Book 320: There There

"He moves in front of the mirror and his feathers shake. He catches the hesitation, the worry in his eyes, there in the mirror. He worries suddenly that Opal might come into the room, where Orvil is doing..what? There would be too much to explain. He wonders what she would do if she caught him. Ever since they were in her care, Opal had been openly against any of them doing anything Indian. She treated it all like it was something they could decide for themselves when they were old enough. Like drinking or driving or smoking or voting. Indianing." 

Dates read: June 7-10, 2019

Rating: 8/10

Lists/awards: American Book Award

DNA tests can do cool things these days. Not only does mine show me that I'm part Polish, it can even identify the area in Poland where my family came from! Does it actually matter, at the end of the day? Well, no. If I ever do visit Poland, it would almost certainly be to go to one of the major cities, not the tiny village in Podkarpackie Voivodeship that my great-grandfather left over a century ago. But it's interesting to be able to confirm that tie to the past, to get a better sense of where I come from and what my family's story is.

For Native Americans living on reservations in a community that includes elders, a sense of connection with the past is probably more tangible. But of course, that's not where all Native Americans live. Plenty of them live in cities, and it's an attempt to put together a pow-wow in Oakland that brings together the characters of Tommy Orange's debut novel, There There. Through changing point-of-view chapters from a wide cast, the book tells the story of how the pow-wow brings people together in unexpected ways...and what happens when a group of young men eye the prize money for the dance competition as a target for robbery. Common throughout are the questions the characters have about identity, and what it means to be an Indian in a large city.

The character wrestling most with identity and meaning is Dene Oxendene, who wins a competition for grant money that he intends to use to record Indian people telling their own stories about their lives. He sees the pow-wow as an opportunity to film many people at once. But there's also Edwin, whose interest in participating in the event, and breaking out of his self-imposed social isolation, is sparked by the discovery of his Indian father via social media. The internet is also how teenage Orvil tries to connect with his culture, as his stern grandmother Opal Viola Victoria Bear Shield (who was taken to the AIM takeover of Alcatraz as a child, along with her sister Jacquie Red Feather, by their unstable mother) who is raising him and his brothers refuses to talk about being Indian with them. Orvil learns tribal dances from YouTube, and plans to enter the dance competition. But the internet also provides a group of young men (including Tony Loneman, angry at the scorn he's received because of his fetal alcohol syndrome) with the schematics to 3D print guns from plastic that could be snuck past the metal detectors at the pow-wow, so they can get money to remedy a drug deal gone wrong.

Tommy Orange is a dazzling talent and this is a very good book. I would say that the only thing holding it back from greatness, for me, is that I wished it was told with a more traditional story structure. While each character's perspective was distinct and important, I found it hard to keep track of who everyone was in relation to everyone else, and a more well-delineated central narrative thread would have, for me, made the book's impact even more powerful. But the reality is that it's powerful anyways. I really cannot overstate how good Orange's writing is. These characters feel like they actually exist in the world, like each one of them, no matter how small a part they play, have full lives and histories that we're only able to get hints of. He switches back and forth between first- and third-person perspective, and even writes one chapter in the second person, which didn't add anything narratively as far as I was concerned as much as feeling like the exuberance of an artist pushing at the boundaries of what he can do.

In a way, this felt like an answer to one of the most well-known writers of Native American adult literature today: Louise Erdrich. While Erdrich's work focuses primarily on women, particularly older women, on reservations in the northern Great Plains, Orange's novel highlights men, especially young men, in a large Californian city. What they share is a story structure in which there are multiple characters that are the focus of one chapter at a time in a non-chronological narrative, as well as a focus on how to live in the world as an Indian today. Erdrich, who has won the National Book Award and been a finalist for the Pulitzer Prize, is a big name to invite comparisons with, but Orange lives up to it. This book is a must-read, and I can't wait to see what Tommy Orange does next.  

One year ago, I was reading: All Girls

Two years ago, I was reading: Followers

Three years ago, I was reading: Bad Blood

Four years ago, I was reading: Mansfield Park

Five years ago, I was reading: Bury My Heart at Wounded Knee

Six years ago, I was reading: Creative Mythology

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Book 320: There There

Book 317: Midnight's Children

"Does one error invalidate the entire fabric? Am I so far gone, in my desperate need for meaning, that I'm prepared to distort everything—to re-write the whole history of my times purely in order to place myself in a central role? Today, in my confusion, I can't judge. I'll have to leave it to others. For me, there can be no going back; I must finish what I've started, even if, inevitably, what I finish turns out not to be what I began..."

Dates read: May 20-29, 2019

Rating: 8/10

Lists/awards: Booker Prize, Time's All-Time 100 Novels

I have many issues with how history is taught in public schools, but one of the biggest is how little time gets spent on the Eastern hemisphere. Lots of America, obviously, but outside of learning about the Fertile Crescent and Ancient Egypt again and again and again, we don't get into much besides Europe. I have to imagine that most countries focus heavily on themselves and their immediate neighbors when they study the past, but some of the oldest, richest civilizations in the world are on the other side of the globe and we barely study them! I wish it were otherwise, but sadly I am not in charge of things.

The more books I read set in India, the more I wish I had a firm grasp of modern Indian history. Indian independence, and the partition that followed, continue to resonate not just in literature, but on a global political scale. Salman Rushdie explores these momentous events through his Booker Prize-winning epic, Midnight's Children. The novel tells the story of Saleem Sinai, born at the moment India begins post-colonial self-rule, and tracks his life as it, and his country, develop. But its more ambitious even than that: it begins with his grandparents and their youth, then tells the story of his own parents, and only then turns its full attention to its own protagonist.

Saleem is born to Ahmed and Amina Sinai, well-off Muslims living in Bombay, at exactly midnight on the day the British officially surrender the country, at the same moment as another child, a Hindu boy called Shiva. It turns out there are 1,001 children born in that first hour of India's modern life, and each of them have a gift, a magical power...and the closer to midnight, the stronger that power is. Saleem doesn't discover his until he is nine, when he begins to hear voices in his head: those of the other "children of midnight", who can speak to not only him but each other as he psychically hosts them. He eventually loses this power, but develops the ability to smell the feelings of other people. As he continues to grow, his fate (along with those of his parents and his little sister Jamila, called "The Brass Monkey" as a child for her hair color) is tied to that of his homeland.

There's much, much more than that, of course. Even attempting a brief outline of the twists and turns of Rushdie's tremendously complicated plot (and enormous cast of characters) would take several paragraphs. It's truly a stunningly ambitious novel, and what's even more stunning is that it mostly pulls it off. Characters come and go organically, storylines are fully developed and have solid payoffs. Rushdie writes the story to be narrated by Saleem himself to a female companion from roughly the modern day (when the book was written), and superbly uses that technique to frame it and give it momentum. It's deep, and rich, and beautifully written and constructed.

While it is undisputedly a masterwork, though, I don't know that I actually loved it as much as I respect it. Part of that is that I simply don't have enough context for it. Even as an educated person, my understanding of modern Indian history is thin and this book is the kind that requires a higher level of knowledge to really comprehend everything that it's doing. And while Rushdie mostly maintains the plot's progression nimbly despite the text's density, by the end there have been just so many characters and the scope is so vast that I found myself a little burned out and ready for it to end. It is not a book that should be read in snippets here and there, it demands and requires full and sustained bouts of attention. If you're ready to read a modern classic that's going to need a lot from you as a reader and reward the work you put into it, I'd highly recommend it. If you're looking for something on the easier side, though, leave this one until you're really ready to sink your teeth into something. 

One year ago, I was reading: The Satanic Verses

Two years ago, I was reading: Native Speaker

Three years ago, I was reading: The Winter of the Witch

Four years ago, I was reading: Ghost Wars

Five years ago, I was reading: American Heiress

Six years ago, I was reading: The Serpent King

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Book 317: Midnight's Children

Book 315: The Brief Wondrous Life of Oscar Wao

"That’s life for you. All the happiness you gather to yourself, it will sweep away like it’s nothing. If you ask me I don’t think there are any such things as curses. I think there is only life. That’s enough." 

