God Help the Child by Toni Morrison

book cover

No lonesome wandering child with a fishing pole passed by and glanced at the adults in the dusty gray car. But if one had, he or she might have noticed the pronounced smiles of the couple, how dreamy their eyes were, but would not care a bit what caused that shine of happiness.
A child. New life. Immune to evil or illness, protected from kidnap, beatings, rape, racism, insult, hurt, self-loathing, abandonment. Error-free. All goodness. Minus wrath.
So they believe.

The children in Toni Morrison’s novel can use all the help they can get, whether from God or some other source. Lula Ann Bridewell was not what her high-yellow parents had expected:

She was so black she scared me. Midnight black, Sudanese black…Ain’t nobody in my family anywhere near that color…I hate to say it, but from the very beginning in the maternity ward, Lula Ann embarrassed me.

Toni Morrison said in an interview, “For me, the tar baby came to mean the black woman who can hold things together.” In this instance it is about a very black woman who cannot.

While she may be a successful cosmetics pro, beautiful, successful, rising in the world, we meet the adult Lula Ann, who has erased the rest of her name and now calls herself by the mononym “Bride,” as she is unceremoniously dumped by her boyfriend, The One, Booker Starbern, who announces, “You’re not the woman I want,” before exiting to the percussive accompaniment of a slammed door. How this came to be, and Bride’s quest to figure out why it did, provide the foundation to which the rest of the narrative elements are added.

Bride has a bit of a tough go, as her appreciation for people and relationships is only skin deep. She tells of her Diet Coke-like sex life, “deceptively sweet minus nutrition.” She tries to blow off her dumping,

Well, anyway it was nothing like those double-page spreads in fashion magazines, you know, couples standing half-naked in surf, looking so fierce and downright mean, their sexuality like lightning and the sky going dark to show off the shine of their skin. I love those ads. But our affair didn’t even measure up to any old R-&-B song-some tune with a beat to generate fever.

but fails at that. In fact the departure of Booker sparks a physical demise for Bride, well, a magical-realist retreat that no one else seems to see, as she progressively devolves back to a child, losing her ear-piercings, pubic hair, weight, sense of taste, menstrual cycle and breasts.

description
Toni Morrison – from The LA Times

Bride’s erstwhile, and very secretive bf, Booker, has issues of his own. (He especially liked her lack of interest in his personal life.) Where Bride is totally focused on the surface of things, Booker, who plays jazz, hides behind his intellect, applying himself to the study of the root of all evil, but never really freeing himself to become an entire person. He carries a burden of rage from his childhood that keeps him from being his own person. Only if Bride and Booker can build themselves up to actual three dimensional people, by looking beyond their own skins to consider the feelings of others, can they have any hope of anything more from life than ephemeral pleasures. Only then can they truly connect.

Much of God Help the Child focuses on children, how they are treated, the long-term impact of that treatment, on themselves and on others. Childhood here is a particularly fraught state. Lula Ann (Bride) is almost shunned by her own mother, who won’t even allow her to call her “Mama,” insisting that she call her “Sweetness” instead, lest people on the street know for sure that someone that dark came from someone that light. As a child she witnesses an act of child abuse. Another character loses a relation to a child abuser, and encounters a school-yard flasher as an adult. Bride had falsely testified against an allegedly abusive teacher, done to gain at least some acceptance from her mother, so children are capable of inflicting harm as well as receiving it. Another child was prostituted by her mother, and a serial abuser, “the nicest man in the world,” is reported to have preyed on many. One might be inclined to wonder a bit at the Cabot Cove-like concentration of awfulness on display here, even if much of it is by reference.

Thematically, there is a lot in here about erasure, not only Bride’s Richard Matheson-reminiscent fairy tale reduction, some of it involving what appears to be a magic razor, Sweetness erasing Lula Ann as much as possible, Sofia, the convicted molester, doing her best to erase Bride from her life, as Bride had attempted to erase her guilt for what she had done, and it can be no accident that Bride is the designer of cosmetics, and even thinks about people in terms of how the right makeup can erase their flaws.

The pages are damp with mentions of precipitation. It rains on Bride the day after Booker leaves. Booker is rained on when he leaves a family gathering in a huff. A child of a prostitute is found while on the street in the rain, and rain moistens one of the most beautiful passages in the book, as Booker celebrates seeing his Galatea for the first time:

The sun still blazed so the raindrops falling from the baby-blue sky were like crystal breaking into specks of light on the pavement. He decided to play his trumpet alone in the rain anyway, knowing that no pedestrians would stop to listen; rather they closed umbrellas as they rushed down the stairs to the trains. Still in thrall to the sheer beauty of the girl he had seen, he put the trumpet to his lips. What emerged was music he had never played before. Low, muted tones held long, too long as the strains floated through drops of rain.

There are plenty more passages that ripple with poetic feeling. And there are some subsidiary characters who brighten up the scene. A fifty-something hippie couple seemed like magical forest dwellers, an epitome of innocence and goodness, with maybe a touch of Tom Bombadil and even Bjorn the Berserker. Booker’s aunt, Queen, is a delight, vivacious, colorful, and very interesting, worthy of an entire book just on her alone. The rescued daughter of a prostitute is fascinating as well.

God Help the Child is a rarity, in that it is a Toni Morrison novel set in the present. Her eleventh novel is a spare one, at 177 pages, similar in girth to Morrison’s previous novels, Home, which weighed in a very novella-like 147 pages and A Mercy, another slim volume, at 167 pages. Not that Morrison is given to producing tomes, but her books these days seem on the thin side. A larger frame might have allowed her a bit more space in which to give us a bit more. I am reminded, though, of Lincoln’s response when asked about the proper length of a man’s legs, he said “they ought to be long enough to reach from his body to the ground.” I expect that the proper size of a Toni Morrison story is the number of pages she needs to say what she has to say. She has said she is, “writing less in order to say more.” A little Toni Morrison goes a long way.

The author is in her 80s now. While God may have been asleep as the wheel when most of the children in this tale suffered what they suffered, maybe God can help the author, at something she is most definitely inclined to do, keep writing until her last breath, and help push that day far off into the future. In this way God will also be helping the reader .

You will need no assistance enjoying God Help the Child. While I would not rank it with her recognized classics, like Sula and Beloved, even a lesser Toni Morrison book is better than most of what is out there.

