Jennie Melamed – Gather The Daughters


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Female Dystopias

Jennie Melamed’s Gather The Daughters does of course inevitably remind the reader of Atwood’s The Handmaid’s Tale. This was such an extraordinary and shocking book at the time of its publication. Atwood had put no completely invented ideology into it; she sewed together trends, happenings and events from across history and geography. Atwood casts a long shadow, but Melamed, a psychiatric nurse practitioner who specialises in working with traumatised children, has clearly had her own professional experiences which have gestated this book.

Unfortunately, various world events – such as the kidnapping of young Chibok schoolgirls by Boko Haram and the democratic election of Trump, despite his ‘locker room’ boast of entitlement to grab and grope, not to mention the regular exposés of historic child abuse cases – sadly indicate that the need for writers to shock and warn us against any complacent thinking that the war for female equality and control over one’s own body has been won, is still a pressing one.

Melamed’s book is set in a possibly not far distant future, though it harks back to earlier, simpler times

Some cataclysmic apocalyptic world event has happened. Possibly. A small group of influential men have established a patriarchal, small island colony. Here, life is made secure and possibly viable, at least if you are one of the influential men. These rulers, The Wanderers, do maintain certain links with the Badlands, where some kind of plague, some kind of terrible devastation lurks. Occasionally, a new family will arrive on the island.

Harking back to some kind of particularly warped Amish style community, there are strict controls in place. These are mainly directed against women. Marriage happens remarkably early, within a year of the onset of menstruation. Life is also short, and once physical fitness is past early shuffling off of mortal coil is expected. There are also strictures on the number of children allowed. The powerful have devised ways to manage this, mainly through the indoctrination of a should and should not Holy Book, devised, as they so often are, for the powerful to keep others without power

Thou shalt not allow thy wife to stray in thought, deed or body. Thou shalt not allow women who are not sister, daughter or mother to gather without a man to guide them. Thou shalt not kill.

There is a brief, idyllic period set aside for the children. With rigid rules in place from birth till death, for all, and especially for the female all, a short summer season where children are allowed to run feral, live outside, and do as they please is a small time of wild paradise. Everyone knows the dark rules and the dark penalties for infringing those rules outside the brief summer escape. There is no other freedom of expression – except that resistance also, always needs to find ways and means.

Melamed tells this religious cult, island story through the voices of some of the girls. Janey is the oldest, the most dangerously subversive, starving herself in order to delay the onset of menstruation, marriage, motherhood. Amanda was her closest friend, but Amanda is now married and pregnant, her time of brief freedom and escape forever gone. Vanessa is daughter to one of the wanderers, the ruling elite; Caitlin the daughter of a particularly brutal man, not one of the especially privileged, though every man is privileged enough, in this society.

She discovers that grief is a liquid. It passes thickly down her throat as she drinks water and pools soggily around her food. It flows through her veins, dark and heavy, and fills the cavities of her bones until they weigh so much she can barely lift her head….At night, it rises up from the floor silently until she feels it seep into the bedclothes, lick at her heels and elbows and throat, thrust upward like a rising tide that will drown her in sorrow

Melamed recounts her quite horrific story with much delicacy and finesse. It is a spell binding story, a malevolent one, a warning one – and, unfortunately given the seeping violence of the times, wreaked by those who seek to turn back, in various ways, the freedoms women won during the twentieth century, a story one must hope is not, in any way, prophetic

I received this as a review copy from Amazon Vine. It will be published on 25th July

Gather the Daughters Amazon UK
Gather the Daughters Amazon USA


Stuart Maconie – Long Road from Jarrow: A journey through Britain then and now


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Those who cannot remember the past are condemned to repeat it – George Santayana

Stuart Maconie, author, broadcaster, journalist and commentator on cultural and social history is, by virtue of education and profession, now one of the intelligentsia. Very much a Lancashire lad (Wigan, as he reminds us) he has not lost his roots, and has a pleasing down to earth quality in his writing. Thoughtful, intelligent, warm, humorous, this also shows a lively interest in people in all their diversity.

