Category: new books

Monday Miscellany (Moving! Books! Nature!)

Hello there, dear readers, assuming there are any of you left after my months of silence!  Never one to overburden others with my written words (many, many years of turning out legal tootle on schedule finally induced me to take pity on myself and others in this respect), I was nevertheless shocked, positively shocked, to see that it’s been almost three months since I’ve posted anything on my moribund little blog.  However did the blogosphere survive my absence?  (Rest assured that my question here is satirical!)  Although I’ve not been posting I have spent the last few weeks catching up on my blog reading and have no doubt annoyed some of you very much indeed by leaving long, rambling comments on your blogs.  You may consider yourself revenged by the fact that your excellent reviews have caused me to add several new peaks to my own Mount TBR of unread books.  I’ve simply lacked the energy and concentration, however, to contribute to the online bookish discussion by writing my own reviews.  But all this is slowly, slowly changing, now that life is settling down and the boxes are (mostly) unpacked.  Because I’ve practically forgotten how to type, much less arrange my thoughts in a coherent structure, I thought I’d ease myself back into things through the forgiving medium of a “miscellany” rather than a formal book review (hopefully the latter will start trickling in during the next few weeks, as I’ve been reading some lovely things).

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A collection of most (not all) of the things I’ve read this year, beginning way, way back in January.  Although I enjoyed some more than others (surprise), there really isn’t a dud in the stack . . . more below!

Because the following sections are totally unrelated to each other, if you find one boring you aren’t missing a thing by scrolling down to the next.

A.   MOVING (of most interest to those having a sadistic turn of mind)

Have you ever moved, dear reader?  I don’t mean a student move, where you leave the plant at your mom’s, stuff the dirty undies (would one say “knickers” in the U.K. or is this term dated? If you’re British, please enlighten me here) in your backpack and — presto! — off you go!  I mean a real, honest-to-god move involving a houseful of furniture; several thousand books; three snarling, foul-tempered cats who were perfectly happy in their old home and a stressed out Mr. Janakay.  If you’ve done this, or something comparable, you can understand the trauma of my last twelve months, in which I’ve moved twice, the first a long-distance move to temporary quarters followed just recently by a move to my new and hopefully permanent home, thankfully located in the same city as my temporary abode.  After surviving these physical relocations, and living out of boxes and suitcases for almost fourteen months, I can truthfully say “never again, dear reader, never again!”

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A would-be deserter from the family unit, which is preparing to move from temporary to permanent quarters.  Not to worry, dear reader, Maxine reconsidered her escape plans and was scooped up and moved with her little feline frenemies!
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Percy says “you can move these stupid birds if you want, Janakay!  I’m not going anywhere!”  Unbeknownst to Percy the horrors of the cat carrier awaited him . . . .
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My new kitchen, three weeks before move-in date.  Not to worry, however, as R., the kitchen guy, assured me he’d return to finish up as soon as he completed his second quarantine period (R. has many relatives who love large family gatherings . . . . .  not the best strategy during a pandemic).  All did in fact go well, after move-in dates were adjusted a couple of times!
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My new home at last!  Surely those boxes will unpack themselves?
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Just when needed most, professional help arrives!
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A major reason for all this moving business:  new shelves!  Miles and . . .
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miles of new shelves!  And what do new shelves need, dear book bloggers?  If you have to ponder the answer you should definitely take up another hobby!
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Slowly, slowly, progress is made.  Fiction is generally arranged alphabetically by author’s last name but how to organize the art books?  Alphabetical by artist doesn’t quite work . . . .
Completion at last!  (Well, mostly. There are still a few boxes of unpacked books in the garage.)
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As we adjust to our new home, we’re each finding our favorite space.  Although Percy enjoys watching basketball in a mild kind of way, he’s far more interested in sitting under the TV than watching it when a boring old baseball game is in progress  . . . .
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As life settles down, we’re also beginning to indulge again in our favorite activities, which in Maxine’s case involves going off on a little toot now & again (the pink thing is stuffed with catnip, to which she is quite addicted).
Despite many fundamental differences among members of the household (we disagree, for example, on whether new rugs make the best claw sharpeners), we do agree on one thing: moving is totally exhausting and requires a really good recovery nap!

B.  Books Old and Books New; Books Read, Unread and (Maybe) Never to be Read

Despite the difficulties of the last two months or so, I did manage to keep reading.  After all, isn’t that what we’re all about?  Admittedly, there were disappointments; these primarily centered on my sheer inability to write any reviews for the Japanese Literature in Translation or Independent Publishers months despite reading a few books for both events.  Ah, well, that’s what next year is for, isn’t it?  My reading choices this year have been all over the place, or perhaps more accurately, more all over the plan than usual (if you’ve read my blog at all, you can see that my taste tends to be, ahem, “eclectic”).  As my opening photo demonstrates,  my little pile of completed books includes pop pulp (The Godfather, special 50th anniversary edition); a few classics (Henry James’ Spoils of Poynton and Saki’s The Unbearable Bassington); a little literature in translation (Sayaka Murata’s Earthlings, for example) and a few fairly obscure offerings from an independent publisher or two, prompted by Kaggsy’s February event (Doon Arbus’ The Caretaker, published by New Directions, is a good example here).  During the worst of my move I spent a great deal of time with Joe Abercrombie, an inexplicable choice, no doubt, to those who don’t share my taste for his fantastical grimdark world.  What can I say?  You either like this stuff or you don’t and, honestly, it was light relief to turn from movers, boxes and home contractors with Covid-19 problems to the exploits of Glotka the torturer.  Although I generally enjoyed everything in my pile, some choices were particularly rewarding:

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My first book of the New Year, completed on January 4th.  Although I generally struggle a bit with short stories, Matsuda’s (translator Polly Barton) feminist, idiosyncratic and original treatments of Japanese folk tales deserved its glowing reviews.  Added bonus:  publisher is Soft Skull Press, a small indy publisher “at war with the obvious” since 1992 and located in New York City.
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Jean Stafford has been one of my great discoveries this year.  After years of dodging The Mountain Lion, her best known novel, I read The Catherine Wheel on a whim.  It’s a family drama set in the upper class New England of the 1930s and displays to the full Stafford’s elegant style, eye for character and ability to evoke atmosphere.  A proper review is coming (sometime) on this one.
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Carrington’s The Hearing Trumpet was my first encounter with a surrealist literary work.  Although I was mildly apprehensive at first, I soon settled in for a wild adventure with a nonagenarian like no other, a cross-dressing abbess, the goddess Venus and the Holy Grail.  As subversive as it’s wildly funny, I hope to review it in the next few months.
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Despite some ambivalence about Elizabeth Bowen (there are times when she’s just a bit too refined for my taste), I’ve been slowly but steadily working my way through her novels.  Eva Trout, Bowen’s final novel published in 1970, turned out to be one of my favorites. Very, very funny in some spots, tragic in others and with some very heavy things to say about communication, or lack thereof, among its characters.  Put this one on your Elizabeth Bowen list.
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Anita Brookner’s The Misalliance was a trip down memory lane, as I first read it shortly after its publication in the late 1980s.  Jacquiwine has been doing some incredible reviews of Brookner’s novels, which prompted me to pull this old favorite down from its home on my new shelves.  Blanche Vernon, an excellent woman of a certain age, consoles herself with a little too much wine and lots of visits to London’s National Gallery after losing her husband to a much younger rival (pet name: “Mousey”).  I enjoyed Brookner’s elegant style and dry wit as much this time around as I did initially and can’t wait until Jacquiwine’s review!

Although I have (almost literally) tons of books I want to get through this year as a result of various challenges, I have two or three in particular that I’ve added to my 2021 list:

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I’ve been eagerly following Simon’s reviews of the British Library’s Women Writers series.  Although all the titles look great,  I’m particularly eager to try Rose Macauly’s Dangerous Ages.  On a different note entirely (remember!  I said my tastes were ecletic) is Damon Galgut’s The Promise, a family saga/fable set in contemporary South Africa.  I first “met” Galgut in 2010, when I read his haunting and beautiful novel, In A Strange Room, short listed for that year’s Booker.  Despite my good intentions, I have never managed to get back to his work.  As for Paula Fox, I’ve been intending to sample her novels for ages now and I’m resolved to begin this year with her highly acclaimed and best known work!

