Our Friends From Frolix 8

Ours Friends From Frolix 8 (Philip K. Dick)

‘God is dead,’ Nick said. ‘They found his carcass in 2019. Floating out in space near Alpha.’

‘They found the remains of an organism advanced several thousand times over what we are,’ Charley said. ‘And it evidently could create habitable worlds and populate them with living organisms, derived from itself. But that doesn’t prove it was God.’

‘I think it was God.’ (45)

My dear friend Philip K. Dick. He never lets me down. I’ve had an exhausting few weeks of travel and work, and while things are a little calmer now, it’s still not completely over. But that’s okay. We can deal. Especially with help from good old Philip.

Our Friends From Frolix 8 is definitely one of the finer Philip K. Dick books I’ve read (and only $5.95 when purchased at the Strand in New York, bonus). You have a futuristic society organized by men’s abilities–Old Men, trapped in dead-end, deadbeat jobs, the super intelligent New Men, who rule over society in a hierarchical, inaccessible order, and the Unusuals, who have psionic and telekinetic abilities and exist alongside the New Men in an an uneasy compromise. You have a Christlike leader of a revolution, Thors Provoni, returning to Planet Earth after years spent exploring the outer galaxies on his ship The Grey Dinosaur. And best of all, you have Morgo, the ninety-ton Godlike protoplasmic slime from the titular planet Frolix 8, who’s accompanying Thors on his mission to create a new world order. What is it with Dick’s obsession with sentient slime-molds? I LOVE IT.

‘Let me tell you a legend about God,’ Morgo said. ‘In the beginning he created an egg, a huge egg, with a creature inside it. God tried to break the eggshell open to let the creature–the original living creature–out. He couldn’t. But the creature which He had made had a sharp beak, constructed for just such a task, and it chipped its way out of the egg. And hence – all living creatures have free will, now.’

‘Why?’

‘Because we broke the egg, not He.’

‘Why does that give us free will?’

‘Because, dammit, we can do what He can’t.’ (78)

There are so oh so relevant modern themes in this novel, from surveillance, to what the world would be like if ruled by a paranoid, arrogant, verging on insane individual, to the role of God and religion. I love Dick’s depiction of the bohemian revolutionary underclass; he is so good at evoking that deadbeat Berkeley culture of pillheads. He hasn’t been that successful at writing interesting female characters in the past, but the sixteen-year-old Charley manages to be both complex and feisty in a non-annoying way. And I found myself genuinely moved by this moment near the end:

‘To a better planet,’ Gram said, and drank the cupful down. ‘To a planet where we won’t need our friends from Frolix 8.’ (190)

Thank you, Philip K. Dick, for existing.

In terms of travel + readings, here are some photos! They are out of order, but I’m too tired to try to figure out how to fix it. So here we go :D

Continue reading

Advertisements

Leave a comment

Filed under books, Phillip K. Dick, photos, review

Homesick for Another World

I leave tomorrow for a weekish-long trip in the U.S., visiting friends and family in D.C., North Carolina, and New York, and launching “The Lucky Ones” in Brooklyn alongside Lisa Carey (who I can’t wait to meet) on February 21st–if you’re in the neighborhood, do come!

It’s sunny today (for now), but the seasonal affective disorder has been strong in me, just like the Force in extremely talented Jedis. I hope it is sunny in North Carolina. England!! What else can I do but shake my weak puny fists at your grey, grey sky?

Homesick for Another World by Ottessa Moshfegh was a good book to read after the Cat Marnell memoir, and a good book to read during February, the roughest of months to me (thank goodness it has such few days!). In many ways, both books have similar themes: the body, women moving through space and the way men look at them, drugs, addiction, how to be good, the meaning of being “better.” I love Moshfegh’s writing (especially this essay, which I find encouraging and authentic) and would definitely teach these short stories in a short fiction class. I find her sentences so dark and twisted and memorable. You could say these stories are “grotesque,” and are obsessed with the body: blackheads, rotting teeth, ingrown hairs, acne. You might also say they have a “dark view” of humanity. IDK, maybe it’s just the lack of sunlight speaking through me, but maybe it’s an accurate view of humanity?? What does it mean to be crazy, the book seems to be asking, or fucked-up or weird… Don’t we all have our problems?

Overall, I really liked the journey these stories take us on, from the first story (“Bettering Myself”) to the last (“A Better Place”). It definitely feels like a trip from self-hatred to a weird kind of peaceful acceptance. Overall, highly recommended, but you should know what you’re in for and brace yourself for an uneasy ride.

Here are my notes on the individual stories, so that I don’t forget what each one was about!

“Bettering Myself” – Definitely one of the highlights in the collection and a strong opener. I really sympathized with the narrator, a teacher with a drinking problem who decides she’s going to quit her job.

Half my clothes, books, unopened mail, cups, ashtrays, half my life was stuffed between the mattress and the wall. (6)

Anything good I could think to do I did. I was filled with hope. I bought new sheets and towels. I put on some music. “Bailar,” I said to myself. Look, I’m speaking Spanish. My mind is fixing itself, I thought. Everything is going to be okay. (11)

“Mr. Wu” – Another standout. One of the few stories not set in the U.S. This piece really highlighted to me how effectively a short story can follow an unlikeable character. It also brings up one of the themes (IMHO) of the collection, that of disgust. I loved the ambiguity of the ending.

