I have this weird habit of reading two novels, either close together in time or sometimes even at the same time, that share a theme or otherwise speak to each other in some way. A little less than a year ago, I did it again. I read Vernon God Little, by D. B. C. Pierre, just a week or so after reading Hey, Nostradamus, by Douglas Coupland. Both of these are black comedies (of a sort), told (partly, in one case) from the point of a male teenager protagonist, concerning a community caught up in the throes of a mass shooting at the local high school.
Of the two, I thought Vernon God Little was funnier, but also far darker. Perhaps this is because it does not grapple with metaphysical issues so much. In the bleak, rather horrifyingly ugly community of Martirios Texas, a mass shooting can only bring the people far enough awake from their ugly dream-state to contemplate the possibility of human decency, and they don't get very far with that. All of the characters in VGL are flawed, some of them very, very deeply. Although the novel doesn't have a totally negative viewpoint, the best it can offer is the kind of redemption where a really terrible situation improves to approximate normality. The protagonist, Vernon Gregory Little, is wrongly suspected of the shooting, and is gleefully sent to death row by his community. His mother is sick with concern, but slightly more stressed by losing out on her new almond-coloured refrigerator and being dumped by the evil sleaze-bag Eulalio Ledesma, who is, unbeknownst to her, responsible for her boy's conviction by the media.
Hey Nostradamus is another take on a similar scenario. The neighbourhood and the school are slightly more upscale. This novel is about religion and views society through a more moral lens than VGL. Of the four narrators, the strongest character is the male teenager, Jason. Jason was secretly married to Cheryl, the first narrator, and Cheryl was one of the victims. Jason is revered as a hero because he killed one of the gunmen with a rock, but he is himself so troubled by this and by another little secret in his life that it dominates his adulthood completely. The third narrator is Heather, who marries Jason some time after the tragedy, never knowing that he was married to Cheryl. The fourth narrator seemed to be the villain of the piece at first: he is Reg, Jason's destructive, unlovable father, a fundamentalist with a self-righteous streak and an even bigger streak of character disorder. Reg, however, takes up the narration many years after the shootings, and by this time, life has rubbed off a lot of his sharp edges and he has even gained Christian humility. I am leaving out a lot here, because these quirky touches are so much better when discovered suddenly in the narrative. It's not your typical Douglas Coupland book.
Showing posts with label Fiction. Show all posts
Showing posts with label Fiction. Show all posts
2004-05-04
The Curious Incident of the Dog in the Night-time
I loved this book, and even more importantly, my darling hubby liked this book. I give him about 12 to 20 books a year to read, after I have read and liked them, and think he might like them, and he only likes about a fifth of them. So either he is very hard to please, or I am rubbish at guessing what he will like (a bit of both really.)
So, you have probably heard about this book by Mark Haddon - that it is about a 12 year old boy with Asperger's syndrome, and neighbour's dog that gets killed with a pitchfork. And since the title is a well-known quote from a Sherlock Holmes story, you would guess that it's a sort of detective story. Well, it is and it isn't. Mostly it isn't. I think this is mostly a story about how people's brains work, and how they don't all work the same way. And this can be a tragedy. There is a certain amount of tragedy in this story, and I felt some overwhelming maternal protectiveness for the likable hero, Christopher.
This has occasionally been referred to as a children's book, but I have never seen it in the children's or young adult section. It is no more a children's book than Life of Pi, which also features a young boy protagonist and is a very similar book in many ways. It is far too short a book to get away with telling even a little bit of the narrative (apart from the fact that a dog is killed in the opening chapter, but everyone knows that). I prefer to concentrate on why I liked it, and why DH liked it. I think we both liked it because the boy reminded us of ourselves, but for each of us, these were very different aspects of ourselves. I identified with Chris's inability to "take in" all of his sensory environment, while being unable to screen it out the way normal people do. Although I do not have Asperger's syndrome or any diagnosed condition, I am what is known as a "low-screener" which means that all my senses are very acute (although often not particularly accurate) and I can be very "oppressed", like Chris, by colours I don't like, crowds, smells and chaos in general. And, like Chris, I use mental exercise to calm myself, often pursuing activities that would drive normal people crazy, in order to drive myself sane. DH, on the other hand, is a very, very "high screener". But he has another of the traits of Asperger's syndrome (in common with some other conditions) which is an extreme difficulty "reading" the emotions, facial expressions and body language of other people, and an aversion to the sort of familiar touching that most people do as part of their socializing. DH again is not diagnosed with a syndrome, and he likes hugs and has no problem shaking hands or anything, but still there is that commonality there and I think that plus the boy protagonist's clever maths-geek atheism, made him really identify with Chris.
This is, I think, the great strength of this wonderful little book, that it enables anyone to feel a real kinship with someone with a condition which usually makes its sufferers seems very alien to the rest of humanity. And it makes his condition, and mental illness generally, very knowable and understandable and not a cause for fear and dread.