Are any of you, dear readers, fans of Proust?  If so, you absolutely owe it to yourself to at least spend an hour or so with:

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I’m sure I’m the last Proust fan on the planet to be aware of this book, which I happened upon while browsing on that internet platform we all love to hate. Pricey, but worth every penny, it’s a wonderful way to dip into and out of Proust’s great masterpiece.  I’ve paired it with Mr. Janakay’s great photo of a Blackburnian warbler, which I’ll miss seeing for the second year in a row because of the pandemic.  Why this particular pairing?  The Proust reminds me that even a plague year has some compensations . . . .

Visual art was very important to Proust (“My book is a painting”), which is readily apparent from the literally hundreds of artists and paintings discussed at various points by the many, many characters who appear, disappear and reappear in In Search of Lost Time.  Karpeles’ “visual companion” groups these many art works into chapters that correspond to Proust’s volumes; each entry has a brief introduction, a long quotation from the relevant passage in Proust and an illustration of the art, usually in color.  Did you know, for example, that Swann “had the nerve to try and make” the Duc de Guermantes buy a painting “of a bundle of asparagus  . . .  exactly like the ones” the Duc and his guest were having for dinner?  Quelle horreur!  Thanks to Karpeles, you can see (and compare) Manet’s rejected Bundle of Asparagus with the Duc’s preferred painting, a “little study by M. Vibert” of a “sleek prelate who’s making his little dog do tricks.”  Guess what, dear readers?  The Duc should have followed Swann’s advice!

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There’s a very good introduction, notes and an index listing the artists alphabetically and keyed to three different Proust editions.  It’s been many years since I’ve read Proust and I’d forgotten the wonders of In Search of Lost Time.  After a few hours of browsing Karpeles, however, I’m tempted to re-read at least a volume or two.  After all, there are several different editions!

On a last Proustian note:  The New Yorker recently did a very good piece on “Conjuring the Music of Proust’s Salons,” in which Alex Ross reviews two recent recordings paying homage to an actual concert organized by Proust on July 1, 1907.  Since Proust was as attuned to music as he was to literature and visual art, both recordings sound very interesting indeed.  The New Yorker has, alas, a pay wall, but if you haven’t clicked too much this month the article is available at https://www.newyorker.com/magazine/2021/03/22/conjuring-the-music-of-prousts-salons.

C.  Nature

What’s a miscellany without a few nature photos, thanks to Mr. J?  Although I miss some of the parks and preserves that were reasonably accessible to my old home, my new one is located little more than a mile (about 1.5 km) from a nature preserve and some very lovely scenery.  Nothing dramatic, you understand, or particularly historic (if you crave history and/or dramatic scenery, you should pop over and read about some of Simon’s lovely excursions) but still — nice.

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The nature preserve’s boardwalk as viewed from the observation tower, the only high spot around in a very flat landscape! The basic circuit is around three miles (close to 5km) and there’s always something to see . . . .
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A view from the boardwalk, across the salt marsh. Unfortunately, the bird in the tree is too far away to make out, but I always see numerous ospreys and a variety of herons and egrets when doing the circuit; if I’m lucky, there’s the occasional kingfisher as well.
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If you look closely, you can see the large great blue heron standing in the water.

If you’ve read this far, dear readers, you  no doubt agree with me that it’s time for this particular miscellany to end.  I hope to post a real review later on in the week; until then au revoir.

Midweek Miscellany: Margaret (Atwood, that is) and Me

Although a few of my Atwood books are still packed, this is most of my surviving Atwood stash (to my intense regret, I discarded several works during my great book purge last winter). Although I kept mostly novels, I do still have a book or two of poetry, a collection of Atwood’s non-fiction pieces and a somewhat dated literary study of her work.

If you spend any time at all in the bookish area of the blogosphere, it cannot have escaped your attention that November was Margaret Atwood reading month (#MARM). Although sheer disorganization prevented me from participating (I’m afraid I’m still much like my nine-year old self, who once showed up two days late to her little friend’s birthday party), Atwood is one of my very, very favorite writers and I did in some way want to demonstrate how much her work has meant to me. I can’t claim that I was a fan from the beginning of her career (I can be a bit slow about these things), as I only began reading her work with Life Before Man, which came after Atwood had published several other novels and a great deal of very highly regarded poetry. I also can’t say I was a die-hard Atwood fan from my first read. I liked the novel but . . . wasn’t it a bit too realistic in spots? Did I really like these characters? Wasn’t the tone just a bit too ironic at times? Reader, what can I say? I was very, very young at the time, salad days so to speak, blood like ice water and judgment as green as a head of lettuce. Even laboring under the weight of these disadvantages, however, I was drawn from the beginning to Atwood’s writing without quite having the savvy to understand why; although I had some reservations about my first Atwood novel, its characters lingered in my mind and I remembered certain scenes and phrases long after I finished reading. Without being fanatical about it, I began catching up on Atwood’s backlist and reading her new work pretty quickly after it came out. An added bonus in this respect was discovering a writer who actually published with such pleasing regularity, so there were many wonderful new things to read. (I adore Donna Tartt but . . . only one novel every decade or so? So very frustrating at times.)

And then, after several years of an every increasing appreciation of Atwood’s work, I read The Handmaid’s Tale. I previously wrote about the experience and won’t repeat myself (click here if you’re interested); suffice it to say that I became the equivalent of a sports fan who dresses in her team’s jersey and shows up at games wearing a silly hat and chanting the star player’s name (imagine, if you can, my standing outside a small independent bookstore, chanting “Atwood! Atwood! rah, rah, rah!”) I had grown up on the fringes of an intensely fundamentalist and traditional culture; did time (and that’s exactly how it felt) in an almost exclusively male environment and was making my living working in another when Handmaid was published. I found Atwood’s ability to recognize certain trends that I had experienced at first hand, and to extrapolate those trends to their logical conclusion intensely real and very, very frightening. I went from a warm appreciation of Atwood’s work to rabid fandom, so to speak. On a chilly October evening a few years after my conversion, I took a great deal of trouble to be one of the lucky attendees who heard Atwood read from Cat’s Eye, her then-most-recent novel. Afterwards I and a couple of hundred other enthusiasts stood more or less patiently in line to have Atwood sign a copy of her work (since most of us were reading an Atwood novel while we waited, the patience part wasn’t too difficult). To grasp the personal significance of my attendance and participation at this event, dear reader, please understand that my actions on that oh-so-long ago October directly contravened principles that have guided my life, i.e., always avoid crowds, never stand in line and never, ever attend literary events on cold nights.

So — it’s fair to say that I love Atwood’s fiction and was delighted to learn of November’s Atwood event. I intended to honor the occasion by re-reading one of the early novels but became sidetracked when I started leafing through Dearly, published in the U.S. on November 10 and Atwood’s first book of poetry in almost a decade.

The latest addition to my Margaret Atwood stash . . . do you think the identifier (“Author of The Handmaid’s Tale”) could possibly be an advertising gimmick intended to draw in viewers of the hit cable series? Regardless, this is a beautiful book in every sense, with a great deal of content in its 120 odd pages

My taste in poetry was formed by the anthologies and collections that are the staple of the undergraduate English courses taught in U.S. universities, which is to say I prefer poems written before 1920, in rhyme and with meanings that are easy to grasp (one notable exception to my criteria is the work of Gerald Manley Hopkins, although I do love his “Spring and Fall”). I have also read very little of Atwood’s poetry, particularly her early work (whose originality and emotional impact are considered superior by at least one critic) nor did I read Dearly with any great intensity, always so necessary with me to fully grasp this very difficult art. So please keep my limitations in mind and don’t hesitate to add your own opinions, comments and corrections to my own remarks.