The woman had one flaccid hand that reminded Mr. Wu of a large prawn. He shuddered and gagged whenever he saw it. He felt sorry for the child, held and fed by that twisted, thin, limp, and red-skinned tentacle. (19)

“Malibu” – Wow, what a sad story. Again, I  really felt for the pimply narrator, and how handsome he kept insisting he was. This story reminded me of the scene in the Cat Marnell book, where she falls asleep during Eyes Wide Shut and when she wakes up the movie has gone on playing on a loop and is back again, on the exact same scene, playing again. In other words, this story made me feel very trapped (but in a good way).

As good-looking as I was, I was scared nobody would ever marry me. I had small hands. They were like a girl’s hands, but with hair. Nobody marries men with hands like that. When I fit my fingers down my throat, it’s easy. My fingers are thin, soft. When I put them down there, it’s like a cool breeze. That’s the best way I can explain it. (41)

He was just like me: anything good made him want to die. That’s a characteristics some smart people have. (42)

“The Weirdos” – I think I initially read this in the Paris Review and it was thus the first piece of work of hers that I encountered. It is a CLASSIC, and not just because of the way it plays with that famous Chekhov quote about bringing a gun onstage…

“A Dark and Winding Road” – This may be one of my favorites in the collection and it is also very sad. A married lawyer you could easily imagine voting for Donald Trump goes to a cabin in the woods where he runs into his brother’s hook-up, a girl who’s there to smoke meth (or maybe it was crack). I loved the ending of this one (most of the endings of these stories are very abrupt and ambiguous, just my cup of tea). By the time the narrator in this story says, “Twenty years later, I still felt that the good things, the things I wanted, belonged to someone else” (87), well, it just about broke my heart.

“No Place for Good People” – Another stand-out. A widower volunteers with a group of mentally disabled men and says things like “You can call them “retarded”–that word doesn’t offend me as long as it’s used the proper way, without pity.” (88) Yup.

“I rarely interacted much with anyone back then who wasn’t retarded. When I did, it struck me how pompous and impatient they were, always measuring their words, twisting things around. Everybody was so obsessed with being understood. It made me sick.” (98)

“Slumming” – A story about a high school English teacher who spends her summer vacations doing drugs in a dead-end town that would have also definitely voted for Trump. She hires a young pregnant teenage girl to clean her house, who eventually starts hemorrhaging. The narrator’s reaction to this really made the story for me, especially in terms of the whole “dark view of humanity” thing.

“An Honest Woman” – This one took forever for me to finish. For whatever reason, I found it very difficult to be inside the main character’s head, a sleazy old man. He has an encounter with a neighbor, the honest woman of the title, but her dialogue felt a little too much like a speech for me. But I loved his obsession with buying discounted vegetables: “He’d been doing it for so long that the very sight of that neon orange discount sticker could make his mouth water.” (139)

“The pale, swollen, spotted hand on the girl’s knee was inert, like a fat, sleeping lizard that could at any moment awaken and claw up her soft thigh.” (153)

“The Beach Boy” – Wow, definitely one of the collection’s highlights. I don’t want to spoil it, as the funnest thing about this story is its VERY unexpected twist. Basically, it’s about an elderly married couple and their days back in New York, having returned from an island-getaway vacation, where the beaches were populated with the titular beach boys, or male prostitutes. Along with “The Weirdos” I think this would be a very interesting story to teach, if only for the scene where the main character pretends to be deaf in a drugstore. This story definitely feels like a turning point in the mood of the collection, perhaps because of its upfront confrontation with death, and the way it questions how well we truly really know anybody, and what does “normal” really mean.

“‘Why tell stories?’ he wondered aloud. “As soon as something is over, that’s it. Why revive it constantly? Things happen, and then more things, inevitably, happen next. So?” (172)

“Nothing Ever Happens Here” – This story follows another young male narrator, this one from Utah, who moves to L.A. and dreams of becoming an actor. I liked how this story wasn’t afraid to stay in the head of someone who is arguably unsympathetic.

“Dancing in the Moonlight” – A man with a shopping addiction buys an ottoman online so that he can try to get a girl at an antique furniture market to fall in love with him. Talk about a parable for America.

“So much of my life I’d been faking my reactions, claiming to myself and others that I liked what I liked because I believe it was good for me, while in fact I didn’t like that shit at all. This woman could see that I wanted to be ruined. I wanted someone… to come and destroy me.” (238)

“The Surrogate” – Hmm, is this the happiest story in the book? I don’t know if I have much to say about this one. It definitely felt like a story that attempted to explore the idea of finding acceptance, via a young woman with an unsightly medical condition who gets a job in which she must pretend to be someone else.

“Life can be strange sometimes, and knowing it can be doesn’t seem to make it any less so. I know I don’t have any real wisdom. I don’t have any wonderful ideas. I am lucky to have found a few nice people here and there.” (261)

“The Locked Room” – One of the shortest stories in the collection, two members of a music school orchestra are locked in a practice room and must plan their escape. The main male character is described by the narrator as “fearless, like he could do anything he wanted to do, even if it was disgusting,” (266) which feels like a nice description of the collection itself. Oh, he also carries around a small knife with him for “mutilating himself,” so there’s that too. And his hand tastes like “baby powder and excrement.” Yup! The final paragraph of this story reads as a prayer of sorts for all the characters in this book:

“But I never did try very hard to please my mother. In fact, I never tried hard to please anybody at all after that day in the locked room. Now I only try hard to please myself. That is all that matters here. That is the secret thing I found.” (272)

“A Better Place” – The final story and another stand-out. A sister and her brother believe themselves to be aliens, and the only way to get back to the place where they belong is through killing someone. Gripping and memorable, this story exhibits an amazing control over voice and a limited, skewed viewpoint.

