Category Archives: Worst Books

Land: Bor-ing (tell me I’m wrong)

You have seen Maggie O’Farrell’s Land. It is front and center on display tables and people are talking about it. Her first book, Hamnet, was a big deal and so this next book was bound to generate attention. Only problem is, at least in my opinion (and isn’t that why you’re reading this) Land is overhyped boring.

Oh the book starts out with promise. The writing is – really – extraordinarily beautiful. Subtle, specific and aching. I am for sure recommending you do not read this book the whole way through but you should read the first 50 pages for the pure enjoyment of the prose. And the plot from the opening is similarly promising: we’re in 19th century Ireland and a boy and his father are out making a map, strange circumstances in the forest and the father goes mad. All kinds of questions surface: what caused the madness? what will happen to the family given the precarity of their existence without the father’s income?

If only these were questions that could sustain 500 pages OR if only these questions were further complicated. Alas. What then follows is a sort of generational history of the plot of land and the people who had lived there. Which I regret to inform you does not constitute an interesting plot. Yes, of course, each family or person who lived on the land has unique stories and yes, of course, the book aims to remind the reader of the richness in history and longevity of the natural world that we so boldly claim to own or occupy. And in the case of Land the history of the land holds those of great acts of cruelty and suffering – including a lot about the Great Famine that I didn’t know and legit found interesting/haunting. However. You may be eager to read a genealogy of a place and if that’s the case you might well enjoy Land. If you are expecting something where characters develop or Things Happen you best look elsewhere. This is a novel that took the idea of ‘setting’ and ‘literary devices’ just… didn’t bother to sketch out how the rest of the elements of fiction might need to come into play.

I’m sure I’m wrong – I have to be because everyone else seems to love this book – so tell me why and how.

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Go Gentle: I guess you do need a man

I was thrilled on starting Maria Semple’s Go Gentle to see an idea C. and I have bandied about for year – a ‘coven’ of women looking after one another – made literal. Adora, our protagonist, has cultivated an apartment building full of independent women who are committed to living their fully-realized, independent lives, while also looking out for one another (as they are and as they age). Here it is, I thought, the expression of every adult woman’s secret fantasy of a life led where the countertop is clean and self-actualization has come from a sense of worthiness owed only to existence rather than… anything or anyone else.

I suppose I should have been warier on reading the glaring plot hole that is Adora’s financially successful career as a… consulting philosopher. Cue the legit lol. But yes, of course, the extremely wealthy family (or AI company) must have a philosopher on staff to advise on the moral questions of the day. But of course.

And you know, Adora’s particular brand of Stoic self-discipline will find cultural resonance. And the plot – such as it is – invites some delightful romps through art heists and FBI raids and descriptions of billionaire mansions that we all just love to read.

There’s a not unserious section on the #metoo moment of Adora being sexually assaulted on the job and signing the NDA and taking the hush money. And were it not for the absolutely incongruous idea of Adora as a comedy writer turned Stoic philosopher (which, okay, in itself isn’t an unbelievable change, just that the novel does not offer Any Accounting for This Character Development) the section might have offered something more than a bizarre sense that this was what the book was meant to be ‘about’ and that this was ‘serious stuff’.

Only then do we land on the romance. The kind where Adora is finally – finally – complete. Because she finds a man. A man who gets her and always has and with whom she can be fully herself. And barf gag barf. Oh it’s hard. As someone who now has a partner with whom I finally and can fully be myself I don’t mean to downplay the Yes! of discovering that there is another person with whom you can love and be loved. It *is both a surprise and a joy. But it is also not the prerequisite for connection and joy. And in another book, I’d be all for this kind of celebratory character arc. But come onnnnn: in a book that opens with the promise of connection in and through women-caring-for-women to end with a woman-saved-by-the-love-of-a-man… just… ugh.

Oh and I know you’ll tell me that Adora continues to express herself as an independent woman simply “augmented” by this love. Where ‘giving in’ to love is in the titular expression “going gentle” in lieu, I suppose of a feminist “rage” that insists on independence and contemplates the idea that community might be All By Itself a worthy construct for meaning. Lol lol. And you’re right, that’s what the book tries to sell us in its closing. AND YET if ever the marketing pitch team for hetero-monogamy* is in search of a sell-piece, I offer you Go Gentle.

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The Ballad of Songbirds and Snakes: Necessary Edits

Dear Suzanne Collins,

What were you thinking? Maybe you were thinking that writing a prequel to the Hunger Games was a necessary extension of its literary universe. That you wanted, in The Ballad of Songbirds and Snakes, to understand the motivations of the villain in the Hunger Games universe (Coriolanus Snow) and you thought giving us an epic 500+ page deep dive into his history would demonstrate the (repeated with a brick to the head obviousness) theme that people are complex and no one comes to bad choices without context.

While I hold the possibility that you were driven by artistic commitment to further exploration of these characters and their world, I’ll admit there were moments – tiny moments, really – where I doubted. Where I thought it might be possible you were writing this bloated and thematically obvious book to make a little more money. Cashing in, if you will.

And sure, the book started with a promising premise: Coriolanus and his family have lost everything and he needs to find a path back to fortune using his wits (and his female cousin’s body)(and his female tribute’s body). The Hunger Games are going to be that path and it’s interesting to see the games before they are ‘the games’ we know from Katniss. And maybe, just maybe, if the book had stopped at the point of the completion of the hunger games and we’d had something like a resolution there it might have avoided becoming (as it is) an exhausting slog through Who Even Cares Anymore to get to his eventual restoration.

It is a book that did not need to be written, and when it was, would have – should have – benefited from a sharp edit. That’s just my opinion though, and I am but one reader among the millions who bought the book or watched the movie. (To be clear: I borrowed my copy from the library and wouldn’t encourage anyone to spend actual dollars on it).

Respectfully,

E

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Mother Daughter Murder Night: So Silly

Honestly. Just so ridiculous. Nina Simons’ Mother Daughter Murder Night imagine a grandmother on chemo, a working mom and a teenage girl as the intrepid detectives that will solve a murder in a sleepy seaside town. Because the well qualified female police officer is bossed around by her mansplaining partner and so can’t pursue the leads she know she should? And because somehow the crew of ill-qualified women are just able to find key evidence, interview witnesses and locate unexpected This and That. Were it not for the fact that it was an audiobook and I was batch cooking endless soups (#winteriscoming) and couldn’t be bothered to turn it off, I would have absolutely thrown it out a window. Do not bother! Despite how catchy the back of the book makes it sound or how tempted you are by Strong Women Doing Things.

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