Dates read: May 11-15, 2019

Rating: 8/10

Lists/awards: Pulitzer Prize, The New York Times best-seller

I grew up in an entirely female household. My mother single parented my sister and I. She had serious boyfriends every now and again, but it was almost always just the three of us. Perhaps it's understandable, then, why I have always favored books by or about women. I know what a femininity crisis looks like, feels like. Men and their concerns have tended to feel slightly alien, like something to study that I'll never be able to fully comprehend.

To say that Junot Diaz's Pulitzer Prize-winning The Brief Wondrous Life of Oscar Wao is testosterone-heavy is an understatement. It's a profoundly masculine piece of work. The book tells the life story of Oscar (whose real surname is not "Wao", a mocking mispronunciation of "Wilde", but rather "De Leon"), who is born into a Dominican family and grows up in New Jersey with his mother Hypatia and sister Lola, and is dead by his mid-twenties. Whether that death was avoidable, or whether it's the result of a fuku, a curse, on the De Leon family, whose history is explored in-depth along with that of the Dominican Republic as a whole, is left up to the reader to decide.

Starting when he's a child, the only thing in life Oscar wants is a girlfriend. Not only does he feel pressure to live up to a machismo Dominican ideal, he's the kind of guy that thinks he's in love if a girl smiles at him on the street. Unfortunately for Oscar, he's overweight, awkward, and a big science fiction nerd. This does not render him attractive to most of the girls he knows. The situation does not improve when he goes to college, where he briefly rooms with Yunior, his sister's boyfriend and the narrator of the story. Profoundly depressed, he makes an unsuccessful suicide attempt, after which he's sent to the DR and falls in love with the girl next door, who happens to be a prostitute. She seems to return his affections, but she's already in a relationship, and thus is created a situation doomed to an unhappy ending.

First things first: Junot Diaz is a fantastic writer. The narrative voice he creates for Yunior is like nothing I've ever read before. Diaz's prose is so lively it practically bursts off the page, and is filled with joy and sadness and anger and humor. It's also full of footnotes, Spanish, and pop culture references, and though I dutifully tracked down translations and explainers I honestly think you'd be okay if you just used context clues to figure it out, because otherwise you stop reading and being able to give your full attention to the narrative is the better option. Diaz's storytelling skills, the way he balances all of the elements of the book so it never drags or stumbles and sweeps you along, are a rare thing.

The elephant in the room: Junot Diaz is definitely not a feminist. He's been accused of sexual harassment and the writing in the book would tend to confirm that he has misogynistic tendencies. Yunior is presented as sympathetic although he continually cheats on his partners (including Lola). Oscar's quest for a girlfriend treats the women he desires as objects to be wooed and possessed. A portion of the book focuses on Hypatia's backstory, but presents first and foremost sex and violence. I'm sure it's easier for Diaz to have told the story the way he told it, but with his talent I would have hoped for better. Nevertheless, this is a fantastic book, which I very much enjoyed reading and want to read again someday. Be prepared for some issues with the presentation of women, but otherwise, I would recommend reading this book. 

One year ago, I was reading: Mindhunter

Two years ago, I was reading: Without A Prayer

Three years ago, I was reading: The Prince of Tides

Four years ago, I was reading: The Power

Five years ago, I was reading: Moonlight Palace

Six years ago, I was reading: Occidental Mythology

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Book 315: The Brief Wondrous Life of Oscar Wao

Book 314: Battleborn

"P.S. On second thought, perhaps sometimes these things are best left by the side of the road, as it were. Sometimes a person wants a part of you that's no good. Sometimes love is a wound that opens and closes, opens and closes, all our lives."

Dates read: May 7-11, 2019

Rating: 8/10

I've lived in Nevada for nearly a decade now. I first came to the state during the brief period in the late 90s when Las Vegas tried to market itself as family-friendly, and my mom brought my sister and me there as part of a trip where we also went to the Grand Canyon. I didn't return until college, when I came out to visit the guy I dated off-and-on for years during a summer break at his home in Reno. We had another one of our spectacular bust-ups (which didn't stick), but I tearfully vowed at the airport to never return. Then in 2012, I got a job as an organizer in Nevada, and opted for the more hospitable northern end of the state over the southern end in July. Then I met my husband, and here I still am.

Though I will always be a Michigander at heart, after almost ten years, I'm very loyal to my adopted state. How can you tell a Nevadan? If you call the state "Nev-AH-da" around them, they will either smile politely and scream internally, or find themselves unable to help blurting out that it's "Nev-AD-a". Though the state's official motto is "All For Our Country", it's the unofficial one, "Battle Born", that lent itself to becoming the title of native Nevadan Claire Vaye Watkins's collection of short stories, being elided into one word as Battleborn. Each story is connected to the Silver State, its rich history, and its mythos.

Watkins is extremely talented, and shows that off by writing a variety of styles and scenarios: there's a story ("The Diggings") about a family caught up in the mining booms on either side of the Sierra Nevada that's long enough to be a novella, there's one ("Rodine al Nido") about a girl, with whom we're drawn into troubling complicity by the way Watkins names her only as "our girl", who leads a friend into a bad situation with men in a Vegas hotel room, there's one ("The Past Perfect, the Past Continues, the Simple Past") about a young Italian man who winds up at a brothel after his friend disappears in the desert, and seven more. What connects these stories is not only their Nevada setting, but a sense of loneliness and alienation that's sharpened by that environment: the endless sky and open landscape can leave you with a feeling of being untethered to the world around you. Outside of the two major population centers (Reno and Las Vegas), Nevada is a largely rural state, with some areas so far off the grid they're actually referred to as "frontier". It's also quite large...there's about 8 hours of desert between those two urban areas. To be alone in such a place presents both a certain kind of security and a terrifying vulnerability, the tension between which Watkins deftly explores.

As always with a short story collection, there were highlights and lowlights, though this book was among the more consistently high-quality ones of its kind I can remember reading. The ones I've highlighted above were probably my favorites, with "Rodine al Nido" the one that lingered in my head long after I'd turned the pages. I don't think any of them were actively bad, but some of them (like "The Archivist" and the epistolary "The Last Thing We Need") weren't especially memorable and only came back to me as I flipped back through the book to refresh my memory before writing about it. It's impossible to doubt either Watkins's gift or her craft after reading this collection, and I'd recommend it very highly, particularly for short story-lovers or Western enthusiasts. 

One year ago, I was reading: Men Explain Things To Me

Two years ago, I was reading: House of Cards

Three years ago, I was reading: The Goldfinch

Four years ago, I was reading: The Lady of the Rivers

Five years ago, I was reading: The Red Queen

Six years ago, I was reading: Occidental Mythology

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Book 314: Battleborn

Book 311: The Lowland

"The future haunted but kept her alive; it remained her sustenance and also her predator. Each year began with an unmarked diary. A version of a clock, printed and bound. She never recorded her impressions in them. Instead she used them to write rough drafts of compositions, or work out sums. Even when she was a child, each page of a diary she had yet to turn, containing events yet to be experienced, filled her with anxiety instead of promise. Like walking up a staircase in darkness. What proof was there that another December would come?"

Dates read: April 20-26, 2019

Rating: 8/10

I tend to believe Tolstoy when it comes to that stuff about unhappy families. Except that I think that there are so few truly happy families that we can safely exclude them from the data set. Pretty much every family has its own special kind of unhappiness. All of our parents screwed us up in their own ways. And their parents screwed them up, and we'll screw our own children up. The only thing to be done is to do your best to keep the damage minimal.

In Jhumpa Lahari's The Lowland, brothers Subhash and Udayan are so close that they're often confused for twins despite being a few years apart. They have a more or less happy childhood, building radios and playing in the marshy lowlands near their family's Calcutta home. As they start to grow up, they start to grow apart. Udayan becomes political, part of the Naxalite movement being repressed by the authorities. Subhash, on the other hand, turns towards school, eventually leaving India to study marine biology in Rhode Island. Separated by thousands of miles, the brothers do still write letters to each other, and Subhash is surprised to find out in one of them that his brother has gotten married. In defiance of expectations for his parents to chose a bride, Udayan has married a college student, Gauri, for love. Not too long afterwards, though, Udayan is killed.

When Subhash returns home for his brother's funeral, he finds an untenable situation: Gauri is pregnant, and his parents are planning to take the child to raise and kick her out after the birth. There's only one way out that he can see: he'll marry her, bring her back to the United States, and they'll raise the child as a family. With nowhere else to go, Gauri agrees. But this doesn't mean that everything's suddenly okay. Gauri gives birth to a daughter, Bela, and Subhash devotes himself to being a father. Gauri, though, is still traumatized by the death of her husband and the second marriage she had no real choice but to go through with. As Bela grows up, the family's tensions stretch to the breaking point.
 
