Category Archives: Book Club

Audrey Niffenegger’s Night Bookmobile

It’s tempting to say that Audrey Niffenegger creates comics for people who don’t like comics. It’s probably more accurate to say that she creates the kind of comics that appeal to people who like, say, Emma Magenta’s work, or Kate Williamson’s, which are, after all, comics as much as Watchmen or Sin City. (I’ve read both Emma Magenta and Kate Williamson thanks to the Book Club, which is also where I got The Night Bookmobile.)

The Night Bookmobile is more like other comics than The Three Incestuous Sisters, the only other of Niffenegger’s books I’ve read, in which the text played very poor second fiddle to the images. This is much more integrated. A young woman called Alexandra (get it?) discovers a fantastical night bookmobile that contains every book she has ever read. Over the years she encounters the bookmobile and its kindly, melancholy driver a few more times, and each time its collection has grown to incorporate what she has read in the meantime. It’s like a dream incarnation of a LibraryThing account. Alexandra becomes a librarian and longs to work in the bookmobile. Two pages of skippable text at the end explain how to interpret the story, and tell us that its the first instalment of a much larger work, The Library.

I was charmed, and not just charmed, but unsettled by the book’s dark and mercifully unexplained elements. There’s something half in love with death about Niffenegger.

As it happens, Perry Middlemiss’s site, Rhymes Rudely Strung, which publishes an Australian poem a day, turned up today with this, first published in The Bulletin in 1917, but taking Niffenegger’s sex-death-books connection and running with it:

Books
by Zora Cross

Oh bury me in books when I am dead,
Fair quarto leaves of ivory and gold,
And silk octavos bound in brown and red,
That tales of love and chivalry unfold.

Heap me in volumes of fine vellum wrought,
Creamed with the close content of silent speech.
Wrap me in sapphire tapestries of thought
From some old epic out of common reach.

I would my shroud were verse-embroidered too –
Your verse for preference, in starry stitch,
And powdered o’er with rhymes that poets woo,
Breathing dream-lyrics in moon-measures rich.

Night holds me with a horror of the grave
That knows not poetry, nor song, nor you;
Nor leaves of love that down the ages wave
Romance and fire in burnished cloths of blue.

Oh bury me in books, and I’ll not mind
The cold, slow worms that coil around my head;
Since my lone soul may turn the page and find
The lines you wrote to me, when I am dead.

Sunset Oasis

Bahaa Taher, Sunset Oasis (2007. Translation by Humphrey Davies, McClelland and Stewart  2009)

This won the inaugural International Prize for Arabic Fiction in 2008. If successive winners are as good as this, then it’s a prize to watch. Set in the late nineteenth century, mostly in the Egyptian oasis of Siwa, the narrative centres on Mahmoud Abd el Zahir, who is sent to the oasis as government representative, and his Irish wife, Catherine, who accompanies him on this dangerous assignment (previous government representatives have been murdered by the oasis-dwellers) because of Siwa’s historical connection with Alexander the Great – she dreams of discovering his tomb there. There’s a vivid sense of the time and place, of the complex politics of an Egypt recently occupied by the British, now in effect passing on the mistreatment to the ethnic minority in the oasis, of the challenges of intercultural relationships, of Egypt’s multi-layered past. Catherine and others are fascinated by antiquity, Mahmoud struggles to come to terms with his own experience in recent upheavals, the people of the oasis have their own internecine history. In the oasis, Easterners and Westerners have a long history of self-perpetuating warfare, and various ones of their leaders are convinced that peace can come only when one side of the struggle or the other is completely wiped out. It’s hard not to read this as a sly reference to our current global clash between Easterners and Westerners.

The book is beautifully written, and constantly fresh and surprising. It’s narrative switches effortlessly between Mahmoud, Catherine and a number of other characters including, brilliantly, Alexander the Great. I was initially disappointed by the ending (it’s all right, no spoilers), but on reflection I realised that it opened the narrative out to great depths of meaning.

After all my recent whingeing about reading works in translation, I’m glad to report that Sunset Oasis reads beautifully in English. So much so, I needed to remind myself regularly that it was originally written in Arabic. I found a wonderful interview with Humphrey Davies, the translator, at The Quarterly Conversation, which ends:

The first draft of a book is very heavy lifting. It hurts my eyes in particular; it’s a real strain on my eyes. At the end of the day, I’m pretty gobsmacked. The most pleasurable part is when the first draft comes back from the editor with questions, and then you can see the shape of it. You can start fine tuning and tweaking and coming up with nice little things.