Review posted – August 7, 2015

Publication date – April 21, 2015

=======================================EXTRA STUFF

Morrison’s Facebook page

Interviews
GR interview by Catherine Elsworth
—Video interview at the 92nd Street Y
— NPR’s Fresh Air, with Terry Gross
The Paris Review – with Elissa Schappel

1 Comment

Filed under Fiction, Literary Fiction

Pretty Girls by Karin Slaughter

book cover

The world stops for you when you’re pretty. That’s why women spend billions on crap for their faces. Their whole life, they’re the center of attention. People want to be around them just because they’re attractive. Their jokes are funnier. Their lives are better.

Well, there might be some downsides. Pretty Girls is a white-knuckle thriller that will keep you turning the pages long after you should really have gone to sleep. Do not read this while on a train. You will miss your stop.

The story is told from three alternating perspectives. Claire Scott, newly free of that nasty ankle-monitor, has a pretty good life. 38, in great shape, no kids, a studly, attentive hubby who makes much more than a decent living, cool digs. What’s not to like? After a celebratory dinner out, Paul wants to do the nasty in an adjacent alley, way out of character, but, whatever. But sorry, no nookie for you guys. An armed, tattooed criminal element sort robs them. Things go too far and Paul winds up on the sidewalk, tinting the pavement with considerable quantities of red, and the game is afoot. What Claire discovers in going through her late mate’s computer files after the funeral will rock her world.

Lydia Delgado’s life is somewhat different. Single mother, 41, struggling to get by, alienated from most of her family, runs a dog grooming business. Her past would not look very nice on a resume. She’d hit rock bottom a while back and lived there for a spell, with a pick and shovel. But these days she is respectable. Owns a dog-grooming business. Met her pretty nice bf in a 12-step program. Her teenage daughter is a peach. Lydia is on the wrong side of pudge these days, with an addiction to the sort of culinary drugs that come in crinkly bags at supermarkets. Life’s a bitch and then you diet. Lydia used to be a looker. Not surprising, really. Her sisters were easy on the eyes too, but one vanished when she was 19, never to be seen again, and the other one just saw her husband get killed.

Sam is a determined sort, bulldog with a bone. He never believed the official cop line that his Julia had simply run away. So he dedicated his life to finding out what had really happened to his eldest daughter. It cost him his marriage, and maybe even more. We see the progress of Sam’s investigation through his journals, from the time when he was on this quest. Claire and Lydia’s adventure takes place today.

The two sisters join forces to continue searching for the truth about Julia’s disappearance, and must face the consequences of Claire learning some very disturbing secrets about her husband.

description
Karin Slaughter – from her FB pages

Karin Slaughter is not new to the best-seller lists, having sold more than 30 million copies of her crime books books in 32 languages. She was born in a small Georgia town and now lives in Atlanta, where Pretty Girls is set. Her books include six in the Grant County series and nine in the Will Trent series, set in Atlanta. She was working on another book entirely when the notion for this one occurred to her in dream, so she checked in with her publisher, put the planned book on the back burner and dove into this one.

There are several elements at work here. In a book of this sort, if you are not engaged by the characters, the rest does not much matter. Lydia certainly has had her troubles in the past, but she is pretty supportable now, finding her best self in this worst of times. Claire makes us wonder how she could have buried her head in the sand for so long, ignoring what look like warning signs to us. But in wondering, it is worth keeping in mind that we are all sand-dwellers, from the neck up at least. Maybe it is an innate and useful skill to be able to simply ignore warning signs of peril. If we recognize them then we might have to do something about them, which entails personal risk, of either physical or emotional harm. Most of the time most of us prefer to keep a lid on things. Thus we live to ignore another day. So it feels entirely credible that reasonable people can overlook behavior that might stand out to an external observer. Particularly in Claire’s case, as she has tried to keep her head down in most situations for most of her life. We can see her vulnerability, however cloaked it may have been, and can easily feel for her. In addition we see the characters develop over the course of the tale, Claire moving from passive to assertive and Lydia moving from nobody to a sort of anti-hero. Family dynamics plays a major part in the sisters’ struggle, both to find the truth and to find a way back to sisterhood across a very large distance. Check.

The story must be engaging. Will Claire and Lydia find out what really happened to their missing sister? Does Sam? Do we care? If you can’t empathize with this as a driving force, it must be because you are too busy torturing kittens. Check.

Pace must be maintained. Slaughter must have a metronome that is set for increasing tempo. Check.

The baddie must be truly scary, and up to some really awful stuff. You have no idea. Check

The hero/heroine(s) must face believable peril. Is it possible that one or more of our core three might come to harm of the terminal sort? You betcha. Check

A thriller is never without a bit of misdirection, a few fish-hooks hoisting red-herrings for us to consider. Yep. Get your scaling tools ready. Check.

And there is that old favorite, the twist. Let’s just say that Chubby Checker would be pleased. Check. Wait, what’s that? My advisors inform me that not everyone will appreciate my lame boomer refs, so, fine, whatever. For you kids out there, ok, rewind. Start over. Twists. Let’s just say that after reading this book, I was in need of a good neck brace. Ok? Sheesh.

Finally there is the issue of payload. That is the extra information one learns about the world in reading a work of fiction. I suppose there is a bit of that here. I have no idea if the awfulness that is depicted in Pretty Girls (aside from Paul’s questionable taste in décor and labeling) has a real-world basis. Although it does seem that if one can imagine a particularly grotesque form of depravity, there is probably someone, somewhere who is practicing it right now, and with so many folks on the planet, probably more than a few. So if the book is highlighting some actual form of human awfulness, then bad-a-bing. Check

Gripes. You knew there would have to be one or two. The title, Pretty Girls suggests that those on the 10 side of life are more at risk than those closer to the 1 end of things. The theme of prettiness is noted with frequency early on, in comments on the attractiveness of some and the unattractiveness of others. Slaughter seems interested in giving some serious thought to how people react to beauty and to how the beautiful react to the world. Certainly there is peril about for those blessed with pleasing countenances, whether it comes from a wicked witch or the ravages of time. She keeps up the mentions for a while, sometimes offering actual insight. But then it seems to fade, as if she had run out of things to say about prettiness, until it is brought back into the spotlight for a final bow or two. Like, oh, the title is Pretty Girls. I guess I should put something in here to give that some closure. It looked totally like an afterthought. I thought this could have been better handled, maybe spread out a bit more, maybe dig a bit more than skin deep. But that is a quibble. No one is going to read this book to get enlightened about beauty. My second gripe will have to be a bit clouded. I don’t want to spoil anything. I found the particular fixation of the baddie on the specific group that is targeted curious. Why did this person focus on these targets? I did not get that there was a particular reason why the baddie was so set on this particular subset of victims. Perhaps the significance of this is in the eye of the beholder? But no matter, really.