Although I like most of the Dearly poems very much, do I sink myself beyond redemption, dear reader when I say that I think Atwood’s primarily talent is for her wonderful novels? What I love about Atwood is her wit, her intellect, her sharp observation of the world and its inhabitants, and her uncanny ability to make connections between people and ideas. This makes for interesting, and at times very pleasurable, poetry but it doesn’t quite deliver the emotional impact I look for in the very greatest of poems. In its review of Dearly, the Guardian called Atwood “an undeceived” poet and delicately suggests that a poet, at times, must indulge in a little merciful illusion. I’ve thought about this statement a great deal and while I don’t pretend to fully understand the Guardian’s oracular pronouncement, I sort of get what I think the reviewer meant. Dearly’s poems didn’t give me a transcendent or profound emotional experience (as I had, for example, the first time I read Philip Larkin’s “The Mower”) or cause me to lose myself in their sheer overwhelming gorgeousness of language and imagery (I’m thinking here of a seventeen year old me, reading Keats’ “The Eve of St. Agnes”). Rather, they were perfect examples of that “undeceived” quality mentioned in the Guardian’s review. I’m going to digress a bit here by quoting some favorite lines from “February,” a poem in a previous Atwood collection (Morning In The Burned House), which I think perfectly conveys this aspect of her poetry:

Winter. Time to eat fat
and watch hockey. In the pewter mornings, the cat,
a black-fur sausage with yellow
Houdini eyes, jumps up on the bed and tries
to get onto my head. It’s his
way of telling whether or not I’m dead.
If I’m not, he wants to be scratched: if I am
he’ll think of something else. He settles
on my chest, breathing his breath
of burped-up meat and musty sofas
purring like a washboard.

Speaking from my own experience, these lines were written by a woman who understands with perfect and unsentimental clarity both the demands of the season and the nature of her feline companion.

Don’t tell Janakay, dear readers, but she doesn’t understand us at all . . .

Dearly itself, as I said in my caption, is literally a beautiful book, with wonderfully heavy, cream-colored pages that have a marvelous tactile quality. Beware, however, if you have any choice in your editions, which I discovered have different cover art and may differ in some other respects as well. My HarperCollins edition published in the U.S. features a spray of flowers that look like poppies done in muted blues and grey-greens, while the U.K.’s Chatto and Windus edition uses the work of noted British artist Kate MccGwire as the basis of its design, in which the author’s name and the work’s title are nestled among a great, swirling mass of blue and grey bird feathers. Although the cover art of the U.S. edition does give a nod to Atwood’s intense interest in the natural world, I’d go for the Chatto and Windus edition if you have any choice; the feather theme ties in far more directly to the poems (many mention or deal with birds), subtly suggests the uplifting nature of the poems and IMO at least is more visually appealing. Additionally, although Amazon’s U.K. website makes this difficult for me to determine with certainty, the fore pages of the U.K. edition appear to contain facsimiles of Atwood’s handwritten notes.

I took this image of the U.K. edition from the Amazon U.K. website; it’s quite a contrast to the more subdued cover art of my U.S. edition isn’t it?

This stuff about cover art and feathers (not to mention your cats) is all very well, you might say, but what about the contents? Atwood is eighty-one years old and many of the poems, unsurprisingly, reflect the experience of a long life and the passing of time. Atwood dedicates the work to “Graeme, in absentia,” her companion of over forty years who died shortly before the collection was published. Although the work as a whole doesn’t appear to have a common theme, it does contain certain broad subjects that are grouped into five untitled sections. The first begins with the very beautiful “Late Poems,” which introduces the general idea of loss and absence. Like “a letter sent by a sailor, that arrives after he’s drowned,” late poems “wash ashore like flotsam” after “the battle, the sunny day, the moonlit slipping into lust, the farewell kiss” have happened. In Atwood’s view, all poems are “late poems.” The second section deals mainly with various aspects of gender (my current favorite here is “Cassandra Considers Declining the Gift,” in which the doomed prophetess says “no” to “Mr. Musician God”). I particularly enjoyed the third section, which deals with what I can only call “strange creatures;” Atwood’s wit and irony are on full display in poems dealing with, among other things, zombies, aliens, sirens and werewolves. After this come poems about nature (including birds, whales, the arctic and wolves) and the frequently nasty things that happen there. The last section contains the poems about Graeme’s fading away (in his last years he was battling dementia) and death.

My current favorite poem from the entire collection (“Blackberries” is a close second) is “Feather:”

One by handfuls the feathers fell.
Windsheer, sun bleach, owlwar,
some killer with a shotgun,

who can tell?
But I found them here on the quasi-lawn–
I don’t know whose torn skin–

calligraphy of wrecked wings,
remains of a god that melted
too near the moon.

A high flyer once,
as we all were.
Every life is a failure

at the last hour,
the hour of dried blood.
But nothing, we like to think,

is wasted, so I picked up one plume from the slaughter
sharpened and split the quill,
hunted for ink,

and drew this poem
with you, dead bird.
With your spent flight,

with your fading panic,
with your eye spiraling down,
with your night.

I’ve gone on many nature walks and have seen these little piles of feathers and bones fairly often; I can’t say that my reactions went much deeper than a passing regret or sadness that soon disappeared. It takes a poet to imagine, and then transform, the panic and exhaustion of that slaughtered creature into the life and beauty of a poem.

Before I end this rather rambling post, a few additional things are worth noting. First is the presence of Atwood’s characteristic wit and sense of humor. While many of the poems are somber, many of the others are very, very funny (I defy anyone to read “Aliens” without a smile). On a more logistical level, the collection contains two poem cycles, “Plasticene Suite,” which deals with the environment and what we’ve done to it, and “Songs for Murdered Sisters,” written for the baritone Joshua Hopkins, whose own sister was murdered (music for this was composed by Jake Heggie). Lastly, and in contrast with my own choices, the collection’s most popular piece appears to be the title poem “Dearly.” The Guardian published a wonderful interview with Atwood, which contains a link to Atwood herself reading the poem; if you’re interested, it’s available here.

Because this posting is a “Miscellany,” I had initially thought I’d include some other, unrelated topics. I became so interested in Dearly, however, things got out a little out of hand and I’m afraid I’ve exceeded my own attention span, not to mention yours as well! So, perhaps a “Monday Miscellany”? Hmmmmmm . . . .

HAPPINESS IS . . .

As Mr. Janakay has occasionaly observed (admittedly somewhat to his peril), I do not possess a naturally sunny disposition. Unlike my more fortunate friends, I do not, alas, look for the silver lining purportedly possessed by even the stormiest cloud; think that it’s darkest just before the dawn; or consider a half-empty glass to be half-full. These days we live in are so very dark and dreadful, however, that I have decided to turn over a new leaf. Away with the doom and gloom! Up with the smiles and sunshine! For strictly pragmatic reasons, I have resolved to go from frowny to smiley face. Without some (perhaps irrational) optimism I see no way to survive the upcoming weeks, when I and my fellow Americans (of the U.S. variety) are clearly in for a very rough ride indeed. As part of my new program of sunshine & smiles, I’ve decided to compile a “Happiness List” of all the positive things that will keep me going in these stressful times. So — here goes!

FIRST HAPPINESS:

The certain knowledge that 2020 will be over in fifty-six days and approximately four hours (depending on when I manage to finish this post). To borrow words once uttered by her British majesty during her own dark year, 2020 has been one annus horribilis and can’t end soon enough!

Will it surprise you, dear reader, to learn that I also “officially” voted earlier this week for one other thing to end as well? (Janakay doesn’t mean to be a tease, but no more details — some forums (fora?) need to stay neutral.) With respect to the current political situation, what can one say, except:

I lifted this great photo from today’s edition of the Washington Post. It speaks volumes for the pitiful state of the times that this photo accompanied the daily weather report, for gosh sakes . . .