So there you go. This translator gets to have an editor go over his first draft in detail, and is then paid good money to refine the work. This reader considers that extra money well spent – and, take note publishers, that opinion may well translate into sales. Both Bahaa Taher and Humphrey Davies are on my list of people to trust.

I’m posting in a bit of a rush, because this book was a Book Club borrow, and the meeting where I’m to return it is due to happen in about  15 minutes. So here you are, just ahead of the deadline. [I’m returning three books. The other two I couldn’t get past 100 pages. So it’s not only a joy but a relief to have enjoyed this so much.]

American Rust

Philipp Meyer, American Rust (Allen & Unwin 2009)

This is another Book Club book I approached with caution. At last year’s Sydney Writers Festival, Philipp Meyer read from it  in a sleep-inducing incantatory manner that I think of as peculiarly US-literary and which made the book singularly unattractive – at least it did to me. But in the spirit of challenging my own prejudgments, I chose it as one of my take-homes at our last Book Club meeting, and eventually opened it up. (Can you tell the next meeting of the Book Club is approaching, when I’ll have to return these books, and that I’d be embarrassed to admit to not having read them?)

This one confounded my negativity. The book is beautifully written and has a plot that, thriller-like, gathers momentum to a nailbiting last 20 pages. It’s set in Buell, town in Pennsylvania, on the banks of the  Mon River, and the place is probably the single most strongly realised character of a strong cast. Factories have closed down years before the action of the book, and the town, like all its neighbouring towns, is in a bad way. There’s little to keep people there except loyalty to each other and to the place itself. The decaying buildings of the abandoned enterprises are in stark contrast to the natural beauty of the countryside.

The plot traces the repercussions of a killing: a young man kills a homeless man to save his best friend from serious harm, and the ripples spread from the two young men, the sister and father of one of them, the mother of the other and the local police chief, who is in love with the mother. Each of the six main characters sees himself or herself as in some way responsible for the death, and each of them has a point. This is deftly done: despite the terrible sense that these working-class communities have been abandoned by the forces of capitalism and government and left to increasing dysfunction, violence, drugs, despair, these are still deeply moral characters. Good people do terrible things in this book, and we come to realise that none of the people who do terrible things in it are simply evil.

There are some longueurs (it may have been one of them that Philipp Meyer chose to read at the SWF), and some darlings that perhaps should have been murdered, but the characters ring true and are never patronised, the many-stranded action makes the book hard to put down, and in the end some kind of dignity, if not happiness, is salvaged from the mess.

For Book Club purposes, I’m giving it 4 1/2 out of 5.

Wanting

Richard Flanagan, Wanting (Knopf 2008)

Even though I’m addicted to print, or perhaps because I am, I approach most books with a kind of resentful suspicion. It’s as if I’m projecting onto the book an anxious feeling that Schopenhauer might have been right when he said, in the essay ‘Thinking for Oneself’:

Reading is thinking with some one else’s head instead of one’s own. … Nothing is more harmful than, by dint of continual reading, to strengthen the current of other people’s thoughts. These thoughts, springing from different minds, belonging to different systems, bearing different colours, never flow together of themselves into a unity of thought, knowledge, insight, or conviction, but rather cram the head with a Babylonian confusion of tongues; consequently the mind becomes overcharged with them and is deprived of all clear insight and almost disorganised.

I came to Wanting with my normal ambivalence, plus an extra burden of suspicion, because the only other novel by Richard Flanagan to have entered the cram in my head was the abysmal Unknown Terrorist. I was willing to give this one a go because he writes compelling non-fiction, and the earlier, terrible novel was set a long way from his native Tasmania, in a place he clearly loathed and equally clearly didn’t know at all well, whereas this one is largely back in Van Diemen’s Land. Book Clubbers recommended it (that’s the Book Club, where we swap, not the Book Group, where we discuss). I took it home and eventually opened it up.

I wish I could say my suspicion evaporated within a couple of pages, but I can’t. A Protector of Aborigines, Charles Dickens, Lady Jane Franklin (widow of Sir John Franklin, Governor of Van Diemens Land and explorer) are introduced to us in a series of clunkily expository scenes. That would be all right, but the clunkiness comes with lashings of heavy irony – the narrative voice is unpleasantly insistent that it knows better than the Presbyterian Protector, and really really wants us to know it doesn’t share the genocidal racism of all the white characters. Maybe things would improve once the story got under way, I thought. But there were other discouraging signs. On page 14, to pick the most striking example, the Presbyterian Protector, in 1851, sings some lines from ‘Lead Kindly Light’. That’s unlikely, I thought, given that the hymn was written by high Anglican John Henry Newman, no friend of Presbyterians. Fifteen seconds with Google revealed that though Newman wrote the words of the hymn in 1833, it wasn’t until 1857 that someone put them to music. So it’s not only unlikely, it’s a straightforward anachronism. And I don’t think that’s just nitpicking. If the novel, having already repeatedly pronounced judgment on this character, doesn’t care enough about him to know what hymns he would or even could have sung, why should I trust anything it says about any of its characters?