To end here are two quotes by the author, the first from the essay linked above, and the second from this interview:

Most of the time, I feel pleased that I’m living my purpose on this planet… We make art about our own ineffectuality, and in doing that, somehow we are no longer ineffectual. That’s the good news about being a human: We are creative. We feel compelled to make something new, to forge new paths through consciousness and grow. Nobody is going to save me—that’s how I’ve always felt. It’s up to me. It’s either do or die, and I decided to do. Maybe we’re going nowhere, but I chose to find meaning anyway.

*

I also feel that everything I’ve written has had a predetermined destiny. As author, I’m just figuring out what the correct version of it is, sweeping the dirt off the gravestone, and I know that I’m right when it feels just so, when it’s undeniable. And it can be really hard to sit with something and go through my stupid thinking and make lots of mistakes and go down the wrong road and throw out pages and pages and feel like I’m wasting my time. I’m writing a new novel now, and I’m back where I started a year ago. And I’m not happy. I’m totally depressed as I’m writing this thing. At the same time, it’s a complete joy. There’s nothing else I’d rather be doing. There’s nothing else more important to me. It’s the joy of living your purpose. So I’m not regretting this suffering. It isn’t a waste of my life.

Leave a comment

Filed under books, contemporary, review, short stories, women writers

How to Murder Your Life

How To Murder Your Life (Cat Marnell)

It turns out my book came out the same day as Cat Marnell’s!! How crazy is that? I remember talking about her during my first week in the MA course. And now here we both are, five years later. Que locura es la vida.

I love me a good addiction memoir and this one certainly did not disappoint, especially with its sordidness. I can’t tell which part was the worst–probably when a friend makes cracked out voice mails she leaves him available for purchase on iTunes for 99 cents. Or maybe all the mice hallucinations (which becomes one of the most interesting motifs in the book). Or when a guy asks her what’s wrong with her messed-up bikini line, and all she can do is mumble out the truth: “Self-mutilation.” Or when she sits on the floor of her crack-den room toasting marshmallows with a BIC lighter.

Basically, I thought this book was raw and amazing. I’ve always loved her writing and find her style so compelling. I especially find it interesting to think about all these campesinos in South America, making the cocaine that ravages the lives of David Bowie, Stevie Nicks, and Cat Marnell–what a strange world. What made this memoir stand out especially to me was its honestly about addiction as an ongoing condition, and something that isn’t easily resolved with the completion of a book.

Another thing I liked a lot is that despite writing a book that is very much about shame and self-hate, she is very much writing in her OWN voice, unapologetically so, and that is something I will always have nothing but respect for, and will always find very inspiring and brave. I’m sure some people will find her tone annoying and self-centered, but I found it witty, sarcastic, melancholic, sad, desperate, and yeah, just plain memorable. She isn’t afraid to tell her own story the way that she wants to, in a way that is authentic and singular to her, and that is something I will always admire in writers.

Haters gonna hate but this book was definitely my cup of tea–it gets a very big punk rock thumbs up.

Some of the parts I liked the most (talk about a distinctive “voice” in writing, amirite?):

“I mean, even writing about this period still makes me want to take a huge blunt full of PCP to the face–and it’s fifteen years later!” (pg. 60)

“Here’s a life lesson for you kids: it’s much easier to go through something upsetting when you’re on drugs. The more intense the drug, the more you forget your problems! It’s basic science, really.” (62)

“My parents were quiet in the car to the airport, but I couldn’t escape the voices in my head. You failure. You disaster. You disgusting girl. The self-loathing was like a radio station between my ears. Loser. You mess. Over time, I’d learn to turn the volume down on SHAME FM, but I could never totally shut it off.” (69)

“Bulimia attracts mice: fact.” (89)

“One morning he woke me up by splashing a glass of ice water in my face–and not even to raise awareness for ALS or anything! Just to be a dick.” (90)

“A wrinkly dog was wandering around–I mean, a really wrinkly dog. It should be illegal for a dog to be that wrinkly! It was the kind that Patrick Bateman slices open in American Psycho.” (92)

“I would go in on a hoagie like I was the monster ripping the head off that little man in the Goya ‘Black Paintings'” (119)

“I’ve had tanning-bed experiences that were more transformative.” (169) [in reference to a rehab stint]

“I’m never going to be okay, I thought.” (217)

“I was lonely. I was pathetic. I was weak. I was a loser. Most drug addicts are.” (240)

“‘Guuh,’ he sort of… gasped, and made a terrible, twisted face as the needle went in. My pussy got so wet. No, I am completely joking. It was the most unattractive thing I’d ever seen in my life! Junkies are the worst.” (246) [I think this was maybe the most extreme part of the book for me!]