SECOND HAPPINESS:

Having many, many wonderful new books, many more than I could read in a lifetime, but, hey — since when has practicality been a factor in my book acquisition? I began this awful year traumatized with the need to do a massive cull of my bookshelves, which I managed after some hysterics and the moderate assistance of medically prescribed tranquilizers. After dismembering my little library, I dumped the surviving volumes onto a moving truck that carried them away to their temporary new home, an unused bedroom where they’re currently sharing space with some lamp shades and a table or two. I retained, unpacked, only the very minimum number of books necessary for survival — perhaps 200 volumes or so — and resolutely refused to unpack the others, as they’d be moving again in a few months. My heroic restraint created empty space in the bookcases for the first time in my adult life! Well, we know that old saw about nature abhorring a vacuum, don’t we? I’m actually too embarrassed to disclose all of my new acquisitions, which are, frankly, quite enormous (I handle my stress by acquiring books). In mitigation, I plead extenuating circumstances: I began collecting my new stash months ago (last April to be exact); the NYRB Classics had several great book sales this year and many of you write really great blogs with excellent reading recommendations that I couldn’t resist (I’m like Oscar Wilde in one way at least, being able to resist anything but temptation). Below is an incomplete but fairly representative sample of my new books:

My books aren’t usually this neatly stacked, but I’m trying to impress my readers!
I’ve been meaning to try Lispector for ages; with all this new “at home” time, perhaps this will be the year . .
This one is Kaggsy’s fault! After reading her September review of a Berridge novella (kaggsysbookishramblings.wordpress.com), I had to try Berridge for myself. I really meant to post a review but — didn’t quite get around to it! I will say, however, that this slightly lurid cover image is rather misleading; clearly the publisher was marketing the novel as a Gothic romance, which it most certainly is not.
Another of my books that I’ve actually read! This was the monthly selection automatically sent out by the NYRB Classics Club, so it really doesn’t count against my total. These two novellas are a great introduction to Ginzburg, whom I had not previously read. I loved both novellas and now must get copies of Ginzburg’s other works as well.
Another September review, this time by Ali (heavenali.wordpress.com) led to this acquisition. Penelope Mortimer sounded so interesting this novel became a “must.”
This one I blame on Simon (at stuckinabook.com). I’ve been following his reviews of this great new series by the British Library (which he is curating) and just had to try one (ahem; actually three — notice the sticker — how could I refuse an offer like this?)
I’m reasonably fond of Henry Green (he’s so original that, at least for me, his work takes some getting used to) and haven’t read this one. When it was available on sale by NYRB Classics, there was only one thing to be done . . .
What’s a book binge that doesn’t include some art books? The art world has recently rediscovered Klint, a woman painter who was doing abstracts years and years before the big boys like Pollock. I find it very soothing to sit and look at pictures . . .
Another art book. I love landscapes but this book has lots of text and looks quite serious. It also has a limited number of pictures. Whatever was I thinking? Who reads an art book? Perhaps I’ll just place this one in a casual position on the coffee table, to impress my new neighbors when they drop by . . .
I don’t think Faulkner’s very fashionable these days and I’m not sure how many people actually read him. I loved Faulkner’s Absalom, Absalom and the few other novels I’ve sampled but . . . there’s no ignoring the fact they were written by a white southern male of the pre-civil rights era. In my opinion, Faulkner views his culture with a merciless and unflinching eye, although he is quite unable to escape its limitations. I’m eager to dip into this study, to see if Gorra shares my view . . .
Last but far from least, these two Gothic novels are a trip down memory lane. They were among the first Gothic romances I ever read, oh so very many years ago, very shortly after I read my first Victoria Holts. I was thrilled to rediscover these books a few weeks ago and will be interested to see how they hold up (so far, Sarsen Place is doing pretty well).
Maxi says, “Enough blathering about books, Janakay. Move on to the next item on your Happiness List!” There are times, dear reader, when Maxi is as wise as Confucious (and far more sly).

THIRD HAPPINESS

My third happiness is — gasp! new book shelves! Lots and lots of lovely, empty new shelves, just waiting to be filled when I finally complete my move.

Shelves in the living room . . .
Shelves in a bedroom . . .
Shelves on one side of the dining room and
Shelves on the other! And, of course, besides all the shelves, I still have all my old book cases.

Haven’t we all known the agony of triple stacking our beloved treasures, or even (horrors) boxing them away in one of those plastic slidey things that fit under the bed? Could it be that finally I will have enough space to alphabetize my fiction by authors’ last name and group my art books by artists? Reader, is it possible to have a greater happiness than this?

FOURTH (AND FINAL) HAPPINESS

Although I am definitely not an athletic type (turning the pages in my book, or clicking my kindle is quite enough exercise, thank you very much) I do find it absolutely necessary to touch nature at some level for at least some portion of time. In this respect, I’ve been lucky indeed; both my old home and my new have lots of green space.

Aren’t these Sandhill Cranes gorgeous, particularly with their red head stripe? There’s nothing to show you the scale, but these are big birds, standing 4 to 5 feet (approximately 152 cm). If you want to see them “live,” plan a trip to North America, where they’re primarily located. This little family group hangs close to my house and seeing them is always a major treat.
A classic river scene from a large state park about 20 minutes away from me by car. This photo was taken a few months ago, when it was unbelievably hot. Although I didn’t see any, it’s a very safe bet that this river has alligators!
Same state park, different habitat . . . those golden flowers were at their peak when this photo was made earlier in the year (note to self: I really must get a plant book to learn what I’m looking at!)
This is an older photo, from an Audubon sanctuary located about 100 miles (160 km) further south from my house. The weird spikey things are flowers and the orange things are butterflies. Aren’t they both marvelous?

Well, that’s it for my Happiness List. What’s on yours, dear reader? What’s keeping you afloat, so to speak, during these dark times?

April Is For Poetry

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Doesn’t this attractive young lady look like she’s having fun, sunbathing on her fluffy white cloud while strewing flowers of inspiration on the world below?  She’s the Muse of Poetry, as depicted by French artist Henri LeRolle (1848-1949) and April is her very special month!

Well, hello again, dear readers!  After many months of silence, or near silence, I’m finally taking a stab at inserting (or, should I say “inflicting”) a new post on my almost moribund blog.  It’s requiring a bit more of an effort than usual, given the enormous and frightening changes in the world since my last post in January.  Then I had two major preoccupations, one being the very pleasant task of choosing my books for the 2020 Back to the Classics Challenge hosted by Books and Chocolate, the other the not-very-enjoyable labor of planning and executing a long-distance move (a task that proved almost, but not quite, too much for Janakay!).  In those halcyon, pre-pandemic days, Covid-19 was barely a shadow on the horizon.  Now it appears to dominate my life.  When I’m not washing my hands or sanitizing hard surfaces with whatever disinfectant’s at hand, or enjoying those very entertaining bird videos with the cats (Birds of Australia is a particular favorite at our house), I spend far too much time reading news accounts and statistics relating to this terrible disease.  Covid-19, dear readers, has given Janakay some (very) minor and unwelcome insights into life during those medieval plague years that were the subject of several of her college history courses.  Except, of course, medieval plague sufferers lacked both Purell and the internet (how would we all survive without both?)

And yet, however imperfectly, life goes on in this year of the plague.  Because it is “insufficient,” however, merely to survive (if, like me, you adore Emily St. John Mandel’s work, you’ll recognize that I’m lifting this line from her great Station Eleven, which in turn borrowed the idea from a Star Trek episode!) literature and art accrue even more value amidst the horrors of our chaotic times.  To survive in any meaningful sense of the word in these difficult days one must read!  Although I’ve not been sharing my thoughts online, I have been reading steadily, in the time between packing boxes and moving furniture; my reward has been discovering a number of remarkable classic and contemporary novels.  Hopefully I’ll be giving you at least some general reactions shortly but only after I finish unpacking the dishes!

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I’m absolutely positive those kitchen dishes are in there somewhere!  Maxi knows where, but is too sleepy to bother telling!

If you’ve visited my blog in the past, you are aware that I love novels, which are almost always the subject when I write about bookish things.  As I’ve posted before, I’m a little ambivalent about poetry (short stories, too, but for different reasons).  Although poetry was very important to me at one time in my life, it’s a difficult and demanding art form that requires time, attention and insight, which for many years were in short supply for anything other than Janakay’s job (kitty kibble is expensive and hungry cats can be positively savage!).  Although I don’t focus on poetry these days, I honor the art and do still attempt to save a little time for reading it.  I also attempt, in a mild sort of way, to venture beyond my youthful favorites, which included lots of poems about Corinnas and Lucastas gathering rosebuds and knights riding to many-towered Camelot and so on (Janakay obviously adored Cavalier Poets and the Victorians.  How could you not?  Their stuff all rhymed and was usually easy to understand.  “Ah, youth,” as one of my old fav poets might have sighed).  My efforts these days don’t amount to much; I read a poem now and then, usually something in a traditional mode and, occasionally, check out The Guardian’s weekly poetry column (for me it’s a great resource for finding unfamiliar work.  A bonus feature is Carol Rumens’ commentary, which always accompanies her weekly selection).  

