Thursday, September 23, 2021

The Great Circle, by Maggie Shipstead

 

9780525656975
Knopf, 2021
593 pp

hardcover



I bought this book back in May and since then it was awarded a spot on the Booker Prize longlist; recently it moved on ahead to the shortlist.  I had originally picked it up due to the dustjacket blurb, which promised an "unforgettable, mesmerizing new novel," along with the story of "an epic tale of two extraordinary women whose fates collide across geographies and centuries."   I hadn't quite planned to get to the novel as quickly as I did but its placement on the shortlist moved up the reading timeframe.  My thinking here was that "oh! It made the shortlist so it must be awesome."   More on that later. 


In 1950 a young woman by the name of Marian Graves disappears along with her navigator Eddie Bloom  during her attempt to "circumnavigate the globe longitudinally," flying "by way of both the North and South Poles."   After leaving Queen Maud Land, where they had last been seen, the plan was that they would fly over Antarctica, passing over the South Pole and then on to the Ross Ice Shelf to Little America where they would land and refill the plane with gasoline that had been previously cached.  The last leg of their journey would take them to New Zealand, but something happened and the Peregrine was never seen again.  Years later, during a scientific expedition to explore the remnants of Little America III, Marian's handwritten journal was discovered protected by a life preserver.   Her journal was published, as was a novel based on her life;  in the 21st century,  young actress Hadley Baxter is handed a script for a movie called Peregrine based on that book.  Hadley, whose career was looking pretty hopeless at this point due to her own recklessness, gets a second chance when she is asked to take on the role of Marian in the film.   The stories of both of these women are presented in interwoven narratives that move back and forth through time as,  according to the dustjacket notes, "the two women's destinies -- and their hunger for self-determination in vastly different places and times -- intersect in astonishing ways."   

The description ticked many of my reader boxes, and with the judges' decision to forward this one on to the shortlist, I was eager to get to it.  Not too long into the story I was already wanting to put it down and never pick it up again, but I perservered.  First of all, I really disliked Hadley's story -- I could have cared less about her Hollywood experiences, her sex life and her stupid self-destructive behavior;  that entire storyline could have been completely removed leaving only Marian's story and I wouldn't have minded at all.   And even that took time to get rolling, beginning five years before Marian was born with a botched christening of a ship, a young woman's seduction of the captain of that ship (Marian's future parents),  her memories of childhood incest, their subsequent marriage and the birth of twins leading to post-partum depression before a Lusitania-like explosion during which mom abandons the babies and dad saves them and then spends years in prison, leaving the twins with his brother in Montana.  Moving on with the story from there, it's pretty much a continuation of the kitchen-sink approach where anything and everything happens, covering Marian's life from eight years old on to her decision to make the pole to pole flight in 1949, culminating of course in her disappearance in 1950 .  Of course, by the time we discover what really happened, the book is almost over; in my humble reader's opinion, some solid editing and judicious paring would have tightened it all up to make the book a much better read.    There's also the matter of the destinies of the two women intersecting -- all I will say is that there are a number of parallels between the two that seemed forced, as well as a number of coincidences in this story that defy the imagination.  Finally, there is more than one instance where the novel just plods, testing my patience to its utmost.    I have to say that the best part of this book is at the end with Marian and Eddie as they make their journey around the world; some of the best and most beautiful writing in the novel is found there.   





Current stats for this this book show that sixty-three percent of Amazon readers have given  it a 5-star rating and forty-two percent of goodreads readers have done the same.    For me, there was an over-the-top, melodramatic component to this novel that just left me cold and had me skimming pages.    I really wanted to love this story, but I just didn't.  I've read too many truly fine novels recently to count this one among them.  




Sunday, September 12, 2021

The Fortune Men, by Nadifa Mohamed

 

9780241468940
Viking, 2021
372 pp

hardcover
(read twice)

The Fortune Men focuses on a Somali immigrant, Mahmood Mattan, who in 1952 was accused of the murder of a shopkeeper in Tiger Bay, Cardiff.  I had absolutely no idea going into this book that it was based on a true story,  one I'd never heard about but one which the author obviously believed needed retelling; in this interview she notes that she had a "feeling" that it was a story she "couldn't shake."   By the way, clicking on that first link gives away the story, so don't go there unless you've read the book first. 

The novel begins as the radio announces the news of the death of King George VI in Berlin's milk bar, a hangout for "many of Tiger Bay's Somali sailors."  Mahmood had been to sea as well, but has spent the last three years doing "just foundry work and poky little boilers in prisons and hospitals."   As we're told, "The sea still calls" to him, but his Welsh wife Laura and their three young boys "anchor him here."  On that night, as "news of the King's death drifts from many of the low-slung wind-blown terraces," he walks down Bute Street and notes "a few lights still on" at some of the businesses he patronizes, including that of Volacki's, "where he used to buy seafaring kits but now just bags the occasional dress for Laura."  It is a small shop left by her father to  Violet Volacki, who lives there with her sister Diana and niece Grace.  After the shop closes, and as they are having dinner and making plans for the upcoming Purim festival, the doorbell rings.  Although Diana encourages Violet to let whoever it is wait until tomorrow, "that bell and the shop have a hold on her that she can't resist," and she goes out to answer the door.  That will be the last moment that Diana and Grace see Violet alive; she is later found dead, murdered in her own shop.  

