Category Archives: Prize Winner

The Woman Upstairs: Anger, Jealousy and Turning Forty

Claire Messud’s The Woman Upstairs opens with the forty three year old Nora Eldridge describing her rage. Anger at a lifetime of aiming to please others and of diminishing her desires, but more importantly anger that the promises made to her by life – becoming an artist, having a child, attaching to a significant partner – are not realized. As much as she is angry that these promises aren’t realized, she’s angry that she wants them in the first place. Anger that she is relegated to the position of ‘woman upstairs’ (a frequent refrain in the novel) who subsumes her desires and is thought by the outside world to have no desires in the first place.

From this opening of anger the novel wheels back five years to Nora’s first person description of her encounter with the Shahid family – Reza, Sirena and Skandar. Encounter seems too light a word for the intense relationships that unfold between Nora and each member of the family, and Nora and the family as a unit. Pulled together by art Sirena and Nora push one another artistically and in Sirena Nora sees the example of the life she wants and feels entitled to lead. Nora’s love for the family is as much a love for its individual members as it is for the promise of this life that she should be leading, but is continually and perpetually left out.

Jealousy is portrayed with such deft complexity in this novel as it is never named – or only ever fleetingly – as such. For Nora it’s not that she overtly desires and covets (though she does) the particular pieces of the Shahid life, it’s that she has actively rejected the opportunity to have such a life herself – actively chosen not to take it for hope of something more, or better, of deeper, or because she thinks she should.

It is in some ways a slow novel, and at times I found myself losing patience with Nora. I anticipated the climactic revelation of the rage (the explanation for which the opening chapter promises), but it wasn’t until the final chapter that I realized with what urgency I wanted the reasons for her anger to be made clear. It was a gripping final scene and is well worth the slower development of character.

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Filed under American literature, Bestseller, Fiction, Prize Winner

H is for Hawk: In which I read non-fiction and nothing explodes

H is for Hawk is non-fiction. It’s not the book’s fault. It’s the story of a real woman (author Helen MacDonald) and her real hawk (Mable). And it has gorgeous writing. Really beautiful stuff. The kind that makes you stop and read it out loud to whoever is in the room with you (which, thankfully, was only S. and not my fellow bus passengers – though I bet they’d have appreciated the beauty, too).

It’s also kind of slow. Helen’s father dies. She gets a baby hawk. She teaches the hawk to hunt. She experiences depression. She mourns. It’s not the plot of a novel; it’s the plot of someone’s life, Helen’s life. Well, it would be except that the book also includes a sort of mini-biography within the memoir of falconer and author T H White. The bits about White were… distracting and dull. I suspect they were meant to illuminate ideas about Helen’s life and her work towards healing. Suffice it to say I found the parts about Helen and Mabel more engaging and enriching. I found it hard to make the leap between White and Helen, as if the relationship between the two was meaningful for Helen, but not sufficiently argued for me to see the connection.

Don’t get me wrong: It’s not all about engagement and excitement. I appreciated that much of this book was thematically and structurally about patience. Waiting for the hawk, waiting for grief, waiting for plot. It’s also about time. And about how our sense of our self shifts in place, time and relationship. And space – the contours and power of a specific location. I appreciated the gentle and the meditative. I really did.

And there’s no but. Just the caution that you might expect long – and elegant and surprising and sharp – explorations of landscape and a bird’s movement through it. Plus some brambles.

Read it for the beautiful writing. And let me know what you think.

 

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Daughter of Fortune: Bold Claims to Begin 2016

I have been known to get carried away in recommending books. I have said out loud on more than one occasion ‘this is the best book you will ever read.’ About different books. And I was going to start this post by saying Isabel Allende’s Daughter of Fortune is the best book I’ll read in 2016. But then I picked up H is for Hawk this morning and now all bets are off. It’s probably better to stop ranking things (this is good advice all round, actually) and accept that there might just be many books that are very, very good and worth pausing whatever you’re doing in order to read (just as there are many pies worth eating and why do we need to have a best one? Because best lists are the best that’s why. And obviously raspberry. Oh fine, let’s carry on with having bests).

ANYWAY. So the book. Continue reading

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Filed under Bestseller, Erin's Favourite Books, Fiction, Historical Fiction, Prize Winner

Everything I Never Told You: Secrets, Lies and Misunderstandings

One of the questions at the heart of Celeste Ng’s excellent Everything I Never Told You is what might be the difference among secrets, lies and silences, and where responsibility falls for speaking (truth or lies) and for listening.

At first blush the novel is about unravelling mystery and secrets. The opening sentence “Lydia is dead,” invites the immediate line of questioning of who, what, when, where and how. Talk about using conflict to drive plot. In exploring the mystery of her death we learn of Lydia’s family – Marilyn, James, Nath and Hannah – and how they collectively and individually both keep secrets and assign meaning to one another’s behaviours (and silences).

To me the most engrossing parts of the novel are those when characters inaccurately – and frustratingly – ascribe meaning to someone else. Layers of misunderstanding and misinterpretation are confounded by a resolute and seemingly intractable refusal to ask one another about the validity of these (deeply held) (and false) beliefs. Of course the more certain we are of the motivations and beliefs of those we love the less likely we are to realize we might be best off checking whether these are, after all, true. Hardly the case that those we love are lying to us, or keeping secrets, rather the responsibility for the falsehood is ours as we fail to check our assumptions and instead walk around certain of the falsehood we have created.

It’s been well established that I love good character-driven stories, and the characters here are richly drawn. There are moments when their motivations seem a bit rigidly defined by what the character is ‘like,’ but these motivations do evolve as the characters learn about themselves, grow and change.

The first line (and chapters) primed me for a murder mystery, but this is not a who-dunnit novel. The initial frenetic pace of setting the scene for Lydia’s death tempers after the opening chapters and settles into something more of a family and character drama. I say that not as a complaint, but more of a caution that while you may find yourself staying up late to read this one it won’t be because you’re driven to figure out the crime, so much as to figure out when – and if – the family members will recognize their false assumptions, the limits of their beliefs about themselves and those they love, the necessity to openly share.

I’ll be putting this one on my ‘books to buy or borrow’ list (post to come soon…) as you think about possible holiday shopping. I’d say it’s a great book to buy for any reader on your list, and perhaps for yourself. And certainly one to prompt you to ask yourself what do I actually know about my family and myself, what stories do I tell myself, and when is a secret simply the question we never thought or borthered to ask.

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Filed under American literature, Fiction, Mystery, New York Times Notable, Prize Winner