My biggest gesture of support for my former love usually comes in April, designated “National Poetry Month” by these squabbling, competing and currently very disunited States of America.  Every April I make a point of actually buying a book of poetry; while I don’t have any rules about what I select, I do try to make it a work of a contemporary poet, or at least a poet who’s unfamiliar to me (this includes almost everyone writing poetry after 1900 or so).  My choice this year was Nina Maclaughlin’s Wake, Siren 

 

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Honestly, isn’t this the greatest cover ever?  The critters surrounding the siren’s face represent the fate of the book’s various heroines.

in which Maclaughlin reimagines the stories of several mythical heroines taken from 

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Metamorphoses, the great narrative poem written by the Latin poet Ovid in the first century CE.  Any lovers of Ovid out there, or just anyone who likes good stories?  As the name indicates, Ovid describes an unstable universe in which the world and its creatures constantly shift and transform from one shape or substance into another.   Chaos morphs into an orderly universe of form and matter; a golden age transforms into one of silver or bronze; male shifts to female and vice versa; humans transform into animals or plants or constellations  — well, you get the drift.  Many of Ovid’s stories involve human women or nymphs (lesser female divinities associated with nature) who happen to catch a god’s attention, almost always with disasterous results.  The women in Ovid don’t get many happy endings, unless you count being changed into a bear, a spider or a laurel tree as such.

In a very clever metamorphosis of her own, Nina Maclaughlin transforms the traditional stories recounted by Ovid by taking thirty of Ovid’s female characters and transposing them to a modern setting.  Maclaughlin’s women wear jeans, do yoga, go to music festivals and talk to their therapists using language familiar to Janakay from her days as a seaman apprentice (the narrator in “Agave,” for instances, tells her visitor that “there’s some beer in the fridge” and describes — sanitized version — King Pentheus of Thebes as “this asshole jock, this clean-cut rapey beef-brained” guy).  Most importantly, they tell their own stories in a series of monologues of varying length, speaking not in verse but in a type of flowing prose-poetry.  Maclaughlin’s approach adds depth and richness to Ovid’s tales and while you may not always agree with her take on the characters (who knows? Maybe Pentheus has some fans out there!) it frequently makes you rethink what’s going on in the stories.  Considering that these tales have been retold in verse, prose and music for over two millenia, this is a considerable accomplishment.

Maclaughlin’s format (like Ovid’s) is very conducive to reading in small dips and nibbles, which is very congenial to my currently fractured span of attention (so difficult to concentrate, don’t you find, with all this constant hand washing and disinfecting?).  It also has the advantage of letting you skip around, from short monologue (Nyctimene, two pages) to long (Tiresias, twelve pages), from happy (Pomona) to sad (Callisto).  My favorite piece so far (I’ve been dipping in and out for several days now) is Maclaughlin’s retelling of the Orpheus myth, the ancient and popular story of a divine musician who descends to Hades, charms the very dead with his song and almost, but not quite, retrieves his beloved wife, killed by a serpent’s bite on their wedding day.  In Maclaughlin’s version, Eurydice is the neglected daughter of a rock legend with music in her blood and a great deal of talent of her own.  After several unsuccessful and demeaning relationships that reinforce her low self-esteem, she hooks up with “O.,” a world famous singer who adds physical to psychological abuse in his attempts to silence her own song.  Realizing on her wedding day that she can’t go through with it, Eurydice flees to the Cobra Club, a raunchy honky-tonk located in a basement and run by HayDaze and his relunctant wife Penny, who goes away every summer on tour (the club’s sign features a red snake, naturally, and Eurydice and her friends joke when they go there that they’ve been “bitten by the serpent.”)  O. follows and, using his music to charm and bewitch, almost leads Eurydice to the top of the stairs and out of the club.  One final act of cruelty, however,  gives Eurydice the impetus to free herself from his spell and, with relief, return to her refuge, the club where everyone goes eventually and which always has room for one more (even at the sold-out shows).  Rather than being gimmicky, Maclaughlin’s clever inversion of the myth’s plot and visual elements makes the ancient story as relevant to us as it was to Ovid’s original readers.  It also makes for a lively, amusing and horrifying piece of work.  (For another great take on the Orpheus myth, try Carol Ann Duffy’s “Eurydice,” from her wonderful poetry collection The World’s Wife.)

So, do I recommend Wake, Siren?  Oh yes but . . . with a few teeny caveats.  Although Janakay adores giving a new spin to old material and is very fond of a feminist slant, she is aware that not every reader shares her taste for this sort of thing.  If, unlike her, you prefer your mythology straight, Maclaughlin’s book is obviously not for you (in that case, you might check out the edition of Ovid pictured above.  Stanley Lombardo’s translation is great, there’s a wonderful introductory essay discussing the themes underlying Ovid’s work and some helpful additional features, such as a glossary of names and a table grouping the myths into various categories).  There’s also the question of language, which is very uninhibited.  Again, this is fine with Janakay (any naughty word she didn’t hear in the navy turned up when her college Latin class translated Petronius’ Satyricon) but if it’s an issue for you, well, there are plenty of other sources to choose from. Oh — before I forget — it isn’t necessary to know the traditional form of the myth to enjoy Maclaughlin’s version, but it’s fun if you have the time and energy to read the two in tandem.

Well, that’s it for tonight, dear readers.  Stay healthy, keep washing those hands and if you’ve time to honor the muse in her special month by reading a poem or two, share any particular treasures you may find!

 

 

 

 

 

 

 

Midweek Miscellany: Percy Murdered My Library (apologies to Linda Grant!)

Have you found, dear reader, that there has come a time in your life when you’re forced to cull your beloved treasures?  Have you ever realized that it’s time to say “adieu” to your yellowing edition of Catcher in the Rye, once read so eagerly but untouched since age fifteen, or your grubby copy of Catch 22, replete with (traumatic) memories of boot camp and bearing an almost illegible name tag and serial number?  That perhaps you don’t need all three copies of Wings of the Dove, acquired because each has a different cover illustation, or that your ten Georgette Heyer novels are now available (and easier to read) on kindle and no longer need shelf room?

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Here’s Percy, caught red-pawed in the act of novelicide (actually, I’m being a bit unfair. His role was more that of an extremely willing accomplice!)

Propelled by the possibility of a long-distance move, Janakay is now in that time of reevaluation and has spent a harrowing few weeks deciding who (so to speak) lives and dies in her book collection.  Fortunately, as you can see from my photo, I have not been without assistance!

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Percy supervising Pooh Bear in box assembly.

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Maxine at work on the upstairs trove.  Percy isn’t the only cat in the house who doesn’t see the point of all these things on the shelves.

 

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More work for Maxine . . .

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and more . . .

 

 

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… and yet more … Maxine’s going to be a busy cat!

 

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Back to downstairs and Percy’s domain . . . he’s a particularly dedicated ornithologist, so many of these birding books are right up his alley!

 

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Not sure who should handle art books, Henry James and Mr. Janakay’s military history . . . this might be a job for Pooh Bear, who by nature is a very serious cat  . . .

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Speaking of serious, who best to tackle all these non-fiction books, including Runciman’s History of the Crusades and a three-volume history of Byzantium?  Do any of the cats speak Greek?

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Who best to tackle (more) art books and museum guides?

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Short stories, bibliographies and memoirs (to the right) and poetry (to the left) . . . hmmm . . .  who’s the most poetical cat?

 

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(Yet) more art books, Persephone editions and literary criticism.  Someone’s been investigating these areas, to judge by the cat toy on the top of the book case (it’s the little yellow striped thing to the left of the towering pile).

 

If you’ve visited my blog in the past, when I did occasionally manage to stay somewhat current, I’m sure by now you understand why I haven’t been posting for  — my goodness,  gracious me —  can it be almost five weeks now?  No posts since Halloween?  Of course, I haven’t been sorting books for the entire last five weeks — there were some minor academic matters to wrap up, some lovely light reading to do (Louis Auchincloss is always good for this) and movies to see (if you’re a Scorsese fan you can’t miss “The Irishman;” “Parasite” is great and “Knives Out” isn’t bad but I’d advise you to skip “The Lighthouse”).  Also, after I decided to at least consider a move, I fell into a period of near-catatonia, triggered by the very notion of discarding any of my beloved book collection (at the risk of sounding heartless, I can say that I’ve  experienced the death of blood relations — well, some of them anyway — with less emotion!)