So, you have probably heard about this book by Mark Haddon - that it is about a 12 year old boy with Asperger's syndrome, and neighbour's dog that gets killed with a pitchfork. And since the title is a well-known quote from a Sherlock Holmes story, you would guess that it's a sort of detective story. Well, it is and it isn't. Mostly it isn't. I think this is mostly a story about how people's brains work, and how they don't all work the same way. And this can be a tragedy. There is a certain amount of tragedy in this story, and I felt some overwhelming maternal protectiveness for the likable hero, Christopher.
This has occasionally been referred to as a children's book, but I have never seen it in the children's or young adult section. It is no more a children's book than Life of Pi, which also features a young boy protagonist and is a very similar book in many ways. It is far too short a book to get away with telling even a little bit of the narrative (apart from the fact that a dog is killed in the opening chapter, but everyone knows that). I prefer to concentrate on why I liked it, and why DH liked it. I think we both liked it because the boy reminded us of ourselves, but for each of us, these were very different aspects of ourselves. I identified with Chris's inability to "take in" all of his sensory environment, while being unable to screen it out the way normal people do. Although I do not have Asperger's syndrome or any diagnosed condition, I am what is known as a "low-screener" which means that all my senses are very acute (although often not particularly accurate) and I can be very "oppressed", like Chris, by colours I don't like, crowds, smells and chaos in general. And, like Chris, I use mental exercise to calm myself, often pursuing activities that would drive normal people crazy, in order to drive myself sane. DH, on the other hand, is a very, very "high screener". But he has another of the traits of Asperger's syndrome (in common with some other conditions) which is an extreme difficulty "reading" the emotions, facial expressions and body language of other people, and an aversion to the sort of familiar touching that most people do as part of their socializing. DH again is not diagnosed with a syndrome, and he likes hugs and has no problem shaking hands or anything, but still there is that commonality there and I think that plus the boy protagonist's clever maths-geek atheism, made him really identify with Chris.
This is, I think, the great strength of this wonderful little book, that it enables anyone to feel a real kinship with someone with a condition which usually makes its sufferers seems very alien to the rest of humanity. And it makes his condition, and mental illness generally, very knowable and understandable and not a cause for fear and dread.
2004-05-03
Northern Lights / The Subtle Knife / The Amber Spyglass : His Dark Materials Trilogy
Editor's Note: In the US, the first volume of the trilogy is called The Golden Compass. Also, a film has been made.
I heard these books described as a thinking-person's Harry Potter. That doesn't really do them justice. The format, the intent, the audience, the world-view, all are different in several degrees from Harry Potter. The main thing is that the Harry Potter stories are in the familiar reductionist mode of children's fiction that has borrowed from the highly stylized world of Saturday morning cartoons. Utterly absent are moral nuance, and pleasures are simple and greedy, even for the "good" characters. Everything is very easy to identify as good or evil, fun or boring, giving feelings of pride or shame, and the violence is strangely sanitized. The only moral choices the "good" characters face is whether to act loyally to their friends ("friendship" being the highest imaginable "good" in this world-view) and the power of loyalty to friends neutralizes any other action, from being silent and stubborn to authority figures, right on up to remorselessly killing "bad" characters.
Pullman's stories, though, apart from seeming to me to be too intellectually challenging for most modern pre-teens (I don't mean that to sound as insulting as it probably does, but really they are quite philosophically rarefied in parts) are more in the old style of children's literature, being as weird as Alice in Wonderland and as violent as Grimm's fairy tales and yet as modern as The Little Prince was in its day. And talk about moral nuance, hard choices, and ethical grey areas, these not only proliferate as the story goes on, they more or less drive the entire plot. There are parts that are better than others in the books, and this is something that I imagine young readers will find especially difficult, because there are times when as the focus switched from one group battling unspeakable evil to another, I was quite tempted to read ahead to where the dropped thread was picked up again, and got quite annoyed at almost turgid parts, even though I could tell they were necessary for the whole picture. The sweep of the stories are quite broad, encompassing universes and their creation and destruction, yet somehow not in the old SF Dr. Who kind of way ("Oh, well, when you've seen one megalomaniac who wants to rule the universe, you have pretty much seen them all") but more in that vertiginous way one feels if one allows oneself to really think about the possible implications of quantum physics.
To sum up the trilogy, without injecting any narrative or teasers, I would say that these three books comprise a Faustian fairy tale about parallel histories, theology and physics, featuring a pair of protagonists who are a twist on the old Tristan and Iseult mythology. And it's got talking warrior bears and witches and magical implements that can be replicated in a physics lab.