The bottom line here is that you will be ripping through this book, dying (well, almost) to see how things turn out. Pretty Girls is an outstanding thriller, a very engaging, entertaining, and disturbing read, and that is a beautiful thing.

Review posted – 7/31/15

Publication date – 9/29/15

=======================================EXTRA STUFF

Links to the author’s personal and FB pages

How serial killers choose their victims

The Advantages of Being Beautiful
8 Scientifically Proven Reasons Life Is Better If You’re Beautiful – by Dina Spector in Business Insider
—A Smithsonian article on
How Much is Being Attractive Worth
– by Abigail Tucker
10 Pleasures and Pains of Being Beautiful by Dr Jeremy Dean on PsyBlog

A lovely audio interview with the author by Steve White of Literary Week. The sound levels are off a bit, his volume being too loud relative to hers, but it’s worth putting up with.

==============================================SONGS

Offering a bit of further discomfort, after reading this book you might find some of these listens a bit disturbing

Pretty Woman – Roy Orbison and friends

Oh You Pretty Things – David Bowie

PYT (Pretty Young Thing) – Michael Jackson

You’re Beautiful – James Blunt

You are so Beautiful– Joe Cocker

And the all time best stalker theme song – Every Breath You Take – The Police

2 Comments

Filed under Fiction, Thriller

Go Set a Watchman by Harper Lee

book cover Atticus Finch as racist. There it is. Tough to swallow, isn’t it? Atticus Finch, the embodiment of decency, brought to life in To Kill a Mockingbird, widely considered one of the greatest novels in American literature, magnificently brought to cinematic life by Gregory Peck in the film, defender of the powerless, dispenser of wisdom, a hero to generations of readers and movie-goers, spouting opinions that do or should make most folks cringe. Here are a few samples:

…You realize that our Negro population is backward, don’t you? You will concede that? You realize the full implications of the word ‘backward’ don’t you?

…If the scales were tipped over, what would you have? The county won’t keep a full board of registrars, because if the Negro vote edged out the white you’d have Negroes in every county office—

…I’d like my state to be left alone to keep house without advice from the NAACP, which knows next to nothing about its business and cares less.

…do you want Negroes by the carload in our schools and churches and theaters? Do you want them in our world?

So what are we to make of this?

First, let’s step back from the this version versus that one controversy and consider the book on its own. Jean Louise Finch (JLF) is returning to her home town for the fifth time since moving from Maycomb, Alabama to New York City. She sees the place where she grew up more clearly this time than she ever had before. She professes, based on her experience of having been brought up with exposure to all sorts, and having never been overtly taught to be a racist, to be someone who is color blind. That makes her unique in Maycomb, as everyone else has been very much aware of color all their lives. What comes as the biggest shock for JLF is seeing that her sainted father, a man everybody loves, and other people she cares for, despite their positive qualities, hold views that are shocking. JLF struggles to come to terms with this realization. The crux of the story is how she deals with this. While she is already physically an adult, Jean Louise must cope with coming-of-age truths. She realizes that when it comes to her appreciation for the people of Maycomb, dad included, she has been, as Jem describes in Mockingbird, “a caterpillar wrapped in a cocoon.” The watchman of the title is taken from a biblical quotation, (Isaiah 21:6), and refers to conscience. JLF tries to reconcile her conscience with what she now sees, and realizes had been present all along. She is anguished by her internal conflict. With amazing memories of her childhood in this town, it is a huge part of who she is. In facing the possibility of rejecting her father and the place in which she became the person she is, she is faced with rejecting a part of herself and that is the core conflict of the story.

description
Harper Lee – from Smithsonian.com

Set in a time when Brown vs the Board of Education had recently and unalterably changed the legal and social landscape, many in the South perceived changes mandated by that decision as nothing less than another war of northern aggression. One of the biggest strengths of the book is how it communicates the locals’ feelings about and arguments against Civil Rights, and particularly the activities of the NAACP. There is real insight here into the local psyche, from a true local. Another strength of the book is the clear voice of JLF, Scout as a kid, particularly in her recollections of a glowing childhood. The voice of Scout will take you by the hand and lead you through. It is the same voice that appears in Mockingbird, warm, familiar and welcome. I enjoyed JLF’s relationship with her uncle Jack, a character absent from Mockingbird. Jack offers a perspective that is definitely homegrown, but is also decorated with the baubles and gewgaws of an advanced education and unusual interests. The affection between JLF and Jack is palpable. Her interaction with Henry, a friend since childhood, was kludgy. There are moments of real connection between the JLF and the young man who wants to marry her, but so much of their conversation is peppered with excessive use of “honey” and “sweet” that it was distracting from the content of the interaction. It felt forced. The scenes in which JLF confronts Atticus are powerful and even upsetting, but she lays into him without even asking what was up. I do recognize that many people, and particularly the young, jump to conclusions, but I wondered whether Scout, who is portrayed as a pretty bright person, would really be so close minded as to form an opinion, particularly so strong an opinion, based on unexamined evidence.

There is also some wonderful, and playful use of language, although the content reflects some of the very not 2015-politically-correct zeitgeist of the era. There are also beautiful passages that reflect the attachment Harper Lee, through her avatar, feels to her native soil.

The political views on display are appalling, paternalistic, racist, sexist, homophobic, and do reflect the attitudes of the time and place depicted, I expect. But it galls to have characters portray their dark views as accepted wisdom and have far too much of that accepted by a character who should know better.

In short, as a stand-alone there is much to like here, including some strong characters, a wonderful feel for place and a willingness to take on serious and controversial subject matter, but there are plenty of flaws as well. Go Set a Watchman is no classic.

Of course Go Set a Watchman would not have become the literary event of 2015 had it not shared DNA with a novel widely regarded as one of the best American novels ever written, To Kill a Mockingbird. And just in case you are newly arrived on our planet, perhaps are recently thawed out from an extended cryogenic holiday, or have just come to after a nasty crack on the head in 1960, Mockingbird recounts, through the eyes of the grown-up Scout, a time when she was six years old and her father, Atticus Finch, was called on to defend a black man accused of raping a white woman. It offers a view of a golden childhood and a principled father taking on the bigotry of a deep South town in service of justice and decency. If you have not yet read it, go, scoot, scram, take a hike, go find a copy, and come back when you are done.