But amusements and psychological trauma aside, the past month or so has seen a great deal of bookish exertion on my part, with rivers of books (so to speak) flowing up and down my house’s too many stairs.  I did (briefly) consider keeping everything, but quickly discarded that notion —  there are just too many multiple copies and books that I no longer need (do those twenty odd books on Vermeer, Rubens and van Dyck deserve shelf room, now that I’ve finished my class work on Baroque art?); that I’ve read and enjoyed but don’t plan on revisiting (Marlon James’ A Brief History of Seven Killings, for example, a fabulous novel but not one on my re-read list ) or that I’ve outgrown along with the hobby or activity that prompted their acquisition.

It’s been an emotional process, no doubt about it, saying good-bye to certain old friends, many of which are associated with very specific periods in my life (yes, I did read that copy of Catch 22 when I was not otherwise occupied in surviving boot camp and that battered old copy of Alice in Wonderland is still sticky with the adhesive tape a nine-year-old me used to repair it).  There’s also the angst involved in acknowledging that most of my unread books will stay unread, at least by me, and facing up to the lost opportunities for pleasure and enrichment those books represent, of accepting that one is a finite creature who will spend her allotted time to read with other companions.   And, of course, there’s always a certain chagrin in facing one’s mistakes . . . the “why did I buy that book” combined with the “why ever haven’t I gotten rid of it before now” moments!  Have any of you ever faced such moments of truth or had to confront such bookish vulnerabilities?  If so, how did you handle it?

Janakay, however, doesn’t want to be a weepy rain cloud here and mire us all in gloom, doom and desolation.  Honesty compels me to admit that the sorting out process does have a positive aspect.  In the broadest sense, I had to answer some very basic questions concerning why I read, as well as why I’d bother to have my very own personal library.  What purpose does it serve?  Home decor?  Self-improvement?  Laziness?  (It’s easier to let the books breed in corners than adopt them out to good homes.)  The desire to impress the neighbors with my two different translations of Rembrance of Things Past?  None of the above?

Along the same lines, I necessarily had to formulate some standards (much harder to do than you might suppose) in order to decide what to keep or to discard.  Should I, for example, toss classics by great writers such as Dostoevsky and Dickens (neither are big favorites of mine) to leave space for beloved fun reads by Georgette Heyer or Joe Abercrombie?  (If you haven’t met Logan Nine-Fingers, you should.  He’s one of the great anti-heroes of fantasy literature.)  Should I keep a book I might read at some unspecified time if it means discarding something I’ve read and loved, but which is now out of print or otherwise unavailable?  Is it better to keep an author’s “best” novel that I’ve read or her most obscure, which I haven’t?

Yes, dear reader, I’ve had a month of heavy thinking about basic aspects of reading and retaining books, activities that have occupied most of my energy since I first grasped that those little black squiggles on white paper actually meant something.  On a lighter note, it’s been a lot of fun to read or skim big chunks of things I hadn’t thought about in years and to research authors as I’ve made my decisions (electronic availability for discards was an important factor).  And, shameful though it is to admit, there’s also a Christmas morning element to the process, as I discovered some great stuff that I had totally forgotten about (that light green blob at the back of a shelf turned out to be a(n unopened) box set of Penguin Modern novellas!)

So how does Linda Grant, a British writer I admire more than I’ve read (some of her books were rather difficult “keep or toss” decisions) come into all this?  In the middle of my winnowing process I was lucky enough to stumble across her essay, “I Murdered My Library,” published as a kindle single and worth every penny of its $2.99 (U.S.) price.  Around 2013 Grant was forced to downsize her huge personal library (the product of a lifetime of reading) when she moved into a relatively small flat.  All my emotions and thoughts — the grief, the guilt, the difficulty of choosing, the (yes) relief at imposing some type of order on an overwhelming number of physical objects — are there, expressed far, far more eloquently that I ever could.  These are interspaced with Grant’s love of literature and reading, her thoughts on independent book stores and the effect of e-books on conventional print, and a great deal of humor and wry acceptance of the fact that we, as readers, are as finite as the texts that we love.  Grant’s essay is a treasure for anyone who likes to read about books; if you’re downsizing or reevaluating your own book stash, it’s a necessity.  I was so impressed by it, in short, I immediately moved two of Grant’s unread novels from my “discard” to my “keep” pile! (and, yes, I am aware of the irony of my action!).

After recounting her “crime” of book homicide, Grant ends her essay with the cry of “What have I done?”  Since it’s time for me to sign off, I’ll end my little tale by showing you a visual of my very recent response to my own act of murder  . . . . .

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My latest acquisitions! A newly published read (Evaristo’s Booker co-winner); a vintage find (Pamela Frankau, an interesting mid-century writer) and a haul of nine new books from an NYRB Classics  flash sale that I couldn’t be expected to pass up (the books were HALF-PRICE, with FREE shipping!). There’s also a wonderful Pushkin Press translation of Isolde (it’s all Kaggsy’s fault for recommending it so highly) and I have a vintage Sackville-West that I haven’t yet read on its way and . . . . . . .

What’s that old saw, about the “more things change, the more they remain the same?”

Halloween Miscellany! Scary Reads and Pop Culture!

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Isn’t this print wonderfully creepy and compelling? I’m a big fan of Gustave Doré; this is one of his illustrators for Edgar Allen Poe’s “The Raven.”

Greetings to all you denizens of the internet, on this dark and ghastly time of year!  Do you celebrate the Day, complete with your “sexy witch” costume or Freddy Kruger mask, lawn bestrown with cobwebs, plastic skeletons and those huge truly yucky fake spiders that are so unfortunately popular with Janakay’s neighbors?

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Janakay is severely arachnophobic and doesn’t like walking past certain houses in her neighborhood during Halloween week! Needless to say, these folks did NOT consult HER about their Halloween decorations . . .

In my neck of the woods (North American, mid-Atlantic suburban) Halloween decorations have become increasingly common.  They range from folks who clearly regard Halloween as a very, very important milestone in their shopping and celebratory life . . .

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In dawn’s early light, those giant spiders are rather unpleasantly realistic!

to those of a minimalist bent who nevertheless want to mark the occasion . . . .

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The pumpkin face didn’t come out well in this photo — it’s actually pretty sinister, even if the “ghost” hanging on the porch is a bit laid back!

to the oh so tasteful, who actually changed the permanent outdoor light fixtures (on the left of the gate and the right of the porch) to match their purple Halloween lights!

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A bit blurry (Halloween night here is appropriately rainy and stormy) but you get the idea  . . .

And — the neighborhood’s pièce de résistance!

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To paraphrase that eminent stylist, Edward Bulwer-Lytton, Halloween here is “a dark and stormy night!”  Great for ghostly atmosphere but lousy for photos! Still, squint hard and you can see the red thing on the right is a dragon!  With movable wings!  What will they think of next?

Just as Halloween decorations are becoming more common and elaborate, Halloween costumes have taken a giant leap forward from the cardboard witches’ hats and superman masks of my childhood!  Now we have the adorably traditional:

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Grandma is really rocking this one!

The “traditional with a twist”:

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Jon Snow White!

And — the Topical:

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This company also offers a “Miss Impeachment” costume (includes a tiara, beauty queen sash and a whistle blower necklace) as well as a sexy “Beyond Burger” getup, complete with a headband bearing the label “Plant Based!”

Well, it’s all certainly very interesting, isn’t it?  Do you follow the lead of these festive folks or do you (like Janakay on a bad year) pretend the day just isn’t happening, as you close the blinds, turn on the TV and ignore the trick or treaters ringing your door bell so you can eat all the best candy yourself in blessed solitude?  Do you have your very own Halloween rituals involving none of the above or do you perhaps hail from a country or follow a tradition that doesn’t acknowledge Halloween?  This space is all about sharing, so — please share with the rest of us how, or even if, you mark the day!

PART SECOND: SCARY READS IN GENERAL.  THOUGHTS, ANYONE?

