Category: american authors

#45 – The Last Summer (of You & Me)

Before I review Ann Brashares first adult novel (she’s the author of the uber-lovely Sisterhood of the Traveling Pants series), I’m going to make a confession. This book made me cry. Big, crocodile tears that caused my RRHB to put his hand on my shoulder and ask if I was okay as I was reading in bed. I was sobbing. Sniffling, snorting, bawling. Except I’m not really sure why. For the most part, the novel itself was utterly predictable, the characters were a little one-dimensional, and the story never truly resonates like her previous series.

Two sisters, Alice and Riley, have spent their summers (for their entire lives) on a tiny island off the coast of New York. Fire Island might be where they spend the warm months but for Riley and Alice, like so many Canadian kids who grew up at cottages (like me), it’s where their whole world starts and ends. Their collective best friend Paul (he’s Riley’s age; Alice is younger) lives next door. He’s slightly troubled with a crazy mother, a pile of money from his rich grandparents, and a heart that seemingly always lands in the right place. So when Paul comes back to the island to spend the summer after he’s finished university, everything changes. And the relationship between the three of them will never be the same again when the cold weather rolls in.

But it’s not just growing up that changes their relationship, it’s tragedy. Unpredictable, yet honestly a little too twee, the plot feels too contrived to make a great impact on me as a reader. Even if Brashares can write emotion like few others, the novel doesn’t feel adult, it still feels on the cusp of YA. It has predictable situations that are written with deep feeling and characters who wear their hearts on their sleeves only after a little prodding. Alice and Riley, despite their differences, felt a little too much like characters, if that makes any sense. They’re too polar opposite, trying too hard to be “distinct,” and, in ways, just a little too perfect despite everything that happens to them. There’s everything and the kitchen sink in this novel, issue piled upon issue, so you feel a little like you’re watching a movie of the week. 

It might seem like I’m being overly critical. Maybe I am. Yet, despite all of my criticisms, let me just say again, when it came to the tragic bits, I ended up with giant, salty tears falling down my sweet cheeks. Now that’s got to count for something. 

#44 – Dark Places

There’s a certain macabre element to Gillian Flynn’s writing that I can appreciate. Yes, it scares the crap out of me (but I am easily frightened). Yes, it seems a little overtly horrific at times. But, overall, they’re solid thrillers that camp more in the David Fincher and Mo Hayder side of the genre than say the Law and Order and Alexander McCall Smith side. Her latest novel, Dark Places, climbs into just that, both metaphorically and literally. 

Libby Day survives one of the most brutal crimes ever to take place in Kinnakee, Kansas. She’s just seven when her mother and two sisters are murdered (in cold blood, yes, indeed) late one winter night. Dashing from the house after taking refuge in her mother’s bedroom, Libby hides from her brother Ben, the only other survivor, when he comes calling for her. Based on her own fuzzy recollections, Ben is convicted of the murders and has spent the past 25 years in jail. 

Bittersweet and slightly morose, Libby has made a decent living from being the lone survivor of “The Satan Sacrifice of Kinnakee, Kansas.” Scraping the barrel of the trust fund that was set up after the deaths of her family members, her father lost to alcohol and hard living, Libby hasn’t ever truly held down a real job. Then along comes The Kill Club, a group of amateur sleuths who thrive on the more grotesque nature of the crimes, combing through old evidence to try and solve the unsolvable. The Kill Club, and its obsession with serial killers, gives Libby a second chance to come to terms with her life — they (and especially one of their main members, Lyle Wirth) don’t believe Ben committed the crime and they’re willing to pay her to dig deeper into her past to find out the truth. And find out the truth she does, but it’s not what Libby, or the reader for that matter, expects.

Whenever I read a book that circles around  such disturbing events, I can’t help but think about something Alissa York said once, that a writer’s imagination, because it’s that, made-up, can go places that people don’t normally go. They explore situations and characters that seemingly come from out of left field and that only work in the context of that particular book. Flynn does a great job with these dark places, both from the novel’s title and from the pages within, and if I have one complaint, it’s that I’m not entirely convinced by the conclusion. Like her first novel, Sharp Objects, the novel rips along like mad for the first two-thirds, and then falls down just slightly when the penultimate moment arrives. The true ending, however, as in the very last chapter of the book, was utterly satisfying.

