September 5, 2007

Mister Pip by Lloyd Jones

New Zealand novelist Lloyd Jones’s Mister Pip tells the story of Matilda, a young girl whose South Pacific island is in the midst of brutal conflict during the 1990s. Against the most uncongruous backdrop of Charles Dickens’ Great Expectations, Matilda unaffectedly conveys the violence and deprivation she witnessed and experienced, constructing an unlikely bridge between Dickens’ story and her own.

Her island is under a blockade, infrastructure has crumbled, and there is no school anymore, until Mr. Watts takes on the role of teacher. As teacher Mr. Watts– the last white man on the island, eccentric and strange even through Matilda’s eyes, he wears a clown nose and pulls his wife around on a trolley– is unsurprisingly unconventional, and invites the children’s parents into class to supplement his own knowledge. These lessons tell the history of the colour blue, how to kill an octopus, how to cheat the devil, why to have faith. Mr. Watt’s own area of expertise lies with literature, however, Dickens’ novel in particular. Matilda is immediately entranced: “By the end of chapter one I felt like I had been spoken to by this boy Pip. This boy who I couldn’t see to touch but knew by ear. I had found a new friend./ The surprising thing is where I’d found him– not up a tree, or sulking in the shade, or splashing around in one of the fields streams, but in a book.”

Dickens’ story reconstructs 19th century England for this little girl on an island time and worlds away. Pip becomes real to Matilda, and as a character he much brings turmoil to the village– a harsh testament to the power of story. When Dickens’ novel goes missing, Matilda and her classmates reconstruct the story from the fragments they remember, their imaginations enhancing these inevitably. And what follows demonstrates the thin line drawn between our lives and our stories, and the fragmentary nature of both.

Matilda’s cool tone is tragic in the context of her whole story, but it also serves as a most engaging technique. To render the extraordinary as ordinary is a tremendous trick of voice. And what an experience as a reader, to be lulled by even tones, words you know, scenes you think you understand, and then to realize this is something entirely different. That this narrator will not take you where you expect to go, and neither will her story. So it goes with Matilda, allowing the violence and brutality of her recollections to be couched in terms which are easy to ingest, but once we’ve put the pieces together they are all the more horrifying for that ease. It is through these acts of reconstruction that Matilda becomes like Pip to us, demonstrating the way that stories come to life.

September 3, 2007

To be read

Just finished Mister Pip, and now on to October. In both books characters are reading Great Expectations. The universe appears to be sending up flares then, and I found a copy of Great Expectations at my mom’s. Officially to be read.

August 30, 2007

If Today Be Sweet by Thrity Umrigar

Thrity Umrigar’s second novel If Today Be Sweet is a worthwhile read, in spite of its problems. Some passages are so beautifully written and suggest to me why her previous novel was so acclaimed. “There’s a limitless, undying love that does not confine, that does not imprison or hold back, but that dances ahead of you like a shimmering sprite, that entices, that beckons you until you follow…” I did enjoy reading about Sorab, the now-American son with India far behind him, and the way “he had longed for his life to be seamless”. However ultimately something was facile: the people too polite, the children too precocious, endings tied too neatly. Everything in these characters’ lives serves as a prompt to start them “marvelling about America”, whether it be good or bad, and the nuances of ordinary life go missing. The ending, also, was a bit implausible. But still, there was a bit of magic here. If Today Be Sweet was something of a pleasant read, though its reality was not all convincing.

August 28, 2007

Rosie Little's Cautionary Tales for Girls by Danielle Wood

It is written, in my rather crazed declaration in the post below, that my love for Danielle Wood’s Rosie Little’s Cautionary Tales for Girls began at the first line. The first line? “The trouble with f*llatio, in my view, is its lack of onomatopoeia”. By all rights I could end this book review right now, but then that would be cheating.

I would like to take Rosie Little’s Cautionary Tales for Girls and wave it in the faces of those who claim that fiction by women for women is stupid. I would like to take Rosie Little’s Cautionary Tales for Girls and throw it in the faces of women who write stupid fiction for women, in an attempt to make them stop. Stop. Rosie Little is “the next Bridget Jones” for which we’ve been longing for ten years. But Danielle Wood is a sucessor to Helen Fielding only in that her writing is startlingly original, intelligent, honest, hilarious, sparkling, raw and full of life. Rosie Little Cautionary Tales for Girls is a successor to Bridget Jones only in that never has there been a book quite like this. If we must draw comparisons, may I suggest, somehow, Helen Fielding meets Sheila Heti?