I bet you never thought I’d get around to the books, did you?  Ha!  Tricked you!  With Jankay, it’s always about the books; no matter how meandering the path, it always comes back to the books; books underlie everything!  And there are such wonderful books associated with this time of year, aren’t there?  And don’t we all have our favorite reads? My own preferred brand of horror tends towards the classic, away from gore and slasher (so very, very unsubtle, don’t you think?) towards the “oh my god, something moved in the corner of my eye” variety.  In other words, away from the Freddy Kruger/Texas Chainsaw Massacre and more towards the Shirley Jackson, Haunting of Hill House end of the horror scale.   In fact, isn’t the whole horror phenomenon fascinating?  Why is it that we humans love so much to scare ourselves and isn’t it interesting how we all vary in what we regard as particularly horrifying?  I was actually settling in to spend some happy hours researching this topic when I realized that I’d be posting this on Christmas if I didn’t wrap it up (speaking of which, have you seen Tim Burton’s Nightmare Before Christmas?  If not, stop reading this instance and go watch!)  Without further ado, here’s a few selections from my short list of creepy reads; these are just things I thought of, fairly quickly and are listed in no particular order:

Bram Stoker’s Dracula: All the ornate Victorian prose can’t obscure one of the scariest stories every written.  I re-read it every now and then and it scares me almost as much as it did when I was fifteen years old, alone for the weekend and very unwisely deciding to try this old 19th century thing.

Shirley Jackson, The Haunting of Hill House.  Some houses are indeed born evil and some writers were born to tell us about them.  Truly one of the most terrifying tales ever conceived, written by an author of breathtaking talent working at the height of her powers.  It would be a shame not to read the book but if you’re in a visual mood Netflix did a recent series that’s sort of o.k.  Far better IMO is the 1963 black and white movie, starring Claire Bloom and Julie Harris.

Anne Rice, Interview with the Vampire.  Anne Rice has built up such a fan base and churned out so much over-written drivel over her long career (my apologies to any fans out there, but we are sharing our honest opinions aren’t we?) that it’s easy to forget just how very good she can be.  This is my favorite Anne Rice novel, an incredibly atmospheric take on the vampire mythos, set in French colonial New Orleans and 19th century Paris.  Erotic, baroque, stomach churning and beautiful, it isn’t easy to forget (the Theatre des Vampires, where vampires feed on victims for the audience’s amusement, is as horrifying as anything I’ve ever read).  Rice’s The Witching Hour, a tale of two centuries of the Mayfair Witch family and its attendant demon Lasher, ranging from its origin in medieval Scotland to its dark doings in contemporary San Francisco & New Orleans, is also pretty good.  Word of advice: avoid the numerous sequels and spinoffs of both novels.

H.P. Lovecraft’s short stories:  H.P. has fallen out of favor these days because he is, let’s face it, a racist, a fact that’s painfully obvious when you start examining his work.  In this area and with this writer, I agree with Victor LaValle (an award winning African American horror writer) that you can reject Lovecraft’s views while still appreciating his work (if you’re new to Lovecraft, the NY Times’ recent review of his annotated works is pretty useful).  I think Lovecraft is at his best when writing short stories, which he mostly sets in a frightening cosmos in which humanity is largely irrelevant to the ancient and terrifying gods who are attempting to reenter the human dimensions.  My own personal favorites among Lovecraft’s stories are “Pickman’s Model;” “The Dunwich Horror;” “The Thing On the Door Step;” and “The Rats in the Walls.”

Additional “dark writings” I’ve enjoyed (and still periodically re-read), without experiencing quite the visceral feelings evoked by Jackson, Lovecraft and Stoker:

Sheridan Le Fanu’s Carmilla:  another vampire tale (I’m particularly fond of vampires, obviously).  My immediate reaction after reading this for the first time was –“what’s the big deal?”  Then I had nightmares for a week.  A classic, whether you give it the psychological interpretation or not.

Ira Levin’s Rosemary’s Baby:  devil worship for our era and a very shrewd commentary on a certain 20th century milieu.  I’ve never read the sequel — why tamper with perfection?

Edgar Allan Poe: anything, really.  If you go for his long poem “The Raven,” try to find Doré’s illustrations (I included one at the beginning of the post.  They’re all great).  For sheer horror, my pick is his short story, “The Fall of the House of Usher.”

Stephen King’s The Shining:  I’m ordinarily not a big Stephen King fan, but I’ve read this one twice.  Despite the re-read, however, this is one of the rare cases where I prefer the film (a Stanley Kubrick masterpiece) to its source material.  Although I didn’t much care for King’s sequel, Doctor Sleep, nothing will keep me away from seeing the film, which will be released November 8th.

William Blatty’s The Exorcist.  I loved it when I read it; a second re-read about twenty years ago left me a bit cold so it’s ripe for a third review.  About the movie there’s no doubt at all — it’s really, really scary.  In fact Mr. Janakay and I are having our own little Halloween celebration tonight (too bad for the trick or treaters who come by after 7 PM!) by watching the director’s cut at our nearby cinema art house!

Poppy Z. Brite’s 1990’s work (she later ventured into dark comedy):  have any of you read this very interesting writer?  She’s so, so southern Gothic and so off-beat; naturally enough she’s a resident of New Orleans!  I have to admit I literally couldn’t read Exquisite Corpse, a novel centering on a homosexual, necrophiliac, cannibalistic serial killer (even for something that could be interpreted as a political metaphor, I do set some limits), but I found her early novels, Lost Souls and Drawing Blood, atmospheric (she’s got the lost, southern hippy thing down pat) atmospheric and absorbing.  Poppy’s appeal is no doubt a bit limited, but if you’re into over the top, you may find her worth checking out.

Marisha Pessl’s Night Film.  This one barely made my cut, as it’s more of a mystery-thriller than a proper horror novel but still — it was nominated for the Shirley Jackson Award.  The book begins with a suicide and continues with an investigation into the dark and violent work of a reclusive horror film director.  I’m a sucker for novels implying that our perceived “reality” rests on dark and unperceived secrets; I also found the interactive aspects of the story, which drive some readers nuts, wildly inventive and interesting.

My list, as I said at the beginning, is short and I’d love to expand it.  Do you have any dark reads you’d like to share?

PART THIRD:  MY 2019 HALLOWEEN READ(S)

My own little Halloween tradition (it actually relates more to autumn in general, than to Halloween per se) is to read something a little dark, a little eerie; something that reminds me that the universe encompasses more than we ordinarily see or perceive; that perhaps our “reality” isn’t the only reality out there.  A bit mystical, I know, but then rationality, while explaining much, doesn’t quite cover it all, does it?  It always seems appropriate to me, as the darkness literally closes in with the year’s waning, to read something a little dark.  What better time than Halloween?  It’s a time to forget the cute costumes and the fake spiders and remember that every culture I can think of had some ritual for celebrating the harvest, the time of bounty before nature’s (temporary) death.  I didn’t have a lot of time this year, but in my energetic and continuing effort to evade the art work of the Italian Renaissance I decided I absolutely was not going to forego my Halloween read!  The deciding factor here was a really odd compulsion to return to a novel I first read many years ago, The Night Country by the American writer Stewart O’Nan.

Have any of you read or reviewed O’Nan’s novels?  O’Nan appears to be one of those writers who’s hard to classify because he seems able to write about very diverse subjects in an equally convincingly way and — he’s written a lot!  A quick trip to Wiki discloses that in 1996 O’Nan was named by Granta as one of “America’s Best Young Novelists” and he’s been very respectfully reviewed by such publications as the New York Times.  I’ve always meant to read O’Nan’s novels (I’ve a couple languishing now on the shelf) but, sad to say, the only one I’ve gotten around to is Night Country, which I first read shortly after it was published in 2004.  I was drawn to Night Country because — you guessed it — it’s a ghost story and I was looking for a dark read.  I both got, and didn’t get, what I was looking for.  Night Country is a ghost story, but it’s a haunting without the chains.  Along with its supernatural elements, it’s also a beautifully written (and occasionally very funny) tale of disappointment and regret; a realistic slice of life in a small town and of bad choices and bad luck.  The whole thing was a bit too subtle for me and very much not what I was looking for at the time, i.e., a second Shirley Jackson Haunting of Hill House type read.  And yet, it stayed with me, and this year just seemed to pop into my mind, along with the return of rain, falling leaves and the chill of dark mornings.