I did read on. But by page 55 I realised I was motivated entirely by some weird sense of obligation. There was no pleasure. I didn’t believe a word. I put the book back on the shelf. It may be very good. It may fully deserve the awards and critical praise it has attracted. It may successfully mirror the terrible anguish that accompanied the belief that Tasmanian Aboriginal people were about to die out, as an author’s note says it aims to do. It probably is a moving meditation on the conflict between reason and desire or some other Significant Dichotomy. I’ll never know. And I probably won’t bore you ever again with blog entries on Richard Flanagan’s work.

Notes from an Exhibition

Patrick Gale, Notes from an Exhibition (2007, Harper Perennial 2008)

Consensus at the Book Club was that this is excellent. Penny brought it home as part of her swag and urged me to read it. Since she also sounded as if the book made her yearn to become a Quaker, and went to the Glebe Library to borrow every Patrick Gale novel she could find to take away on our current holiday, I understood her to be strongly recommending the book. Resistance was useless. I agree – it’s a wonderful read.

Far too many novels, even very good ones, have me at least occasionally counting how many pages I am from the end. Not this one. It reminded me of the two-laughs-a-page rule that a comic novelist friend of mine swears by – any fewer than that you’re losing the reader, he says. Notes from an Exhibition isn’t a comic novel, but it manages at least two flashes of something a page. If the descriptions of Quaker practice and ethos don’t hold you, there’s the engrossing web of relationships of a family whose mother is diagnosied as bipolar. If that’s not enough, there are engrossing accounts of an abstract painter’s creative process. There’s a steady progress towards the heart of a mystery, and a sense from early on that we’ll get the detail of a family tragedy before the last page. The narrative shifts among at least half a dozen convincing points of view and back and forth in time, so that the story emerges with four-dimensional solidity. There are sharply visualised minor characters, some of them trailing hints of complex, heart-wrenching narratives of their own. I wish I’d got to the final chapter before my other Book Group’s evening on erotica, because it includes a lovely account of a teenage boy’s first sexual encounter: a straightforward narrative, with the emotional meanings front and centre.

As you can probably tell, I’ve joined the consensus.

Patrick Gale was on Radio National’s Book Show in February, and among other things it was heartening to hear him defend his main character against Ramona Koval’s charge of being a terrible mother.

My book club swag

Pam Brown, True Thoughts (Salt Publishing 2008)
Margo Lanagan, Tender Morsels (Allen & Unwin 2008)
Peter Steiner, Le Crime (Thomas Dunne Books 2003, 2008)

Apart from the conviviality, the food, the cards, the ever expanding list of draconian (and largely ignored) rules, what I love about our book club is that it makes me read things I might otherwise not have touched – books about secret rendition and Guantanamo Bay, someone else’s favourite detective novels, intimidating poetry.

One of the welcome consequences of my self-imposed task of blogging something about every book I read is that it pushes me to reflect on my reading.

True thoughtsSo with Pam Brown’s True Thoughts I’m doubly blessed: without the book club I doubt I would have read it, but here it is with an affectionate inscription to one of the club members; without the blog my mind might not have lingered on it any longer than it took my initial bemusement to fade. But here I am, remembering that poetry usually requires the reader to do a little work, and knowing that I would be revealing myself as an unforgivably lazy reader if I just wrote something like, ‘I don’t get it,’ or even, ‘I don’t grasp how these pieces hang together to make poems — I can barely tell where one ends and the next begins.’ (By pure serendipity, after I’d written that para I heard a Poetry Off the Shelf podcast in which Matthew Zapruder talks about immersing himself in John Ashbury’s poems because they moved him somehow even though he didn’t understand them at all, so I’m clearly in good company, and I imagine Pam Brown would be happy to be discussed analogously to Ashbury.)