I heard these books described as a thinking-person's Harry Potter. That doesn't really do them justice. The format, the intent, the audience, the world-view, all are different in several degrees from Harry Potter. The main thing is that the Harry Potter stories are in the familiar reductionist mode of children's fiction that has borrowed from the highly stylized world of Saturday morning cartoons. Utterly absent are moral nuance, and pleasures are simple and greedy, even for the "good" characters. Everything is very easy to identify as good or evil, fun or boring, giving feelings of pride or shame, and the violence is strangely sanitized. The only moral choices the "good" characters face is whether to act loyally to their friends ("friendship" being the highest imaginable "good" in this world-view) and the power of loyalty to friends neutralizes any other action, from being silent and stubborn to authority figures, right on up to remorselessly killing "bad" characters.
Pullman's stories, though, apart from seeming to me to be too intellectually challenging for most modern pre-teens (I don't mean that to sound as insulting as it probably does, but really they are quite philosophically rarefied in parts) are more in the old style of children's literature, being as weird as Alice in Wonderland and as violent as Grimm's fairy tales and yet as modern as The Little Prince was in its day. And talk about moral nuance, hard choices, and ethical grey areas, these not only proliferate as the story goes on, they more or less drive the entire plot. There are parts that are better than others in the books, and this is something that I imagine young readers will find especially difficult, because there are times when as the focus switched from one group battling unspeakable evil to another, I was quite tempted to read ahead to where the dropped thread was picked up again, and got quite annoyed at almost turgid parts, even though I could tell they were necessary for the whole picture. The sweep of the stories are quite broad, encompassing universes and their creation and destruction, yet somehow not in the old SF Dr. Who kind of way ("Oh, well, when you've seen one megalomaniac who wants to rule the universe, you have pretty much seen them all") but more in that vertiginous way one feels if one allows oneself to really think about the possible implications of quantum physics.
To sum up the trilogy, without injecting any narrative or teasers, I would say that these three books comprise a Faustian fairy tale about parallel histories, theology and physics, featuring a pair of protagonists who are a twist on the old Tristan and Iseult mythology. And it's got talking warrior bears and witches and magical implements that can be replicated in a physics lab.
2004-01-25
Girl with a Pearl Earring, by Tracy Chevalier
Now a major motion picture, as they say. This was a very cinematic book, as other reviewers of the film have pointed out, and did really cry out to be made into a lovely movie. I haven't seen the movie, just read the book. It had a really authentic-seeming feel, in that as one read it, one felt immersed in this 17th century Dutch town culture, but do we really know what that was like? No, but it was convincing. A little less convincing were the motivations of the main character, Griet. What Chevalier has done with this book is to imagine a persona for the mysterious girl in the painting, of whom no one knows a thing - her age, name, relationship to the painter Vermeer if any. Of especial mystery is her clothing in the painting, which is not typical of any known style at the time. It is vaguely exotic-looking, yet the girl herself is anything but exotic, and is in fact most remarkable for her simplicity and quintessential pretty-young-Dutch-girl appearance. So Chevalier has imagined her as a teenaged maid, from a nice "middle-class" artisan family, forced into service because of her father's industrial accident, and thrust into a slightly alien Catholic household headed by a non-communicative painter and his troubled wife and dominating mother-in-law. All in all I had mixed feelings about the book. It was like a great painting of which you don't know enough; it seemed to promise more than it delivered somehow. And yet I have to give it points for realism, for that very reason: life is often mysterious and vaguely unsatifying, and this book is a hyper-realistic slice of life.2003-10-25
Persia Cafe, by Melany Nielson
This is the fifth book that I bought at Once Upon A Crime in Minneapolis.
This is a mystery of sorts, but it features neither a cop nor a PI nor even an amateur investigator. But a crime occurs, what we would now call a hate crime, although in the time and place of the story - Mississippi in the 1960s - such a term did not exist. The principal character is a young white woman, Fannie Leary, who runs the Persia Cafe. At the start of the story, the Persia Cafe is the only place in town to eat out or even have coffee and it is patronised by whites only. The cook, of course, is black, and in the way of white families in the South, because she has worked for Fannie's family all her life, she is in the sort of relationship with them that I will not even try to describe, because you cannot understand it unless you experience it. This is the relationship that my ex-father-in-law and others of his ilk referred to when they said "We care for our nigras," in a tone and context that made it clear that "yankees" and outsiders cared not for their own nigras and were exposing them to harm. But if a black person did something to put himself outside their "protection", well, that is a relationship that it is also hard to understand, except in terms of pure evil, the natural predatory nature of the human beast coming out.
The main arc of this story is what used to happen when a white woman did something to put herself outside the protection of the Southern white men. Fannie does not quite declare herself a race traitor (as I did myself in the 1960s in suburban Atlanta, and if I had done the same in Mississippi, I may not have grown up to tell about it.) But her crime of omission is enough to get the Persia Cafe boycotted by the white community, so in a moment of supreme courage, she invites the black community to dinner at the cafe.
What we get at this point is a great picture of a small southern community on the cusp of change. Having lived through this era and this place, I can attest that the picture is accurate and believable. Oh, and Fannie solves the crime, too, the original crime, which does turn out to be murder. This is a great story, a cut above the genre.