This book is epic in scope, tracking Subhash through nearly his entire life and other characters, like Gauri and Bela, through much of theirs. Lahiri does her usual beautiful character work here...Udayan doesn't get a lot of narrative time until a flashback near the end, which leaves him feeling slightly unrealized, but the rest are developed in a way that feels achingly real. Gauri makes a decision that leaves her probably the least sympathetic of them, but the way Lahiri builds up to it, and what happens after, make it understandable. I also appreciated Bela's arc, the way that it seemed like she would grow up to become one sort of person because of the environment she was raised in, and then other events leading her to become a very different sort of person instead. All three of the major players were fascinating and I wanted to spend more time with them.

This is definitely one for people who prefer character over plot. Little actually "happens" besides a family coming together and coming apart. There's a more dramatic bit at the end, the part that goes back to the events leading up to Udayan's death, but I almost wished it hadn't been there or it had been told in its proper place in the chronology. I tend to think that Lahiri's writing is elegant almost to the point of being restrained, and having this part at the end feels out-of-character. That emotional remove, though, is what kept me from enjoying this novel more. It's a sophisticated work, but it deals with big emotions, and it felt like Lahiri was more devoted to keeping that style over letting the book really breathe, letting those feelings really build and explode. As it was, I admired it but didn't really connect with it. Still, it's a very well-written novel and one that I would definitely recommend to others.

One year ago, I was reading: Let's Explore Diabetes With Owls

Two years ago, I was reading: After The Party

Three years ago, I was reading: The Possibilities

Four years ago, I was reading: In The Woods

Five years ago, I was reading: The Girls

Six years ago, I was reading: Oriental Mythology

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Book 311: The Lowland

Book 308: The Last Romantics

"Some people will choose, again and again, to destroy what it is they value most."

Dates read: April 7-11, 2019

Rating: 8/10

Like most of the oldest children I know, I tend to feel responsible for other people. I'm always wanting to know where my husband or coworkers or friends are heading off to, and I think that's a bit rooted in growing up knowing that I needed to know where my sister was. I also tend towards bossiness and overachieving in a way that's typical of oldest kids. I'm not sure that I 100% buy into birth order theories as a whole, every family is different, but I do think there are some broad generalizations that can be made and that will turn out to be accurate more often than not.

I had just one little sister to be responsible for. There are four Skinner siblings in Tara Conklin's The Last Romantics. Renee is the oldest, the responsible one. Caroline, the next oldest, is soft-hearted and traditional. Then Joe, the only boy, the gifted athlete, the apple of everyone's eye. And finally Fiona, the baby. The Skinners are a happy family until they're not: when their father dies in an accident, their mother Noni finds out that they're not as well off as she thought, and the loss of not only her husband but the life she thought she had achieved pitches her into a deep depression. They downsize, and Noni takes to her bed. Not for a week or two, or even a month on two, but for a couple years. The Skinner children are more or less left to raise themselves during what they come to call The Pause.

The seeds of what will become of them are planted during The Pause. Renee takes her responsibilities to take care of the others seriously, and becomes dedicated to achieving at a level that will keep anyone from guessing what's going on at home, setting her down a path towards becoming a doctor. Caroline falls in with a neighbor family, forming a bond with one of their boys that will deepen into romance and marriage. Joe's talent and good looks ensure that his outward needs are met, even if he struggles to process his trauma. And Fiona learns to observe, a skill that comes in handy as she becomes a writer and poet. Noni does recover, and the family seems more or less intact, but the damage that's been done can't be undone.

I was biased towards this one from the start: this kind of following-a-group-of-characters-over-time thing is something I absolutely love in a book. I tend to find that the books that stay with me the most are ones where character is first and foremost, and this book is all about character. The siblings and their relationships feel complicated and real. Though they all had moments of being their worst selves, their behaviors felt rooted in how their experiences, particularly during their childhoods, interacted with their innate personalities. I also appreciated that the book never felt the need to have there be a dramatic confrontation between the children and their mother...it generally leaned away from melodrama rather than leaning into it, and I think there are plenty of families that do just try their best to forget the bad moments and move on.

As much as I loved this book for the most part, there were some plot elements that kept me from considering it truly great. First was that The Pause could go on for multiple years without anyone really noticing. As much as Renee was able to serve in loco parentis to her younger siblings, there are things like doctor's visits and parent-teacher conferences and signing up for extracurriculars that seem like they could have been patched over for a while but not for as long as Conklin asked us to believe. And then there was the framing device, which featured a very elderly Fiona (in a world where global climate change has changed things for the worse) interacting with a young woman who might have a connection to the Skinners. This did strike me as a little too convenient and neat. On the whole, though, this is a lovely book about the bonds between siblings and would be perfect for a reader who loves well-realized characters. I very much enjoyed it and highly recommend it!

One year ago, I was reading: George, Nicholas, and Wilhem

Two years ago, I was reading: The Death and Life of the Great Lakes

Three years ago, I was reading: In Defense of Food

Four years ago, I was reading: La Belle Sauvage

Five years ago, I was reading: The Queen of the Night

Six years ago, I was reading: Primitive Mythology

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Book 308: The Last Romantics

Book 299: Going Clear

"Scientology is not just a matter of belief, the recruits were constantly told; it is a step-by-step scientific process that will help you overcome your limitations and realize your full potential for greatness. Only Scientology can awaken individuals to the joyful truth of their immortal state. Only Scientology can rescue humanity from its inevitable doom. The recruits were infused with a sense of mystery, purpose, and intrigue. Life inside Scientology was just so much more compelling than life outside."

Dates read: February 27- March 5, 2019

Rating: 8/10

I was not a popular child in my catechism class. When we learned about the transubstantiation of the host during communion, I asked if eating the literal flesh of Christ made me a cannibal. I was not shy about raising the hypocrisy of church leadership who engaged in the Inquisition while ignoring their own long history of sin. I suspect no one was disappointed when I finally stopped bringing a book to Mass and just ceased to attend entirely.

Lots of religious beliefs, like the aforementioned communion issue, sound really weird when you take them out of contexts. But it's difficult to top Scientology for oddball beliefs. It's hard to understand why public figures like Tom Cruise, John Travolta, Laura Prepon and Elisabeth Moss would subscribe to a faith that features ancient aliens in volcanos and a galactic overlord named Xenu. Lawrence Wright's Going Clear takes a hard look at Scientology, the life of its founder L. Ron Hubbard and how the new religious movement took root and grew into the David Miscavige-controlled version we know today.

Much of what the book recounts is eyebrow-raising: Hubbard clearly was not entirely mentally well, and embellished his biography at best (at worst, he compulsively lied). His pride, his vanity, his use of the Sea Org as personal indentured servants are grotesque. But worst, and sadly, least surprising of all is his truly awful treatment of the women in his life. And things didn't get better when he passed on and control of the organization passed to Miscavige. If anything, they managed to get worse, with the harassment of critics and defectors taken to astonishing levels.

This was a fascinating book, full of information that was new to even someone like me who has enjoyed tabloid coverage of the faith (though I will say a lot of things that I used to read in The National Enquirer, which I loved in high school, were in here as well). Wright has clearly done his homework: his portrait of Hubbard is in-depth and revealing. He has a harder time with Miscavige, who would seem to have taken action to ensure that details about his life are difficult to come by. As such, the book loses some steam after Hubbard's passing. It's a story with enough drama that it doesn't unduly detract from it, but the focus is diluted.

One of Wright's primary sources for information about life inside of Scientology is Oscar-winning writer and director Paul Haggis. As such, we end up getting quite a lot of information about Haggis' life, and to be honest this is the least compelling part of the book. Every time the narrative returned to Haggis, I groaned. Leaving the church behind isn't easy to begin with, and to do so knowing full well the kind of targeting he would experience by speaking to a writer working on something destined to be less than glowing is brave, but unfortunately that doesn't mean the details of his personal story are all that interesting. As a whole, though, if you've ever been interested in new religious movements, or Scientology in particular, I would definitely recommend this book, as it manages to be both readable and thorough, a tricky feat.