Word quickly spreads that the killer was a Somali man, and Mattan is arrested, first on two minor charges for which he is put behind bars, while the inspector handling the case also knows Mattan will be going down for Violet's murder.  There is absolutely no evidence pointing to Mahmood as the killer; Diana and Grace both say that he is not the "coloured" man they viewed from the dining room as Violet went to answer the doorbell.    As the dustjacket blurb reveals, and as the author fully establishes here,  Mattan is a 
"chancer, sometime petty thief... a smooth-talker with an eye for a good game. He is many things, in fact, but he is not a murderer." 
However, none of that matters -- as is made clear to Mahmood, "You'll hang, whether you did it or not."  

This book, with its subject matter, should have been right up my reading alley, and the first time through I thought perhaps there was something wrong with me because I didn't really engage with it all that well.   That fact really bothered me for a long time, leading me eventually to  believe that I must have read it at the wrong time while  grim happenings were going on in my own world and my attention was mentally elsewhere.   That was three weeks ago, and I decided to give it another go this past week since the situation at home has drastically improved.  The second time through (and this time with hindsight into the reality behind the fiction),  I engaged with it much more, catching many things I'd missed the first time, and while certain parts of the novel still seemed to drag a bit in the telling, all and all it became a better book on this last reading.  

I keep thinking about the epilogue, considering the fact that the real Mahmood Mattan had someone in his corner to try to right the egregious wrongs done to him (albeit posthumously);  it makes me wonder how many people of that time and that place had been victims of the same racism, xenophobia, betrayal, and  police complicity and have similar stories yet untold.  The Fortune Men is not at all a feel-good novel, but it is a very human story, bringing forth from the past a sad truth that remains extremely relevant today.  


Sunday, August 29, 2021

An Island, by Karen Jennings

 

9781910668922
Holland House Books, 2019
179 pp

paperback


"... he would not leave; he would never leave. The land was his always." 


The first time I read about this book after its placement on this year's Booker Prize longlist, I knew I had to have it, and I absolutely knew within the first few pages of reading it that this was a book that I was going to love, given its subject matter.  The surprise was just how very much it crawled under my skin. 


It was the blurb that sold me on this book:  
"... A young refugee washes up unconscious on the beach of a small island inhabited by no one but Samuel, an old lighthouse keeper. Unsettled, Samuel is soon swept up in memories of his former life on the mainland: a life that saw his country suffer under colonisers, then fight for independence, only to fall under the rule of a cruel dictator; and he recalls his own part in its history..."


Samuel, in his seventies now,  had been used to discovering bodies washing up on the island over the over the last twenty-three years he's been living there; this  "young refugee" is the latest  in a series of thirty-two "nameless, unclaimed others."   At first, officials would come out to look for bodies, to "find all those who suffered under the Dictator"  so that now the nation could  "move forward," but as time went on and more bodies came to shore, officials brushed them off as possibly "another country's refugees," now unwanted.   Samuel was told to do what he wanted with them; it was not the government's problem.   This time around though, Samuel was surprised to find the man alive.  Planning to send him back on the supply boat coming the next day, Samuel takes the man into his cottage, feeding him and giving him warm clothing,  just waiting until "the island was his again."  However, even though they don't speak the same language,  the refugee panics at the sight of the supply boat before its arrival, and begs Samuel for help. Samuel recognizes something in that plea for help, and the other man is there, it seems, to stay.  His presence there rekindles bits of Samuel's memory of his pre-island days; memories that were "things best forgotten now approaching as steadily as waves approach the shore."  As more of his past is revealed, in the present he wavers between trust and paranoia toward the stranger, the latter growing steadily as he wonders about this man's true intentions.  

To say too much more about this novel would be criminal; I will only reveal that even though this story is less than two hundred pages long, there is much to unpack here, including the upheavals in ordinary people's lives as they suffer through political strife and struggle, and the emotional and physical tolls that remain as a result.  As the memories come back, so too does Samuel's awareness of the humiliation he'd suffered over the years, and he comes to the realization that this "land was his, always."  Soon  the presence of this outsider becomes untenable; this is Samuel's  home, and no one will take it from him. 

As bleak as this book is, as allegorical as it may be, it is a beautifully-written, insightful novel that begins rather quietly before readers are abruptly jolted back into the past, returned to the present, and jolted back again.   I'm wondering if these interruptions are meant to somehow mirror Samuel's mind, as it is certain interactions between him and the stranger which cause these memories to come to him, something as simple as the sight of a flower that the other man has made from odd bits laying around Samuel's cottage.  It can make for reading distraction,  but Samuel's past has a direct connection to what will eventually happen in his present.  I love the way the author set this all up, including the early foreshadowing  that sets the atmosphere, and then the slowly-building drama that results from Samuel's somewhat broken memories of the past.  And do pay attention to the red hen, although I won't say why.  There's so much more, of course, but this is truly a novel to be experienced.  

 Don't let the short length of  An Island  fool you -- it is a powerhouse of a novel that even now, several days after finishing it, is still haunting me.  

I am recommending it to everyone I know. 

Saturday, August 21, 2021

The Mermaid of Black Conch, by Monique Roffey

 

9781845234577
Peepal Tree Press, 2020
188 pp

paperback
(read earlier this month)


I loved this book, and thank goodness that Peepal Tree Press had the smarts to publish it.   In an interview with author Monique Roffey, she states that she finished writing this novel in 2017, but "the reality was that nobody wanted to buy it," and that she was "turned down by every big mainstream publisher."   Too bad for those big mainstream publishers -- in 2020 this book won the author the Costa Award, and I can only imagine the kicking of selves that went on among said mainstream publishers.  