#41 – We Need To Talk About Kevin

Lionel Shriver’s Orange prize-winning novel has been on my “to be read” pile ever since I started working at HarperCollins Canada, two point five years ago. Somehow, it always got shuffled around, whether or not I was trying to start or finish a challenge, or something flashy had caught my eye, the book remained on the pile. I guess I found the subject matter a little daunting: a mother talks through letters to her ex-husband about their troubled child, Kevin, who was responsible for a serious school shooting incident.

But once you start We Need to Talk About Kevin, it’s almost impossible to put down. Shriver has a way with character that forces the reader to confront human nature head on — both the good and the bad. There’s no stereotype in Eva. She’s an individual who has made her way in the world, created a successful company and lives a happy life with her husband. She’s hesitant to start a family for a number of reasons: will she be a good mother, how will a baby change their lives, what will it do to her relationship, all of which seem rational when making a decision as big as whether or not to start a family. And it’s apparent that it’s a decision, and not an accident, when she gets pregnant with Kevin. Everything else that happens later seems to fall from Eva as a result of her inability to feel happy about the birth of her son. It’s not as if she blames herself but more that she’s working through the blame, the denial, the regret, as she sends letter after letter to her estranged husband, Franklin.

The letters are personal and they are obviously missing a bit of perspective. But that’s why they are just so effective, you are in Eva’s life irrevocably, and you feel her pain, are motivated by her hurt, and want to understand what went wrong almost as much as she does. I don’t think you can write a book like this without laying bare the limitations of humanity in a way — of society’s ability to forgive and forget to a point that benefits those directly involved in tragedy. For Eva, she’s haunted by her losses, surely, but she’s also haunted by the simple fact that life doesn’t end even if you might want it to, even if you believe it should. You take a step and move into a more, miserable life, but you’re alive nonetheless.

Her relationship to her son, the mass murderer, is complex, difficult, aching, and utterly real. But what I loved most about my Perennial edition, was the story behind the book at the end. Apparently, Shriver (and I’m paraphrasing so hopefully I don’t get this too wrong) wrote this novel really quickly and sent it to her agent at the time who rejected it entirely. The string of novels she’d written up to that point hadn’t been enormously successful and when the agent refused to sell it, Shriver took it upon herself to send it to an editor friend, who ultimately (I think) published the book. Then, as we all know, it won a well-deserved Orange Prize. Sometimes a writer simply has to trust her own voice. Right?

#34 – Love Begins in Winter

From the P.S. Section of Simon Van Booy’s collection of short stories, Love Begins in Winter, I learned he’s a solitary writer. Not that writing isn’t always a solitary act, but that he actively heads out of town and travels alone specifically so he can conceptualize a story before he puts it down on paper. His writing embodies the nature of this travel — it’s touched with the insights of a keen observer but not without a haunting sense of loneliness, one that informs every character that comes alive throughout the five stories.

Each has its basis in a love story, whether it’s traditional or parental, love in its various forms remains the central theme of each piece. Entire lives are defined by it, or the absence of it, and as his characters come to find it, unexpectedly in most cases, love changes them in not-so subtle ways. Setting informs every inch of this book — it’s rich in its description, from the rain on the streets of Sweden to the snow in Quebec, you get the feeling that the author, and not just the characters, have walked the streets, lain in the cold white sheets of the hotels, and explored every inch of what’s detailed.

Poets have such a way with prose. I know we take that forgranted, that poets actually know what to do with language, but sometimes they stumble over the longer form (I’m sorry Anne Michaels, I am sorry to say that outloud; I know you are beloved), and get lost in trying to find the right words. And yes, what Van Booy does with language is breathtaking. I’m forever impressed by writers who can create a vivid character, a vivacious situation, with just one sentence, and this book was full of moments that made me hand the book over to my RRHB and say, “see, THIS is how I feel.”