In the wake of last year’s referendum, Maconie, like many of us, found himself musing on our divided nation. Connections between the 1930’s and the present seemed to be suggesting themselves, as right wing, populist politics, divisive and suspicious of outsiders, seemed on the rise

2016 was the 80th anniversary of the 1936 Jarrow March/Jarrow Crusade, occasioned by the closure of the single employer on which all else depended, the steelworks. Unemployment was rising in the country, and the gaps between rich and poor, South and North, were obvious. 200 men set out to march to London to deliver a petition to Parliament. Jarrow captured the public imagination, and the March has become a legend of dignity,resistance and solidarity on the one hand and uncaring capitalism on the other, a divided nation

Maconie, a keen walker, decided to emulate the 300 mile journey made by the Marchers, following their daily itinerary, ‘visiting the same towns and comparing the two Englands of then and now’

Some of the parallels were very clear:

The rise of extremism here and abroad fired by financial disasters, a wave of demagoguery and ‘strong man’ populism. Foreign wars driven by fundamentalist ideologies leading to the mass displacement of innocent people. A subsequent refugee ’crisis’. The threat of constitutional anarchy with conflict between government, parliament and judiciary. Manufacturing industries, especially steel, facing extinction….Inflammatory rhetoric stoked by a factionalised press…….A country angrily at odds with itself over its relationship to Europe, the elephant in the nation: Brexit

This is far more than a purely personal story of one man’s walk. Maconie engages with the people he meets, garners stories of then and now, recounts the history of the places he travels through,, whilst following some of his own interests, football, music – of all kinds, and finding, often conviviality and hospitality around food, reflecting the cultures who have added, across the centuries, to the rich loam of this island .

Alan Price’s 1974 jarrow Song with 1936 British Pathe Films footage

This is an engaging, fascinating account, sometimes angry, often scathing about those whose manipulations fostered the divisions and uncertainties we now face, populists of the right and of the left. What stands out, again and again, is the richness of a culture, in this country, which has always been eclectic, fed by generations of ‘outsiders’ across the centuries, settling, marrying, having children who have feet in the history and culture of the new homeland, and influences from the old. ‘ Britishness’ develops, as it always has

              Marchers with their MP ‘Red Ellen’ Wilkinson

In some ways, albeit with more humour, this reminds me, in the serious things it is saying, of Joe Bagent’s 2008 ‘Deer Hunting With Jesus’ : Guns, Votes, Debt and Delusion in Redneck America, which looks at the rise of support for the Republican Party which came from those who might have been expected to find the Democrats their home.

This is cultural and social history as I prefer it – humanly, rather than statistically explored, entertaining whilst informing.

I was delighted to be offered this as an ARC, from the publishers via NetGalley, and thoroughly enjoyed this 300 mile walk, with no blisters, and in totally clement weather

Long Road from Jarrow Amazon UK
Long Road from Jarrow Amazon USA

Sarah Perry – The Essex Serpent


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Gothic, serpentine, sinuous narrative, rippling with interest and vitality

Sarah Perry’s 1890s set novel is one of huge vitality, imagination and verve. In some ways her delight in language, her playfulness, and the exuberance of her story telling remind me of Sarah Waters in her earlier outings which were also set in slightly earlier Victorian times : Fingersmith and Affinity (1860s and 1870s)

The Essex Serpent has achieved both commercial and critical success, and I had held off from it, fearful that this was just marketing spin. Eventually surrendering, it was clear from the off its plaudits are well deserved. Perry has crafted a most enjoyable read. She tells a good story, creates memorable characters and is also writing informatively and thoughtfully ‘about stuff’ . Principally social issues around privilege and the lack of it, the conflict between religion and science, and female emancipation, at the tail end of the nineteenth century. Occasionally I did feel she created one or two over complicated issues (the autistic son) plus the odd moment where things felt just a little out of time and modern – a bit too much to-ing and fro-ing and travelling between coastal Essex and London : journey times would have been considerably longer and a swift visit to the British Museum Reading Room in order to get some information to enhance a Sunday sermon seemed a little twentyfirst century casual commute rather than 1890s.

Perry’s aim has been to show a different view of Victorian society, and, particularly its women, focusing more on the unusual, radical, progressive elements rather than the mainstream who might have lived within prim, submissive conformity within a paternalist culture.