The first time David Baptiste saw the mermaid was in 1976 while out fishing in the waters off Black Conch Island.  He dropped anchor, and after lighting his spliff began to sing to himself while strumming his guitar.  It was then that she made her appearance,
"A red-skinned woman, not black, not African. Not yellow, not a Chinee woman, or a woman with golden hair from Amsterdam. Not a blue woman, either, blue like a damn fish. Red. She was a red woman, like an Amerinidian. Or anyway, her top half was red. He had seen her shoulders, her head, her breasts, and her long black hair like ropes, all sea mossy and jook up with anemone and conch shell.  A merwoman."
From that moment, he "ached to see her again," and five days later she returned, attracted to his music. She came back now and then, listening to his songs; unfortunately, during the annual fishing competition held in Black Conch in late April, she got too close  to the Dauntless, a whaler on which two Americans, father and son, were fishing.  She was caught by their hook and while she put up a great fight, she lost; when they realized what they had caught, the Americans were determined to take her back to shore, as "she's worth millions."  The men on the boat from the island were stunned, "lost for words and for what to do" -- they had heard about mermen in their part of the ocean, but never a merwomen and at first, they realized that "this was wrong," as "she carried with her bad luck at best," but soon one of them also "began to see dollar signs."   She is reeled in, captured and taken back to the docks where she is hung up like a fish, but later David cut her down and took her to his house.  This is where the story actually begins,  as he tries to keep her not only alive but hidden away from prying eyes as an all-out search begins for the mermaid; it isn't long though until he realizes that she's begun the  transformation from mermaid to young woman. 

If you're rolling your eyebrows at this juncture, wait.  This isn't Splash or The Little Mermaid, but rather a powerful story of otherness, women and the assumptions men make about them as well as the destructive  power of envy, a love story and a quick run through the history of the Caribbean,  pre- and post-colonial.   The mermaid, Aycayia,  was much older than her newly-transformed self revealed -- she was once a woman of the Taino , who had lived on an island "shaped like a lizard," and had been there long before Europeans found their way to the islands and prior to the arrival of enslaved Africans. She had become a mermaid due to a curse put upon her by jealous women, who through the goddess Jagua, "seal up my sex inside a tail, Good joke to seal up that part of me men like."  Through Aycayia's narrative, which is interspersed throughout, she offers a look at pre-colonial history and indigenous myth and legend, while in the main story, the author examines slavery and its legacy in the descendants of the enslaved on Black Conch and in one woman, Arcadia Rain, who owns a large part of the island and can't quite escape her own family's history as slave owners.  Here though, Roffey differs in the usual telling, as Arcadia understands her position on the island and what it represents; she has, along with her young son, isolated herself in the old family home  "to keep away from this hatred. History. The great tragic past."  And there's much, much more.  

The Mermaid of Black Conch is an excellent novel, so beautifully told and so powerful, and I can't say I've ever read anything quite like it.  It is one of those books with the originality I crave in terms of story and writing, it has its own special vibrancy that brings both place and people to life, and there are so many layers embedded within this tale waiting to be uncovered that it never has time to be anything but captivating.  

Here's to Peepal Tree Press for taking a chance on this novel.  

I can't recommend this book highly enough.  

Monday, August 16, 2021

Klara and the Sun, by Kazuo Ishiguro

 

9780593318171
Knopf, 2021
303 pp

hardcover
(read earlier)

Confession time: not too much into this novel I nearly put it down. I decided that if I still didn't like it after part two it would go into the donations box, so with that mindset I continued reading.  Good decision.  What started out feeling like a mix of children's story and YA novel definitely moved into a darker zone, leaving behind a number of unanswered yet intelligent questions worth pondering.   

Just briefly, since I don't want to give away any spoilers, Klara is a "top-range B2"  Artificial Friend (AF) who, as the novel begins, is on display in a store where people can purchase an AF as a companion, preventing their children/teens from becoming lonely  and  helping them with their school work.  There are newer models, the B3s, but according to the manager, Klara has "the most sophisticated understanding" of any of the other AFs in the store, "B3s not excepted."   As narrator of the events in Klara and the Sun, she has a somewhat limited view, but in affording her this role, Ishiguro allows the spotlight to shine more keenly on the human beings and the world around her, one which is obviously more technologically advanced than our present.   For one thing, something has occurred leaving many important and talented people to have lost their jobs (having been "substituted"); for another, parents who can afford to do so have had their children somehow genetically enhanced or "lifted" via a process known as AGE so that they have the best chances in life.   On the other hand, this world also seems familiar, with among other things,  clear-cut economic and social inequality, people on the margins, city spaces falling to ruin. Klara is chosen by Josie, a young girl who with her mother lives a relatively isolated life.  The only other human in the home is Melania the housekeeper, as Josie's parents no longer live together.  Josie's learning is done via tutors online via the "oblong" (think tablet) rather than school; social engagement with other kids occurs via periodic get togethers called "interaction meetings."   Josie has a friend nearby named Rick, who is clearly not in the same socioeconomic situation as Josie and her mother; he, unlike Josie, had not been lifted although he is definitely talented and worthy of any university.   The two are close and have plans to stay together; the problem is that as a non-lifted student, he has only a very small shot at entering any college that Josie might attend setting him apart and lessening his chances for a bright future.    Further complicating the situation, Josie is ill and if her now-deceased sister's case is any judge, there is a chance that Josie may not live to go to college at all.  As her condition worsens, often leaving her bedridden, Klara hits on a plan to help her, while her mother questions her choice in having had Josie lifted (although at times she seems to resent that guilt, only wanting security for her daughter), and has her own back-up plan just in case. 


