Category: ragdoll reads

Now, I am gladly going to knock another one off the 1001 Books list with J.M. Coeztee’s Slow Man. Oh, and that takes care of South Africa in my Around the World in 52 Books challenge as well. But what do I really have to say about the book? Well, that’s a bit more difficult considering my toes have been cold all day, I’ve got a “spot” on my forehead, and I’m so tired that I can barely keep my eyes open.

All of my remarks about this particular book will be prefaced by the fact that J.M. Coetzee is a well-deserved Nobel Prize winner. In fact, he is probably one of the greatest writers living today. I count his books, especially Youth and Disgrace, among my personal favourites. But lately, especially after the fiasco of a book that Elizabeth Costello turned out to be, I’m starting to wonder if he’s spending a bit too much time, well, talking to himself.

As the critical consensus is split between whether or not the character Elizabeth Costello is in fact Coetzee himself, I have to wonder about why he chose to include her, yet again, in another one of his novels. The story of Slow Man takes place in Australia where an older gentleman, Paul Rayment, ends up in a terrible biking accident where he loses a leg. The amputation puts a stop to his life as he has know it, obviously, and, as the novel progresses, he is less inclined to get better and more inclined to stop living altogether.

Nurses are assigned from the hospital’s roster of home care to care for Paul once he gets home, and he goes through a number of them before settling on Marjiana, who becomes a catalyst in his life for many reasons. And when things start to unravel as a result of both his injury and his professional relationship with this woman, Elizabeth Costello shows up on his doorstep unannounced, and stays. She’s an omnipotent character of sorts, spouting all kinds of meta-fictional/philosophical speeches about the state of his existence. And that’s where the book sort of goes off the rails for me—I don’t mean to sound flippant because I loved the first half of the novel, but the rest, meh.

One the whole, the book, at the beginning, comes close to passing the heartbreak test, and it excels at what Coetzee does best, which is delve into the most frighteningly human aspects of his characters when they’re set upon in the most horrific of ways. But the second half of the book became so pedantic and almost existential (not that that is a bad thing) that I sort of felt like I was listening to a Beckett play rather than reading a novel. And had I known I was going to be reading a Beckett-like novel, I would have been okay with it, but as it sort of showed up out of the blue to become that way, I was put off, and kind of disappointed.

Will that stop me from reading more Coetzee, not on your life. Primarily because he writes such awesome sentences, strings the words together like this:

“No, Paul, I could care less if you tell me made-up stories. Our lies reveal as much about us as our truths.”
She pauses, cocks an eyebrow at him. Is it his turn? He has nothing more to say. If truth and lies are the same, then speech and silence may as well be the same too.

But did it mix up my thoughts on Slow Man, absolutely. It’s almost as if Coetzee wrote two different novels and then patched them together, or he fell so in love with Elizabeth Costello from her own novel, that he wanted to keep on writing her. My only unanswered question now is why?

Arundhati’s Roy’s first novel, The God of Small Things, won the Booker Prize in 1997, which I’m assuming is one of the reasons why it was included in the 1001 Books list (I’m at 122! whee!). Set in Kerala, India primarily in 1969 and moving through the odd flash-forward to present-day (1996), the novel tells the story of two different-egg twins Estha and Rahel before, during and after the tragic death of their British cousin, Sophie Mol.

Told in a narrative style that is frustrating to say the least, Roy’s brilliance comes in spurts, where she puts words together in such a fashion that yes, her prose comes close to my heartbreak test, but on the whole, I felt like I was walking through mud while reading this novel. Lovely thoughts about loneliness, the meaning of family and the implication of the caste system permeate the novel as Estha and Rahel discover that life can absolutely change irrevocably in a day, and that one event can stain your entire existence. After Sophie Mol dies, the twins, now separated, wander through life feeling half-whole, disjointed and totally ruined by the emotional damage inflicted upon them.