This is a mystery of sorts, but it features neither a cop nor a PI nor even an amateur investigator. But a crime occurs, what we would now call a hate crime, although in the time and place of the story - Mississippi in the 1960s - such a term did not exist. The principal character is a young white woman, Fannie Leary, who runs the Persia Cafe. At the start of the story, the Persia Cafe is the only place in town to eat out or even have coffee and it is patronised by whites only. The cook, of course, is black, and in the way of white families in the South, because she has worked for Fannie's family all her life, she is in the sort of relationship with them that I will not even try to describe, because you cannot understand it unless you experience it. This is the relationship that my ex-father-in-law and others of his ilk referred to when they said "We care for our nigras," in a tone and context that made it clear that "yankees" and outsiders cared not for their own nigras and were exposing them to harm. But if a black person did something to put himself outside their "protection", well, that is a relationship that it is also hard to understand, except in terms of pure evil, the natural predatory nature of the human beast coming out.
The main arc of this story is what used to happen when a white woman did something to put herself outside the protection of the Southern white men. Fannie does not quite declare herself a race traitor (as I did myself in the 1960s in suburban Atlanta, and if I had done the same in Mississippi, I may not have grown up to tell about it.) But her crime of omission is enough to get the Persia Cafe boycotted by the white community, so in a moment of supreme courage, she invites the black community to dinner at the cafe.
What we get at this point is a great picture of a small southern community on the cusp of change. Having lived through this era and this place, I can attest that the picture is accurate and believable. Oh, and Fannie solves the crime, too, the original crime, which does turn out to be murder. This is a great story, a cut above the genre.
2003-10-04
Bringing Out the Dead, by Joe Connelly
Let me make it clear that this is not a movie review; in fact, I haven't seen the movie. (Well, I hadn't when I wrote this review back in 2003, but I did see it about seven years later on TV.) But I did picture it in my head as a movie (with Nicholas Cage, indeed) all the time I was reading it. In fact, this is an almost autobiographical novel, and the author, from his picture on the back, looks enough like Nicholas Cage to make it all plausible. The writing is in some ways very cinematographic, but I doubt that quite all the inner action - the fantasies, hallucinations, bizarre metaphors for the way the first-person narrator/protagonist was feeling - would have been portrayed in the film.
I found this book to be like the bastard son of The Crying of Lot 49 (the mother) and Naked Lunch (the father). Which is high praise, coming from me. Yet the romantic in me, the old-fashioned romantic who shouldn't like Burroughs and Pynchon as much as I do, wanted Frank to get the girl. And I almost didn't care which girl, whether it was Mona (recently departed wife) or Mary (ex-junkie daughter of the man who takes the whole book to die from a heart-attack) or even Rose (deceased asthma patient who haunts Frank's night-shift days.) But, you know, he didn't. Or maybe he did.
I found this book to be like the bastard son of The Crying of Lot 49 (the mother) and Naked Lunch (the father). Which is high praise, coming from me. Yet the romantic in me, the old-fashioned romantic who shouldn't like Burroughs and Pynchon as much as I do, wanted Frank to get the girl. And I almost didn't care which girl, whether it was Mona (recently departed wife) or Mary (ex-junkie daughter of the man who takes the whole book to die from a heart-attack) or even Rose (deceased asthma patient who haunts Frank's night-shift days.) But, you know, he didn't. Or maybe he did.
2003-09-21
Two obscure British mysteries
For some reason I ended up reading two little-known British detective stories, both from the Nottingham Public Library, both set in the late Victorian period. [rant mode on] It annoys me no end that books like these are not available in ordinary bookstores, at least not if you don't already know about them and want them enough to order them. All the bookstores in the UK seem to be clones of one horrible bookstore, with five hundred copies of the latest Harry Potter, and lots of books about sports that I care nothing about, and loads of celebrity chef cookbooks. (And in fact I like celebrity chef cookbooks, but I don't like depressing bookstores with nothing of interest to browse.) In other words, I rarely go into even a large "good" bookstore in the UK (like Waterstones) and FIND SOMETHING, as in something that I haven't heard of before but that I am compelled to buy and read. In some ways that's good - I spend less money impulse buying, but, look, I am going to read the same amount anyway, I am just enjoying it less. [rant mode off]
The Detective Wore Silk Drawers (Peter Lovesey) refers to boxing shorts (I thought it was going to have some erotic element to it, but any that it has is only incidental to the plot.) It is quite interesting though, and you learn a lot about the sport of bare-knuckle fighting which was made illegal in the UK in the 1870s but persisted for a long time after. You also learn the origins of such expressions as "come up to scratch" and "throw in the sponge" and "throw his hat in the ring".