“I slept like a clubbed baby seal that night.” (252)

“On the walk home on the Bowerty, I listened to ‘Confessions on a Dance Floor’ and tried to resist the… ennui that felt like it was about to overcome me like a cloud of poisonous gas. It’s not always going to feel like it does today, I told myself. I absolutely could not give up. I was going to get through this strange, joyless, barren patch. I was going to meet new friends. My ambition would return, too… I pulled on a Marlboro Light. I mean, I just had to be patient.” (256)

“Jesus, swimming was hard! I was out of breath so fast. Must have been all that freebasing with Marco.” (313)

“These ‘how I got my job’ chapters are extremely fucking boring to write, you know. I’m just trying to keep it saucy for all of us.” (319)

“Fucking skinny jeans! They are really contributing to this Adderall culture, I swear.” (341)

“Working out with him is better than heroin–and I’ve done, like, unbelievable heroin.” (360)

“Things could–and probably will–get bad again. Real talk!” (370) [From the afterword]

“I’ve got a hot career, a clear head, and an ice pick in my kitchen in case I need to Basic Instinct a bitch, and nobody fucks with me anymore.” (368)

Leave a comment

Filed under books, non-fiction, review, women writers

Happy UK Publication Day!

Happy UK Publication day to “The Lucky Ones“!

🇨🇴🍃🐰💉🎂

Everything in the world feels awful and like it’s going up in flames, but fuck it, I’m proud I wrote a book that is pro-welcoming of EVERYBODY, of all backgrounds and circumstances. I like how one of the final sentences is the following:

“If a party was held tomorrow, everybody would be invited, nobody made to wait on the other side of a locked door.”

Fuck locked doors! Come one come all–that’s my motto (and I think it becomes the book’s too). Here’s to rebelling against fascism, hate, fear, and ignorance. My god what a time to be alive. Time to get to work.

Leave a comment

Filed under Uncategorized

Quotes for January

“Writing requires the concentration of the writer, demands that nothing else be done except that.”Carlos Fuentes

image-37

Maeve Brennan’s advice to writer Tillie Olsen (as seen on Twitter)

“Surviving Love”
Linda Gregg

I work hard at managing, grateful
and spare. I try to forgive all trespasses
and give thanks for the desert. Rejoice
in being alive here in my simple world.
Each evening I walk for an hour, paying
attention to real things. The plover
sweeping at my face to get me away from
its ground nest. An ant carrying the wing
of a butterfly like a flag in the wind.
A grasshopper eating a dead grasshopper.
The antelope close up, just staring at me.
Back in the house, I lie down in the heat
for a nap, realizing forgiveness is hard
for the wounded. Near the border,
between this country and the next one.

“El amor nunca trae nada bueno. El amor siempre trae algo mejor.” —Bolaño, Amuleto

image-38

I often wondered: is it some kind of trade-off? Do others have to lose so we can win? —Zadie Smith, Swing Time (a beautiful, brilliant, compassionate & open-hearted novel… best Zadie Smith I’ve read yet)

Leave a comment

Filed under poetry, quotes

Armadillo Man

I’m very excited to have “Armadillo Man,” a short story from The Lucky Ones, up at Granta! Check it out.

screenshot-granta-com-2017-01-24-17-02-56

(And check out that photo… as my sister said, “Armadillos are hairy?!” Apparently so…

Leave a comment

Filed under Uncategorized

Notable Books of 2016

Here are some notable books I read in 2016 that I didn’t have a chance to discuss on this blog:

Annihilation trilogy (Jeff VanderMeer)

I read this trilogy while I was sick on my deathbed with the worst flu of my life during my Christmas holidays and it was definitely good escapism. I miss reading sci-fi, and this trilogy cured the itch for now. I first became interested in reading this trilogy when I read a profile about the author in the New Yorker. Overall, it’s very innovative sci-fi. The first book, Annihilation, would most likely be the most beloved among the readers, with its short length and succinct premise, the slow creepy build up of everything that had to do with the Crawler (even the name gives me shivers), the sense of mystery surrounding Area X, and the reserved reticence of the narrator.

There are some genuinely creepy moments throughout all three books, like when a scuttling sound is heard on the roof, or a plant that won’t die is discovered, or when the videos of the failed expeditions into Area X are watched. I like how ballsy the trilogy is in terms of not explaining everything, even if it meant I was confused or frustrated sometimes with not getting all the answers. But the more I think about it, the more I admire the book’s refusal to give me what I want. Please, Lord, don’t let the HBO adaptation dumb it down. I especially liked all the different perspectives in the book, and its overall (potentially anarchist?) message about nature.

I Hate the Internet (Jarett Kobek)

I first heard of this book because I read an interview with the author on (where else?) the Internet. The interview was basically a scathing rant that I found hysterically funny, so I read this book to find more of the same. In that sense the book doesn’t disappoint. It’s basically a howl in the dark. Reading this for character or plot is not the best mindset with which to approach it. I read it because I enjoyed reading sentences like “Miley Cyrus’ songs were about the same six subjects of all songs by all pop stars: love, celebrity, fucking, heartbreak, money, and buying ugly shit” (264) or “Arcade Fire was a Canadian band which experienced minor popularity in the early 2000s before transforming into a market commodity that aging parents used as a theoretical reference point with their Internet addicted children.” (275) LOL.

