Spent much of July in Canada, lucky me, visiting friends in New Brunswick and family in Alberta. Did a lot of hiking, caught up on some television, avoided news as much as possible, enjoyed the time with my wife and daughter, and also got in a fair amount of reading.
As usual I didn’t read very many of the things I thought I would. The need to take it easy and follow the drifts of serendipity was more overpowering than ever this year. It was a joy to read so haphazardly.
Here are some capsule thoughts on the stuff I read.
Rachel Cusk, Outline (2014)
Late to this party, but now that I’m here, I’m staying for the whole thing. (Clumsy way of saying I will read the other two books in the trilogy, and then look into Cusk’s backlist–if anyone has suggestions about where to go first–her fiction? her nonfiction?–I’d like to know.) I’m not as over the moon about what Cusk is doing as some readers seem to have been. (I’m unconvinced this is the novel’s salvation, for example, mostly because I don’t think it needs saving.) But I found Outline engrossing and satisfying. I think it would repay re-reading more than most books. A part of me wonders if the book isn’t too perfectly devised to be interpreted in a particular way (as if it were designed for the classroom). But another part of me thinks that Cusk is likely ahead of me and has written her book in this way knowingly, to make a point about what kind of book our literary culture considers important. (I am not exactly sure what that point is, though.) I really like Cusk’s use of indirect narration–the only way, though an important one, in which she resembles Sebald, whom I suspect she is often compared to. She’s got a handle there on something significant about how we tell stories now; I look forward to thinking about this more as I read the follow-up books.
Dorothy B. Hughes, The Expendable Man (1963)
The best book I read in July, hell, one of the best of the year. I can’t say much about it because Hughes delivers an important surprise about a quarter of the way through that shifts ours understanding of the whole thing, in a way that effectively provokes us to examine our expectations. That might sound like a trick or a gimmick, but it is totally not. Basically, all you need to know is that this is a great noir set in the American southwest. It would have been so easy for Hughes to have written this in first person. Her choice to use third makes it even more compelling. The rare thriller that demands to be re-read. (I just read another of her books and hope to write more about it soon.)
Edmund Crispin, The Case of the Gilded Fly (1944)
The only dud of the bunch. I was excited to find reissues of Crispin’s mysteries while browsing in a bookstore, but was disappointed with my choice, which I selected because it was published before any of the others sitting on the shelf. I’m guessing it’s not the first in the series, because the detective, an apparently brilliant and maddeningly insouciant Oxford don named Gervase Fen, isn’t given anything like an ordinary introduction; it’s as though we’re already supposed to know all about him. [I just looked this up, and this book is the first of the series: another strike against it!] I don’t know if amateur and professional theater companies were as big a part of actual life in early to mid 20th Century Britain as they are in crime fiction of the period, but I find theatre stories a particularly tedious sub-genre, and as Gilded Fly involves a production so far from the West End it premieres in Oxford, I’m hardly the ideal reader of the book. I finished it–mostly because it is so short–but unless someone mounts a convincing defense of the series (and promises later ones get much better) I won’t be reading any more.
Helen Dunmore, Birdcage Walk (2017)
An excellent novel by a writer who clearly knew what she was about, especially when it comes to preserving the strangeness of the past. A shame she died last year (at only 64), not long after publishing this book. Birdcage Walk is set in and around Bristol in the 1790s. It’s good with ideas–the joys and disillusionment the Revolution brings to progressive thinkers, including the protagonist’s mother, as best I can tell a sort of Mary Wollstonecraft type (though the hero is no Mary Shelley, except in being abused by men); the similarities and differences between those who build with their hands and those who create with their minds–but even better with things: it’s filled with vivid scenes of, for example, a difficult labour, the burying of a corpse, and a headlong boat ride, racing first with then against the tide. Dunmore reminds me of Penelope Fitzgerald (some of the highest praise I can offer). There’s nothing here quite as extraordinary as the wash day in The Blue Flower or the break-up of ice in The Beginning of Spring, but Dunmore’s book is definitely in that league. Although there won’t be any new books from Dunmore, she has a long and enticing backlist. I plan to start with The Siege, about the siege of Leningrad, but if anyone has other suggestions, I’m all ears.