There’s no coherent story, but you get a sense of the events from Roy’s vignettes, each told in a very child-like tone: the twins are born into a bad marriage, their flighty, beautiful, but damaged mother takes them back to her mother’s house, where they live with their uncle and their great-aunt, their uncle’s ex-wife comes to visit from Britain bringing along their beautiful, sand-coloured cousin, said cousin dies tragically, their mother’s affair with a Paravan is revealed, his life forever changed, she’s shunned, one of the twins must go live with their father, the other becomes totally lost.

But you piece together the events like a puzzle as the novel moves backwards and forwards towards the penultimate event: Sophie Mol’s death. The final, deep, dark tragedy, of what happens when the romantic relationship between Ammu, their mother, and Velutha, the Paravan, becomes public knowledge, is an offering from Roy to her own gods of small things, the rights and wrongs of the world, of how love isn’t always magical and sometimes simply doesn’t change anything, and how some people just become lost in their lives at any age.

Part of my own goals with this Around the World in 52 Books project is to experience the literature of other countries, in this case, India, to feel the sights and the sounds, to breathe in the air a bit differently, and the novel truly accomplishes that—I got a real sense of the surroundings, of Kerala, and of the social and political differences between the characters in the book. Am I glad I read this novel, yes, but would I highly recommend it, probably not, but that doesn’t mean someone else wouldn’t be totally enthralled by the magical, almost mystical, non-linear storytelling.

“Do you hang on to clothes you haven’t worn for ten years? Or bags of pasta, cans of beans?”
Danielle did not need to answer.
“What is it about books? Perfectly rationale people get crazy about their books. Who has time for that?”
“I measure my life out in books.”
“You should be measuring your life by living. Correction: you shouldn’t be measuring your life. What’s the point?”

Claire Messud’s massively addictive, massively hefty novel ended up on more than one ‘best of’ list this year, not the least of which was its inclusion in the NY Times “The 10 Best Books of 2006.” The Times describes the novel as ‘superbly intelligent’ and a ‘keenly observed comedy of manners,’ and I would not disagree. But it’s long. And it’s wordy, which is in complete contrast to the 2nd book in my Around the World in 52 Books challenge, A True Story Based on Lies.

At first glance, too, Messud’s novel seems to retread over well-worn territory, especially for me, in a year where I also read The Good Life and Elements of Style, tackling yet another book about New Yorkers and the tragedy (and its aftermath) of 9/11 might be a bit much for my already broken heart to take.

But that’s where I was wrong, Messud’s book, while earnest in its intention to examine the subject matter, is not earnest in its narrative style or tone. And the elements of satire that appear as a result of her ability to take these characters so deep into themselves without necessarily letting them in on the joke, ensures that the novel feels a little like a Restoration play written in our very modern age.

The plot of the novel follows the lives three college friends, Marina, Julian and Danielle, ten years or so after their graduation, who are now firmly ensconced in their adult lives, which means essentially nothing considering they are as much adrift as they ever were, from a few months before 9/11 until just after the attacks. There is a firm cast of supporting characters, Julian’s boyfriend, Danielle’s mother, Marina’s socially awkward and strangely surreal cousin with the odd nickname of Bootie, along with the ‘Emperor’ himself, Marina’s father Murray Thwaite, an accomplished, and older, infamous journalist in the style of Hemingway, who smokes, drinks and, ahem, well, you know.

Marina, beautiful, lost and finishing her own manuscript, deliciously self-absorbed and ridiculously Paris-Hilton-with-brains (entitled) in her approach to her life looks to her best friends, Julian, a freelance writer in a totally destructive relationship, and Danielle, the one with the stable job, stable life, stable outlook, to guide her as she lands back home while attempting to finish her book about children’s clothes. Life happens. Love happens. Lots happens. But as the planes crash into the two towers, no one in the novel comes out unscathed.

Messud’s talent for long, breathy sentences with many, many commas, dashes and other forms of punctuation, means that we know so much about each character, from their brand of Scotch to the workings of their inner minds, that there’s always the fear the book will careen off the page. Yet, her skill as novelist means that all of the many threads of their lives are woven into an immaculate quilt, with not a single stitch out of place.