This is the kind of book in which Twitter is described as “a mechanism by which teenagers tormented each other into suicide” (130), the Internet as “a wonderful resource for sexism, abusing the mentally ill, and libeling the dead” (196) and as a way “to create content based on inflamed emotion for the sake of selling advertisements,” (212) and Instagram as “the first social media platform to which the only sane reaction was hate… Mostly, Instagram’s users uploaded photographs of things on which they’d either spent money or wished to spend money.” (76)

I dug it.

This book reconfirmed my belief that I do not want to live in the Bay Area.

Other brutal satire moments:

“On the Internet, you could be right. On the Internet, you could be wrong. You could love racism. You could hate racism. It didn’t matter. In the end, everything was just money.” (211)

“Expressing concern about racism was a new religion and focusing on language rather than political mechanics was an effortless, and meaningless, way of making sure one was seen in a front-row pew of the new church. They prayed not from any hard earned process of thought or genuine faith but because failing to bow and scrap before the shibboleths of the moneyed political Left might hurt their job prospects. And poor job prospects meant less money to buy consumer electronics built by slaves.” (212)

“The illusion of the Internet was the idea that the opinions of powerless people, freely offered, had some impact on the world. This was, of course, total bullshit.” (213)

“Global warming and climate change were the methods by which the human species, plagued by guilt and unacknowledged depression, committed suicide. The mechanisms of this suicide were eating too much beef, operating too many electronics and driving too many cars.” (184)

“I am moving back to Los Angeles where gentrification barely works because everything is a hideous strip mall and there is nothing worth destroying!” (270-271)

The Friend Who Got Away (ed. Jenny Offill & Elissa Schappel)

A good collection of non-fiction essays that at least three different people in my PhD program recommended to me (IDK if Elena Ferrante is making female friendships a hot topic for literature or what, but anyway, I finally got round to reading it this year!). It felt a little East Coast, private college, Brooklyn writer heavy at times, but what can you do. It made the essay set in Jordan really stand out. The pieces that most stood out to me were “End Days” by Jenny Offill (religious childhood friend), “Toads and Snakes” by Elizabeth Strout (very powerful tale of a long term friendship fading), and “Want” (about a copycat friend). The essays two estranged friends wrote about each other were also a cool concept. I would definitely recommend this to people.

Autumn (Ali Smith)

A fun, fast read. It was a unique read in the sense that it’s interesting to read a book that was written very quickly, about such a recent moment (the Brexit election). So it was very trippy to read a chapter set in November 2016 in November 2016 (!). I will always like Ali Smith, especially how she always attempts to do different things with her books. I liked the surrealistic dream sequences in this one. One thing I will say is that I was glad before reading this that I knew the following: 1) it is the first book of a planned four-book sequence, each named after a season (otherwise I think I would have found the ending a bit underwhelming and “whaaaaat?”), and 2) one of the main plot threads of Autumn follows an undiscovered woman artist from the British Pop Art period–it’s explained near the end who she is, but if I hadn’t known before that she was going to feature, I would have found her sections in the novel confusing. Overall, I enjoyed reading this. The sections where the main character is trying to fill out a passport application are particularly memorable, in a painful “have I ever been there” kind of way.

Beast (Paul Kingsnorth)

Definitely a stand-out of the year–hallucinatory, hypnotic, and strange. A man lives alone on a west-country moor and is stalked by a mysterious beast–gripping stuff. I am definitely going to read Kingsnorth’s previous novel, The Wake, which is apparently a precursor to this one.

I liked the disorienting way we jump between dreams, visions, and the present moment–basically, Beast is a book in which you are never sure if what is happening is “real”, and if that kind of thing frustrates you, this may not be a good choice for you (it was for me, though!). I liked how the style of the book reflected the content (it reads almost like a free verse poem at times). I also liked the slow way that the beast’s horror is unveiled–very rewarding for me. And I liked all the Stone Age, The Dark Is Rising imagery, mixed with apocalyptic doom. This book made me want to wear a wolf skin, speak to ravens, run on the moors naked, and drink the blood of my enemies.

White Tiger on Snow Mountain (David Gordon)

What a great story collection! I loved The Serialist and I loved this one too. The five star stories (discussed below) truly elevate it to an exceptional collection that I enjoyed reading very much. It explores similar themes as The Serialist: writers, writing, genre, horror, growing old, losing love… if you are a fan of funny, readable writing a la Lorrie Moore or Roberto Bolaño, then I recommend this book.

Stories that stood out to me included the opener, “Man-Boob Summer,” and not just because of its excellent title. I related to the main character a lot, an aimless postgrad, and the simple scenario explored by the story (he goes swimming in the pool of his parents’ apartment complex and gets a crush on the lifeguard). A very melancholy ending.

The second story, “We Happy Few”, was also one of my favorites in the collection. This one explores themes of addiction and recovery as a recently fired teacher gets a job escorting an up-and-coming addiction memoir star, trying to keep him clean and off drugs before his appearance on Oprah. The satire in this story about the writing-as-entertainment world is pretty killer. I also liked how the story explores questions of why we write, and who for. Also, the way the ending jumps forward in time is brutal, and really makes the story.