I didn't realise that An Orkney Murder, by Alanna Knight, was also set in late Victorian times until I started reading it. It features a way-ahead-of-her-time Scottish female private investigator. It also features an archaeological dig in the Orkneys and dark domestic secrets in a Scottish family. In the end, I got rather irritated at this book, for a reason that often applies when I am reading novels by contemporary writers set in the Victorian period. They just sound far too contemporary and therefore anachronistic. It is always a problem when writing a story set in the past to know how the people would sound, their diction, their colloquialisms, their social markers, all that. The bigger problem with a Victorian setting is that there are so many wonderful extant Victorian writers. I have read so much Conan Doyle, Dickens, Trollope and the like, not to mention my favourite childhood novels Little Women and Black Beauty, which I must have read 100 times each, that it is a very rare historical novel from that period that doesn't sound horribly false to me. But this one was egregiously so. But if you don't have my problem, you may be able to enjoy it, if only for the plot (which was only pretty good) and the main character.
The Lovesey book was, for me, a far better read, even though I have little interest in the Victorian London underworld and bare-knuckle fighting, and lots of interest in Victorian Orkney and archaeology and women private detectives. Just goes to show what a huge difference writing style, careful research and natural talent can make.
Update from 2013: I just finished another Peter Lovesey book featuring the same detectives. It's called Wobble To Death and centers around the sport of marathon walking. These bizarre sporting events featured men getting around a track as fast as they could for as many hours per day as they could in a period of six continuous days. They all start at the same time and finish at the same time, and whoever finishes and has the most total miles logged wins.
The Detective Wore Silk Drawers (Peter Lovesey) refers to boxing shorts (I thought it was going to have some erotic element to it, but any that it has is only incidental to the plot.) It is quite interesting though, and you learn a lot about the sport of bare-knuckle fighting which was made illegal in the UK in the 1870s but persisted for a long time after. You also learn the origins of such expressions as "come up to scratch" and "throw in the sponge" and "throw his hat in the ring".
I didn't realise that An Orkney Murder, by Alanna Knight, was also set in late Victorian times until I started reading it. It features a way-ahead-of-her-time Scottish female private investigator. It also features an archaeological dig in the Orkneys and dark domestic secrets in a Scottish family. In the end, I got rather irritated at this book, for a reason that often applies when I am reading novels by contemporary writers set in the Victorian period. They just sound far too contemporary and therefore anachronistic. It is always a problem when writing a story set in the past to know how the people would sound, their diction, their colloquialisms, their social markers, all that. The bigger problem with a Victorian setting is that there are so many wonderful extant Victorian writers. I have read so much Conan Doyle, Dickens, Trollope and the like, not to mention my favourite childhood novels Little Women and Black Beauty, which I must have read 100 times each, that it is a very rare historical novel from that period that doesn't sound horribly false to me. But this one was egregiously so. But if you don't have my problem, you may be able to enjoy it, if only for the plot (which was only pretty good) and the main character.
The Lovesey book was, for me, a far better read, even though I have little interest in the Victorian London underworld and bare-knuckle fighting, and lots of interest in Victorian Orkney and archaeology and women private detectives. Just goes to show what a huge difference writing style, careful research and natural talent can make.
Update from 2013: I just finished another Peter Lovesey book featuring the same detectives. It's called Wobble To Death and centers around the sport of marathon walking. These bizarre sporting events featured men getting around a track as fast as they could for as many hours per day as they could in a period of six continuous days. They all start at the same time and finish at the same time, and whoever finishes and has the most total miles logged wins.
2003-08-18
American Gods, by Neil Gaiman
Mythology, fantasy, an adventure story, an allegory. A young man named Shadow went to prison, mainly to protect his beloved wife Laura from being implicated in the crime she planned and he unwillingly participated in. Just before he is to be released, Laura dies in a car crash, along with his "best friend".
Shadow is only out of prison a short time when a mysterious but compelling older man named Mr. Wednesday latches onto him, doing him favours, but also setting him extremely difficult tasks. Through Mr. Wednesday, Shadow meets more bizarre characters, many of whom have the strange character traits of Mr. Wednesday. Gradually, Shadow figures out that they are gods, gods who have followed their worshippers to America, only to find that their religions fade away or are absorbed into the folk traditions of American life.
If you liked Sandman, you will definitely like this. It has the feeling of some of the more compelling sub-plots in Sandman, but is developed fully as a novel. Very highly recommended. Also, you can read long complex discussion threads about this and other Neil Gaiman works at the message boards on Neil Gaiman's Journal.
NB: These are still the British blog originals, so please excuse the spelling.
2013 Update: They are making a film of this book. I know nothing more for now.
Shadow is only out of prison a short time when a mysterious but compelling older man named Mr. Wednesday latches onto him, doing him favours, but also setting him extremely difficult tasks. Through Mr. Wednesday, Shadow meets more bizarre characters, many of whom have the strange character traits of Mr. Wednesday. Gradually, Shadow figures out that they are gods, gods who have followed their worshippers to America, only to find that their religions fade away or are absorbed into the folk traditions of American life.