Reader reviews are all over the map on this novel, with some people finding it "flat," others thinking that Ishiguro has basically rewritten his previous work, and others loving it.  While  I haven't gone into any detail here, in the last couple of chapters what happens seemed a bit too pat, too easy, and that made the read a bit on the frustrating side. Despite that, however, and getting past my initial reluctance, I found Klara and the Sun to be well done, although admittedly there were a number of spots that sort of bogged it down and made me impatient to move on.     If you're looking for hardcore sci-fi, this isn't the book although it does have its moments, especially in one particularly sinister and unexpected scene.  I left this novel feeling a bit unsettled, just thinking about what exactly might be in store for humankind in the future, precisely because the world inhabited by the characters in this novel doesn't feel too far off.  The dustjacket blurb says that the novel poses a "fundamental question: what does it mean to love?" but there is so much more that gets unpacked in this book.  Two particular issues came to mind almost immediately on finishing: what is it that makes us uniquely human and cannot be replicated in artifical intelligence, no matter how advanced the technology?  Is it ever going to be possible to fully replicate human beings?  There's more -- themes of faith, loneliness, isolation, grief; and of course the ethical dilemmas and social consequences of AI,   --  all put to the reader in the author's usual understated prose style.  It's a fine book -- perhaps not my favorite novel by this author, but still very much worth the time.  

recommended. 

Wednesday, July 14, 2021

Night Theater, by Vikram Paralkar

We'll call this one fiction from India.  Although the author lives and works in Pennsylvania, he was born and raised in Mumbai, and the novel is set in his home country.  


9781948226547
Catapult, 2020
originally published in 2017 as The Wounds of the Dead
206 pp

paperback

I can honestly say I've never read anything like this book, and that's a very good thing.  I seriously get tired of same old same old, and Night Theater is anything but. I have no idea how the author came up with this idea (unless it was from reading a lot of Kafka) but it's pure genius. I'll caution anyone contemplating reading this novel  that there are elements of, as the dustjacket blurb notes, "magically unreal drama," requiring a suspension of disbelief.  Let yourself go with this "fabulist" novel in that regard, and you will be rewarded many times over. 

The first words of the book offer a clue as to the strangeness to come:

"The day the dead visited the surgeon, the air in his clinic was laced with formaldehyde."

The surgeon, who remains nameless throughout the story, has been running a  four-room clinic in a small, rural village in India for the past three years, with neither the amenities of a modern practice  nor a budget big enough to keep on hand what he needs to do a proper job.   The walls have cracks in them, the windows have gaps, and he has been spending his own money just to keep the place "from turning into an archaeological ruin." There is no nurse to help him (his budget request for one remains in bureaucratic limbo);   he relies on the pharmacist for assistance.  After a visit from his supervisor, an official dropping off vaccines and angling for a payment to ignore nonexistent "irregularities," he decides that he'll give it two more months "at the most" before leaving, vowing  "No more."   Tired and desperately needing sleep, he'll have to wait as a teacher, his pregnant wife and her son walk into the clinic asking for help.  They are strangers from another district, the victims of thieves who had taken their valuables, stabbed them and left them on the roadside just an hour or so earlier; they're also quite dead.  If the doctor can operate on them and fix their wounds before sunrise, when the blood will flow again, they can remain in the world of the living; if he fails, they must return to the afterlife from whence they'd come.   

To say that the surgeon is overcome is to wholly understate his situation; it's much more as if the floor just dropped out from beneath him and he is left trying to find something to hold on to before he falls through.  It's the pregnant woman and her young son that convinces him, and enlisting the help of the pharmacist and her husband, he decides that he will do as they ask.  For him, it is an "inescapable madness" that he "would have to get through;" he would have to 
"pretend that the visitors had been wheeled in on gurneys, with lolling heads and frothing mouths, victims of some mysterious accident. He would just do his job, and let the pieces fall as they would."
 Once he begins, the surgeon becomes locked into what is best described as a ticking time-bomb  situation, and the tension builds as the clock slowly counts down the hours until sunrise.  As he makes his way through this challenging night,  he finds not only his medical knowledge tested in ways he could never imagine, but also his beliefs as he gleans from his patients, as the dustjacket notes, "knowledge no mortal should have."  

I had to set aside time and put everything on hold once I started Night Theater because I couldn't tear myself away from it.  I also had to jerk myself back to earth and reality once I'd finished as I was so caught up in the tension here as well as the off-kilter premise and the blurring of the lines between living and dead.  It is definitely a high-stakes story, one that will have huge ramifications for everyone involved.   Surprises abound, but what also kept me riveted was the way in which the author wove into his story important and relevant issues such as corruption, inequality and health care, especially the idea of bureaucrats having power over whether one lives or dies.  

Very well done, and the more I've thought about this book since reading it the more it's grown on me.  It was so good that now I'll look forward to reading anything Mr. Paralkar writes in the future. Night Theater likely won't appeal to readers who need straightforward realism, but for everyone else it's a no-miss.   And no, there are no zombies here. 

very very highly recommended. 