I’m a romantic at heart. I wept at the sickly-sweet ending of the utterly terrible He’s Just Not That Into You. I stumble over cliches of chicklit, and often find myself welling up even though I know I’ve read it all before. But here, in Love Begins in Winter, I’ve never come across love in quite this way before — never stretched it out like a road underneath a motorcycle or jumped with it off a cliff as a backstory, and it’s refreshing to see how it changes Van Booy’s characters when it appears in front of them whether they’re expecting it or not. Walter the Irish-Romany’s knees get a little weak but pages later you see how true love vests itself into his life. George gets a letter in the mail and it changes his life forever, and for the better. And if you’re patient, and read this book slowly, carefully, you can’t help but get swept away in the romance of it all, at least I couldn’t.

READING CHALLENGES: The “Summer is Short. Read a Story.” challenge for work. Next up is actually trying to finish Sarah Waters’ latest novel, and hoping that it doesn’t continue to put me to sleep at the turn of every single page. Zzzzzzzz. Wait? What?

NOT FOR A WHOLE POST, BUT STILL: Speaking of romantics, I finished Gemma Townley’s latest novel, A Wild Affair (#35) and have to admit that I wasn’t as enamoured as I usually am with her books. The plot seemed really contrived and her usual way of writing smart situations within a genre that really exploits cliches just wasn’t there. On the whole, I’m not sure if the Jessica Wild character is someone to hang a series of novels upon, and the “twist” felt more like a plot necessity than a life-shattering event. However, I still adore her, and highly recommend her chicklit as a cut above many of the other writers attempting the same kind of fiction.

Summer is Short. Read a Story. (#s 32-33)

I am very excited about a fun campaign we’re running at work called “Summer is Short. Read a Story.” Celebrating much-beloved but hard-to-sell short story collections for the summer months got me thinking about two books I finished recently: Elizabeth Strout’s Olive Kitteridge and Gil Adamson’s Help Me, Jacques Cousteau. Both books contain a series of linked short stories that have female protagonists: the former centred around an aging (and then retired) 7th grade teacher (the Olive Kitteridge of the book’s title) and the latter around the ever-growing Hazel. Authors Adamson and Stout (who just won the Pulitzer for Olive Kitteridge), while different in terms of their style and substance of their stories, have uncanny talents for characterization. They can sum up a character — their habits, their emotions, their intentions — often with just one heartbreaking sentence that seems to epitomize good writing. It’s something I admired while reading both books over the past week.

Olive Kitteridge lives in a small-town in Maine, her husband was a pharmacist and her son grows up to be a podatrist, and neither truly lives up to her expectations. People in town are as kind to Olive as they are critical, and she’s a presence in every single story, whether it’s from the point of view of her husband or her neighbour. Each perspective adds a little bit more to her character, unravelling Olive like an onion until the final sentences of the book open her up to the core.

Echoes of small-town life can be found in Gil Adamson’s stories as well, Hazel, who we see grow up from a young girl into a young woman, copes with the pressures of family life. Whether it’s crazy uncles, oddish grandparents, fathers who can’t stop tinkering or mothers who feel that they made a wrong turn somewhere, she grows up with a wild and unwieldy cast of characters who inevitably shape who she is as a person.

My reaction to both of these books was emotional — I fell a little bit in love with these two main characters, Hazel for her rough and tumble time with adolescence and the pains that accompany growing up, and Olive for her tough-talking, no-nonsense approach to life that ultimately ends up alienating her from so many people that she loves. Modern life bleeds so many different colours, from rationalizing long-term relationships, their success or failure, from expectations we have for ourselves and how they change to the complex relationships between parents and children, and these two works explore these themes with a keen and affecting eye for detail and determination.

Highly recommended reads.

READING CHALLENGES: Help Me, Jacques Cousteau is the 12th title I’ve read for the latest Canadian Book Challenge. And, well, Olive Kitteridge is an award winner so maybe I’ll create a new challenge for those, unless on already exists?

WHAT’S UP NEXT: I’ve started Denis Johnson’s Nobody Move, Frances Itani’s Leaning, Leaning Over Water and am halfway through Sarah Waters’s latest novel, The Little Stranger. But Vanity Fair also beckons — somehow I can’t resist spoiled rich kids in Sofia Coppolla-inspired photo joints coupled with the Kennedys and more Bernie Madoff revelations. I mean, I’m only human people.