“Today I am remarkably healthy, considering. I do yoga (stiffly) and run (slowly). I eat vegetables and fold the laundry. I water my neighbor’s plants. I even quit smoking. But I didn’t write a word. I tried at first, but I couldn’t get started. Then I took a break. Then I decided it didn’t matter anyway. The world wasn’t weeping for my unwritten books. Now when people ask what I do, I say, “I’m a teacher.” Or: “I proofread legal documents.” Or: “I hand out jalapeño hummus dip at Trader Joe’s.” I say to myself, mostly: “I’m alive, motherfucker.” What else do you want?” (20)

“I read to disappear and carry books like spies carry cyanide in their teeth.” (103)

I think my very favorite story was “I Think of Dreams”–WOW. Again, the use of time at the end (in terms of the abrupt flash forward) makes this story BRUTAL. What a lesson. Basically, two teenage boys take acid on a camping trip and things are never the same. I read this story with my mouth falling open. The title story is another star of the collection. You’ll never think of sexting the same way after reading this. Poignant and horrifying. And then you have “Literature I Gave You Everything and Now What Am I?”–what a title, right? I liked how the narrator of this story is such a jealous, petty asshole. The plot follows his attempts to write in a coffee shop that becomes occupied by a writer’s group that he finds extremely annoying. The final story is (I think) the longest, “The Amateur”, a layered story reminiscent of Borges and Bolaño in which the narrator listens to a story told by a man he meets in Paris, a story that takes a decidedly unexpected turn. A highly recommended collection.

“Hence the most important question facing any young writer may well be: How often should I masturbate and when? (It also brings up the second most important question: How much coffee should I drink? But here the answer is clear: As much as you can without dying.)” (235)

Best author I discovered this year was Alex Garland (Coma and The Beach, both great novels, what a shame he has moved away from fiction-writing into filmmaking). In terms of my new Ferrante-Knausgaard (i.e. author I read obsessively), I think Barbara Comyns (The Vet’s Daughter and Our Spoons Came From Woolworths) might be the strongest contender for 2017.

Books I read this year that I did not enjoy as much as I thought I would were El Sicario by Charles Bowden (while the concept of having a book constructed solely out of a sicario’s words was interesting, the book would have benefited from more contextualizing paragraphs to break up the monotony of the voice), and The Argonauts by Maggie Nelson (I liked the memoir elements of this book, but the literary criticism ones went over my head).

Onwards and upwards to 2017! I am now about the same age (if not a bit older!!) as Adrian Mole in The Cappuchino Years, except I have no illegitimate children and have yet to be comissioned to write a book based on my reality TV show, which I consequently fail to turn in and have to hire my mother to ghostwrite for me. There’s still time!! :D

Leave a comment

Filed under Ali Smith, apocalypse, books, non-fiction, review, short stories, women writers

Books of 2016

These are the books I read in 2016, according to my Goodreads account. I put an asterisk (*) next to the ones I loved a lot. I read 83 books.

*My Name is Lucy Barton (Elizabeth Strout)
Killing Mr. Griffin (Lois Duncan) [reread; childhood favorite]
Wayside School Gets a Little Stranger (Louis Sachar) [reread; childhood favorite]
The Dark Portal (Robin Jarvis) [reread; childhood favorite]
Harry Potter and the Cursed Child (J.K. Rowling)
Cat’s Cradle (Kurt Vonnegut) [reread]
El Sicario: Confessions of a Cartel Hit Man (ed. Molly Molloy, Charles Bowden) [non-fiction]
Acceptance (Jeff VanderMeer)
ShallCross (C.D. Wright) [poetry]
Authority (Jeff VanderMeer)
*The Secret History of Costaguana (Juan Gabriel Vásquez)
Annihilation (Jeff VanderMeer)
Nobody’s Son: Notes from an American Life (Luis Alberto Urrea) [non-fiction]
I Hate the Internet (Jarett Kobek)
*Animal Farm (George Orwell) [reread]
*Across the Wire: Life and Hard Times on the Mexican Border (Luis Alberto Urrea) [reread; last read almost 10 years ago) [non-fiction]
The Friend Who Got Away (ed. Jenny Offill, Elissa Schappel) [non-fiction]
My Struggle: Some Rain Must Fall (Karl Ove Knausgård)
Autumn (Ali Smith)
Umami (Laia Jufresa)
The Power of the Dog (Don Winslow)
Harmless Like You (Rowan Hisayo Buchanan)
Conversations With Friends (Sally Rooney)
Beast (Paul Kingsnorth)
Everyone is Watching (Megan Bradbury)
*Norwegian Wood (Haruki Murakami)
One Day in the Life of Ivan Denisovich (Aleksandr Solzhenitsyn)
At the Devil’s Table: The Untold Story of the Insider Who Brought Down the Cali Cartel (William C. Rempel) [non-fiction]
The Beach (Alex Garland)
The Bunker Diary (Kevin Brooks)
My Struggle: Dancing in the Dark (Karl Ove Knausgård)
*The Cartel (Don Winslow)
Feast of the Innocents (Evelio Rosero)
White Tiger on Snow Mountain (David Gordon)
***One Hundred Years of Solitude (Gabo) [yet another reread]
The Argonauts (Maggie Nelson) [non-fiction]
My Struggle: Boyhood Island (Karl Ove Knausgård)
The Vet’s Daughter (Barbara Comyns)
The Frangipani Hotel (Violet Kupersmith)
***Pond (Claire-Louise Bennett)
The Story of Vicente, Who Murdered His Mother, His Father, and His Sister: Life and Death in Juárez (Sandra Rodríguez Nieto) [non-fiction]
*Hot Little Hands (Abigail Ulman)
The Exorcist (William Peter Blatty)
Rosemary’s Baby (Ira Levin)
Lovers on All Saints’ Day (Juan Gabriel Vásquez)
Foxlowe (Eleanor Wasserberg)
The Loney (Andrew Michael Hurley)
The Hollow of the Hand (PJ Harvey) [poetry]
Between the World and Me (Ta-Nehisi Coates) [non-fiction]
Our Spoons Came From Woolworths (Barbara Comyns)
Them: Adventures with Extremists (Jon Ronson) [non-fiction]
Not Working (Lisa Owens)
*How Should a Person Be? (Sheila Heti)
Trigger Warning: Short Fictions and Disturbances (Neil Gaiman)
Citizen (Claudia Rankine) [poetry]
*Hot Milk (Deborah Levy)
Human Acts (Han Kang)
Blind Water Pass (Anna Metcalfe)
So You’ve Been Publicly Shamed (Jon Ronson) [non-fiction]
Memoirs of an Imaginary Friend (Matthew Dicks)
Coma (Alex Garland)
Dinosaurs on Other Planets (Danielle McLaughlin)
Ah, Sweet Mystery of Life (Roald Dahl)
Animals (Emma Jane Unsworth)
The Beast: Riding the Rails and Dodging Narcos on the Migrant Trail (Óscar Martínez) [non-fiction]
*My Struggle: A Man in Love (Karl Ove Knausgård)
Bonsai (Alejandra Zambra)
Elizabeth is Missing (Emma Healy)
Chess Story (Stefan Zweig)
The Shore (Sara Taylor)
River of Ink (Paul M.M. Cooper)
Natural Histories (Guadalupe Nettel)
Aura (Carlos Fuentes)
Signs Preceding the End of the World (Yuri Herrera)
*Faces in the Crowd (Valeria Luiselli)
*Grief is the Thing with Feathers (Max Porter)
But You Did Not Come Back (Marceline Loridan-Ivens) [non-fiction]
Crow (Ted Hughes) [poetry]
My Documents
(Alejandro Zambra)
The Vegetarian (Han Kang)
A Wild Swan and Other Tales (Michael Cunningham)