Cora Seaborne has recently been widowed. Her deceased, much older husband is/was one of the few really unpleasant characters in Perry’s novel. Sadistic, controlling and, frankly just a powerful, influential bully, he had captivated Cora when she was impressionable and young. One of Perry’s strengths is that she gives the reader enough information to make sense of people and their history, but does not get caught up in needing to over-explain everything. Hence, the reader is left uneasy about what appears to be a branding mark inflicted on Cora, and our imaginations will provide further shadowy questions about a toxic marriage whose specific parameters do not need to be gratuitously spelt out.

Colchester Earthquake of 1883 – ripples on in this book

Cora, despite the endured abuse, has a keen and enquiring mind, and thinks for herself, whatever external strictures were placed on her by her thankfully now dead spouse. She is captivated by science, by Darwin, by Mary Anning. Now a woman of independent means, she can choose to turn reading about the natural sciences into practical investigation. She is a strong female presence, not a submissive or surrendering one, and intends to follow the star of her intelligence and passion for knowledge, debate and discourse. She is not a beauty according to the standards of her time, but her unusual vitality and independence of thought do make her attractive to others similarly unconventional, and free-thinking

you cannot always keep yourself away from things that hurt you. We all wish that we could, but we cannot: to live at all is to be bruised

Martha is a similarly unusual individual in the Seaborne household. She is Nanny to Francis, Cora’s autistic son, and is a radical socialist, a follower of Eleanor Marx, passionately concerned with righting the wrongs of the disadvantaged and dispossessed, with a particular interest in provision of social housing for the poor – initiatives like Peabody date from the 1860s. Also dancing attendance on Cora is a young doctor, radical in his field, interesting in exploring cutting edge (literally) developments, particularly in surgery. Dr Luke Garrett, and his more conventional kind hearted friend and colleague George Spencer are the means by which the reader learns much that is fascinating about late nineteenth century medicine. Friendship itself, between the sexes as well as within the sexes is a major theme of this novel. In almost every relationship it is the mental, and emotional connections which are the lasting and transforming ones rather than sexual connections. Sex, whether expressed overtly or covertly is a powerful driver also in the novel, but it is friendship which provides endurance.


Woodcut from 1669 pamphlet : Guardian Review by M.John Harrison

And so to the title – The Essex Serpent takes Cora and her entourage (and us) out of London and to an imaginary location in Essex’s coastal waters. There have been, by all accounts, mysterious sightings of a ‘sea monster’ (one assumes some kind of oceanic Loch Ness Monster). Dark and subterranean rumours about the monster surface, laced with symbolism and biblical portents, terrifying and titillating the local population in equal measure.

The local vicar, Will Ransome, a man of sure, and at the same time, rational faith, is determined to stress the importance of living a good, moral life through practical ‘love your neighbour’ Christianity. He espouses Christianity with a social conscience, and strives to be a moral compass for his flock, encouraging living through kindliness and compassion without appeals to the fear of hellfire or the fevered prophecies of the Book of Revelations. Some of his flock gravitate far more naturally towards that gothic outlook.

His was not the kind of religion lived only in rule and rubric, as if he were a civil servant and God the permanent secretary of a celestial government department. He felt his faith deeply, and above all out of doors, where the vaulted sky was his cathedral nave and the oaks its transept pillars: when faith failed, as it sometimes did, he saw the heavens declare the glory of God and heard the stones cry out

Cora and Will, both naturally enquiring and subtly thoughtful have divergent views about the world of matter, but neither is as closed minded as each initially supposed. A curious and strong friendship forms between them, with argument and disagreement uniting them as much as it divides them. Both are extremely keen to solve the ‘mystery’ of The Essex Serpent, and both hope that their own theories will be right. In many ways, Cora and Will are ‘soulmates’ precisely because intelligence, subtlety and warm-heartedness mean they can discourse with each other about matters which can’t be understood by others. Will’s beautiful, ethereal wife Stella is loved by all – including Cora, who forms a firm friendship with her. She is a well-rounded, more interesting version of the sweet ‘child-wife’ staple of some Victorian fiction – Dora in David Copperfield.

Perry’s book has been severally described as a historical novel, a romance, Victorian gothic, and a novel of ideas. All of the above.