#21 – The Omnivore’s Dilemma (Also #s 22, 23, 24 & 25)

Somehow, I feel like starting off this post being hyper-critical of myself: I should really be blogging more. I should keep writing even though I don’t feel like it. I should do a lot of things. I know that Michael Pollan isn’t purely being self aware with The Omnivore’s Dilemma, but the introspective elements mixed in with his philosophical discussion of ‘a natural history in four meals’ definitely makes you think. The book hums along like any good documentary should — it’s rich in investigative journalism, full of interesting points of view about the current state of the food industry, and never fails to try and observe a situation from every angle possible.

Broken into three sections (although subtitled ‘four’ meals), Industrial, Pastoral and Personal, The Omnivore’s Dilemma unearths many real and even some invented debate (his whole rationale for eating meat in the third section I found a little hard to stomach) behind how food is brought to the table. The first section of the book, where Pollan discusses and takes apart the industrial food chain, straight from a fast-food meal eaten in the car to the fact that by-products of corn are in just about every processed item in a grocery store, was utterly captivating. One part Fast Food Nation, another part 100-Mile Diet (which I haven’t read all of yet), the sheer force by which farms have become industrialized combined with the unknown and ever-reaching ramifications made me hunger even more for the weather to heat up so I could get seeds in the ground for vegetables.

I also found Pastoral, where Pollan visits and works on a farm that lets animals be animals by having developed a very real, yet still domesticated (is that the right word?) ecosystem that not only feeds the people who live there, but also supplies many restaurants and customers in the area with fresh meat and vegetables, compelling. Never doubting the value of farmers, especially ones practicing organic and more ethical ways of reaping value from the land, The Omnivore’s Dilemma points out dramatic differences between industrial farms and smaller, independent outfits.

The third section, as I mentioned above, lagged for me — probably because, while notable, the idea of hunting and gathering my own food (that which I have not cultivated in my backyard), honestly has me stumped. I couldn’t imagine heading out into the woods with a rifle and shooting a wild pig. Yet, I can understand why Pollan felt it necessary, especially with the level of scholarship around which he answers the question: “What should we have for dinner?” Also, I really hate mushrooms. Perhaps this isn’t something I should hold against the book.

All in all, I spent much of Easter weekend reading this book. I had to pause for a moment because we had our Fall 2009 sales conference (for which I read two of the best fiction titles I’ve read in a long, long time: Let the Great World Spin by Colum McCann and The Financial Lives of Poets by Jess Walter, #s 22 & 23; and one truly fantastic YA novel called The Amanda Project, #24) and there was much reading to be done (and shared), but managed to get right back into it once we were through last Friday. There is no way that I will ever think of corn in the same way again. There is no way I’ll think of tofu in the same way again. There is no way, in fact, that I’ll think of dinner in the same way again, if I’m being honest. And isn’t that a most powerful thing for a book to do — take a mundane and utterly human aspect of one’s life and turn it inside out.

Annnywaay. Over the past few weeks, I’ve been under the weather, mentally, physically, but I’ve managed to keep the garden going (loads of flower seedlings coming up; everything that needed to be planted before the last frost is in), and keep my head above the metaphorical water enough to still read. Writing, however, still remains a challenge.

Oh, and #25? I finished up Marjorie Harris’s delightful Ecological Gardening and learned many, many good tips. Not the least of which was a) that I shouldn’t be watering at night (oops!), b) that I should really figure out a way to compost and c) that companion planting (nasturtiums here I come!) is really my friend.

READING CHALLENGES: I’m adding The Omnivore’s Dilemma (which is actually the only book I’ve completed) to The Better You Read, The Better You Get Challenge. One down, nine to go. It’s going to be a long year of self-improvement, I think.

WHAT’S UP NEXT: I’m halfway through Coelho’s Veronika Decides to Die (Buffy is playing the lead in the film adaptation; I’m excited to see what she does with it, although I’m finding it hard to imagine how they crafted dialogue out of the author’s heady narrative).

#20 – Truth and Beauty

Already a fan of Ann Patchett, I knew I would probably enjoy her memoir, Truth and Beauty. When my friend Emma at work told me, no, insisted that I read it, I ordered up a copy and started it on the ride home from work last Friday. Um, I finished the book at about 10 AM on Saturday. Patchett, who befriends a gregarious, infamous girl from her college, Lucy Grealy, while both attend the infamous Iowa Writer’s Workshop, writes about their “epic” (as the front cover blurbs) relationship.