To see books read from 2009-2016, click here.

1 Comment

Filed under lists, year in review

My Name is Lucy Barton

I bought this book as a Christmas present for my 90-something (and still going strong!) grandmother, but after reading it decided I should get her something, um, a little more cheerful. I LOVE dark melancholy books with very little plot though, so this novel was basically perfect for me. I’d read Olive Kitteridge and loved it, and now My Name is Lucy Barton has firmly placed Elizabeth Strout in the camp of masterful authors I will consistently seek out, read, and feel awed by. There’s no better feeling than ending the year having read an excellent book that makes you feel like you’ve learned something about life and writing both.

What most impressed me about this book is Lucy’s steady, unwavering voice. Oh, and yet there is so much under the surface! Especially in her interactions with her mother. The style is what you would call “Hemingway-esque,” I suppose, but never annoyingly so. The language is so simple, yet so effective: it really builds on you from how understated it is. Excerpts don’t quite do it justice:

I have said before: It interests me how we find ways to feel superior to another person, another group of people. It happens everywhere, and all the time. Whatever we call it, I think it’s the lowest part of who we are, this need to find someone else to put down.

*

Do I understand that hurt my children feel? I think I do, though they might claim otherwise. But I think I know so well the pain we children clutch to our chests, how it lasts our whole lifetime, with longings so large you can’t even weep. We hold it tight, we do, with each seizure of the beating heart: This is mine, this is mine, this is mine.

I feel like I learned so much from reading this book about the value of silences, of implied but never shared information. The book is all the more powerful for what we end up not knowing, as it’s directly linked to what Lucy herself chooses deliberately not to share (what she wishes she didn’t even know).

The novel opens with Lucy Barton being hospitalized due to a case of appendicitis. Her mother, whom she has not seen in years, unexpectedly comes to visit her for five days. The mother shares gossip about folks back home in Illinois, and in doing so, reveals not only uneasy details about Lucy’s childhood of extreme neglect and poverty, but also Lucy’s somewhat disturbing dependence on pleasing her mother. I thought this was something the book did very well–making us see Lucy’s (at times painful) desperation in having her mother approve of her. It’s a brilliant evocation of an unreliable yet very human narrator.

There are so many interesting themes and motifs in this book: mothers and daughters. Wives leaving husbands. The legacy of World War II and Nazism (Lucy’s father is a Battle of the Bulge veteran, and refuses to speak to Lucy’s husband, the blond son of a German soldier). Men and war, what it means to be a man. Writing, courage, and ruthlessness. AIDS and 9/11. And then there are disturbing references to things that are never expanded upon. What Lucy calls “the Thing,” her father’s episodes in which he lost control of herself, the times in which she was locked up for hours in her father’s truck, her uncontrollable terror at hearing the word “snake”–we don’t learn much more than these details, but they’re enough to deeply unsettle us. It doesn’t help that Lucy’s siblings seem quite worse off than her: whereas Lucy moved to New York and became a writer, her brother sleeps in a barn next to pigs who are about to be slaughtered and develops an obsession with the Little House on the Prairie books, while her sister complains over the phone about her useless husband and sends Lucy requests for money to pay for yoga classes.