If you liked Sandman, you will definitely like this. It has the feeling of some of the more compelling sub-plots in Sandman, but is developed fully as a novel. Very highly recommended. Also, you can read long complex discussion threads about this and other Neil Gaiman works at the message boards on Neil Gaiman's Journal.
NB: These are still the British blog originals, so please excuse the spelling.
2013 Update: They are making a film of this book. I know nothing more for now.
2003-08-10
Books I read in 2003 as part of Nottingham Public Library virtual book club
Editor's Note: This post is a collection of separate posts from the very beginning of my now defunct book blog, Deborama's Books. I wrote these posts in England, and while I resided in England, I spelled things in the English manner. I have decided to leave the spelling as it is. It's not pretentiousness, just consistency.
War Crimes for the Home, by Liz Jensen
Gloria is very old, and everyone assumes that it is senility that makes her so cantankerous, and possibly forgetful.
But during the war, Gloria was young and pretty and in love. After the war she has a beloved son, who is the spitting image of the handsome groom in her wartime wedding picture. So what happened to that dashing young American who left her with a child? And why can't she remember? Or does she remember and just refuse to face it?
Now her son is middle-aged, and he has found a slightly older, middle-aged woman who believes she is his sister. As the two of them visit Gloria in the old-age pensioners' home and try to ferret out the truth, a strange story keeps coming up: a story about Gloria and her American beau and a hypnotist and his pretty, but ruthless, assistant. . .
War Crimes for the Home is unique, engaging, and oddly uplifting, with its coarse humour, its unflinching story, its flawed but lovable heroine and its wonderfully twisting exposition. I recommend it heartily.
The Death of Vishnu, by Manil Suri
Vishnu is dying on the staircase of a crowded apartment building in Bombay. He has been living on the staircase, a coveted location, and paying for the privilege by running errands for the more favoured residents. As he lies in a fevered condition, two worlds swirl around him, the real world and the dream world of his memories and fantasies.
The real world is the tiny but populous world of the apartment block, where a man mourns his dead wife, two housewives fight over their shared kitchen, a Muslim householder dreams of founding a new religion to unite Hindus and Muslims, and his son schemes with the daughter of Hindu neighbours to elope in a style befitting the Bollywood movies she loves.
Vishnu's dream world is also full of wishes and longings, and memories of his love for the beautiful but (almost always) unavailable Padmini. Vishnu's mother comes back to him in memory, reminding him he is a god, and he begins to believe that he is. As the apartment residents step past Vishnu's semi-conscious body, only sure he is not dead because of his occasional stirrings or faint cries, he becomes a touchstone for their own compassion, beliefs and self-images. This is a strange and beautiful story, beautifully told.
The Rotters' Club, by Jonathan Coe
I imagine that anyone who grew up in Britain in the late 1970s would really identify with this book. There were parts that I really identified with myself, even though I grew up in the US, in the south, and about 10 years earlier. But then there are the cultural milestones, as opposed to personal ones, and in the milieu of this book, the five protagonists are beset by the demise of the industrial base in the Midlands and the IRA terror campaign, among other things. Whereas my high school years were stamped (upon!) by the virulent white opposition to racial desegregation and the Vietnam War. So, not so different, really.
The protagonists are a gang of four schoolmates and the older sister of one of them. (The Rotter's Club of the title is Ben Trotter and his beloved big sister, Lois, whose names are of course mutated by classmates into Bent Rotter and Lowest Rotter.) The other three boys are Anderton, the class-conscious one whose father is a shop steward, Harding, the edgy rebel, and Chase, the aspiring journalist.
The four boys are trying to form a band for most of the book, and it self-destructs as soon as it is formed. One boy goes to London and gets sexually initiated by a posh young woman several years his senior. The shop steward is in the throes of an affair that can only end badly, and he is trying hard to keep his family in the dark. Another boy's mother has an abortive affair with a teacher. Industrial tension simmers, somebody gets blown up in a pub, somebody else spends several years mute because of the loss of a loved one. There is a lot happening in the book and you get swept up in it, but it is sort of hard to keep track, the cast of characters is so large and lifelike.
Fingersmith, by Sarah Waters
This book is all about suspense . . . and lesbian sub-text, of course. Therefore, I must stop myself from saying too much, as I do not want to create even a hint of a spoiler.
The story concerns two girls. Sue Trinder is brought up as an orphan in Lant Street, London, amongst petty thieves and fences and con artists, sheltered somewhat by her unofficial guardian, Mrs. Sucksby. Maud Lilly's earliest memories are coming to consciousness in a madhouse, and then after the death of her inmate mother, being given to her creepy uncle who lives in a grand but isolated house. Maud's uncle uses her as a clerical assistant in his shadowy literary enterprise. Sue is persuaded by a con-man she knows as "Gentleman" to pose as a lady's maid to Maud in order to swindle her out of her inheritance. But nothing is as it seems . . .
If you love a good mystery, or a Victorian romance, or if you have lesbian tendencies and can take a really long tease if the culmination is worth it, then this is a book for you.