One year ago, I was reading: The Moonstone

Two years ago, I was reading: Death Prefers Blondes

Three years ago, I was reading: Oryx and Crake

Four years ago, I was reading: The Idiot

Five years ago, I was reading: Bel Canto

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Book 299: Going Clear

Book 291: Bad Blood

 

"A month or two after Jobs's death, some of Greg's colleagues in the engineering department began to notice that Elizabeth was borrowing behaviors and management techniques described in Walter Isaacson’s biography of the late Apple founder. They were all reading the book too and could pinpoint which chapter she was on based on which period of Jobs’s career she was impersonating. Elizabeth even gave the miniLab a Jobs-inspired code name: the 4S. It was a reference to the iPhone 4S, which Apple had coincidentally unveiled the day before Jobs passed away"

Dates read: January 24-28, 2019

Rating: 8/10

When I was getting ready to graduate from high school, I applied to two colleges: Michigan and Stanford. I'd gone to a summer program at Stanford the summer after my sophomore year and fallen completely in love with it and wanted desperately to go there. And this was back under the old points system that the Supreme Court later tossed, so I was able to do the math for my likelihood to be admitted to Michigan and I knew I'd get in. I sent off my applications and got the small envelope from Stanford. I loved my time at Michigan and am so glad I went there, but a part of me always wonders what my life might have been like if it had worked out differently.

I'm hardly alone at having not gotten into Stanford, as they accept only about one in every twenty applicants. Not everyone who gets in stays there, though, and one dropout is more notorious than the rest: Elizabeth Holmes. At 19, she left the university to found her own company, Theranos, the rise and fall of which is chronicled in John Carreyrou's Bad Blood. Holmes' original idea was a patch that could administer medications directly to the bloodstream. When that proved untenable, though, she turned to blood testing. Terrified of needles, she came up with the idea of being able to run diagnostics using just a few drops from a finger stick instead of the giant scary needles in the arm. It promised to revolutionize the industry, making testing cheaper and easier. There was just one problem: it didn't work.

For a long time, though, she was able to convince people that it did. She raised billions in capital. She built a prestigious board of directors. She was courted by the CEOs of pharmacies and supermarkets, desperate for a chance to implement her technology. And if anyone seemed like they might get in her way or slow her down, she terrified them into silence with legal threats. Eventually, though, a leak sprung, and Carreyrou began to write about the company's struggles in The Wall Street Journal. Despite high-powered lawyers doing their best to separate him from his sources, he was eventually able to expose the massive house of cards that was all Theranos ever was. Holmes and her ex-boyfriend, Sunny Balwani (the company's COO), currently face federal criminal charges that could imprison them for years.

Corporate malfeasance can make for highly entertaining movies, but there's a reason most true crime writers shy away from white collar stuff in favor of murder: it's hard to render bad business practices as exciting on the page. But in Holmes and Balwani, Carreyrou has two striking personalities to work with and he makes the most of them. It might be easy to write Holmes off as a deluded posturer, but he shows how her vindictiveness towards those that might have been able to expose her is the behavior of someone who knows full well what she was doing. And Balwani's fiery temper, the fear he inspired, leap off the page. The writing does sometimes veer into the technical, but the outlines are fundamentally of a confidence scheme, and Carreyrou keeps the book engrossing by focusing on the way it plays out, the way Holmes so often seems trapped in a corner and manages to escape yet again.

Between Holmes, Anna Delvey, and Fyre Fest, scammers are having a moment in American culture. There's something revolting and yet fascinating about people who operate without any of the fear many of us seem to feel about deserving our place. Anyone inclined to feel sympathy for Holmes, to feel like she just got in over her head, will have a hard time maintaining that once they read the truly heartbreaking account of how a prominent scientist who tried to get things back at least adjacent to the track was preyed upon by both Holmes and Balwani. When he eventually committed suicide, the company's only response was to get his work laptop back. We live in a time when technology companies, and the people who run them, are effectuating enormous changes with very few probing questions asked. This book, which I really enjoyed and highly recommend, demonstrates why we should ask more.

One year ago, I was reading: The Borgias

Two years ago, I was reading: The Wind-Up Bird Chronicle

Three years ago, I was reading: Perfect Murder, Perfect Town

Four years ago, I was reading: My Antonia

Five years ago, I was reading: Missing, Presumed

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Book 291: Bad Blood

Book 290: A Tale For The Time Being

"But since these are my last days on earth, I want to write something important, too. Well, maybe not important, because I don’t know anything important, but something worthwhile. I want to leave something real behind."

Dates read: January 19-24, 2019

Rating: 8/10

I've never been able to regularly keep a diary. I did in middle school, and my mom found and read it, which meant I stopped. But even once I got old enough that the risk of someone else finding and reading my innermost thoughts was unlikely, I've never been able to get back in the habit even when I've tried. On the one hand, I wish I had a chronicle of my past, so I could go back and revisit my own record of my thoughts and feelings about the things that I've done and lived through. On the other hand, though, sometimes I'm glad that I don't have the option to do so. The things that are important, I've remembered. The things that maybe felt like a big deal at the time that have faded away...maybe there's a reason for that and it's better for me.

But not keeping a diary means that if something were to happen to me, my thoughts (besides those captured here!) would be lost forever. When Ruth finds the diary of a young Japanese woman washed up on the shore of her coastal Canadian town in Ruth Ozeki's A Tale for the Time Being, she assumes at first that it must be related to the tsunami. Of Japanese descent herself, Ruth (who shares virtually all of her personal details, including her name, the name and occupation of her husband, the small Canadian coastal island where she lives, and her profession as a writer with the author) starts reading it, intrigued by the life of diary-keeper Naoko, Nao for short. The teenager was born in Japan but mostly raised in America before her tech-industry-employee father loses his job and they go back to their homeland. She tells a tale of desperate unhappiness: behind in school, cruelly bullied by her classmates, worried about her father and his withdrawal from life. Her only comfort comes from her grandmother, a centenarian Buddhist nun called Jiko.

Ruth becomes more and more drawn in to Nao's story, distracting her from her own hopelessly mired writing project, a memoir based on caring for her mother in her end years, and drawing her more into the community on the island, which she's never felt connected to. She tries to find out more about Nao and her life, only to find herself mysteriously thwarted...until suddenly the boundaries between their times and worlds begin to blur. Can Ruth somehow save Nao, if in fact Nao needs saving? And can she find a way to solve her own existential crises?

I'm not always a fan of split narratives, since I think one side of the story almost always ends up being more compelling than the other(s). And there was a little bit of that here...Ruth's story wasn't especially boring or anything, but Nao's pieces were so much more interesting that I groaned a little bit internally when things went back to Ruth. And writing about writers (especially when that writer character is heavily based on the author themselves) often veers towards self-indulgence. Again, there was a little of this going on, but not to the extent that it dragged the story down past being mildly irritating every so often. It also steps into magical realism and meta-narrative when Ruth and Nao's stories intersect across time and space, and while the emotional truth of it comes through I'm not sure that it was entirely successful.

Basically, the book takes on a lot of potentially dicey elements and executes them competently-to-well, but not greatly. Even so, there's a lot to like here and I found it an intensely readable book, getting drawn into the mystery of what might have happened to Nao and whether Ruth would ever be able to find out. While I was certainly more engaged with Nao's story, Ruth was also a compelling character, and her issues were less dramatic but no less well-developed. The book is quite long, but it's paced well and doesn't drag or feel padded. It's easy to get drawn in and hard to put down, and feels like it will reward re-reading. Just as a heads up to readers, this book features a lot of very dark things, including merciless bullying and sexual assault, happening to a teenage girl and might not be the best choice for readers not ready for this kind of material for any reason. If you're able to deal with that, though, this is a very good book that doesn't quite get to greatness but is nevertheless a worthwhile read.

One year ago, I was reading: Queen of the Tearling

Two years ago, I was reading: American Psycho

Three years ago, I was reading: The Feast of Love

Four years ago, I was reading: Spook

Five years ago, I was reading: The Relic Master

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Book 290: A Tale For The Time Being

Book 288: Astonish Me

 

"The motions. She has been trained to believe that the motions are enough. Each motion is to be perfected, repeated endlessly and without variation, strung in a sequence with other motions like words in a sentence, numbers in a code."