Tuesday, June 8, 2021

The Death of Vivek Oji, by Akwaeke Emezi

 

9780525541608
Riverhead, 2020
256 pp

hardcover

A terrific choice for Pride month, but The Death of Vivek Oji makes for good reading any time.  I've been struggling over how to write about this novel without giving too much away, and it's become an impossible task.  This story unfolds into something approaching the mystical, something tragic and yet something beautiful all at the same time, and to know ahead of time would just ruin the discovery.  What came out of this novel was wholly unexpected.  This will be a short post, because this is a book a person really needs to read and to experience and nothing I can say here will do it  justice.   

The first page in the book tells us that  "They burned down the market on the day Vivek Oji died."  There is no information as to how or why; all we know is that Vivek Oji's father Chika was left "shattered," his mother Kavita  "gone mad" and filled with 
"hungry questions bending her into a shape that was starving for answers." 

She is desperate, as any loving mother would be,  to know how Vivek ended up on her doorstep, naked,  covered in blood and missing the silver Ganesh charm he always wore around his neck.  What she doesn't understand is that there are no easy answers;  the questions surrounding how Vivek died must actually first yield to the questions surrounding how he lived.   The story unfolds via three different and interweaving points of view belonging to a third-person narrator,  Vivek's cousin Osita who probably knew Vivek better than anyone, and short but powerful interludes from the deceased Vivek speaking from beyond the grave,  one of which that cuts straight to the heart of this novel when he says

"I'm not what anyone thinks I am. I never was. I didn't have the mouth to put it into words, to say what was wrong, to change the things I felt I needed to change. And every day it was difficult, walking around and knowing that people saw me one way, knowing that they were wrong, so completely wrong, that the real me was invisible to them.  It didn't exist to them."

He ends this brief utterance by asking the question 

"If nobody sees you, are you still there?" 

Set in the author's home country of Nigeria, the story of Vivek's life and eventual death unfolds like a "stack of photographs." He is loved by all but there are people in his life, including his biological family who mean well, but ultimately fail to understand who he really is.   At school he doesn't fit in so is brought back home, he suffers from periodic blackouts, grows his hair long, and nobody knows what's going on with him.   His mom believes he's going through a "phase," his aunt believes he can be "cured" by getting his demons exorcised.   At one point he finds himself lonely,  "drowning" and planning to give up; through all of this and more, however, he remains steadfastly true to himself.  A measure of salvation in one form comes as he reconnects with a group of childhood friends, one of whom reaches out to him and offers to listen.  This is  his "chosen family," children of the Nigerwives,  where despite all of the social/cultural forces and standards working against him, he finds a place to belong and a place where he can start to fully bloom -- that is, before his life is tragically cut short, as the dustjacket notes, "in a moment of exhilarating freedom."  

The Death of Vivek Oji is, as the dustjacket blub also states,  a novel of "family, friendship, and the self that challenges expectations."   It  also encompasses coming-of-age, grief, spirituality, and belief, but most importantly, I think, it is a book about belonging and not belonging, about finding or creating safe spaces or  building communities and finding love and unquestioning support while locating oneself within them.    And while the book starts with the physical death of Vivek Oji, after finishing it I came to the conclusion that there is a dual nature to this title, which I will leave for others to discover.  It is hauntingly beautiful, ending on a positive and hopeful note, and it is a book I very highly recommend.  It is also a book that everybody should read, so very pertinent to here and now.  








Friday, May 14, 2021

The Lost Village, by Camilla Sten

 
  read in March 

9781250249258
Minotaur, 2021
originally published 2019
translated by Alexandra Fleming
340 pp

hardcover

The first US edition of this novel came out earlier this year, and when it came to my door  I was beyond excited to get into it. It was that blurb that got me, you know, the one that says that The Lost Village is a "disturbing thriller" in which "The Blair Witch Project meets Midsommar."  I've never actually watched Midsommar (horror movies just aren't my bailiwick) but I had read several synopses and read through a number of watcher reviews so I sort of had an idea of what I should look for;  The Blair Witch Project I saw long ago. Oh, I thought, this sounds sooo good; the description inside the dustjacket cover made me feel like I had the perfect escape novel in my hands and I seriously needed that at the moment.  Later that night it was off to bed, nightstand light off, booklight on, doggie curled up at my feet;  ready to be simultaneously disturbed and thrilled.  

The first chapter sucked me right in.  It's August, 1959, and two policemen are making their way through the streets of Silvertjärn, "a village in the middle of the forest."  One of the two men noted that Silvertjärn  seemed like a
"pleasant, unassuming place, with dainty houses in even rows, a river meandering through the center and a white stuccco church spire that soared up over the rooftops, gleaming in the August sunshine,"
 But something is off -- there are no people anywhere to be seen.  At the village square, one of the men feels a "surge of relief" when he finally spots someone, but the relief is short lived when they discover a body tied to a pole, blood coagulating at its feet. Amid the silence that permeates the place, they hear the cries of a baby through an open window at the school.  Flash forward to the present, and Alice Lindstedt has decided to put together a six-episode documentary about Silvertjärn. It seems that her grandmother had once lived there, and Alice had grown up hearing stories about the village. Her grandmother, as Alice notes, "had already left Silvertjärn when it happened, but her parents and younger sister were among the missing."  Her documentary aims to answer the question of how the village could "just drop off the face of the earth."  The plan is for Alice and her small crew to head to Silvertjärn to "explore the village and film some test shots," hoping to entice potential backers with what footage they get; she also hopes to "delve into" a number of possibilities,  
"everything from a gas leak that supposedly caused mass hysteria and delirium, to an ancient Sami curse."