On turns the tilted world, and the starry hunter walks the Essex sky with his old dog at his heels, Autumn fends off the diligent winter: it’s a warm clear-eyed month, with a barbarous all-too-much beauty. On Aldwinter common the oaks shine copper in the sunblast; the hedgerows are scarlet with berries. The swallows have gone, but down on the saltings swans menace dogs and children in the creeks.

She writes beautifully, but does not write indulgently beautifully.

Perhaps part of the afterword, in my Kindle edition shows best what Perry aims for. And succeeds in doing, in my opinion

My ambition as a writer is – more than anything else, I think – to give joy and pleasure to readers; to convey to them the love I feel for my characters, and the places they walk, and to have them feel what my characters feel.

Bravo, Sarah Perry. You do and you did.

The Essex Serpent Amazon UK
The Essex Serpent Amazon USA

Ngaio Marsh – Death in A White Tie


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Duchesses, Dignitaries and Debutantes Dance with Death

No less a ‘hard boiled’ crime writer than Dashiell Hammett called Marsh’s 7th Alleyn outing, Death in A White Tie ‘the best detective story I have ever read’ And it is indeed magnificent, though Marsh is a very different kind of crime writer than the gritty Americans of the same period.

Published in 1938, and impeccably set in the upper-class world of debutantes coming out for the season, Alleyn gets swept into this particular investigation in part through his mother, who is chaperoning his niece and her ‘bestie’ into their first season. And coincidentally Alleyn is already beginning to hone his intellect and his team into an investigation of the society set, as it appears a blackmailer is moving amongst them. Our hero has to tread carefully, using his society credentials without alarming those who are running the racket.

Things get much darker and much nastier though, when a murder which touches Alleyn personally turns the desire to find the killer into far more than a dispassionate solving of a crime. Grief and anger, not to mention a sense of personal responsibility are in this mix.

Glorious!! Benedict Cumberbatch uploaded to You Tube in a 7 part Audible read of this. Perfect delivery! Perfect! I am rarely entranced by voiceovers of books but, this..!

Further complications, making this more than just the routine solving of a crime are also on the agenda. Alleyn has some unresolved business to sort out with the well-respected artist Agatha Troy, who was involved for a while as a potential suspect in the previous outing, ‘Artists in Crime’ She is certainly guilty of capturing Alleyn’s heart, although being a suspect in a murder investigation does not necessarily make the best way for a far from faint heart to win a fair lady.

Alleyn (as ever) is a very human, very real person, getting more and more three dimensional as the series progresses

Death in a White Tie Amazon UK
Death in a White Tie Amazon USA

Julian Daizan Skinner – Practical Zen: Meditation and Beyond


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A helpful, de-mystifying and practical approach

I was delighted to receive this as a digital ARC from Singing Dragon. The fact that this book is published by them, almost guaranteed its excellence for me. Some publishers of books which fall into a loose ‘New Age’ category can be a little goofy, sensationalist and flaky for my tastes. Singing Dragon specialise in good writers in the field, knowledgeable in their various disciplines, excellent communicators

And so it is here.

Julian Daizan Skinner writes clearly about a subject which can be a challenging one for those of us unversed in the traditions and concepts of Zen Buddhism. You don’t need to have spent years on a spiritual path in order to understand what he explains. This author offers guidance for beginners in a meditation practice, without being so full of difficult and detailed instruction that the would-be meditator gets a headache from trying to remember too many bullet points.

we don’t need to particularly change ourselves into something else. We don’t have to go on painful courses of practice or force ourselves in any way. This is about acknowledging the truth of who we are , who we were and who we will always be

The author finds simple language, useful images to explain some complex concepts, and to offer routes by which the meditator may be able to glimmeringly grasp something as a signpost. It does not feel like something simplified and reduced to unlovely bare bones of ‘do this, do that’ either. More like being shown an open door to a room full of boundless fascination. You can stand outside the room, and look in, or you can choose to enter and really explore at depth, and journey onwards. Perhaps through further rooms whose doors are as yet unknown.

This book is inviting, simple, guiding the reader to explore this particular meditation practice in a built on way : an 8 week process of 25 minute sittings per day, plus a 5 minute journal keeping of what arises. There is also plenty of additional support offered, via the zenways website. This includes details of sitting groups, intensive 1 and 3 days meditation retreats, yoga trainings.