Lucy Grealy, whose memoir, An Autobiography of a Face, propelled her to literary stardom before she succumbed to the lasting tragedy of a childhood illness, which resulted in thirty-eight surgeries, a lifetime of pain (literal and psychological), and a terrible drug addiction. People were simply attracted to Lucy — they all knew who she was, and she gathered up friends and acquaintances, and filled up her world with them. Even though a rare form of Ewing’s sarcoma left her face permanently altered, Lucy pushed on through life, scars showing inwardly and outwardly. While tragic, the point of the book, from my perspective anyway, was to truly exhalt the idea of friendship, how in some cases it simply pulls someone into your life forever.

While both writers struggle to start their careers at the beginning of the book, Truth and Beauty also narrates their successes. For Patchett, it came upon the publication of her fourth novel, Bel Canto; for Grealy’s, it arrived suddenly with her memoir (and not from her poetry, per se). The two women support each other, derive inspiration from one another, and work extremely hard for many of the same goals (fellowships, etc.).

The most affecting part of the book for me, obviously, was Lucy’s struggle with illness (I haven’t read her book, by the way). There was a point in the memoir when Ann Patchett described how Lucy felt toward people suffering from disease with no outward symptoms, how unfair and/or angry (and I’m paraphrasing) this made her. In a way, I could relate — the Wegener’s has scarred my face (acne from the meds), bloats my features (prednisone), lost me a hip, and caused up and down weight gain (as has, um, age and inactivity!). But in another way, I could see what she was saying as well, that to walk around with a very physical reminder of how a disease had effectively ruined your face is quite different from dealing with some pimples and a few pounds.

Yet, I can’t help thinking it was a little unfair (and perhaps I’m taking it a little too personally) to judge the amount of someone’s suffering simply by outward scars of their disease. The Wegener’s attacks my insides, makes me exhausted, puts me in fear for my organs, has ruined my lungs, and all kinds of other internal things that can’t be seen. And I live with it every day. It’s amazing, at times, to think that your body has the power to kill you when every ounce of your flesh has evolved to survive. There’s a psychological struggle with disease that’s there regardless of whether one has scars on the inside or out — I suppose that’s where I kind of determined there was a selfish streak to Patchett’s dear friend.

Annnywaaay. Truth and Beauty is well worth the read. It’s a good book to buy for your best friend just to send along to say, “I love you this much.” To say, “if you had lost everything I would send you kitchen appliances and JCrew t-shirts too.” To say, “this book says it so much better than I ever could.”

#18 – The Good Wife

Relentlessly addictive, that’s how I would describe Robert Goolrick’s A Reliable Wife. The manuscript sat on my reader for months. Every time I found myself on page one, I quickly switched back to whatever classic I was currently tackling because I knew if I started I wouldn’t want to stop. I wanted to wait until I had an afternoon of free time (right, phftt) and be able to read the book. Of course, I happened upon an extra long subway ride (what the TTC being delayed and having problems? Yawn.) Of course, I had forgotten my book. Of course, I was uninspired by the two classics I’m currently reading (Dracula; Tess of the D’Ubervilles). S0 I started A Reliable Wife. And. Couldn’t. Stop. Reading.

The novel opens with an older man, described by himself as somewhat past his youth, but rich, so very, very rich. After the deaths of his wife and daughter, and the loss of his errant (and possibly bastard [as in not his]) son, Ralph Truitt stands on the cusp of the new century having written away for a wife. The woman who replied, the beautiful, dishonest, Catherine Land replied, reinventing herself along the way. A tragic accident on the way to the farmhouse puts them both in a precarious situation: Truitt close to death; Catherine entirely dependent upon his kindness once she nurses him back to health. They marry. And an odd, not entirely unromantic relationship develops out of their mutual need. He’s rich; she’s poor. He wants his son back; she’s got a life that needs atonement, and an ulterior motive. As the rest of the novel unravels, these desires push them in different directions, and both Catherine and Pruitt are changed as a result of their union in ways they might not expect. The result is delicious for the reader.