Buddha Da, by Anne Donovan
This is the first novel, but the second book, by Anne Donovan, and is something I read as part of a Nottingham Public Library programme called Book Chains. (Donovan's first book was a highly regarded short story collection.)
The most noticeable thing about this book, which presented quite a challenge to me as an American, is that it is written in a Glaswegian Scots dialect, except when the few non-Glaswegians are speaking. It is told from three points of view, Jim, his wife and his 12 year old daughter Anne Marie.
Jim, for reasons not clear even to him, decides to take up meditation with some Tibetan lamas in the Buddhist Centre in Glasgow. As he progresses on his baffling spiritual journey, he gives up meat, alcohol, and sex with his beloved wife, Liz. Liz is caring for her ailing mother, wishing she could have another child before she is too old, and just trying to get on with life, and understandably sees Jim's behaviour as self-centred in the extreme. Anne Marie has the most adult attitude of the three of them, and is carrying on with growing up, ditching old friends, picking up new ones, and producing an award winning CD combining Latin chant with Tibetan Buddhist chanting and Indian house music. In the end, it is the body rather than the spirit that resolves all these conundrums, leading the little family to a whole new spiritual plane. This is a lovely and engaging book, highly recommended.
Life of Pi, by Yann Martel
This book is one everyone is talking about, possibly because it won a prestigious award (the Man Booker). It is very absorbing, and the main character is one of the most likeable in all the fiction I have ever read (and that's a lot.) I don't know if the last two chapters are supposed to be a surprise, so I won't say anything specific about them, except to say that there was something of a let-down for me in the unresolvedness of the ending. It didn't seem right to me that a book so drenched with humanity and wisdom should have this little escape clause in it (if that's what it was.) Still, I strongly recommend this book.
River of Darkness, by Rennie Airth
Editor's Note: I did read The Blood-Dimmed Tide.
River of Darkness, published in 2000 to an enthusiastic critical reception, is noted for "blend[ing] the traditions of the golden age mystery with elements of the contemporary psychological suspense novel." The story is set in 1921 and concerns a psychopathic serial killer and a Scotland Yard detective inspector. Both are survivors of the Great War. The detective inspector went into the war as an idealist and came out the other end fighting against cynicism and deeply scarred, with no expectation of ever being happy again. The killer went into the war already a psychopath and found a hellish paradise in war and a vocation that, with a few grisly props and a reliance on his training, will last him for life. From this chilling premise, Aird builds an absorbing tale of a cat-and-mouse game with enough twists to keep anyone guessing. The story is lightened up with a young novice constable's awkward coming of age in the force, and his hero worship of the main character, DI Madden, as well as a redeeming love interest and a few brilliant comic touches. There is a sequel, The Blood-Dimmed Tide, set 11 years later, which I plan to read soon.
War Crimes for the Home, by Liz Jensen
Gloria is very old, and everyone assumes that it is senility that makes her so cantankerous, and possibly forgetful.
But during the war, Gloria was young and pretty and in love. After the war she has a beloved son, who is the spitting image of the handsome groom in her wartime wedding picture. So what happened to that dashing young American who left her with a child? And why can't she remember? Or does she remember and just refuse to face it?
Now her son is middle-aged, and he has found a slightly older, middle-aged woman who believes she is his sister. As the two of them visit Gloria in the old-age pensioners' home and try to ferret out the truth, a strange story keeps coming up: a story about Gloria and her American beau and a hypnotist and his pretty, but ruthless, assistant. . .
War Crimes for the Home is unique, engaging, and oddly uplifting, with its coarse humour, its unflinching story, its flawed but lovable heroine and its wonderfully twisting exposition. I recommend it heartily.
The Death of Vishnu, by Manil Suri
Vishnu is dying on the staircase of a crowded apartment building in Bombay. He has been living on the staircase, a coveted location, and paying for the privilege by running errands for the more favoured residents. As he lies in a fevered condition, two worlds swirl around him, the real world and the dream world of his memories and fantasies.
The real world is the tiny but populous world of the apartment block, where a man mourns his dead wife, two housewives fight over their shared kitchen, a Muslim householder dreams of founding a new religion to unite Hindus and Muslims, and his son schemes with the daughter of Hindu neighbours to elope in a style befitting the Bollywood movies she loves.
Vishnu's dream world is also full of wishes and longings, and memories of his love for the beautiful but (almost always) unavailable Padmini. Vishnu's mother comes back to him in memory, reminding him he is a god, and he begins to believe that he is. As the apartment residents step past Vishnu's semi-conscious body, only sure he is not dead because of his occasional stirrings or faint cries, he becomes a touchstone for their own compassion, beliefs and self-images. This is a strange and beautiful story, beautifully told.