Ok, read it? Good. There has certainly been a lively reaction to Go Set a Watchman. Would that reaction have been different if there had never been a Mockingbird baseline against which to compare this version of Atticus? That is something we can never know. But it is helpful to think of To Kill a Mockingbird as the second and final version of Nelle Harper Lee’s (Yes, Harper is her middle name) seminal novel. Go Set a Watchman was Mockingbird 1.0. Harper Lee sold her book to the publisher JB Lippincott in 1957. But it was deemed not ready for prime time. I do not know the specifics of what editorial direction Lee was given by her editor, Tay Hohoff, other than to focus on the time of Jean Louise’s childhood. Racism is taken on very powerfully in 1.0. There is less telling and more showing in Mockingbird. The childhood recollections here, while wonderful, do not occupy as much of the stage as they do in version 2.0, but you can certainly see how an editor might laser in on those as strengths to magnify when trying to improve the book. And if one is then going to re-set the primary stage to the time of Scout’s childhood, it makes sense to make Atticus more purely heroic. In fact Mockingbird was intended to have been titled Atticus.

There is danger, of course, that this original depiction of Atticus will forever tarnish the gleaming ideal of a man we admire so from Mockingbird. Why splash racist graffiti over a cherished icon? Actually the racist element was there from the start, in this 1.0 version. It is instructive to see how Atticus evolved in the writer’s molding from the crusty first version to the graceful, fine character that illuminates Lee’s ultimate masterpiece.

There is no need to overstate Atticus’s racism in Watchman. In reviews and commentary some elements have been taken out of context and misrepresented. The KKK thing, for example. Atticus states that his purpose in joining was to find out who was behind the masks, not to further the organization’s agenda. Another item pertains to a racist screed handed out by a lunatic and found by JLF in her father’s home. Atticus agrees that the author is a nut, and that he had been granted the right to speak at the town council, as any other nut might have. Atticus does not subscribe to the views in the pamphlet. He subscribes to enough, though, to cause all who know where his character ends up in version 2.0, to take a large step back. You can get a taste of that in the quotes at the top of this review. It continues on, with nastiness about the NAACP, legalistic hogwash about SCOTUS violating the 10th Amendment, a general sense of feeling under assault by outside forces, and a paternalistic notion that all would be just fine if those northern rabble-rousers would just let Negro advancement proceed at a more measured pace. This is crucial, I believe, to one of the strengths of Watchman. While the views held by the residents of Maycomb, as represented by Atticus, Henry and others, may not receive a universal welcome in 2015, I believe they do fairly represent the beliefs of most educated southern whites during this era. The book might have been instructive to northerners, had it been released in its original form, as to the nature of the strident opposition the civil rights movement faced. As such, Watchman offers a valuable guide to a time and place, where even folks most at the time would consider pretty decent, like Atticus, maintained views that, while they remain widespread among some segments of our population today, are now generally seen as abhorrent.

There are other interesting elements that come from a consideration of the novels set side by side. What remains? What is lost? The courthouse where Scout watches Atticus heroically defend Tom Robinson in Mockingbird is a real place in Monroeville, Alabama, Lee’s birthplace. In Watchman it is a scene of horror as Jean Louise sees a racist propound his views in a public forum in which her father and friend are principal players. Calpurnia, the Finch housekeeper in Mockingbird plays a major role in Watchman as well. In one particularly chilling scene, Jean Louise, who had seen Cal as a nurturing force her entire life, now wonders if Cal ever really cared for her or, instead, saw her only through a racial lens. Dill, her avatar for childhood pal Truman Capote, is present in both novels, but Boo Radley was added in Mockingbird. Henry is gone from Mockingbird. JLF’s brother, Jem, a major character in Mockingbird, is much less of a presence in Watchman.

Go Set a Watchman may occupy a place in the shadow of what was to come, but it does offer insight into the author, her take on the world in the late 1950s, and into her characters. As a blood relation to one of the greatest books in American literature, it is most definitely worth reading.

Published – 7/14/15
Review – 7/24/15

=============================EXTRA STUFF

Harpercollins has made a FaceBook page for GSaW

Robert McCrum’s review in The Guardian is quite informative – Go Set a Watchman by Harper Lee review – a literary curiosity

A Charles Leerhsen article in the June 2010 Smithsonian is also worth a look – Harper Lee’s Novel Achievement

A nice bit of extra intel on Tay Hohoff, Lee’s editor in this article by Emma Cueto on Bustle.com, Harper Lee’s First Editor, Tay Hohoff, Had A Lot To Do With Creating ‘To Kill A Mockingbird’, So Here’s What You Should Know About Her
</a>

Leave a comment

Filed under Fiction, Historical Fiction, Literary Fiction

Life After Life by Kate Atkinson

book cover

“Don’t you wonder sometimes,” Ursula said. “If just one small thing had been changed, in the past, I mean. If Hitler had died at birth, or if someone had kidnapped him as a baby and brought him up in—I don’t know, say, a Quaker household—surely things would be different.”

Kate Atkinson, author of eight previous novels, including four Jackson Brodie crime books, has come up with a nifty notion for a story. Kill off your heroine, early and often, while offering a look at the history of England from 1910 to the 1960s. I would love to tell you more but an SUV appears to have run a red light at the corner, had a too close encounter with a very large truck and seems to be heading into this café…Gotta go. Damn!

Now, where were we, a review? Yes, I seem to recall something about that. More of a feeling really. So, England, 20th century, perils of Pauline, well in this case Ursula, little bear, of Fox Corner, the manse of a well-to-do sort, not Downton rich, but, you know, comfortable. She has a prat of an older brother and a decent elder sis, with a couple of brothers arriving later.

description
Kate Atkinson – from The Telegraph

Life is full of decision points. Walk this way, survive, walk that way and splat. It begins early with Ursula, who is offed before her first breath the first time around. She gets a better deal on the next go, managing to remain with us into childhood, and so on. The structure seems to employ the backstitch a fair bit, starting Ursula up a few chronological paces before the deadly decision point. She seems to be born again more than an entire congregation of fundamentalist Christians, or, maybe more likely a band of Buddhists, as she seems to pick up a bit of wisdom, a bit of strength with each reincarnation. I counted 15 passings-on, but sure, I could have missed one or two. The lady must have G. Reaper on her autodial. What if I had done this instead of that? How might that have changed the outcomes? One can imagine the fun, and challenge an author experiences. Taking her main character, and plenty of secondary characters as well, in one direction then another, then another. It must mimic, to a degree, the authorial process. What if I do this to Ursula? What might happen? What if I point her in a different direction? And as for stuff happening, while it is usually pretty calm here, writing while on a bench in Prospect Park, I must admit I have never seen tentacles that size emerging from anywhere let alone the very modest Park Lake. The slurping sounds are getting rather loud. That sumbitch is faster than he looks…Gotta go. Damn!