Arriving in the village, Alice and colleagues set up a base camp in the main square, and it isn't long (as the dustjacket cover blurb reveals)  until strange things begin happening. One of the group sees a figure in the darkness. Another is badly injured.  Alice starts hearing things that shouldn't be there, someone sabotages the equipment, the crew start to disappear.  As all of this is going on, Silvertjärn's past is slowly being revealed in chapters labeled "Then." 

All of this should have been right up my mystery/supernatural fiction-loving brain, but sadly, for me it wasn't.  It wasn't too long in before I decided that what's going on in the present has been the stuff of  any number of movies I've seen, so I had more than an inkling of where this all was headed. Honestly,  what stopped me from throwing in the towel here was that I needed to know what had happened in 1959.  There was no Blair Witch stuff going on here -- the little bit of film Alice had managed to shoot didn't amount  to a hill of beans. And the Midsommar connection is absolutely tenuous at best but you have to squint through the 1959 story to find it;  as she writes it, it had more of a NXIVM sort of feel. Even there though, my interest started waning, and I was neither thrilled nor disturbed.  When the ending arrived, well, let's just say the eyerolls came out in full.  I really wish I would give into my instincts and tell you why, but I won't.  Let's also just say that it was so over the top as to be completely unbelievable. 




This is another case in which the book and I did not get along.  First of all, I'm not sure what the author was trying to do here.  Is this meant to be a crime/thriller novel or is it a supernatural story?  Either way it just didn't work. It's like she tried to combine the two, which can be done and can be done well, but not here.  Second, that ending was just so far out there and raises a hell of a lot more questions than answers.  Finally, as I was reading it, I just felt like the author wrote this with an eye to a film or a tv series (complete with tearful reconciliation scene in the midst of all of the mayhem) and lo and behold, after I finished I discovered that pre-publication,  "tv and film rights have already been sold."  On the flip side, this is also another case in which the book seemed to have been well loved by everyone else, with a 4 average star rating on Amazon and high praise from readers at Goodreads and several reader  blogs.  I really really wanted to like it, but it's just not for me.  

Maybe she should have gone with the ancient Sami curse...


Sunday, April 25, 2021

The Lost Apothecary, by Sarah Penner

 

9780778311010
Park Row Books, 2021
301 pp

hardcover

I read this in March shortly after it was published, but a lot of stuff happening here at home has distracted me mentally so I'm just getting around to talking about this book now.   

I bought and read The Lost Apothecary while searching for books to round out my IRL book group's reading list, hoping to fill a mystery/crime slot in the lineup.   When I discovered this novel, it was the premise that grabbed me (from the dustjacket blurb):

"Hidden in the depths of eighteenth-century London, a secret apothecary shop caters to an unusual kind of clientele. Women across the city whisper of a mysterious figure named Nella who sells well-disguised poisons to use against the oppressive men in their lives. Nella's dark world is no place for her newest patron, a precocious twelve-year-old girl named Eliza Fanning, but their unexpected bond sparks a string of consequences that echoes through the centuries."
That's just the first part of the blurb, but it's what got my attention immediately.   It goes on to say that in the present, a woman named Caroline Parcewell will find an old apothecary bottle and then discover a link between said bottle and "London's long-unsolved apothecary murders." Since I tend to enjoy books in which past and present collide with the added touch of more than a hint of mystery (the unsolved murders),  I bought it and then read it pretty much right away.  

I have to say that this book and I did not get along well.  

It starts out fine enough, back in the eighteenth century where we first encounter Nella and her "apothecary shop for women's maladies."   It had once belonged to her mother, who had admistered tinctures meant "only for good," dispensing "the most benign of herbal remedies" and taught Nella her craft in the process.  After her mother's death and a personal betrayal however,  Nella added her own particular spin to her work as an apothecary: she used her knowledge to help women in despair to eliminate the source of their problems.  The "cornerstone" of her trade was based on the idea that her work  was meant to "help and heal women, not harm them,"  but things change and trouble begins when young housemaid Eliza Fanning is sent by her mistress to procure a concoction in a hurry. 

Flash forward to the present, and Caroline is on a trip to London that was meant to be shared with her husband for their anniversary.  Plans changed, however, when she'd discovered that her spouse had been unfaithful, and she had come alone.  Once there, she is looking for a pub and finds herself joining a group planning to go mudlarking along the Thames later that day; just as she's about to give up she finds a blue vial, inscribed with "an animal of some kind."  Instantly she feels a "strange connection" with whoever had last touched the small bottle, and decides to track down its source.   Thus begins the movement crossing a dual timeline and entwining the lives of the three main characters.  

I knew I was in trouble by the end of Chapter two when Caroline, who hasn't even joined the mudlarking group yet, begins waxing about her issues with her husband and relates the following:
"I willed myself to leave all thoughts of home behind: James, the secret I'd uncovered, our unfulfilled desire for a baby. I needed a break from the grief suffocating me, the thorns of fury so sharp and unexpected they took my breath away."
Oh dear.  At this point I actually started laughing and did a super eyeroll. After that it's more of the same, and frankly I got really tired of her spending too much of her time blaming James for how her life's turned out.   This entire part of storyline could have been left out and I wouldn't have minded one bit.  It also seems that Caroline runs into luck every time she goes down a new avenue while researching the history of the blue vial; all a bit too pat for my taste.  And while the story of Nella and Eliza was at least interesting, Eliza's reason for staying with Nella and causing all of her trouble was based on something so ridiculous as to be unbelievable, a complete molehill made into a giant mountain.   Not that I'll say what that is, but jeez louise. Come on.  And there's more but that's enough for now. 