Dates read: January 10-14, 2019

Rating: 8/10

If it's possible to fail out of ballet, I did as a child. First of all, I've been pigeon-toed my whole life, so a proper turnout was something beyond my capabilities. But mostly, I am just completely without grace. Despite my 5'2" frame, my dad nicknamed me "Gabezilla" at one point because I walk so heavily that I sound vaguely dinosaurian. My sister, on the other hand, had talent for lithe and lovely movements and did ballet until she graduated high school. I was always jealous, both of her elegance of movement and toe shoes.

Despite my own lack of capabilities, I've always enjoyed books and movies about ballet. Maggie Shipstead's Astonish Me centers around the story of Joan, a young dancer in the corps of a New York company in the 80s when we first meet her. After a steamy romance with a Russian defector, Arslan, left her heartbroken, she reconnected with Jacob, the boy who worshipped her in high school. Now she's pregnant, ready to leave dance and move on. Joan and Jacob marry and move to California with their son, Harry, where he works in educational research and she tries to fit in with the other stay-at-home-mommies, but eventually opens a dance studio.

The story moves back and forth in time to reveal Joan and Jacob's high school friendship, her move to Paris with a ballet company in her early 20s, her role in Arslan's defection, her friend Elaine and her entanglement with the company's artistic director, and then later, after ballet, Joan's brief but unhappy friendship with a neighborhood couple with a daughter the same age as her son, the tension in Joan's marriage, where both parties are aware that she "settled" for him but it remains to be seen how happy that settlement was. Joan's role as a ballet teacher, her ambivalence about her son's interest in and obvious talent for dance, and Harry's own eventual growth into a man round out the narrative.

This book was an excellent example of why I always give an author two chances. Even if I really don't care for one book, if another one by the same author catches my eye, I'll give it a shot: not every book is for every person, after all, and sometimes a book just doesn't work for a reader because of reasons outside the quality of the work. I did not enjoy Maggie Shipstead's previous novel, Seating Arrangements, which mocked the well-off and grasping of Martha's Vineyard through dramatics over a wedding. But this one was wonderful! I found myself enraptured in Shipstead's tale, in the characters, in the various ways she looked at the relationships of artisans to their art. I'm not always big into non-linear narratives when it feels artificial, but the use of both this device and multiple perspectives really worked for the story she was telling.

The bits of this that didn't come together for me mostly happened near the end and while they kept the book from great rather than just good, they didn't derail the whole thing. I was too invested in the characters: Elaine, Jacon, Harry, his friend Chloe, and especially Joan. Joan was sometimes infuriating, sometimes enviable, sometimes mysterious, but always interesting. Her quest for fulfillment and happiness really resonated with me. If you're generally into books in which ballet/dance features prominently, you'll find a lot to like here. But even if what you're looking for is more along the lines of character-driven family drama, this is very satisfying. Highly recommended!

One year ago, I was reading: A Dirty Job

Two years ago, I was reading: The Coming Plague

Three years ago, I was reading: The Girl With All The Gifts

Four years ago, I was reading: The Man Without A Face

Five years ago, I was reading: The Name Of The Rose

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Book 288: Astonish Me

Book 282: The Goldfinch

 

"The painting had made me feel less mortal, less ordinary. It was support and vindication; it was sustenance and sum. It was the keystone that had held the whole cathedral up. And it was awful to learn, by having it so suddenly vanish from under me, that all my adult life I'd been privately sustained by that great, hidden, savage joy: the conviction that my whole life was balanced atop a secret that might at any movement blow me apart."

Dates read: December 7-17, 2018

Rating: 8/10

Lists/awards: Pulitzer Prize

When I was little, my mom took me (and later, my sister) often to the Detroit Institute of Arts. When I was really young, we lived in the city, so it wasn't a long drive. But even when we moved out to the suburbs, we went fairly frequently. It's an amazing museum, commensurate with the sophistication of Detroit at the time it was established, and I've been lucky enough to see some truly wonderful art there, but the first painting I remember loving isn't one of the big name pieces (though it is one of the most popular). It's called "The Nut Gatherers", by William-Adolphe Bouguereau, and shows two little girls in a forest clearing. It's hard to put my finger on what I've always found so compelling about it, but it's my first memory of art that made me feel something.

While not every artwork is for everyone, great art can have a powerful effect on the viewer. The title work of Donna Tartt's The Goldfinch is a small painting by Carel Fabritius, showing the namesake bird perched on a feeder to which it is chained. Theo Decker first sees it on what is the worst day of his life. In trouble for getting into some adolescent mischief, he and his mother have been summoned to the principal's office. With time to kill before their meeting, they stop at the MoMA to see an exhibition that includes the title artwork. Theo likes the paintings, but is mostly busy paying attention to a lovely red-haired girl about his age, accompanied by a much older man. He's just spotted her again by the gift shop when his mother goes back to take one last look at the art...and then the bomb goes off. When Theo comes to, the old man he'd seen with the pretty redhead directs him to take The Goldfinch off the wall and keep it, and then dies.

Theo returns home, and when he learns of his mother's death, he's taken in by the upper-crust family of a school friend. He also forges a connection with Hobie, the business partner of the old man, who turns out to have been the great-uncle of Pippa, the red-headed girl he finally actually meets. Of course once Theo is finding some stability and solace, his father (who'd left the family and New York quite a while before) suddenly reappears, taking Theo back with him to his new home in Las Vegas. While there, the traumatized Theo meets fellow damaged teen Boris, who introduces him to drugs and alcohol. After another tragedy strikes, Theo takes back off to New York, going to Hobie for support, and eventually growing up to become his new partner in the antique shop he runs. But when a mysterious customer hints that he knows what happened to the long-missing painting, Theo finds himself drawn into a criminal underworld to try to extricate himself from his problem.

Tartt's The Secret History is an all-time favorite of mine. She's an assured and extremely talented writer, which is a good thing because this is a wildly ambitious novel. And she mostly pulls it off! There's a LOT going on here, but Tartt keeps her plot moving while she develops Theo, Boris, and Hobie into rich, deep characters. The references to classic literature, Great Expectations and Crime & Punishment particularly, are heady comparisons to invite but they feel earned, Tartt's writing quality really holds up to the canon. I was engrossed in the story she was telling me pretty much the whole time. And it's not a big thing, but as a transplant to Nevada myself (albeit the northern end), I thought she captured the feeling of the desert outskirts of Las Vegas beautifully, especially the ridiculous space of it when compared to a city as tightly compacted as New York. And I loved the way she wrote about Popper!

As good as it is, there are definitely things that don't quite work here. I thought the main female characters (Pippa and Kitsey) were mostly underwritten and sometimes felt contrived. Despite the occasional references to cell phones/modern technology, the book felt old-fashioned in a way that made those references feel shoehorned and anachronistic. It felt like the two "halves" of the book (Theo's childhood and then adulthood) were unbalanced...I thought some of the former could probably have been edited down to let the latter breathe a little more. And while Theo's issues with drugs were written in a way that made them very understandable, I've never found reading about people taking substances all that interesting and the book's continued engagement with it sometimes lost my attention. But all in all, these are fairly minor quibbles. The book is a very very good one, and I'd recommend it to anyone who doesn't mind a bit of a doorstoper!

One year ago, I was reading: Foundation

Two years ago, I was reading: Jackaby

Three years ago, I was reading: The Book of Unknown Americans

Four years ago, I was reading: A Heartbreaking Work of Staggering Genius

Five years ago, I was reading: The President's Club

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Book 282: The Goldfinch

Book 268: Prep

"The big occurrences in life, the serious ones, have for me always been nearly impossible to recognize because they never feel big or serious. In the moment, you have to pee, your arm itches, or what people are saying strikes you as melodramatic or sentimental, and it's hard not to smirk. You have a sense of what this type of situation should be like - for one thing, all-consuming - and this isn't it. But then you look back, and it was that; it did happen."

Dates read: October 10-15, 2018

Rating: 8/10

Lists/awards: The New York Times best-seller

Every once in a while I'll be just doing something normal, sitting on the couch or researching something at work, and a memory of something embarrassing I did in high school will run across my mind. Though I graduated nearly two decades ago now, and I'm almost certainly the only person that still remembers some of these things, I'll still blush. I know adults like to tell teenagers that high school doesn't matter, but if we're honest with ourselves, I think a lot of us would admit that not all of those wounds from those four years have completely healed over.