So, in spite of feeling that I needed someone to take me by the hand and explain how to read Pam Brown’s poems, I went back, took my time, ruminated, savoured, absorbed and, eventually, enjoyed. It was a fascinating process. At the start I was like a colour-blind person looking at one of those red-and-green patterns, then with sustained, though not strained, attention it was as if the colour-blindness healed and the formless array of dots and squiggles reorganised themselves before my eyes into elegant shapes. For example, ‘Peel me a zibibbo’ begins:

I could go [extra characters are spacers &  meant to be invisible]
oooooooin any direction
but it’s best that ooohere and now
ooI remain lesbian,
ooooo keep my vanishing cream
sealed.

On first reading, this seemed little more than verbal noise, a bit like the start of an Ern Malley poem. And in the middle of the poem, there’s this:

imperfection in kindness
ooooooocomes with the void,
oyou need to
ooooochoose
ithe ‘I’m feeling lucky’ google option.

To which I said, ‘Huh?’

I still don’t really get this second quote, but now that the green dots and the red dots have sorted themselves out, I do get that the first quote is meant to tease, and not meant to yield its meaning until the last line, where she addresses the poets and others whose names have cropped as the poem meanders with apparent aimlessness through a day in the life of the poet, and we realise they are all men:

Hi Kurt, ooooooo oooooooooohi John T,
oooo
hi Nick, oPaddy, oooohi Shakespeare,
ooooooo
opeel me a zibibbo
ooooooo
ooooooo ooooo would you,
ooooone of you guys?

(A zibibbo, as a note up the back tells us helpfully, is a delicious kind of grape.) The first lines suddenly yield their meaning. The busy-busy Lesbian poet, after making workaday contact with male poets and artists alive and dead, indulges for a moment in a fantasy that she’s some kind of Mae West femme fatale surrounded by male attendants. And I am amused.

tendermorselsTender Morsels an exception as book club books go: I would have read it with or without the BC’s agency. In fact, I’ve been wanting to read it since it came out nearly 12 months ago. I gave it as a Christmas present to one of our members, secure in the knowledge that it would come to the table at one of our meetings. When it did surface, I was a little taken aback when the person offering it, she to whom I’d given it for Christmas, said she’d stopped reading at about 40 pages because she didn’t want to go on reading a litany of suffering. And I confess that when it was my turn, I was close to giving up on page 40 myself. But I read on, and can report that on page 42 everything changes!

This is a wonderful book, and the gruelling first movement is absolutely essential. We need to know just how much the heroine suffers, so that we understand her need to escape, and when other characters (and possibly the back cover blurb as well) make assumptions about what she is avoiding, we know that they completely fail to grasp the strength of character that has enabled her to survive and function as well as she does. The fairy tale ‘Rose Red and Snow White’ plays through the story beautifully. The use of language is exhilarating. Though in one sense things are resolved by about the two thirds mark, there are unexpected twists and turns right to the very last page. Margo Lanagan walked across in front of my car when I was stopped at lights in the city recently. She looked like just another person on her way to an office job. I wondered how many of those others crossing the street were also total geniuses in disguise.

lecrime Le Crime‘s cover quotes compare Peter Steiner to John Le Carré, Len Deighton, Peter Mayle, Agatha Chsitie, Robert Ludlum, Alan Furst and Graham Greene. I have no idea how embarrassed the quoted reviewers are to see their phrases taken out of context like that. The book is not in the league of any of those writers. It creaks, its psychology is implausible, the plot is completely silly, and the structure barely holds up – but it’s a quick, enjoyable read. I liked it mainly for a flashback that lasts for three of the 26 chapters, in which the hero goes on a long walk through the French countryside, starting at Charles De Gaulle Airport and finally crossing the border into Spain (though we don’t go all the way with him). P and I have just booked in for a much shorter walk in France later this year, supported as befits our ageing selves, and these thirty-odd pages make it seem like a very good idea.

Ready for the next Book Club meeting now, I am.

Lenten vicissitudes at the corner shop

Plywood structures have appeared at the corner. For a little while we saw them, and then again a little while, as it turns out, and we’re not seeing them: a guy with a hammer was taking them down again today. The reason for this seems to be partly bureaucratic hostility on the part of Leichhardt Council (who originally refused to grant permission for a balcony unless the shop owners paid to have the appallingly broken footpath repaired, but lost their case at the Land and Environment Court). But the bureaucracy can claim to be responding to a local outcry: it seems that a mysterious neighbour, hellbent on placing obstacles in the way of the approaching cafe, complained to the Council about having unpainted plywood adorning our corner. So the ply will be painted and put up again, and will stay there for a week or so as the balcony/awning is built.

scaffolding

I can’t give you photos of the transforming interior, but there have been sneak previews, and I can tell you our new corner shop / cafe will have style. Revolver is to be its name.