Chalk it up to my picky-reader self, but for me The Lost Apothecary just didn't deliver what it promised.  Based on the premise, I was beyond excited to read it but it just wasn't for me and while I'll offer my copy to anyone in my book group who may want it, it's not going on that list either.  Intriguing mystery it was not.   



On the other hand, the book has an average 3.89 rating on Goodreads, close to five stars on Amazon, and a large number of book bloggers LOVE this novel, giving it top marks and high praise, so once again I seem to be  that little red fish swimming against the tide.   It might be okay to toss in a beach bag over the summer, but it was just not that appealing to me, something that happens now and then. 

Tuesday, March 16, 2021

The Slaughterman's Daughter, by Yaniv Iczkovits

 


9780805243659
Schocken Books, 2021
originally published 2015
translated by Orr Scharf
515 pp

hardcover

The year is 1894, or the year 5654 as reckoned by the Jewish calendar.  In the latest issue of the paper Hamagid Mende Speismann reads a notice entitled  "Wife Lost," which stated the following:

"A woman went out in the second hour after midnight and has not returned since. All of our efforts to look for her in villages and towns, forests and rivers have failed. Her whereabouts are unknown and there's not a trace of her to be found...She has left her husband, five children, and miserable mother-in-law in despair in their village home."

Mende sets the paper aside for a moment before she reads the rest of the notice revealing that the missing woman is her sister, Fanny Keismann.   Mende lives in the village of Motal, in the Pale of Settlement,  the only legally-authorized territory in which Jews could reside "within the borders of czarist Russia."  Mende's husband Zvi-Meir had left his wife and children some ten months earlier,  and on her birthday, Mende tries to kill herself.   Fanny, a woman who wants to "mend the entire world," understands that it's not soul mending (tikkun) that Mende wants, nor is it really Zvi-Meir, but rather "she yearns for the authority of a husband and for the life of a wife" to make her life meaningful.   Fanny decides that she will take herself to Zvi-Meir in Minsk, to make him sign "a writ of divorce," and make things right.   Leaving her own home and her husband the cheesemaker, she slips out "in the second hour of midnight" determined in her mission.   She travels the seven versts from her village of Upiravah to Motal where the boatman, Zizek Breshov awaits to take her across the Yaselda river.  From there she plans to hire a cart and horses to begin her journey, and is surprised when Zizek, who "never leaves the Yaselda" follows after her.  Another surprise is in store when she realizes that he had not only hidden a wagon and two horses in some trees, but after helping her into her seat, he grabs the reins and "starts turning the horses."   




Thus begins Fanny's journey, and despite the potential dangers of being a Jewish woman on the road, she's not too worried.  She had been known since her girlhood  as "die vilde chaya," the wild animal,  learning and practicing her father's profession of ritual slaughtering.  Although she'd given up the profession when she married, she still carried a knife "tied to her right leg" as she had since childhood, always keeping it sharpened.  It comes in handy early on when she and Zizek come upon "a band of thugs" out to steal their cart and their horses; unfortunately this encounter results in the unwanted attention of the authorities who are sent to capture them.

Enter Piotr Novak, a district commander for the secret police (Okhrana).  Novak had formerly had a brilliant career in the military up until a horrific accident which not only shattered his leg but also "destroyed his life's dream."   When he learns of the deaths of the bandits, he is not inclined to take up the case, believing it should go to the regular police agency instead; that changes when he learns that the knife had been used in the way that "żyds slaughter animals."  While he thinks it highly unlikely, he believes that "this style of slaying" is "distinctive, and therefore sends a clear message: the Jews are responsible ..." and that "these murders might have been spurred on by an ideological motive, after all," and that perhaps he's "uncovered a new form of insurgency."  The chase begins,  and while Fanny and Zizek continue on their mission, they encounter a number of significant people, each with his own backstory and history that highlight not only the acts of individuals as opposed to the collective, but also how it is that, as Fanny notes early on,  "silent acceptance" allows for injustice and worse.   








The dustjacket blurb calls The Slaughterman's Daughter a "rollicking and unforgettable work of fiction," and the pursuit that begins just a short time after Fanny and Zizek cross the Yaselda certainly earns the "rollicking" description,  but it is much more:  an examination of an empire on the brink of tremendous change, a meditation on the meaning of freedom, a portrait of the Jews who have set themselves apart in a Russia that doesn't want them, sharing "the same soil but not the same world."  Most of all though this is Fanny's story, one of finding her way in the world and discovering who she is.  Yes, it's a bit long; yes, parts of might have been pared a bit, but I don't care. I loved this book, and it's one I'd continue to love even if the rest of the world hated it.  The Slaughterman's Daughter is so  refreshingly different, reminding me somewhat of an old-fashioned adventure story mixed with history, but one still very much pertinent in our own time.  

It's really, really good.  

Monday, February 1, 2021

the book group read (January) ... Where the Crawdads Sing, by Delia Owens

 

9780735219090
Putnam, 2018
368 pp

hardcover



This will be a relatively short post.  It happens sometimes that a book and I do not get along well, and this is one of those.   I didn't know that would happen when I selected it for my in-real-life book group -- it is highly rated and garners glowing praise among readers and critics alike so I thought we should give it a go.  While it is a book that prompted much discussion, I couldn't help it ... I just didn't like it.   