A collection of short stories, but one which would convert even the short story’s most reluctant reader, Rosie Little is their teller. Sometimes she is the protagonist, elsewhere a bit character. In the stories where she does not appear at all, she interrupts in brief stops entitled “A Word from Rosie Little”, whether to quote “Twinkle Twinkle Little Star” in Latin, to expound on aqualine noses (see below), or just for a word on, hilariously, p*nises. Rosie is witty, well-read, wary of wolves but only after a fashion. She and her entourage learn the hard way, such is the way learning goes, and their stories are recounted less as a precautionary measure (for it is too late for most of us I think), but rather to put real life on display in all its absurdity.

The relentless drive of a bride on “her day” leads to considerable embarrassment in “Vision in White”. “Elephantiasis” tells the heartbreaking story of a reluctant collector of elephant knickknacks, and ends hilariously (though not for the character) with male strippers dancing to Henry Mancini. “The Anatomy of Wolves” about a woman who goes back to the man who hits her, and she goes back again. “Rosie Little in the Mother Country” about English pervs, and the impossible youngness of being abroad for the first time. Each of these stories stands up on its own, and yet together they make a collection which reads almost seamlessly.

Rosie Little is rare narrative voice: smart, literary, funny, naive. Her confidences win friends, and her cautionary tales underline universal experience. And somehow she doesn’t become confused with her author in the way you might imagine– Rosie remains distinct, vividly real in her fictional realm. In Rosie and her tales, Danielle Wood has created something incredibly important. Rosie Little’s Cautionary Tales for Girls raises the standard for women’s fiction, establishing the presence of greatness, and so wouldn’t it be nice if readers refused to settle for less anymore?

August 28, 2007

Rosie Little blew my mind

(I will write a composed post in a moment, for now, can hysteria guide my way?)

Love at first line– that was all it took. And then Danielle Wood’s Rosie Little’s Cautionary Tales for Girls managed to grow more fulfilling with every line that followed. I’ve absolutely fallen in love and so wholeheartedly. I will tell you, as it goes, that I thought I’d known love, but now I realize…. Oh but now…

Yesterday morning I sent out an Emergency Book Recommendation urging friends to obtain this book. When informed yesterday evening that a friend of mine had purchased it that afternoon, that I was responsible for just one copy of Rosie Little being sold was immensely gratifying. And my friend will like it. I can’t think of any youngish woman I know who wouldn’t (except the horrible ones, but even they might). I will become this book’s champion. You may receive it as a gift from me in the future, and you will not receive a gift receipt because I know that you most definitely will not need it.

Oh the perfect book– these come along so rarely. I kept waiting for Rosie Little to let me down, because there is no such thing as a free lunch or life isn’t fair, or other such pathetic reasons, but Rosie never faltered. Would it be way too ridiculous to say that RLCTFG blew my mind? Because after all when you begin with what appears to be the pinnacle of pleasure which only intensifies, isn’t that what happens?

Do you remember that first line to which I fell in love (and I will quote it in my review-to-come). From that to the last line? Particularly if you are me? “In a moment, I would take a bold and good-sized step, out into the woods again. But first, I would finish my tea.” Yes yes yes. I finished this book on my lunch break today and returned to my desk unable to function. Symptoms of this are lingering as this post probably makes clear.

The one problem with Rosie Little’s Cautionary Tales for Girls is, interestingly, in regards to one of the coolest things about it– design. A little black hardcover with a red spine, polka dots and a red shoe on the cover, black endpapers and flyleaf, fairytale fonts. A bit of whimsy, like Rosie herself– small but fierece in mean red boots. Ingenius, I think, but then when I was at Book City on the weekend, I saw it on display beside the cash register with novelty books. I was aghast. Mean boots indeed, this book is substance incarnate. As its champion I may be forced to complain to store management, and really, at this point, I wouldn’t put it past me.