O’Nan sets his novel in the small Connecticut town of Avondale.  It is Halloween night and his three protagonists are the ghosts of three teenagers who died the previous Halloween, victims of a terrible car crash resulting from a high speed pursuit by a local traffic cop.  Two teenagers survived the crash — Tim who can’t forgive himself for having lived when his girlfriend and buddies did not, and Kyle, a once arrogant bad boy reduced by severe brain damage to a shell of his former self.  The three ghosts have their own agenda, which plays out in the course of the novel as we see the effect of the tragedy on the cop, Kyle’s Mother (her proper name is never given) and a community that is still coming to terms with its grief.

As one of its contemporary reviews noted, Night Country, despite its “goblin-like atmosphere,” is a chilling, rather than a scary, read.  It’s a wonderful depiction of a closely knit and prosperous community, where all appears safe.  Or, this disquieting novel asks, is it safe, really?  The woods surrounding Avondale are mighty dark and mysterious, its creeks and marshlands are dangerous and one chance act can affect the beautifully ordered rationality of many lives.  It was amazing how much I liked this book the second time around, how beautiful, subtle and — haunting —  I found the story.  If, like me in 2004, you’re looking for a purely traditional and scary read, best avoid Night Country, particularly as it’s a quiet book that requires patience and time.  If, on the other hand, you enjoy a Ray Bradbury type mix of the strange and the quotidian, Night Country just might be your next great autumn read.

If you’ve the patience, bear with me for one more paragraph and I’ll mention a very creepy book indeed, a fantastical (and fantastic) mixture of horror, fantasy and fairy tale called Follow Me To Ground, a debut novel by Sue Rainesford.  I found this one through a review in The Guardian, which described it far better than I can here.  It’s a dark, unnerving story of Ada and her father, non-humans who live and work their healing magic on nearby villagers, whom they refer to as “Cures.”  The Cures are grateful but wary (their perspective is given from time to time, in brief shifts away from Ada’s); the setting is realistic with overtones of myth (everyone, including Ada, is terrified of Sister Eel Lake, the home of carnivorous serpents) and the tale can be read on a number of levels.  All goes well, however, until Ada begins a sexual relationship with a human Cure of whom her father disapproves.  I know what you’re thinking but trust me — Romeo and Juliet this is not.  It’s a pretty brief novel (slightly less than 200 pages) and a perfect quick read for those dark autumn nights when the rain is beating against the window.

PART FOURTH: FUN LINKS

The Guardian’s List of Ten Books About Cemeteries (I may check out a couple of these!)

“I was so scared I took it back to the library: the books that scare horror authors” (amusing note: Anne Rice was too frightened to finish Dracula!)

“I didn’t sleep well for months:” the films that terrified The Guardian’s writers as kids

And, just to prove that I occasionally read something other than The Guardian’s take on books, “Globetrotting:” the New York Times sneak preview of books coming out in 2019 from around the world

 

 

 

The Handmaid’s Tale and Its Sequel: News and Reflections

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On the left is my treasured copy of The Handmaid’s Tale, yellow with age.  On the right is the “book card” (far less yellow) that the publisher added to certain of its  “special books” for jotting down thoughts about the novel.  Wasn’t it nice when publishers bothered with these little touches?

 

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My autographed copy (more about this, below)

If you’re a bookish  type (and if you aren’t, I’m surprised but very pleased that you’ve found my blog), you’re no doubt aware that we’re only days away from the September 10th publication of  Margaret Atwood’s The Testaments, the long-awaited sequel to her iconic The Handmaid’s Tale.  The book’s publication must surely be the most hyped literary happening of the year.  In July, months before its publication, Testaments was already long-listed for the prestigious Man Booker prize (judges get advance copies) and only this week it made the award’s short list.  On the publication day itself, Atwood will speak at London’s National Theatre and her sold-out appearance will be live-broadcasted to over thirteen hundred cinemas from Canada to Malta.  Increasing the hype is the measures Atwood’s publisher has imposed to prevent any pre-publication leaks:  the Booker judges were bound by non-disclosure agreements and advance review copies (in some cases at least) were printed with a false title and author (perhaps to prevent them from falling into enemy hands? smiley face here!).  In short, Testaments‘ publication is a very big deal.

I really hadn’t planned on posting anything today (have I mentioned that I have a research paper due, so very, very shortly? Oh, I did!) but as Fortuna would have it (please forgive, but I’m still on a classical kick from my last post), when I clicked on The Guardian this morning I discovered that its book section contained an exclusive advance excerpt from Testaments.  I thought I’d share the wealth, so if you’re interested, click here.  If, like me, you enjoy reviews, you may want to check out what critics in the Washington Post  and the New York Times had to say (both have pay walls, so hopefully you haven’t used up all your clicks this month!)  And, late-breaking news, I’ve just discovered that Amazon goofed, broke security and in the U.S. prematurely mailed out several hundred copies of Testaments when it wasn’t supposed to!  Isn’t it all terribly exciting?

Hoopla aside, I have a substantive question to ask: how do you, dear reader, feel about Testaments’ impending publication?  Were you so unimpressed by Handmaid’s that you greeted the news of a sequel with a yawn and a “why is she bothering” thought?  Or did you pre-order your copy a year ago and make plans to be “sick” on September 11th to settle in and enjoy your exciting new acquisition?  (I don’t know about you, dear reader, but Janakay always reads in bed when she’s sick!  Janakay would have to be dying — very, very painfully so — to waste a perfectly good sick day by not reading!)  Or, if you’re more digitally minded, do you plan to have your finger suspended over your kindle, waiting to download the minute the clock strikes 12:01 on September the 10th?

In the interest of encouraging group candor in responses to my little question, I’ll share my reaction first.  I really wasn’t that interested in Testaments; in fact, I hadn’t planned on even reading it, at least not this year.  Have I embarrassed myself?  Are you so horrified you’ve relegated me to your list of bookish troglodytes, vowing never to read my blog again?  I certainly hope not!  I was a little puzzled myself at my lack of enthusiasm, especially given the fact that I adore Atwood’s work (I’ve read almost all of it, including some of her very good poetry) and regard her as one of the very greatest living novelists.  As for Handmaid’s itself, I loved it!  Aside from its narrative power, it’s one of those books that is very much bound up with my memories of a certain time and place, which increases its emotional impact for me.  (Don’t we all have a few of these?)  For me, Handmaid’s Tale is a cold, snowy day in early 1986 and apartment hunting in a new city with a (relatively) new Mr. Janakay, preparing for a demanding new job and a cross-country move (how can I possibly break the news to the cats?  They hate to travel.).  Just when I think my feet must surely be turning blue (my shoes are getting soaked), I spot one of those delightful small bookstores that doesn’t exist any more.  It’s in an old brownstone with a large bay window, which has a fetching display featuring shiny, newly published copies of Atwood’s latest.  I won’t say that I took my rent money, exactly, to buy it, but in those days newly published hardback books were not everyday occurrences in Janakay’s life!  Nor did I regret my purchase.  Atwood’s story was so gripping that I stayed up most of the night reading and couldn’t focus on much of anything else until I finished the novel a day or so later.

Given my intense reaction to Handmaid’s, why so little excitement now about its sequel?  Perhaps it’s precisely because Handmaid’s Tale did have such a powerful effect on me.  I found Handmaid’s so perfect and complete in itself I didn’t see any need to continue the story.  Its ambiguities didn’t trouble me; in fact, I thought the mystery surrounding Offred’s unknown fate actually increased the power of her fragmentary narrative.  On a less lofty level, perhaps Handmaid’s impact has simply faded over the years since I’ve read it, particularly since I haven’t watched the (so I hear) very powerful TV series.  Have any of you had a similar experience of closure, either with Handmaid’s Tale or another book?

When I was writing this post, I pulled down my (very) old copy of Handmaid’s Tale to check out a few details.  You can imagine my surprised delight (my heart actually started pounding) when I re-discovered the fact that I’d had my copy autographed by Atwood.  I very much remembered hearing her speak (in fact, I went to a good deal of trouble to attend) but I had forgotten the autograph, as I’m almost always too lazy to stand in line for them.  In this, however, as in all else, Atwood was so special I made the effort.

Maybe I’ll pre-order a copy of Testaments after all.