It’s fitting, somehow, that my book from the United States, is about New York City, the one place that’s been so ingrained in our psyches from books, from film, from television, that it seems so much more than the sum of its magnificent parts. Oddly, it’s an apt description of The Emperor’s Children as well, it’s a magnum opus of a book, an epic of a tale that carries you in and around its over 400 pages without leaving you lost in Alphabet City in the middle of a scorching hot summer season.

If I have one, teeny, tiny criticism, it’s that my heart remains firmly in tact, and as much as I admire Messud’s skill as a wordsmith, I wanted more in terms of emotional involvement, and even in the book’s penultimate moment, when my favourite character, Danielle, finally falls apart, I didn’t ever get that catch in my throat I felt while reading Consumption. But it’s not like every book can (or should) make you cry.

The second book in my Around the World in 52 Books challenge is Jennifer Clement’s A True Story Based on Lies. I’m counting this as Mexico, although I’m not sure if the author herself is Mexican, but the novel is set in Mexico City.

The story folllows the lives of two women, one a rich young girl called Aura, whose chapters are all entitled ‘Every Leaf is a Mouth,’ and Leonora, a servant in her household (and her mother), whose headings are all called ‘Some Things Were Overheard and Some Said it Was All a Rumor.’ As you can probably guess, it’s not a simple story as Aura has no idea Leonora is her mother, and the book travels through the latter’s past to tell us the story of how the child came to be.

Leonora is a young, impressionable, impoverished girl sent to the convent by her broom-making mother. They live on the outskirts of Mexico City and have been broom-makers for generations. As the book opens, Leonora’s own mother explains that generations of twig-collecting girls have been born with mothers wearing no wedding rings:

“‘All the fingers in our family are buried without wedding rings. Under the ground there are bouquets of fingers without wedding rings.’ Leonora imagines the pale, white bones of her grandmothers’ fingers buried beneath the earth.”

In an effort to improve her life for good, Leonora is sent away to the convent, where Mrs. O’Connor finds her and brings her to be a nanny and a servant in her household. Once there, Mr. O’Connor takes a liking to her, and eventually gets Leonora pregnant. The child is taken away, and registered as Mrs. O’Connor’s, which means a complex relationship begins where Leonora tends to the child, but Aura has no idea she is her mother.

Clement, from what I understand, is a poet first, and the sparse, short paragraphs of this book are filled with lots of sweet bits of metaphorical language, folklore, catechism, magic as well as the actual story. It’s a short book, just over 150 pages, but with each paragraph just being a sentence, and much of the book repeating thoughts, images and motifs, it’s a short read.

What I liked: the way Clement tells a very complex story about class, race, infidelity and motherhood, in an almost prose poem kind of way. The ending of the novel is utterly heartbreaking, and after reading Consumption, I feel more than ever that every book I’m going to read on this challenge will break my heart. Clement excels at characterization though, as sparse as it is through the book, simple details, like Aura being unable to control her hands (one moves one way; the other another), form complete pictures in my mind.

I also thoroughly enjoyed the fact that this was a story primarily about women. And even though the actions of the men (Mr. O’Connor and his two sons) greatly impact their lives, much of the book feels feminine and reflects these women’s particular strengths. Alongside Leonora are Sofia, the oldest servant in the household, and Josefa, the cleaner, who only speaks in one word sentences.

What I didn’t like: sometimes I find that poets who write novels can’t quite escape their tendency to break traditional form and structure. While for the most part it works, there’s a section near the end, all in italics, where a pivotal moment is happening, that essentially repeats all of the folklore-esque bits from throughout Leonora’s section for over 10 pages. Here, I thought, it would have been more powerful to actually explain what happened in a more straightforward way, but it’s a small nitpicky kind of criticism.

I’m not sure if I would highly recommend this book, like I would Kevin Patterson‘s novel, but it certainly gave me a flavour and a taste of gender and race relations during the middle of the last century in Mexico, and that’s not something I read about everyday. And super props to my friend RC who loaned me this novel and happily gave me my Mexico!