August 22, 2007

Big Book of the Berenstain Bears

So I’ve been giving some thought to the types of books I read as an adolescent, but what about the books from even earlier? The picture books? Once again I wish I could tout some high-falutin lit cred from way back in the day, but what I come up with is almost just nonsense. Bookish poppycock, oh, but GOOD bookish poppycock. I loved Amelia Bedelia, Jillian Jiggs, Miss Rumphius (who was not nonsense). Etc. etc. But most of all I did love The Berenstain Bears.

And so I was excited about the re-issue of Big Book of the Berenstain Bears by Stan and Jan Berenstain, and by the chance to go back in time and remember why I liked these books so much. This book is actually five books in one, in which the Bears have a new baby (she appears while Brother and Papa are in the woodshed), get a sitter (nicer than she seems), are afraid of the dark (solution=nightlight), go to the doctor (won’t hurt a bit), and clean their room. A little preachy (life is better when you keep your closet tidy), and not so fashionable in terms of gender roles, but still these are nice little stories. Perhaps they are more suitable for application to real life than flights of the imagination, but this big book would strike me as sensible to have around in the event of children, and five in one is good value to boot.

So where did my fierce love of this series stem from? Upon careful consideration of this compendium, I have managed to trace my attraction back to the Berenstain Bears’ tree house. Marvelously pink with chimneys and windows in the boughs, I wanted to live in a house just like it. I think I also used to be fascinated by the way the Berenstain Bears kept popping up in Dr. Seuss easy-reads, thus existing in multiple literary dimensions. That Brother Bear was never identified by name in the Dr. Seuss books only added to his allure, and made him much more cool and mysterious than might be suggested by the stories in which he collects birds’ nests, or peels down to his underpants for a booster shot.

August 19, 2007

Digging to America by Anne Tyler

Anne Tyler’s novel Digging to America begins with two American families waiting at the airport for their adopted baby daughters to arrive from Korea. Brad and Bitsy, the Donaldson’s, have come with an entourage of extended family, a shock of camera flashes, balloons, excitement and an inevitable camcorder. The Iranian-American Yasdans, on the other hand, are more subdued: Sami, Ziba, and Sami’s mother Maryam are waiting patiently off to the side. “The girls” arrive, and the two families become acquainted, and entangled throughout the following years due to this unique history they now have in common.

This is how the story begins, but not what this story is about. Which is where the mastery creeps in, I suppose, in good writing. The international adoption is a given, the relationship between two very different families becomes a fact, and the story is about ordinary life with all that in the background. The story is not the situation, but rather how people react and interact accordingly. Tyler explores family friendships, and how different family values seem to so often constitute a threat. How, in a country as new as America and with unconventions such as international adoption and immigration, does a family manage to find or create traditions which suit them? What do blood ties really mean? this explored through scenes of exasperating family gatherings, the families’ fierce love for their daughters, or Bitsy’s father who, before losing his wife to cancer, is momentarily surprised to realize that he could not give her his bone marrow. That they’d shared no blood meant less than nothing to him.

This book was a pleasure for a summer’s day, actually the span within which I read it. Well written, joyfully storied, alternatively happy and sad, though it wasn’t perfect. What are the odds of ever making characters called “Brad and Bitsy” three-dimensional? And yet Tyler goes some lengths towards doing this, with multiple points of view which make clear the distance between a person’s actual self and how they are perceived from the outside. Each of Tyler’s characters come with foibles which render them heartbreakingly real, and thus how they react in their lives reads as true.

August 16, 2007

The Raw Shark Lady

An interview with Steven Hall up at Baby Got Books. And yes indeed it is funny to be reading Drabble’s The Sea Lady post The Raw Shark Texts. Two books with very little in common except fish and unconventional narrative structure, but how they inform each other just based on their proximity. I am rereading The Sea Lady because I read it too quickly the first time, so excited was I by a Drabble yet unread. I’m paying much more attention this time around, and loving it just as much.

August 15, 2007

The Raw Shark Texts by Steven Hall

I don’t claim to have a sure grasp on Steven Hall’s novel The Raw Shark Texts. If I did claim such a thing, you’d probably know I was lying, or just stupid, and even the Raw Shark Texts discussion forums make clear that straight answers are not close at hand.