Even better, the book gives a password protected entry to the on site material – information and the guided meditations laid out in the text are available as audio downloads, and also a video of one of the meditations which involves specific movements to energise belly and legs linked with the breathing. This is useful for those who might prefer a guided session.

There is also plenty for those who might want to explore the subject more deeply – many cited texts, discourses on the philosophy and history of different approaches to Zen, so though this is, in essence, a practical guide, it offers more.

What really ‘got’ me about this excellent book, even more than its clarity in communication, is the kindness and compassion it radiated

Practical Zen: Meditation and Beyond Amazon UK
Practical Zen: Meditation and Beyond Amazon USA

Ngaio Marsh – Artists in Crime


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Love, Art and Murder

Travelling back from New Zealand, where he has been recuperating after an operation (and solving a theatrical crime) Chief Detective Inspector Roderick Alleyn meets a rather remarkable woman on board the ship. Agatha Troy, known to all as Troy, is a well-respected artist. She is completely uninterested in flirtatious, simpering feminine wiles, full of subterfuge, but is direct, driven, and motivated to excellence in her work. Some kind of almost unwelcome frisson occurs between Alleyn and Troy. Each is a little suspicious of their own feelings, and sure only of the indifference felt by the other.

Some time later, matters murderous happen in an artist’s retreat and painting school which Troy is running, for a group of strongly egotistic, often highly competitive and unconventional artists. Chance dictates that Troy’s studio is only a few miles away from the Alleyn family home and that Alleyn is visiting his adored and wonderful mother, Lady Alleyn. Location means that the local force are more than happy to draft in the famous, brilliant investigator to solve a case beyond their normal abilities. Alleyn, along with his trusty familiar crew, Inspector Fox, Bailey-the-fingerprints, Thompson-the-photographics are also joined by the journalist with an ear to the ground about exploits Alleyn – Nigel Bathgate, happily married to Angela North from Book 1 of the series, who is about to give birth.

Still Life by Marsh

The solving of yet another ingenious and horrid crime is of course the thrust of the book, but, as always, there are other delights along the way. Not least of which is getting to know more about Alleyn’s family background. He must be a particularly unusual detective in a series, – certainly unlike most detectives in more modern series – as not only is he neither a drug or drink abusing maverick with tendency to serial bed-hopping who comes from a dysfunctional family, but he has, instead, a particularly warm relationship with his lovely, intelligent, well liked, charming mother. Mother and son clearly love, like, respect and appreciate each other, with good reasons for doing so, on both sides. Lady Alleyn, like her son, is a thoroughly good egg, with spirit, wit and individuality. She is also keenly and intelligently interested in her son’s profession. And would dearly like him to find the kind of exceptional woman who would be a fine and fitting match for him.

Unfortunately, matters of the heart are bound to be a little difficult when Alleyn is bound to consider Troy as one of the potential suspects in the artists’ murder mystery. She is someone who appears to have both motive and opportunity, as of course do the usual gathering of others in this painterly version of the classic country house murder.

This is book 6 of the series, and as enjoyable as the previous 5

Artists in Crime Amazon UK
Artists in Crime Amazon USA

Truman Capote – In Cold Blood


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Unsettling, uncomfortable account of a real crime – The Clutter Murders of 1959

Truman Capote’s 1966 account of a notorious, barely motive-driven rural multiple murder which took place in Kansas in 1959 catapulted him into the best seller lists and celebrity status.

An upstanding, hard-working family from Holcomb, a small community in the wheat-plains of western Kansas, were brutally murdered by person or persons unknown, in November 1959. The Clutter family, Herb, church-going, teetotal dairy cattle-farmer, his rather delicate but equally upstanding wife Bonnie, and his two children, 16 year old Nancy, vivacious, popular, responsible, admired, and her bookish 15 year old brother Kenton were all shot at point-blank range, having previously been tied up. Herb Clutter also had his throat cut before being shot.