So, I felt like sitting with some coffee but the local café just seemed, I don’t know, not what I wanted. Then I considered maybe heading over to the park to work on a review, but it looks like it might rain, so I think I’ll stick at home for now. Of course the desktop has been a bit dodgy of late, but no big whup. I will dip into the special Kona stash, brew up a nice cuppa and set to, shoes off, no shirt. Maybe a nice bagel with butter and strawberry preserves. Yummm! Review, yes, Atkinson, Ursula, do-overs. Oh yeah, it does call to mind a bit of Groundhog Day, although Phil the Weatherman knew early on that he was coming back each time. Not Ursula, although as time goes on she does develop a bit of a sixth sense about some things. And the other major difference here is that Life After Life takes on some heftier purpose than Phil getting the girl and becoming a better person. Ursula is faced with some immediate challenges, like evading a rapist, a girl-killer, those annoying Nazi bombs during the blitz, not falling out windows, you know, stuff. But she also must contend with moral choices, and larger scale. Not only figuring out what the right thing is to do and then deciding, for her life, but thinking about how events affect other people, the nation, maybe the world. What sort of life does she want to lead? How can she help the most people? What sort of person does she want to be? Can she make an impact beyond her immediate concerns? And within that context, others face similar choices. Ursula is not the only one with multiple exit scenes. There are plenty in the chorus of secondary characters who come and go, or should that be go and come back in varying iterations. What if so-and-so did A this time and B the next? How might that change things? This is part of the fun of the book. Not all the decisions are of the life-threatening variety, but they can seriously impact one’s life, other lives as well. Excuse me a moment, Nala, sweetie, off the desk please. I will be happy to scratch you. No, do not rub up against my coffee cup. Nala, DOWN, NOW! Too late, brown milky liquid splatters from the cup on the desk, rushing over the top of the desktop tower, which is sitting on the floor between desk and couch. I get up to fetch some paper towels. Nala’s tail is vertical as she scampers from the room. Maybe I should have worn slippers. I step away from the desk chair, contact enough wet to matter, and only feel it for moment when my body hair begins to ignite and my heart goes into highly charged spasms. I hear the beginning of a scream and then….sonuva..!

Seems a lovely morning for some reviewing. Rainy out? Well, not yet, but you can feel it coming. So, open a few windows. Sit at the desk. Well. Maybe not. Might be a bit too much breeze there. Maybe the couch for a change. Yeah, book, they killed Kenny. You bastards! England. Ursula. War.

I’d always meant it to be very focused on the Second World War, and I don’t know what I was thinking when I decided to start in 1910, to get her born…I think that’s when the coming back again and again kicked in. And I was, on, oh, page 250 of the manuscript and still in the 1920s. I kept saying to people, “Yeah it’s a book about the war!” and then I’d think, it’s not a book about the war. I hadn’t realized how much I would get entangled in 1910-1939 as opposed to 1939-1945. – from Chatelaine interview

There have certainly been some wonderful novels in the last few years that play with structure. A Visit from the Goon Squad is one of the more dramatic of that sort. The rise of the novel comprised of linked stories has seen a boom in popularity. This year’s Welcome to Braggsville takes some chances with form as well. And so it is with Life After Life. While the notion of reincarnation is hardly new in fiction, how it is handled here is far beyond what we have seen before, a real risk-taking. And so effective.

Ursula is a very engaging character. Each time she comes back, you want her to stick around. And even when she makes bad choices you will be rooting for her to fix those in the next round. Her sister Pamela seems as decent a sort as their brother Maurice seems insufferable, maybe a bit too insufferable. We get to see dimensions to Atkinson’s characters over the many iterations, learn something new about them, sometimes surprisingly so. I found it to be entirely engaging, and was always sad with Ursula went dark yet again. The book opens with her taking aim at the worst baddie of the 20th century and you will keep hoping she finds her way back to that place and completes the mission. Will she?

One of the most riveting and memorable elements in Life After Life is the description of London during the Blitz, on the ground, you-are-there, offering considerable nightmare material, and making it clear just how hardy the survivors must have been, and how fragile the hold on life, whichever iteration a person is in. The best part of the book, for me.

There are many uses of animal references here. Ursula means little bear, The family name, Todd, means Fox. A group of Nazi wives is referred to as a wolf pack. Actual foxes move in and out of the story, residents of Fox Corner, the Todd family home. A German is named Fuchs which also means fox. There are more. A warden during the Blitz is named Woolf. At one point, Atkinson offers a wink and a nod to readers as her characters discuss time travel questions. There is much consideration here of the role and rights of women in the first half of the 20th century, and the changes in mores that marked the era. The difference between love and gratitude when considering marriage is considered. The effect of World War I on the nation is noted as well, the loss of a generation of men in the war, and the loss of vast numbers from both genders from the Spanish flu. While florid passages do not characterize the novel, there are some wonderful descriptions. One of my favorites regards the night sky during the Blitz

“It’s almost like a painting, isn’t it?” Miss Woolf said.
“Of the Apocalypse maybe,” Ursula said. Against the backdrop of black night the fires that had been started burned in a huge variety of colors—scarlet and gold and orange, indigo and a sickly lemon. Occasionally vivid greens and blues would shoot up where something chemical had caught fire. Orange flames and thick black smoke roiled out of a warehouse…”
“It’s spectacular, isn’t it? Savage and strangely magnificent.

Yes it is.

Now that the task is done, I think I will bring in a glass of juice and have some of these lovely hard sourdough pretzels. Maybe catch something from the DVR. Always loved these pretzels, except, of course, when bits get stuck going down. Sometimes large bits, uh oh, a very large bit…trying to self-Heimlich, but no go, hitting my head on the edge of the coffee table as I stumble and fall while trying to stand up. Maybe if I can get some liquid in there it will soften it, but the noggin-knock and the inability to get any air makes decision-making a tough go. Damn!

Published – 5/2/13

Review Posted – 7/17/15

=======================================EXTRA STUFF

Links to the author’s personal and FB pages

Interviews
—–Chatelaine by Alex Laws – this is a two-parter. The link to the second part is at the bottom of this one.

—–NPR – with Scott Simon

—–The Sydney Morning Herald by Linda Morris

Leave a comment

Filed under England, Fantasy, Historical Fiction, Literary Fiction

The Girl on the Train by Paula Hawkins

book coverI read this one out of curiosity. Aware that it had been a huge market success, I wondered if it merited the sales. According to Riverhead, The Girl on the Train is, or was, the fastest-selling adult hardcover fiction debut ever. And that is a shame. With so many great books being published every year that do little or no business, for this one to have secured a first class ticket on the book-sales express can only be dispiriting to the good and great writers everywhere toiling away in third class on the oft-delayed local.