Steven Hall’s first novel exists as a conundrum, a puzzle and a maze. Eric Sanderson wakes up prone on a living room floor, devoid of memory, and the only clue offered out of this predicament is a letter he wrote before, signed “The First Eric Sanderson”. This latest Eric Sanderson therefore must follow subsequent clues and put pieces together to recover his identity. Such a neat little premise is complicated, however, by the fact that Eric’s conciousness has been attacked by a “conceptual shark” and that Eric remains under threat.

A conceptual shark? Constructed of the words and ideas it feeds upon, this shark is the concept of a shark quite similar to the shark you now see in your mind as a consequence of the words and ideas I’ve just given you. And so not entirely farfetched after all. Hall’s novel stands as metaphor for what language and ideas can do, the power of books. Notes Eric Sanderson, “it was possible to create a maze from stacked, written-on paper. Bizarre, unlikely, stupidly time-consuming and dangerous, but, yet, possible.” Which, with his novel, Hall has demonstrated.

Of course in addition to the metaphor, this book’s literal function is essential. The Raw Shark Texts is an adventure. When Eric Sanderson makes the preceding remark, he is in fact crawling through an underworld maze actually constructed of stacked telephone directories. Under threat from his conceptual shark and with the clues from the First Eric Sanderson, Eric has descended into this world of “unspace”, in which he can be relatively safe from his predator. He teams up with a girl called Scout who has her own motives for involvement, and together they’re looking for a way to defeat the shark and save themselves.

There is something, albeit undeniably clever, of the “look ma, no hands!” variety about this book. Steven Hall seems intent on demonstrating the innumerable powers a book is capable of, employing typefaces, codes, images, and even a flipbook. In lesser hands this postmodern extravaganza might have been rendered quite hollow, narratively speaking. But no, Hall is not so cheap. The best trick of all is his story: Eric Sanderson’s entire plight is the result of errors made in a fury of loss after the death of his girlfriend Clio. And that Hall’s conceptual people, his conceptual love, that this stack of written-on paper so managed to break my heart and have me longing for appropriate resolution is a testament to Steven Hall’s skill as a writer. It serves to underline his entire thesis: that a book really is a most powerful thing.

August 8, 2007

Let the Northern Lights Erase Your Name by Vendela Vida

“People assume those in mourning aren’t thinking clearly,” explains Clarissa, the heroine of Vendela Vida’s novel Let the Northern Lights Erase Your Name. “Ha! My brain was a razor. A flesh-eating predator.” With prose stripped so bare, this spare and understated narrative follows Clarissa on a journey to Lapland after she learns the man she called her father wasn’t her father at all. Her other relationships are similarly hollow: her brother has Down’s Syndrome and doesn’t communicate; her fiance says he loves her and she pretends to be asleep; Clarissa’s mother disappeared when she was fourteen, leaving her in a bakery because, as the woman at the counter reported, “she got tired of waiting.” Clarissa is incredibly alone, but all the while this thought runs through her head like a mantra: There must be someone else… There must be someone I’m closer to.

Seeking this “someone” Clarissa escapes to the north of Finland, directed by clues to her real father’s identity. What follows is a quest of sorts, but one much diverted, exhausted. It’s fascinating, however, to learn more about this part of the world so unknown to me and Vida paints a sense of place so well– a place which lends itself to this “razor-sharp prose” in its own barreness. Reading this story was a curious experience however– I was not ultimately sure that I liked it. The prose, the choice and spare details, the traumatized voice all seemed much like what would be found in a short story, and to have it sustained for the length of a novel didn’t feel quite right. A certain superficiality seemed the result, but then, oh, I read the end. The end of this novel is magic spun out of gold– surprising, risky, realized and incredibly satisfying. Casting the entire novel in a different light than I’d been viewing it in all along, and the fact was I loved it. Which I couldn’t have told you twenty pages from the end, but from the final sentence, clearly it was so.

~And when I would hear people say that you can’t start over, that you cannot escape the past, I would think You can. You must.~

*Check out Tim’s review of this book at Baby Got Books.