Like many middle-class middle Americans, I've always been kind of both mystified and fascinated by the idea of prep school. What do the children of the wealthy get up to? It is exactly middle-class middle America (South Bend, specifically) that Lee Fiora of Curtis Sittenfeld's Prep hails from. She impulsively applied to the exclusive Ault School, outside of Boston, and her middle school grades earn her a scholarship. Once she gets there, though, she doesn't know quite how to proceed fitting into her new milieu. She feels awkward, uncomfortable, and very much like an outsider among her privileged classmates.

Lee does eventually make at least some friends, but continues to struggle both socially and academically as time progresses. She nurses a long-burning crush on Cross Sugarman, the most popular guy in her class. She becomes more and more estranged from her family and roots in the Midwest. She is desperately, achingly self-conscious about everything, and possesses no more ability to articulate exactly what it is she wants than to do anything as drastic as taking steps to get it. So when a national newspaper reporter is looking for interview subjects for a piece on what boarding school is really like and reaches out to Lee right before graduation, her decision to talk about her experience winds up being part of what colors the whole thing for her in retrospect.

This was often a difficult book to read. Not because it was bad (it was in fact very good), but because Sittenfeld is so good at recreating that agonizing mental experience of being an adolescent. Lee wants so much to be liked, accepted, popular, but she can't get out of her own way. She passively observes her classmates, so afraid to be thought of as annoying or stupid or dorky that she can barely interact with them even when they're receptive to her. Being trapped inside her head while reading reminded me so much of being trapped inside the darker corners of my own head during high school that I had to put the book down even when I was into it. It's brilliant in that way, and (appropriately, given Sittenfeld's own experience in prep school both as a student and as a teacher) in nailing the little nuances of the upper class. The names alone (Cross, Aspeth, Horton, Gaines) are dead-on.

While the atmosphere and writing quality are excellent, the book does have plotting and characterization issues that hold it back from being great. Sittenfeld tells Lee's story through just a brief stretch of time during each semester as she goes through school. It leaves a lot of gaps, and I found myself wondering what exactly Lee did each summer when she went home...the one time we follow her back to Indiana for a winter break we get a picture of some deep-seated conflict that I would have been interested in seeing explored more. And it leads to only getting little slices of characters that should be important, like Lee's best friend Martha. Despite the closeness Lee relates and we're clearly meant to understand, the reader gets almost no sense of who Martha is or the usual way in which they interact, getting just a handful of conversations between them. It's frustrating, and keeps the book feeling just-a-bit underbaked. It's an interesting, compelling book, and a clear indicator of significant talent in its author, but its flaws are real. I'd recommend this book, though it does have sexual content that might mean a more immature teen reader might not be ready for it.

One year ago, I was reading: Mozart in the Jungle

Two years ago, I was reading: A Tale for the Time Being

Three years ago, I was reading: An American Marriage

Four years ago, I was reading: Snow

Five years ago, I was reading: Creative Mythology

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Book 268: Prep

Book 257: Oryx and Crake

 

"How could I have been so stupid? No, not stupid. He can’t describe himself, the way he’d been. Not unmarked — events had marked him, he’d had his own scars, his dark emotions. Ignorant, perhaps. Unformed, inchoate. There had been something willed about it though, his ignorance. Or not willed, exactly: structured. He’d grown up in walled spaces, and then he had become one. He had shut things out."

Dates read: August 25-29, 2018

Rating: 8/10

Becoming more aware of the world kind of sucks a little. Not being able to just laugh at the joke. Not being able to just let it go. The eye rolls and sarcasm. But once you really start thinking about it, the way the polar ice is melting at levels unseen before in the modern world, the way the waters are warming, the wildfires in the West, the way coastal cities are left vulnerable to ever-more calamitous weather and flooding, it's hard to just put out of your mind. And that's just global climate change, to say nothing of the countless other significant issues facing our world.

One day, something is going to be the end of the world as we know it. Superbacteria and/or a global plague. Nuclear war. Heck, maybe the zombie apocalypse. But why not climate change? In Margaret Atwood's Oryx and Crake, it's climate that creates the void into which increasingly powerful corporations pour themselves. Soon, the divide between the haves and the have-nots becomes even more literal, with the highly-educated few retreating into city-esque complexes created and owned by business interests, while the masses are walled off into their own zones. Jimmy is born into privilege, to a mother and father who are good worker bees, and it is in the compound school that he meets Glenn, who becomes his best friend...and who ends up changing the world beyond what anyone could have imagined.

As an adult, Jimmy has renamed himself Snowman (after The Abominable), and as far as he knows, he's the last "real" human left alive. There's a group of genetically engineered people, the Children of Crake, but they're not the same. He's left alone, in a devastated world, with only his memories and his guilt over the role he played in it all. These memories make up the bulk of the book, with very little actually happening in an actual plot sense. Jimmy does venture back to the last place he lived in search of food and sunscreen and medicine, which forces him to confront what happened with Glenn, who became Crake, and the beautiful, reserved Oryx, who was involved with them both. How they died, and how the virus that wreaked havoc on the rest of the world was released.

It's a character study as much as a work of speculative fiction, and that's really Atwood's strength anyways. She loves to dig into the ways our little flaws can set in motion events that spiral out of control, to take the tensions underlying society and drag them up into the open. I find it really interesting that this book was written in 2003, the year I graduated high school, because so much of it seems to apply to the kinds of debates that continue to be relevant even now: just because we have the technology or knowledge to do something, does that mean we should? How do we weigh morality? Whose morality gets weighed? The writing date of the book does mean there are some things that come off anachronistic (she posits a world focused on disc-based storage, in which email is a primary communication method), a lot of it is startlingly prescient.

Clearly I liked it, but it was not without failings. The biggest, for me, was its lack of developed female characters. Jimmy's mother is intriguing, but we see relatively little of her and through mostly his eyes, reflecting on the way her choices impacted him. Oryx remains to the reader just as mystifying as she largely is to Jimmy, and while I could see Atwood intending this as a statement of how men tend to project their own stories only the women they claim to love (Jimmy is convinced he knows parts of Oryx's past, which she herself denies), I wish we'd gotten more of her perspective. And as much as I enjoy character-driven novels, I wish it had been structured differently, so that it was taking place in the present rather than largely in the past. These are relatively minor issues, though. On the whole, this book is fascinating and thought-provoking and one I'd recommend widely (though maybe not younger/less sophisticated teenagers).

One year ago, I was reading: Patron Saints of Nothing

Two years ago, I was reading: Seduction

Three years ago, I was reading: The Book Thief

Four years ago, I was reading: The Confessions of St. Augustine

Five years ago, I was reading: Primitive Mythology

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Book 257: Oryx and Crake

Book 256: Life After Life

"And sometimes, too, she knew what someone was about to say before they said it or what mundane incident was about to occur–if a dish was to be dropped or an apple thrown through a glasshouse, as if these things had happened many times before. Words and phrases echoed themselves, strangers seemed like old acquaintances."

Dates read: August 19-25, 2018

Rating: 8/10

I have a small scar right about a half inch above my left eye. When I was a kid, I was jumping on the bed and my mom told me to stop. I jumped off entirely, and the scar is where the corner of the open dresser drawer I didn't keep track of went into my face. Just a tiny difference in my jump and I would have lost the eye. I wonder what would have changed in my life if I had. Or if I'd made any number of different choices before I went to college. Or while I was in college! If I'd gone to a different law school. If I'd taken a year off between undergrad and law school. If I'd gone to grad school for psychology instead. If, if, if. The fact is that there's no point in torturing myself with hypotheticals for things that have gone "wrong". Things are the way they are and all I can do is try to make the best choices I can from here.

What if, though, things could be changed? If you could go back, live again, make different choices? In Kate Atkinson's Life After Life, on a snowy night in England in 1910, Ursula Todd is born and immediately dies, choked by her umbilical cord, because neither the doctor or midwife made it on time. Then, on the same snowy night, she's born again, but this time the doctor makes it and the cord is cut and she lives. Until she's three, when she follows her older sister Pamela into the ocean and is swept away. Then she's born again with the doctor there, and manages to survive the family trip to the seaside but perishes at age five when her big brother Maurice throws her toy onto the roof and she tries to scramble after it but falls. And so on and so forth. She doesn't remember her previous lives, per se, but has strong feelings about crucial events that drive her to new actions in the face of them.