The novel, while a little predictable (I had figured out one of the twists fairly early on), is utterly addictive. It’s also terribly sexy — full of sensual description and rich in terms of the description of physical affection. No one escapes sex in this novel and it makes people act in ways they might not expect. In some cases, sex turns into love, and love is sometimes mistaken for lust — regardless, the book never shies away from the utterly human ways in which the act defines relationships. Goolrick has full, descriptive prose that sometimes feels a little over the top at times, yet it never overpowers the story. Quite the opposite, it pulls you into the characters even further, allows to to invest in them emotionally, which makes the drama of the last third even more interesting. All in all, I couldn’t get enough of this novel.

#16 – Life Sentences

I have a literary crush on Laura Lippman. Last year around this time, I interviewed her for Another Thing to Fall, the latest novel in her Tess Monaghan series. She answered my questions patiently and honestly (via email), which made me crush even harder. Two weekends ago, mired in the fog of disease and a decided lack of energy, I cuddled into bed with her latest novel, Life Sentences. Her latest stand-alone novel, like What the Dead Know, is also based on a real Baltimore criminal case. In this novel, Lippman mixes it up a bit, however, with her characters — the main one, Cassandra Fallows, is a writer. And not even a crime writer.

With two successful memoirs behind her, Cassandra’s third book, a novel, isn’t doing so well. A lonely night on her latest book tour turns up a kernel of an idea: she’ll write from truth once again, this time exploring the lives of her childhood friends. One in particular, a woman named Calliope Jenkins who spent seven years in jail for killing her child (but who never admitted the truth to anyone). A platform to explore issues of race, priviledge, memory and friendship, the novel exquisitely circles around itself, mixing in sections of Cassandra’s successful books with points of view from other characters, until it reveals the truth.

There are so many reasons why I liked this book — the insider’s perspective on the publishing industry, the fast-paced nature of the narrative, and the rich characterization of both Cassandra and the supporting players. Lippman writes women well without falling into the typical stereotypes that sometimes plague lesser crime/commercial writers. She elevates them, regardless of their damaged state, into real people, and never passes judgement on their habits (alcohol for some; sex for another) and/or motivation unless it’s to empower someone by the end of the story. Overall, there’s not much else to say except that it’s a pretty darn good read.

#13 – Revolutionary Road

Richard Yates’s novel, Revolutionary Road, has been sitting beside my bed for over a week. I’m finished reading it but I didn’t want to put the book away. In a way, I sort of felt as though I wasn’t quite done with the novel. It’s honestly one of the best books I’ve read in a long time, a definite modern classic, a story with the cold, almost clipped air of Capote with a desperate current of sadness running throughout. I have yet to see the movie and, in a way, even though it’s the only reason I’ve read the book, I don’t want to now. I’m too afraid it’ll ruin it. Even still, Leonardo DiCaprio and Kate Winslet were running through my head as the two main characters: Frank and April Wheeler. I guess that’s not to be helped.

As two young people, Frank’s just about to turn 30, and April’s a few years younger, playing hard at adulthood during the early 1960s, the Wheelers have everything. Two kids, a lovely home on Revolutionary Road, and should, for all intents and purposes, be happy. Yet, they’re not, they fight, sometimes for days at a time, and both cling to a sense of unease that bubbles up and surfaces in their actions not only toward one another but to other people in the world. The clinical nature of Yates’s prose, his exacting way with words, cuts them down piece by piece, pulling out the human bits within the detrious of their suburban lives. The novel is Mad Men only Frank’s not as interesting as Don Draper, which makes it even more tragic, I think. People smell bad in Revolutionary Road; they appear in ways that betray their perfect stone paths and upkept lawns. Life is never what it seems on the surface, not for a single character, and no one survives unscathed.

So, one day, when April hatches a plan, to escape to Paris and start over so that Frank can really find himself, there’s a spark of interest and ingenuity to both of their lives. Suddenly, they’re better than their neighbours, different, not the same sheep on the commuter train. Only change is hard to make, it doesn’t come easily and it never turns out the way you’d expect, especially in this novel. I haven’t even seen the picture and I’m going to recommend reading the book first. I simply don’t see how it could possibly be any better.