This is definitely one of the best books I read this year, and one I will be thinking about for a long time to come.

 

Leave a comment

Filed under books, contemporary, review, women writers

The Secret History of Costaguana

The Secret History of Costaguana (Juan Gabriel Vásquez)

Colombia is a play in five acts that someone tried to write in classical verse but that came out composed of the most vulgar prose, performed by actors with exaggerated gestures and terrible diction.

It took me three attempts to read this book in full but I’m so glad I did. It’s definitely very rewarding. A knowledge of Joseph Conrad and of Panama-Colombia history would be useful, though that being said it was fun to read this and have no idea what was true and what wasn’t (I definitely want to know if the anal abscess story is true!).

What can a famous novelist have in common with a poor, anonymous, exiled Colombian?” With this opening question, the book is propelled forward, and as readers we remain curious throughout as to how the narrator, Colombian exile José Altamirano, ends up encountering and sharing his lifestory with the rising writer Joseph Conrad, who goes on to use Altamirano’s story as the basis for his novel “Nostromo.”

In telling us about how he came to meet Conrad, Altamirano also ends up telling us about his journey to Panama at age 21 to meet his estranged father, who is working as a reporter. The tale is digressive, as Altamirano informs us at varying points about how his mother and father met via Simón Bolívar and Manuelita Saenz’s love affair (I loved the throwaway comment about Saenz meeting Herman Melville; can this possibly be true?? Probably not, but that’s what makes fiction so delicious), and how his father came to be excommunicated and exiled thanks to a mummified Chinese railway worker’s hand. This digressive style is one of the book’s real pleasures, and encompasses one of its main themes: that of everyday life versus History, or as Altamirano puts it, how “the small incident had been obliterated by the Big Event.” As Altamirano tells us the story of his family, he is also telling us the story of the Thousand Days’ War in Colombia, of Liberal-Conservative fighting (The regular massacre of compatriots is our version of the changing of the guard: it’s done every so often, generally following the same criteria as children at play (‘It’s my turn to govern,’ ‘No, it’s my turn’), and of how the U.S. came to secure both Panama’s independence and a hundred-year lease on the canal zone (I remember feeling embarrassed when learning about this in middle school, and likely had to resort to apologetically insisting to my classmates that “I’m half-British, not all gringo, don’t resent me, please!!”)

There are traces of The Informants and The Sound of Things Falling here with the father-son theme, as Altamirano’s father becomes famous for publishing enthusiastic journalism about the Panama Canal, journalism that is far more fiction than factual (it’s hard not to see echoes of contemporary events here). It’s interesting to contrast the father’s writing about reality vs. Conrad’s fiction: which is a more “true” version of Colombian history? Or as Altamirano puts it at one point, “There are good readers and bad readers of reality; there are men able to hear the secret murmur of events better than others.”

Other echoes with Vásquez’s novels include the impossibility of keeping your loved ones safe (Yes, yes, yes, we’re safe, no one can touch us, we have stationed ourselves outside of history and we are invulnerable in our apolitical house) and the form and style of rhetoric. On this latter point, Anne McClean’s translation (as is per usual for her) deserves heightened praise, for translating the book into such a readable and engaging style.

Part of what made this book a bit hard for me was all the names, but at a certain point I was just like “well, I’m just going to keep reading and not be too fussed if I don’t know who everyone is,” and that ended up working really well for me. Overall, what I admired most about this book is the angle it took towards writing historical fiction, with its focus on juxtaposing, interconnected stories that underly the bigger ones:

Stories in the world, all the stories that are known and told and remembered, all those little stories that for some reason matter to us and which gradually fit together without us noticing to compose the fearful fresco of Great History, they are juxtaposed, touching, intersecting: none of them exists on their own… Here is a humble revelation, the lesson I’ve learned through brushing up against world events: silence is invention, lies are constructed by what’s not said, and, since my intention is to tell faithfully, my cannibalistic tale must include everything, as many stories as can fit in the mouth, big ones and little ones.

A big theme throughout is the story of individuals versus that of Big Historical Events, and what gets forgotten as opposed to remembered. One of my favorite sections that best exemplified this was one that focused on a single rifle and who used it. Although the novel comments early on (and very knowingly so) about the mechanisms of magical realism (this is not one of those books where the dead speak, or where beautiful women ascend to the sky), the rifle section stands out not only for its examination of how do objects “speak” to us, and its haunting question of “what do rifles know of us?”, it is also serves as a sad eulogy (among many) about the constant presence of violence in Colombian history. “It is 9.30 when its shot perforates the right lung of Miguel Carvajal Cotes, chicha producer; it is 9.54 when it blows apart the neck of Mateo Luis Noguera, a young journalist from Popayán who would have written great novels had he lived longer.” At another point, Altamirano says “The things we don’t see tend to be the ones that affect us most,” and it’s passages like the rifle one–where the book tried to show us who and what often gets lost/ignored/”disappeared” from history–that affected and impressed me the most.

All in all, major respect for this book. Another fine addition to the author’s canon, and highly recommended for all lovers of historical fiction (especially Borgesian-style). There is much food for thought in here.

Leave a comment

Filed under Uncategorized