Where the book spends the bulk of its time is Ursula's various World War II experiences. In a few she dies when a bomb falls on her apartment building. In a few she's working on the rescue/cleanup squad. And in at least one, she's living in Germany. The fates of her family members, too, change in each go-round. What happens to Teddy, her sensitive, thoughtful younger brother who becomes a pilot, has a major impact on how things go for the family. Some things, though, never change: her deeply practical and stalwart sister Pamela always marries and has children and spends the war at the family home, and belligerent brother Maurice is never much liked by his parents or siblings and always rises to positions of authority.

Anyone who's ever wondered how things might have turned out if they had a chance to do it all over again (i.e. pretty much everyone) will find this an intriguing concept. And it allows Atkinson freedom to really explore the ways in which seemingly-small moments can resonate enormously in our lives, which she does with clear, assured prose that feels almost old-fashioned or "classic" in tone. Refreshingly, the most important choices are mostly unrelated to her romantic relationships with men! As a lady person, I'm used to books (and the world in general, honestly) treating marriage and childbearing as the central dramas of women's lives. Who she loves, though, is much less important to Ursula's story than her relationships with her siblings, particularly Pamela and Teddy, who are both wonderfully likable characters and the kind of siblings everyone wants to have.

What held back this novel from greatness for me was that with so many lives cataloged, I found myself sometimes more interested in how she would die this time than how that life actually played out, as well as a portion near the end that bugged a little bit because it made me question the underlying mechanics of it all. To be honest, though, these quibbles are a little on the nitpicky side and I wonder if they would have occurred to me if I'd read this book completely free from expectations. It's a very good book, well-written and enjoyable. But when I read it after hearing about how good it was for years, I was expecting something mind-blowing and it didn't get there, for me. Like I said, though, it's still something I liked quite a bit and I'd recommend it to all readers!

One year ago, I was reading: The Line of Beauty

Two years ago, I was reading: Detroit

Three years ago, I was reading: White Fur

Four years ago, I was reading: The Executioner's Song

Five years ago, I was reading: Through the Language Glass

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Book 256: Life After Life

Book 255: The Butcher's Daughter

"We go down on our knees with a pail of water and handfuls of rags and wipe the floor clean of dirt and spillages. The stones are irregular and filth is embedded in the cracks. I do my best, telling myself that such labour teaches me the true meaning of holy charity – which is principally, if you are female, concerned with the bodily needs of others."

Dates read: August 16-19, 2018

Rating: 8/10

Catholicism runs deep on both sides of my family, but particularly my mother's. My great-uncle Tom was even a priest! I've sometimes wondered what makes people chose to take holy orders. Faith, obviously, but there are lots of religious believers in the world and only a very small percent of them embark on a ministerial career. And it seems like it's declining generationally. I can't think of a single person I know, or even someone I've heard of through friends, deciding to enter the priesthood or become a nun. In a modern world, renouncing the ability to amass private wealth or have romantic relationships seems like a very difficult choice to make indeed.

It's not an excess of religious zeal that drives Agnes Peppin to enter an abbey in Victoria Glendinning's historical fiction novel The Butcher's Daughter. Though she's not an unbeliever, she doesn't have particularly deep convictions. Rather, teenage Agnes arrives at Shaftesbury Abbey because she fell pregnant with the child of a neighbor, Peter, in her small village. Peter's sister had recently lost a child of her own, so when Agnes's baby is born, he's given to Peter's family and Agnes is sent to the Abbey to join the sisters there. She comes to find some measure of contentment and a role for herself in the community, but it's not a great time to have joined a Catholic order. You see, Agnes lives in the time of Henry VIII, and his religious reforms threaten the Abbey's continued existence.

In her childhood, Agnes had learned to read and write and these skills land her a position as the Abbess's personal assistant. So she's right there as the Abbess tries desperately to save their way of life, but ultimately fails. It's about halfway through the book that the women are finally turned out of their homes and sent into the world, and Agnes has to figure out what's next. Going off with a fellow sister? A return to home? To the big city of London to find her fortune? She ends up exploring all of these paths and more while contemplating what it really is she wants out of the rest of her life.

Victoria Glendinning has written several biographies, and while skill sets don't always transfer over neatly (and I've never read any of her bios, so I can't speak to their level of execution), I think it really helped her make Agnes a well-realized, compelling character. Agnes is not your typical historical fiction heroine...I feel like many authors in the genre default to making their protagonists read like modern spunky young women to appeal to their intended audience of, well, modern women. Agnes, however, is clearly an introvert and spends a lot of time thinking things that she doesn't say. She breaks with the gender conventions of her time gently, without raging about the restrictions upon her as a woman in a man's world. Since the book is deeply centered on her experience of the world, a character that feels real is crucial, and Glendinning pulls it off very well.

It was also refreshing to get a historical fiction perspective that wasn't from the top of the social hierarchy. We've all read (and I've personally enjoyed) books about the court of Henry VIII, but this book shines a light on people further down, for whom Henry's marriages and divorces are background noise to the actual living of their lives. It wasn't just the people actually living in the dissolved monasteries who were impacted, it was the people who depended on services that religious houses provided, and this book shone a light on that. That being said, there were a few things that kept this from being even better for me. The biggest issue I had with the book was that it felt like Agnes' path was a little too easy. She drifts into one thing, and then into the next, in a way that seems improbably fortunate. The resolution of the plotline of a side character, Elinor, also felt a little off and I wished that it had been cut. Those quibbles aside, though, this is an interesting, unusual take on the genre and time period and I'd recommend it for people who'd like to broaden their reading in the historical fiction realm.

One year ago, I was reading: Plagues and Peoples

Two years ago, I was reading: We Are Not Ourselves

Three years ago, I was reading: Lincoln in the Bardo

Four years ago, I was reading: The Executioner's Song

Five years ago, I was reading: Reservation Road

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Book 255: The Butcher's Daughter

Book 253: Less

 

 "He kisses—how do I explain it? Like someone in love. Like he has nothing to lose. Like someone who has just learned a foreign language and can use only the present tense and only the second person. Only now, only you. There are some men who have never been kissed like that. There are some men who discover, after Arthur Less, that they never will be again."

Dates read: August 6-9, 2018

Rating: 8/10

Lists/awards: Pulitzer Prize

Can we ever really run away from our problems? The conventional wisdom is no, and for the most part I agree with that. Many of our issues are rooted in our own patterns of behavior and a change of scenery does nothing to fix that. But there sometimes is utility in getting out of a toxic environment. Being outside of our ruts in our personal roads can help us see them more clearly. New experiences can refocus our attention on what we really value. And besides, sometimes even just a break from what ails us can give us the strength to push through.

In Andrew Sean Greer's Pulitzer Prize-winning Less, the titular Arthur Less, a writer, decides to take a trip around the world in the face of two upsetting events: his fiftieth birthday, and the marriage of his sort-of-boyfriend of nearly a decade, Freddy Pelu, to another man. Nothing seems to be going quite right for him: after an auspicious debut, his subsequent novels have declined in both sales and critical acclaim, and he worries that the closest he will come to genius were his years dating Robert Brownburn, an acclaimed poet, and being in Robert's circle of writer and artist friends. When an invite to Freddy's wedding arrives, Less can't bring himself to either accept and be the subject of pitying looks or decline and know he'll set the gossip wheels turning with speculation that he's bitter. So he decides to be absent, creating a trip around the world for himself by accepting invitations for various and sundry events that he'd shoved in a drawer and never intended to actually respond to.

Less begins by leaving San Francisco for New York, where his new novel is gently declined by his publisher. And then it's off to Mexico, then France, then Italy for a prize ceremony for a translation of his book, then Germany to teach a summer course, then a trip to Morocco with friends, then a retreat in India to work on his book, then Japan to write an article about food for a travel magazine, and finally back, having neatly avoided both his birthday and the wedding. Along the way he runs into an ex he doesn't recognize, has a fling with academic, gets a custom-made suit, steps on a needle, and has to destroy his way out of a room. We get perspective on the life he's led through both his own reminisces and the voice of a narrator, whose identity is finally revealed to us as Arthur Less gets home.