I do not mean to say that The Girl… is a bad book. Although I believe it to be seriously flawed, it is most definitely entertaining and will no doubt help hundreds of thousands of readers while away a few hours of their (our) lives, getting from this station to that. But if you want a psychological thriller that doesn’t disregard red signals you would do better to book a seat elsewhere.

description
Paula Hawkins

Rachel Watson has had a tough go of it. When her hopes of having a baby with hubby Tom did not work out, she landed in a trough of post-hope depression, and self-medicated with a steady flow of what seemed happier spirits. It did not work out. Now, divorced and unemployed as a result of her drinking, growing larger and pastier by the day, Rachel rides the commuter train to London on weekday mornings, pretending she is still working, pretending she still has a life. The ride takes her past her old neighborhood, offering a nice, mood dampening view of a stretch of railroad-edge homes. She used to live in one of those, before her ex bought out her interest. A few places away from her former home there is a couple she sees most days. She imagines lives for them, nursing this fantasy for quite some time, until she learns that the woman has vanished, and the game is afoot.

The notion for the story occurred to Hawkins on her regular train ride in London some years back. She calls it “Rear-Window-ish,” noting that it is hardly unusual for train riders to be curious about the lives being lived in the houses they pass, and just as likely for those on the ground to wonder about those passing by.

I used to go to college on the District line,” she said. “It goes very, very slowly and you can look into people’s houses. I did idly wonder about what you would do if you saw an act of violence or something suspicious. It’s quite normal, everyone is curious about other people’s lives.” – from an article in the Standard

This irregular Watson will not make anyone forget the investigative Doctor, let alone his illustrious partner, but Rachel feels compelled to find out whatever she can, using the knowledge she has gleaned from her daily observations. We expect our investigators these days to be a bit down on their luck, and to throw back maybe more than their share of amber liquid. But Rachel Watson doesn’t have a drinking problem, she has a drinking catastrophe. How is she to figure out whither the missing lady has gone, or perhaps who made her go missing, how is she to judge whether the lady’s anger-management-challenged husband, the other man she saw at her place, or someone else might be somehow involved, if her drinking causes her to have more blackouts than London during the blitz.

The tale is told in staggered chronology, from three perspectives. Rachel’s, the missing person’s, and Anna’s, she being the woman with whom Rachel’s ex cheated while he was still with Rachel, and whom he subsequently married. Or she said, she said, and then she said. The timelines converge at the end. Most sections are divided into sub headings of morning, evening, afternoon, that sort. It makes for many short passages, good, appropriately, for reading on a train.

description
This is an example of the S stock used on the District line Hawkins once rode

The pace of the tale is quick, clickety-clacking along without exceeding posted limits, advancing nicely to the big climax. Truthfulness comes in for some attention, as it seems everyone has something to hide. If you are looking for likeable characters, you might try the Hogwarts Express. The folks here tote enough baggage to merit their own cars. I suppose Rachel is sympathetic, but seems almost as much an agent of her misery as a victim. Making her pathetic and annoying was, I expect, a way to make her real, make her sympathetic, and that works, to a point.

Will Rachel find out what happened with the missing woman? Will her ex take out an order of protection against her, as she keeps calling and showing up at his place? Is the missing person merely missing? or worse? Can Rachel stay sober long enough to figure anything out? You might very well care. Clearly, judging by sales, many do. But, while I did, a little, I felt pushed away by this book. I felt cheated, as an actual audience member, as if riding on a disoriented express. I do understand that the unreliable narrator is simply a story-telling mechanism and that Rachel falls into the Madman classification within that, but when she changes her story about a significant piece of information the story went off the rails for me. So, while there is plenty to enjoy about The Girl on the Train, while there is plenty of tension-release-repeat, and while many readers are bound to be transported by the story, relating to or rooting for one or more characters at least some of the time, the one thing a reader demands from an author is honesty, and when trust is lost so is the benefit of the several hours we spend together. The locomotive was transformed, for me, into a hand-car trapped in a siding. It’s elementary.

Review posted – 7/10/15

Publication date – 1/13/15

=======================================EXTRA STUFF

While this may be the first novel by Paula Hawkins, it is not the first novel that Paula Hawkins wrote, or published. She got work writing chick-lit under the name Amy Silver, an experience that she says was great training. Hawkins, born and raised in Zimbabwe, was 17 when her family moved to London. She had wanted to be a foreign correspondent like her father, but decided that war zones were just too scary. Check the Guardian piece if you are interested in getting more info on the author.

Links to the author’s personal, Twitter, Twitter as Amy Silver, and FB pages

Excellent intel in this piece in The Guardian

Here is the article from the Standard cited in the review, ‘My District line commute inspired bestselling thriller,’ says London author Paula Hawkins ,

An interview with the author in Entertainment Weekly The Girl on the Train author Paula Hawkins talks about her next thriller, by Clark Collis

A few great train reads. Now don’t bug me about the brevity of this. I know there are only a gazillion. Do feel free, however to add your favorite train books in the comments. I will be happy to add those to this list if you like. I have not gotten around to installing links for all of these, but I expect you guys can manage

4.50 from Paddington by Agatha Christie’s
Murder on the Orient Express by AC
Closely Watched Trains by Bohumil Hrabal, Edith Pargeter
The Great Train Robbery by Michael Crichton
The Great Railway Bazaar by Paul Theroux, or several other train books by this author
Strangers on a Train by Patricia Highsmith
A Train in Winter by Caroline Moorehead – recommended for inclusion by Dianne

Not to be outdone, train tunes

Casey Jones – this version by Allan Hirsch
Folsom Prison Blues (I hear that train a’comin) – Johnny Cash
I’ve Been Working on the Railroad – Pete Seeger
Last Train to Clarkesville – The Monkees
Last Train to Lhasa – Banco de Gaia – recommended by Rand
Locomotive Breath – Jethro Tull – the vid is cadged together, but this is what it should sound like
Midnight Train to Georgia – Gladys Knight
MTA – The Kingston Trio
Take the A-Train – Duke Ellington
The Train Song – a bit of silliness from Armstrong and Miller

Leave a comment

Filed under Fiction

Dead Wake by Erik Larson

book cover

The track lingered on the surface like a long pale scar. In maritime vernacular, the trail of fading disturbance, whether from ship or torpedo, was called a “dead wake.”