It’s oddly fitting that this book straddled my 2006-2007 reading; it’s possibly the best book I’ve read in ages. And it made me cry, full, flooding tears dripping onto the pages. Kevin Patterson’s brilliant novel, and I use that word without a hint of exaggeration, centres around a young Inuit girl named Victoria who leaves the north when she’s diagnosed with TB to return a virtual stranger becomes an epic tale of how change impacts a culture, which in turn, affects every single character in Consumption.

The title that refers at once to both the disease and to our own consumptive culture, becomes a metaphor for what happens to every single character in the book. Victoria is consumed by the disease and then obsessed with it for the rest of her life. Robertson, a Hudson Bay man and Victoria’s husband, becomes consumed with both his love for her and his own material success, striving to find a balance between the place he’s fallen for, the Arctic, and the world defined by his own skin colour. Their children, Pauloosie, Justine and Marie, each struggle with growing up in a world, even in the north, more and more defined by material culture. And each child reacts in his or her own way: Pauloosie, who rebels against his father by turning to his grandfather and the land; Justine, who leaves Rankin Inlet the first chance she can get; and Marie, who becomes lost in so many different, heartbreaking ways.

On the periphery of Victoria’s life are Bernard and Keith, the community’s priest and doctor respectively, and each struggle with their own commitments to their professions and to the barren world they have come to both know and love. The teachers, Johanna and Penny, who go their separate ways, one toward love, the other toward the land, and come to very different ends, and Keith’s family back in the States, especially his niece Amanda, who finds her own struggles as a result of her parents’ split.

And there’s also the story of the third generation, as the Cubans say, of Victoria’s parents, Winnie and Emo, who themselves come in off the land when she’s taken south to be cured of her TB. Emo takes a job at the newly opened nickel mine and all of their lives are forever changed.

This book is as much about the struggle to remain true in an ever-changing world as it is about the inevitable problems that occur as a result of said change. The moments cannot be taken back, like a wheel set in motion, to use a tired old metaphor, the culture of Patterson’s novel explores the very essence of change in the Arctic, using the body, and its diseases, almost as a trope to describe what’s happening within.

But what I liked most of all about this book is the clinical eye of Patterson, himself a doctor, as he speaks through Keith Balthazar toward the end of the novel, in a section entitled, “The Diseases of Affluence.”

When the immune system is never called upon, it behaves the way underworked soldiers do and makes trouble. If it’s not finding infections, then it must not be looking hard enough. So it looks harder, and starts to detect infections that aren’t there: thus the terrible toll of autoimmune disease rises steadily in our era of antiseptic floors and single-child families.

An apt description of both my own perilous health situation and a metaphor perhaps for our entire world. We look so hard for what’s wrong with us, questing for happiness and material gain, that we haven’t noticed that we’ve infected our own surroundings in ways we can’t even fathom yet.

There are moments in this book, little unexpected bits of tragedy that come upon you so suddenly that reveal Patterson’s deft hand as a novelist. There are a few spots where the narrative voice breaks, cracks slightly under the pressure of this immense story, but nowhere does it pull you out so much that you lose your way. These characters, so rich and full of life in ways that it’s hard to describe without giving the story away, are broad and introspective all at the same time.

I left this book many times, the first time, in the summer when I started to read it and just couldn’t get into it; the second, just before we left for Cuba because I didn’t want to take a hardcover with me; and the last, between New Year’s Eve and New Year’s Day because I thought it would be the perfect book to start off my reading for this year. But am I ever glad I finished it. In the end, it remains probably the best book I read in 2006, which is no small feat considering the fact that in that year I also tackled two Jane Austen novels and a Giller Prize winner. It’s the first book on my 52 Countries in 52 Books challenge, and even though it doesn’t get me any closer to the 1001 Books challenge, it does make me start my reading at home, here in Canada.

I would highly recommend this book to readers and writers; it’s one for the shelves for sure.