I'll admit I was a little skeptical when this was chosen as a selection for my book club. "Funny" books can land wildly differently depending on the reader, and "prize-winning funny" does not tend to be a type of humor I find especially enjoyable. But what a delight this book was! I've talked before about how much my experience of a book can be impacted by what else I've read in the same time frame, and after the self-serious, sometimes ponderous Shantaram, the breezy lightness of Less just hit the spot. But it's not just a fluffy book at all. It's filled with sharp observations and resonant character notes, and the propulsive forward motion of the journey keeps the plot moving at a nice clip. It never gets bogged down anywhere. And while managing all that, it also excels at blending the moments of humor with sweetly poignant emotional work.

Writing a funny-yet-grounded book is hard, y'all. So many things to be balanced, and the Pulitzer has to be at least in part a recognition of how very well Greer crafted his work. Why, after all this gushing, is this not an even-more-highly-rated book for me? Two things: it didn't linger in my mind (books that I rate 9 or 10 stars stick with me long after reading), and the narrator reveal. While I thought it was an emotionally satisfying way to end the book, it didn't make logical sense, which spoiled it ever so slightly. That being said, it's a wonderful book that I heartily enjoyed, with meditations on aging, love, dignity, and identity that run beneath the parts that make you laugh to make you think. I'd recommend it to everyone!

One year ago, I was reading: The Age of Miracles

Two years ago, I was reading: Flip

Three years ago, I was reading: The Bonfire of the Vanities

Four years ago, I was reading: Sophie's Choice

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Book 253: Less

Book 249: Olive Kitteridge

"As a matter of fact, there is no reason, if Dr. Sue is going to live near Olive, that Olive can't occasionally take a little of this, a little of that—just to keep the self-doubt alive. Give herself a little burst. Because Christopher doesn't need to be living with a woman who thinks she knows everything. Nobody knows everything—they shouldn't think they do." 

Dates read: July 17-20, 2018

Rating: 8/10

Lists/awards: Pulitzer Prize

It's easy to think that we really know the people in our social circle. We see them being regularly rude and snappy, we write them off as jerks. They're always kind and thoughtful when we see them, we assume that they're a good person. But it's hard, if not impossible, to actually completely know anyone else. The lovely human we know in the work place might go home and be cruel to their family. The person we see being prickly could spend hours volunteering in their community. Unless we've seen someone in every possible context, there's always an aspect of them that could be missing from who we think we know.

The thirteen short stories that make up Elizabeth Strout's Olive Kitteridge all feature the main character at least once. Sometimes she's the center of it. Sometimes she's a passing reference between two other people who live in her small Maine town. It moves roughly chronologically, beginning when Olive and her husband Henry are already older and headed toward retirement (though the first story, about Henry, is mostly a flashback), and their son Christopher is an adult. Olive negotiates her relationships with her family and her community at large as they all change, slowly but inexorably...or, often just as aggravatingly for her, don't change much at all.

Though many of the lives we encounter look at least moderately happy on the surface, there's often profound sadness lurking underneath. This is not new territory, suburban dysfunction and familial drama, and while there's nothing special plot-wise it's Strout's skill as a writer that makes this book shine. Each story is a whole unto itself but subtly builds to create a full picture of Olive, her strengths and her flaws. She can be infuriating, as when she deals with the fear from finding herself the victim of a crime by berating her husband, and she can be deeply relatable and sympathetic, like when she overhears her new daughter-in-law mocking the dress she made herself for their wedding. She is stubborn and proud and controlling and rendered with profound emotional truth. Strout never has to explicitly ascribe these qualities to Olive, because she understands the power of showing rather than telling, which she does in spare-yet-lovely prose.

As in any short story collection, some entries are stronger than others. I loved the first one, "Pharmacy" about Olive's husband's long-ago infatuation with a shy technician at his pharmacy, and two where Olive is only a background mention, "Winter Concert" and "Ship in a Bottle". Some others, like "Tulips" and "The Piano Player", failed to move me. But one of the upsides to reading short stories is that even if you don't care for a particular story, it'll be over soon! I'll be honest, I was not looking forward to reading this book, because it felt like I was in a rut of books that were interconnected vignettes without strong central plots and I wanted to read something with more structure. Happily, though, it's good enough that I found myself very much enjoying it and I'd highly recommend it even if you're skeptical of short stories!

One year ago, I was reading: Tower

Two years ago, I was reading: Sing, Unburied, Sing

Three years ago, I was reading: Boys and Girls Together

Four years ago, I was reading: Life Itself

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Book 249: Olive Kitteridge

Book 247: The Looming Tower

"On the existential plane, Bin Laden was marginalized, out of play, but inside the chrysalis of myth that he had spun about himself he was becoming a representative of all persecuted and humiliated Muslims. His life and the symbols in which he cloaked himself powerfully embodied the pervasive sense of dispossession that characterized the modern Muslim world. In his own miserable exile, he absorbed the misery of his fellow believers; his loss entitled him to speak for theirs; his vengeance would sanctify their suffering. The remedy he proposed was to declare war on the United States."

Dates read: July 5-11, 2018

Rating: 8/10

Lists/awards: Pulitzer Prize, The New York Times bestseller

I'm naturally a high-strung person. Always have been. I'm the type who gets up out of bed to double check if I can't remember locking the door. Every once in a while, I have to remind myself with statistics that what's most likely to harm me are things I do constantly: get in the car and drive, cross the street on my way in to work, exist in a world filled with carcinogens. I'm not the only one, either. I think a lot of us are more frightened by the kinds of things that make newspaper headlines than the ones that are much more likely to be lethal. It's unlikely we'll get caught in a deadly tornado or raging wildfire. It's also vanishingly unlikely we'd ever find ourselves the victim of a terror attack.

And yet, ever since September 11th, that fear has loomed large in the American cultural imagination. It happened once, and it could happen again. But how exactly did it come to happen? That is the question Lawrence Wright seeks to answer in The Looming Tower, in which he traces the development of radical Islam and the life of Osama bin Laden, through the rise of al-Queda and the intelligence community turf wars that handicapped the country's ability to understand and prepare for the threat. It's a story that begins with seeds planted by a few in Egypt that grows to expand to Saudi Arabia, Sudan, Afghanistan, and the United States. It's a story about people, about men whose understandings of the world are on a collision course. It's a story about near-misses and mistakes that ends in tragedy.

I was a little hesitant when I picked this up...I'd read Ghost Wars about six months before and was worried that this would largely be a rehash of things I'd recently read. But that concern turned out to be unfounded. While there's certainly overlap, that book was focused heavily on Afghanistan, and the CIA's involvement in that country's recent history. This book is really about al-Queda and how it's leaders, Osama bin Ladin and Ayman al-Zawahiri, came to join together and carry out attacks against the West from their position in Afghanistan. If you're interested in this general subject area and think you might want to read one of these two books, I'd suggest The Looming Tower (or at least reading it first). 

While there is no denying the incredible research and level of detail in Ghost Wars, the end result is a book that tends toward the dense. Having read it once, I'm sure it would take me at least another few passes through it to really feel like everything was sinking it. The Looming Tower doesn't bring that level of specificity, but it's not really trying to either. That's not to insinuate that it's not deeply rooted in fact and without a breadth of source material. The references section is extensive. But what The Looming Tower does well is actually stringing that all together into a cohesive narrative. Depending on the author's skill level (and, to be honest, intended audience), non-fiction can struggle with storytelling and a tendency toward dryness. But this is where Wright shines. Despite working with names, places, and concepts that are largely only vaguely familiar to a Western readership, he never lets the pace get bogged down in information dumps. Like the events it recounts, it keeps on moving forward to what we know is coming.

That's not to say it's perfect. There's an emphasis on counter-terrorism expert John O'Neill (who died helping evacuate others on 9/11), especially his personal life, that doesn't quite fit in with the overall flow of the book that I think should have gotten trimmed. And, having read Ghost Wars, I thought the situation in Afghanistan and the relationship of al-Queda and the Taliban was simplified too far. I think the book could have added about 50 pages and given everything a bit more depth and shading and been stronger for it. But for a primer on the situation in the Middle East and inside the federal bureaucracy that culminated in September 11th, written for a wide audience, I think this a very good book indeed. I highly recommend it!

One year ago, I was reading: The Forgotten Sister

Two years ago, I was reading: Life After Life

Three years ago, I was reading: Stoner

Four years ago, I was reading: Lights Out In The Reptile House

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Book 247: The Looming Tower