with a shillelagh at any corner, though I hasten to add that she stopped short of that. Personally, I could also have lived without the constant rather childish swearing and vulgarity – to have one fart joke is unfortunate, but to have several smacks of carelessness, or a need for dietetic advice. (FF’s Third Law)

Jess Kidd

I enjoyed the early part of the book a lot but gradually found that the style began to grate on me – somehow it feels overworked, every word polished and placed too carefully, giving the language itself precedence over the storytelling. The whimsical idea of the dead characters gains too much prominence in the end, so that every piece of dialogue or action is interspersed with endless descriptions of one or other of the ghosts doing something supposedly amusing in the background. And the extreme brutality of parts of the book feels like too great a contrast to the almost lyrical style in which they are told. This is clearly a deliberate stylistic choice, but one that I felt Kidd took too far, passing the point of acceptable shock to become distasteful.

Having said all that, I think this début shows more originality than anything I’ve read this year and the quality of the prose is extraordinary. It suffers a little, I feel, from a hangover from “creative writing” classes, but I’m certain Kidd has the talent to find a better balance between style and substance as her writing matures, and will learn the art of what to leave out. Despite my relatively low rating of 3½ stars, I would still recommend this one as an intriguing introduction to an author of whom I’m sure we’ll be hearing much more in the years ahead, and one whom I’ll be keenly watching.

NB This book was provided for review by the publisher, Canongate Books.

Amazon UK Link
Amazon US Link