The Rotters' Club, by Jonathan Coe
I imagine that anyone who grew up in Britain in the late 1970s would really identify with this book. There were parts that I really identified with myself, even though I grew up in the US, in the south, and about 10 years earlier. But then there are the cultural milestones, as opposed to personal ones, and in the milieu of this book, the five protagonists are beset by the demise of the industrial base in the Midlands and the IRA terror campaign, among other things. Whereas my high school years were stamped (upon!) by the virulent white opposition to racial desegregation and the Vietnam War. So, not so different, really.
The protagonists are a gang of four schoolmates and the older sister of one of them. (The Rotter's Club of the title is Ben Trotter and his beloved big sister, Lois, whose names are of course mutated by classmates into Bent Rotter and Lowest Rotter.) The other three boys are Anderton, the class-conscious one whose father is a shop steward, Harding, the edgy rebel, and Chase, the aspiring journalist.
The four boys are trying to form a band for most of the book, and it self-destructs as soon as it is formed. One boy goes to London and gets sexually initiated by a posh young woman several years his senior. The shop steward is in the throes of an affair that can only end badly, and he is trying hard to keep his family in the dark. Another boy's mother has an abortive affair with a teacher. Industrial tension simmers, somebody gets blown up in a pub, somebody else spends several years mute because of the loss of a loved one. There is a lot happening in the book and you get swept up in it, but it is sort of hard to keep track, the cast of characters is so large and lifelike.
Fingersmith, by Sarah Waters
This book is all about suspense . . . and lesbian sub-text, of course. Therefore, I must stop myself from saying too much, as I do not want to create even a hint of a spoiler.
The story concerns two girls. Sue Trinder is brought up as an orphan in Lant Street, London, amongst petty thieves and fences and con artists, sheltered somewhat by her unofficial guardian, Mrs. Sucksby. Maud Lilly's earliest memories are coming to consciousness in a madhouse, and then after the death of her inmate mother, being given to her creepy uncle who lives in a grand but isolated house. Maud's uncle uses her as a clerical assistant in his shadowy literary enterprise. Sue is persuaded by a con-man she knows as "Gentleman" to pose as a lady's maid to Maud in order to swindle her out of her inheritance. But nothing is as it seems . . .
If you love a good mystery, or a Victorian romance, or if you have lesbian tendencies and can take a really long tease if the culmination is worth it, then this is a book for you.
Buddha Da, by Anne Donovan
This is the first novel, but the second book, by Anne Donovan, and is something I read as part of a Nottingham Public Library programme called Book Chains. (Donovan's first book was a highly regarded short story collection.)
The most noticeable thing about this book, which presented quite a challenge to me as an American, is that it is written in a Glaswegian Scots dialect, except when the few non-Glaswegians are speaking. It is told from three points of view, Jim, his wife and his 12 year old daughter Anne Marie.
Jim, for reasons not clear even to him, decides to take up meditation with some Tibetan lamas in the Buddhist Centre in Glasgow. As he progresses on his baffling spiritual journey, he gives up meat, alcohol, and sex with his beloved wife, Liz. Liz is caring for her ailing mother, wishing she could have another child before she is too old, and just trying to get on with life, and understandably sees Jim's behaviour as self-centred in the extreme. Anne Marie has the most adult attitude of the three of them, and is carrying on with growing up, ditching old friends, picking up new ones, and producing an award winning CD combining Latin chant with Tibetan Buddhist chanting and Indian house music. In the end, it is the body rather than the spirit that resolves all these conundrums, leading the little family to a whole new spiritual plane. This is a lovely and engaging book, highly recommended.
Life of Pi, by Yann Martel
This book is one everyone is talking about, possibly because it won a prestigious award (the Man Booker). It is very absorbing, and the main character is one of the most likeable in all the fiction I have ever read (and that's a lot.) I don't know if the last two chapters are supposed to be a surprise, so I won't say anything specific about them, except to say that there was something of a let-down for me in the unresolvedness of the ending. It didn't seem right to me that a book so drenched with humanity and wisdom should have this little escape clause in it (if that's what it was.) Still, I strongly recommend this book.
River of Darkness, by Rennie Airth
Editor's Note: I did read The Blood-Dimmed Tide.
River of Darkness, published in 2000 to an enthusiastic critical reception, is noted for "blend[ing] the traditions of the golden age mystery with elements of the contemporary psychological suspense novel." The story is set in 1921 and concerns a psychopathic serial killer and a Scotland Yard detective inspector. Both are survivors of the Great War. The detective inspector went into the war as an idealist and came out the other end fighting against cynicism and deeply scarred, with no expectation of ever being happy again. The killer went into the war already a psychopath and found a hellish paradise in war and a vocation that, with a few grisly props and a reliance on his training, will last him for life. From this chilling premise, Aird builds an absorbing tale of a cat-and-mouse game with enough twists to keep anyone guessing. The story is lightened up with a young novice constable's awkward coming of age in the force, and his hero worship of the main character, DI Madden, as well as a redeeming love interest and a few brilliant comic touches. There is a sequel, The Blood-Dimmed Tide, set 11 years later, which I plan to read soon.
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