Cherie Dimaline, The Marrow Thieves (2017)
Terrific Indigenous YA from Canada. In the dystopian world of this novel–set in Northern Ontario about forty years from now–not only has climate change made much of the world uninhabitable, but, almost as bad, something has made people unable to dream. (No doubt it has something with their inability to contrive a way of living in the world that doesn’t destroy it, but fortunately Dimaline doesn’t labour over an explanation.) If you can’t dream you go crazy, so when it’s discovered that Indigenous people have been spared the affliction it’s not long before they are being hunted and placed into facilities where the bone marrow that somehow protects them can be extracted. There are obvious resonances to the residential schools that devastated Indigenous culture in Canada, but again, Dimaline underplays the connection. A friend told me she didn’t care for the book because she thought it was so poorly written, and I agree that Dimaline (in what I believe is her first novel) too often overloads her sentences with metaphor. For example, here’s her narrator, a teenage boy named Frenchie, when he stumbles across a miraculously pristine lake: “I heard capture and release and a high whine over something that echoed off the trees growing downwards towards the brook like pious monks in all manner of fancy dress, voluminous green silks peeking out of their austere brown habits.” I’m willing to believe, just about, that the boy would make such a comparison, but what is the comparison about, exactly? The end of the sentence says that trees look like monks, but the beginning is about sound, and I find it confusing that so much description should be appended to what isn’t even the sentence’s subject. But in the end, I am both a sucker for dystopian stories (which more and more are just slight exaggerations of reality) and for the balance between hopefulness and hopelessness on which the book pivots. Bottom line: I stayed up late to finish, reading as avidly as I did as a child.
Claire Fuller, Our Endless Numbered Days (2015)
This was Fuller’s first novel, and her new one (her third, I believe) is getting a lot of good buzz. I’m certainly going to read it, because this was excellent. It shouldn’t work as well as it does, and I don’t think the frame story is as engaging as the main one. (Fuller just ran out of steam, I think, but that’s okay because I’d rather the book was 300 pages that left me wanting more than 450 pages that made me want less.) In the mid-1970s, while her mother, a concert pianist, is on tour in Europe, eight-year-old Peggy is taken on vacation by her father, a survivalist and, it turns out, a crackpot (though that’s probably a redundancy). The vacation turns out to be a nine-year odyssey in a remote valley in Bavaria, where the two live without any human contact. The father convinces his daughter that the rest of the world has been destroyed and that they have only each other to rely on. (The frame story hints at the narrator’s difficulty in re-entering the ordinary world.) Fuller’s characterization, especially of the father, is careful and convincing. We see his monstrousness, his selfishness, but we also see his capability and his ability for joy. (Mostly, though, we see the former.) Fuller handles the denouement deftly, too: it’s never clear whether Peggy escapes alone or with help. The best thing of all, though, are Fuller’s descriptions of what the two do to survive: what they eat, how they collect and catch it, how they make do with what they have, and how much their “success” is twinned with delusive failure. An unspectacular but totally captivating novel.
Lee Child, Without Fail (2002)
A long time ago I read the first Reacher novel in the hopes of seeing what all the fuss was about, but that wasn’t a good idea, since Child hadn’t yet perfected his style. A friend gave me this installment, from much later in the series (though I think the point is they aren’t a series, each book is, I suspect, as self-contained as Reacher is supposed to be), and I plucked it off the shelf when I needed pure distraction. It was the perfect vacation read: totally undemanding and suspenseful. Child writes too much (though he’s never wordy and his syntax is as simple as possible), but the book didn’t feel padded the way a lot of thrillers do. Someone is trying to assassinate the Vice President-elect and the head of his security detail at the Secret Service calls in Reacher to help. Plenty of action, plenty of suspense, and just the right amount of neepery re: protection details. I’m not a card-carrying fan-club member just yet but I will read more for sure. My main takeaway so far, though: that Reacher, not a big eater.
Andrew Taylor–The Ashes of London (2016)
Another good vacation book, this one historical fiction set in the immediate aftermath of the Great Fire of London composed of two parallel stories that of course intertwine, but mostly pretty glancingly, so the thing doesn’t feel too contrived. Plenty of historical figures have cameos, including Christopher Wren and even Charles II, and the criticisms Roland Barthes made of this technique about 40 years ago probably apply, but I know so little about Restoration England that it didn’t bother me too much. It’s both interesting and a liability that one of the protagonists is almost but not quite a detective–such a thing didn’t exist in the way we know it today, and Taylor, who is as pleasantly workmanlike a writer as one could wish in such a book (I mean that as a compliment: he’s a good writer, but he’s not trying to be something he’s not, Hilary Mantel, say), makes good use of the character’s in-between status as someone near but not of court life to take us all over London. There’s already a sequel, and I’ll read it for sure. Not a book to change anyone’s life, but totally enjoyable. Just like a vacation, maybe?
And you? What have you been reading this summer?