On May 7, 1914, only a few years after that most famous of ocean-liners had had an unfortunate encounter with an iceberg on its maiden voyage, RMS Lusitania, popularly referred to as “Lucy,” having already crossed the Atlantic dozens of times, this time carrying 1,962 souls, was sunk by a German U-boat off the Irish coast. Almost 1200 people perished. Erik Larson casts his perceptive eyes on the event, looking for explanations. Why was the ship sunk? Had it been possible for the ship to have avoided its fate? What were the global circumstances at the time and how did those effect the disaster? Who and what was on the ship? Why? What was the big deal about the Lusitania? Other ships had been sunk by U-boats during this conflict. How did the sinking of the Lusitania affect American entry into The Great War?

description
The New York Times headline – From PBS

We all have preconceptions, notions that hardly seem worth examining. I expect for most of us, the details of the sinking of the Lusitania are clouded by the fog of time. We might believe that, as with the sinking of the USS Maine in Cuba, the national response was immediate and violent. Turns out the reality was far different.

description
Artist rendering of the sinking – from Cinewiki.wikispaces.com

Larson looks at events in several threads. Mostly he follows the events on the Lusitania and on the German sub (U-20 – U-boat is an abbreviation of Unterseeboot, or undersea boat) that would bring it down. In parallel, he looks at the politics involved in, not so much the causes of World War I, but in the stages between the commencement of hostilities and the eventual drawing of the USA into the war. He looks at the milieu in which American president Woodrow Wilson existed, politically and personally. He looks at the people involved in making tactical decisions, and at a special, secret intelligence gathering location in the UK. He stops, also, for a look at the sad accumulation of the victims in Ireland.

Larson offers a view of the Lusitania that might not be obvious to those of us looking back a hundred years. We might, for example, think of it as a relatively slow moving ocean liner, but it was the fastest civilian ship of its time. Its exceptional speed was a major selling point. There is plenty more detail about the ship, the different sorts of lifeboats, with their potential benefits and downsides, the unusual hull it used. Lucy carried a relatively inexperienced crew, due to so many able-bodied seamen having been drawn into the military. New, unusual life vests were used on the ship, and training in their use was lacking, as was training in using the lifeboats.

descriptiondescription
The sinking was used for recruiting – in Britain and the USA

On the other side, it is remarkable how fragile U-boats were, and the limitations they faced in pursuing their mission. Larson offers us a look aboard the sub that did the deed, captain’s log and all. How fast were these boats? What was their range? What was their mission, their command structure? What was the physical environment like for submariners? What could they not do? Where could they not go? How did they keep in touch with their land-based command? What were their orders? What was the mindset of the captain, of his crew? Lots to look at here, eye-opening stuff. Don’t sign me up for life on a sub.

description
The wrecked U-20 after a failed attempt to scuttle – from Lusitania.net

And of course there was the interaction between militaries. How did the allies cope with the very effective plague the U-boats presented? Could they track them? If so, how did they track them? What were the capabilities of the super-secret Room 40? What was the decision process the German command used in deciding how to use this powerful weapon?

description
Room 40 – from Lusitania.net

One thing Larson does is follow the narrative of several of the passengers aboard the big boat. This brings the disaster away from technical details to actual human experience. You will get to know some of the passengers, and learn their fates.

There is a wealth of information in Dead Wake. For example, the biggest surprise for most readers, and perhaps the most controversial element in the book is the suggestion that Britain did not exactly do all it might have to protect Lucy from enemy attack, as there were some at the highest levels of government who believed that such an event might hasten the enlistment of the USA into the war. There were other factors for sure that contributed to why Lucy was where she was when she was, but most of those lack the bitter flavor of dark calculation. And maintaining the sour taste is a description of how shameless members of the admiralty sought to evade personal responsibility for the sinking by pointing fingers at a designated patsy. Despite the denials all around that the Lusitania was purely a civilian ship, the fact was that it was carrying a considerable supply of military materiel for use against Germany. Lucy would most definitely have had some ‘splaining to do’ had it been known that supposedly neutral America was using her as a military transport to support the Allies.

description
Erik Larson – from New Hampshire Public Radio

There is plenty of drama to go around here. Even though we know what will happen, Larson succeeds in instilling tension into the coming together of Lucy with her killer. The descriptions of life aboard the sub are compelling; information about the physical realities of the Lusitania is fascinating, and looking at the probable decision-making involved is enraging.

This is not to say that there are no rents in the hull taking on a bit of the briny. While it seemed clear that tracking individual passengers was intended to take the story from an emotionally removed overview down a bit closer to sea level, I found that most of these passages were not all that engaging. It also seemed not entirely clear that Woodrow Wilson’s domestic situation was necessarily all that important in his reluctance to bring the USA into the war.

On the other hand there are bits that are depressingly resonant with more contemporary outrages, as left hands not keeping right hands informed of their actions contributed to the ultimate catastrophe. Information that could have identified a sub in a shipping lane was available, but was not put together in time. Very reminiscent of 9/11. Our species certainly seems well practiced in learning nothing from history. One contributing factor was a corporate cost-cutting measure that kept Lucy from making her best time across the Atlantic. Had she been allowed to use all four of her boilers instead of only three, she would never have encountered U-20. The Deepwater Horizon disaster, and many more such incidents remind us that pursuit of the almighty dollar/pound/euro/(insert your currency here) will always be assigned a higher value than human life or the safety of the environment for many of the people making such decisions.

descriptiondescription
President Wilson and First Lord of the Admiralty Winston Churchill

Germany actually posted newspaper notices in American newspapers, before the Lusitania set sail from New York City, that all ships entering what was considered a war zone were at risk of being sunk. It would not be the last time clear messages of intent from Germany would be ignored to our everlasting regret.

description

Dead Wake is a wonderful piece of writing, not only diving down into details of what is probably a murky subject for most of us, offering a greater understanding of the physical event, but providing a context within which we can achieve a greater understanding of the causes and implications of the sinking of the RMS Lusitania. As a bit of historical reporting is it definitely a case of “Damn the torpedoes, full speed ahead.”

Review posted – 7/3/15

Publication date – 3/10/15

=======================================EXTRA STUFF

Links to the author’s personal, Twitter and FB pages

Lusitania Online is a wonderful source for all things Lucy

Video from the National Archives of passengers arriving and Lucy embarking on its final voyage- the first 1:50 is mostly people getting out of cars, so feel free to skip ahead a bit

A 1918 animation of the sinking

Arthur Conan Doyle’s story Danger! was written about 18 months before the outbreak of WWI. It anticipated in considerable detail the submarine warfare to come. You can read it on Gutenberg. In the preface to the 1918 collection in which it appears, Doyle noted that he attempted to present his notions to the government, noting that he:

…did indeed adopt every possible method, that he personally approached leading naval men and powerful editors, that he sent three separate minutes upon the danger to various public bodies, notably to the Committee for National Defence, and that he touched upon the matter in an article in The Fortnightly Review. In some unfortunate way subjects of national welfare are in this country continually subordinated to party politics, so that a self-evident proposition, such as the danger of a nation being fed from without, is waved aside and ignored, because it will not fit in with some general political shibboleth.