There were two things that I was most keen on when I made my decision for the group to read this book. One, the first paragraph of the  dustjacket blurb reveals that a murder occurred in 1969, and that the suspect among the locals was the so-called Marsh Girl, Kya Clark, so I thought "okay, it's a murder story, I'm down with that", and  two, the fact that the blurb referred to this book as an "ode to the natural world."   As someone who often spends weekends hiking trails in Florida's Everglades, I could get behind that also.  The nature writing in this book was indeed fine -- I loved being in the marsh as the author described it, being in Kya's boat as she navigated the estuaries, and the way in which this girl could read the landscape from an early age.  There were other things as well, among them the way in which the marsh had  formed this girl so that even into adult life she related to people by comparing them to the behaviors found among wildlife.  It's easy to understand why these sections were so strong, since prior to writing this novel Ms. Owens spent time living in the wild and authored three nonfiction books, one of them winning the John Burroughs Medal for natural history writing in 1984.   The thing is though that as much as I enjoyed her forays into the natural world in this book, for me they weren't enough to save the story that played out here.   It was all too farfetched, too predictable, the characters were too stereotypical, it read like a YA novel, and the writing was just not strong enough to make it even halfway enjoyable.  The murder plot, which as an avid crime reader I was looking forward to, completely fizzled as it  was also predictable -- I knew who did it very early on.    At one point about a quarter of the way in, I was completely bored, and actually embarrassed enough that I sent my friend an email actually apologizing for choosing this book for the group.  

As I said in my goodreads post, that's me once again not agreeing with thousands of other people.  






I should know by now that just because a book is a bestseller doesn't necessarily mean it's good.  And quite honestly, me not liking this novel probably doesn't mean a thing to its author, since according to Wikipedia, by 2019 4.5 million copies had been sold.   I will say that going into it I really wanted to like it, but in the long run, it just wasn't my cup of tea.  And that's okay. 

Friday, January 8, 2021

Dead Girls, by Selma Almada

 


9781916277847
Charco Press, 2020
originally published as Chicas muertas, 2014
translated by Annie McDermott
146 pp

paperback



I read this back in November but have reread it in the meantime, and it was even more powerful the second time through.  Dead Girls is described on the back cover as being a work of "journalistic fiction," defined as 
"a form of nonfiction that combines factual reporting with narrative techniques and stylistic strategies traditionally associated with fiction," 
used here to great effect to tell a story of three femicides that occurred over a short, six-year period in the 1980s, during which time Argentina was "celebrating its return to democracy."  The author's first exposure to femicide was at the age of thirteen, when as she says, a "dead girl crossed my path," although she also reveals that it was earlier,  during her childhood in a small town in Argentina's interior, that she came to sense that "as a girl"  she was safe nowhere, and that  "all the responsibility for what happened to us was laid at our feet ... it was always your fault."   Not even the family home, "the protective family space,"  was safe, since violence could happen there as well.  That dead girl crossing the author's path was Andrea Danne (19),  who had been murdered in her own bed; the other two women whose stories she examines are Maria Luisa Quevado (15)  strangled, raped, body dumped,  and Sarita Mundin (20), a young mother whose body was discovered washed up on a riverbank.   As one might guess, this is not an uplifting story, but it is one that needs to be told.  Now. Today. 

Dead Girls chronicles the author's investigations into the deaths of these three women, whose murderers were never brought to justice.  Over the course of three years she meets and talks to their friends, family members, or to anyone who might have known anything about what had happened to them.  While some are willing to talk, in many cases she is met with silence and evasion.  She also combs through newspapers, reports, archives, while at the same time, reflecting on her own childhood and realizing that the topic of violence of women "was always there."  She remembers and discusses  conversations  about women in the neighborhood who were beaten by their husbands, or who were controlled by the men in their lives  to the point where, for example, wearing high heels was not allowed "because they were for whores," or  the wearing of make-up was forbidden.  As Ms. Almada says, these were discussions "grown women" spoke about "in whispers," while her mother talked about them "loudly, indignantly," before being told to be quiet (when children were present)  in code:  
"Careful, there's laundry hanging up ... as if saying those things were like saying dirty words, or worse, as if they were a source of unimaginable shame." 

While Dead Girls focuses on "three small-town girls murdered in the 1980s," their stories are set squarely within the wider context of  violence against women as she goes on to offer the names and brief stories of others who had met the same fate at the hands of men, as well as the  well-entrenched misogyny and commonplace violence that exists throughout the small towns in Argentina's interior.  This is not, as she also reveals, a new phenomenon, citing an account in a book that "catches her eye" about the case of a Polish girl from the 1950s who had the misfortune of having a boyfriend who was a "possessive, jealous and violent man." 

 In her Epilogue, before listing the names of femicide victims who died over the month's time  since the "new year began,"  the author writes that 

"In that time, at least ten women have been killed for being women. I say at least, because these are the names that appeared in the papers, the ones that counted as news"

leaving the reader to wonder about the ones who didn't count as news.  

As the back-cover blurb says, what she's written here is a "clear-eyed, multi-faceted account that has global resonance." While I recognize the huge importance of Selva Almada's book, at the same time, it's a very difficult book to read on an emotional level.  While reading it, I couldn't help  thinking of Fernanda Melchior's Hurricane Season  -- in both books the authors offer a look into the economic and social conditions in these small towns that help to feed that violence, but also acknowledge  that crimes against women are all too often marginalized by the police or the politicians who have the power to change things but allow these crimes to continue.   

It's a tough book, but so worth it, and it's one I can very highly recommend.  I can also recommend Charco Press, a small but ultimately awesome publisher.