If this reminds you at all of Bill Clinton and Richard Clarke trying to warn the incoming Bush administration of the danger presented by Osama bin Laden, it should.

Leave a comment

Filed under History, Non-fiction

Our Souls at Night by Kent Haruf

book cover

And then there was the day when Addie Moore made a call on Louis Waters.

Louis and Addie are both getting on, in their 70s, Louis having lost his wife a year back, Addie a widow for some time. Both are lonely and could do with some company. While they have known each other for a long time, they have never been close. Acquaintances more than friends. Until Addie suggests that it would be a great help, given her trouble sleeping, if Louis would consent to sleep with her, not hide-the-salami sleep together, but sleep, and talk, in the same bed, overnight, companionship. Louis decides to give it a try.

Addie and Louis slowly begin to share their histories. The biddies of Holt, male and female, are taken aback, of course, at the presumed impropriety, as if, once elderly and alone, it was somehow sinful to still want to have a life. There are scenes in which they each are put on the spot and made to defend themselves to snickering locals about their arrangement. Feel free to cheer. Fueling his unhappiness with permanent rage about his childhood, Addie’s son, Gene, in particular, cannot tolerate his mother and Louis being together, projecting into it his fantasy that Louis is in the relationship to somehow swindle Addie out of her money. Problems ensue.

book cover

Kent Haruf – 1943-2014

A consistent focus in Haruf’s novels is the unconventional family, whether of elderly brothers taking in a pregnant girl, or grandparents taking care of an eight-year old. Well, that may not be all that unconventional these days, but it still ain’t Ozzie and Harriet. In this one, Addie’s son, Gene, has his hands full with problems at home, so sends his son, Jamie, to stay with Addie for a stretch of summer. Addie, Louis and Jamie form a very close relationship. There are moving sequences of outings and bonding moments that exude love and comfort, a contrast to the difficult relationships experienced between closer blood relations and spouses. Another Haruf concern is loneliness, at all ages. It is not only the raison d’etre of Louis and Addie’s arrangement, but is considered in relation to their former marital relationships. The loneliness of others comes in for some attention as well. Connections from generation to generation are considered. There are causes and effects, but life carries on. Haruf said, in relation to Benediction
in the very next house, there is this 8-year-old girl who is the representative of hope and promise and youth and joy. And so what I am wanting people to feel is that the beginning and the ending in all of our lives are set side-by-side. They are not distinct from one another.

The same could very well be applied here, connecting the lives of folks at both ends of their mortality. Haruf had been hoping to get to the January 2015 premier of the Denver Center production of a theater version of his novel Benediction.

The cast is much reduced in Our Souls at Night relative to that of his prior novels. The focus is on the two main characters, with Jamie in a large supporting role, and remains there for the entirety. Of course their history brings in other players, but most remain off-stage or pop by for cameos. Addie and Louis tell their stories to each other each in bed at night. It is a simple and effective mechanism for looking at two lives, their effect on others and others’ effects on them. Haruf used spare language, this, then that. If his writing were a font, it would be sans serif. And he is a master of showing instead of telling. After a rage-inducing encounter, At home he went out to the garden and hoed for an hour, hard, almost violently…. After a difficult scene, Haruf does not tell us how Louis feels. There was a woman on the elevator, she looked at his face once and looked away.

His symbolism is also simple, and effective. The title refers not only to the time of day when Louis and Addie share their lives. It reminds us that time is short. A discussion about a nest of baby mice speaks to unpredictability.

In an interview Haruf did with John Moore for The Denver Center, he talks about his use of references to his own work in the novel:

Kent Haruf: … I will tell you there is a reference to the play Benediction in this new book. It’s something these two old people have a little comment about.

John Moore: That’s part of the fun of reading of your stories. Even in Benediction, which features all new characters, there are those small references that reward those people who have been with you from the beginning.

Kent Haruf: It does. And it was a chance for me to have a little fun. Exactly as you say, people who know these other stories will immediately recognize what I am talking about.

He sets his tale in Holt, Colorado, a place that will be familiar to readers of his earlier work. In another meta moment, his characters refer to the location in reference to seeing a play of a Kent Haruf story! (not Benediction) as a way of letting readers know about his usual locale

he took the physical details from Holt, the place names of the streets and what the country looks like and the location of things, but it’s not this town. And it’s not anybody in this town. All that’s made up.

Well, of course Holt is fictitious but Haruf is making sure readers do not assign the place entirely to a single real location. I guess he wanted to clear that up before he left us.

as a writer, I want to be thought of as somebody who had a very small talent but worked as best he could at using that talent. I want to think that I have written as close to the bone as I could. By that I mean that I was trying to get down to the fundamental, irreducible structure of life, and of our lives with one another. – from the Denver Center interview

I would disagree about the dimensions of his talent, but there is no question that Kent Haruf has offered the readers a world-view that may be bare bones in its form, but which is glorious in its realization.

Our Souls at Night, his sixth novel, is the last book we will ever have from Kent Haruf. It is hopeful without being saccharine. Sharing love as darkness approaches may be one of love’s highest forms, offering no short term trade for a probably unrealistic long-term promise. It makes the sharing sweeter, in a way. I got the sense, without digging into specifics, that one thing Haruf was doing here was stopping off at some favorite spots in Holt for a final goodbye. Holt will remain available for generations of readers. Haruf passed away in November, 2014 at the age of 71. He will be missed.

Review posted – 6/26/15
Publication date – 5/16/15

=======================================EXTRA STUFF

Here is the complete Denver Center interview

In an interview with Robert Birnbaum for the Identity Theory site,

In the Reader’s Guide of Random House’s page for the book, Haruf talks about how he worked:

The idea for the book has been floating around in my mind for quite a while. Now that I know I have, you know—a limited time—it was important to me to try to make good use of that time. So I went out there every day. Typically, I have always had a story pretty well plotted out before I start writing. This time I knew generally where the story was going, but I didn’t know very many of the details. So as it happened, I went out every day trusting myself to be able to add to the story each day. So I essentially wrote a new short chapter of the book every day. I’ve never had that experience before. I don’t want to get too fancy about it, but it was like something else was working to help me get this done. Call it a muse or spiritual guidance, I don’t know. All I know is that the trust I had in being able to write every day was helpful.”

There is more info to be had on Haruf from wikipedia and Barnes and Noble

Leave a comment

Filed under Fiction, Literary Fiction