Inevitably, investigation first turned to possible personal and local motive, but there was no evidence at all to suggest this. The community was a tight-knit, respectable, co-operative one, and all the Clutters were warmly regarded by their colleagues, peers, friends, family and neighbours

The hitherto peaceful congregation of neighbours and old friends had suddenly to endure the unique experience of distrusting each other; understandably, they believed that the murderer was amongst themselves

The conclusion was that this might have been a burglary which went wrong. The idea of this definitely ruled out local involvement as everyone knew that Clutter did not keep money or valuables in the house, but banked it

The crime seemed to point towards something of a growing trend – murder without any real personal motive. There have always been such, in times past, but, for obvious reasons, they were more likely to take place in crowded cities, where perpetrators could quickly vanish amongst the hordes. Such crimes in isolated areas, carried out by perpetrators completely unknown, where victim and murderer had no direct connection with each other, must have been comparatively rare before owning cars became common, so that going on the run and being able to hide anywhere, became easily possible.

The perpetrators of this crime, after an intense investigation, were found to be a couple of small time crooks, who had met whilst serving time, far away from the scene of the crime. The successful solving of the crime, not to mention the capture of the pair, also depended on chance as much as skill, and the existence of mass-media (radio, TV) to highlight awareness of the crime and the search. The motive was indeed a robbery gone wrong, with the murderers, neither of whom had ever met Clutter, unaware that this rich man did not have a safe in his house (as they had assumed he would)

It seemed to me that journalism, reportage, could be forced to yield a serious new art form: the “nonfiction novel,” as I thought of it.

Capote, quoted in a 1966 interview about his novel for The New York Times

Truman Capote’s account of the case, originally serialised in The New Yorker, was rather a literary, ground-breaking one. The book was extensively researched from documents and interviews, but Capote structured this like a converging story, rather than a linear account. The structure, the language and the shaping are that of story, not journalistic reportage. Indeed, levelled against the book was criticism (particularly locally) that some dialogue had been invented, and small human touches and potent images had been invented.

Interestingly, his researcher on the book was his friend, and later, admired author in her own right, Harper Lee.  She is one of the two people Capote dedicates the book to.

The crime was indeed a gory one, but Capote withholds the gory details until near the end of the book, Instead, he paints a low-key, un-histrionic , unheroic, un-villainous picture of all the individuals associated with the case – this includes the victims, the murderers and all connected in the investigation, bringing to justice, and the community in which these events happened.

The author avoids operatic, overblown rhetoric. The reader (well, this one) has the sense of an author listening for a way to tell a shocking story in a simple, measured way, allowing the events themselves to be revealed in a way which suggests they have objective existence, and are not driven by authorial agenda. Nonetheless, the choices he made do of course shape the reader’s own perceptions. This is not a mere recounting of facts, but the reader is not being punched by the writer’s persona. Nonetheless, it is obvious that Capote did feel a kind of fascination with one of the perpetrators, whose status as half Cherokee, half-Irish, child of a broken marriage, whose mother was an alcoholic, and who spent part of his childhood in a brutal care home, marked his card, somewhat from the start. A classic outsider who FELT like an outsider to himself. Capote, himself an outsider, clearly felt some kind of – if not sympathy, than an identification of ‘outsiderness’

My feeling is that for the nonfiction-novel form to be entirely successful, the author should not appear in the work. Ideally. Once the narrator does appear, he has to appear throughout, all the way down the line, and the I-I-I intrudes when it really shouldn’t. I think the single most difficult thing in my book, technically, was to write it without ever appearing myself, and yet, at the same time, create total credibility.

Unlike a more modern trend in some ‘true crime’ writing, Capote avoids a ramping up of the gory details of the undoubtedly gory crime. He is not trying to titillate or be gratuitous, Instead, there is a cool restraint. There is of course no ‘excuse’ for the crime, but there is a recognition that the fact that these types of crime occur shows ‘something’ about human nature. Because the writer does not go the route of ‘aberrant, demonic, despicable, bestial monsters’ the reader is uncomfortably forced to acknowledge this too is the possibility of human choice, human behaviour.

And I was left (with no solution) with a kind of puzzle. This is a crafted work of art, and the account of a crime which clearly fascinated as well as horrified. And Capote’s book also gave rise to a film. However………there has been (continuing) criticism of book and film by residents of Holcomb at the time and their descendants. Coping with such a tragedy in their midst, difficult enough, at the time, and beyond, but the critical and commercial success of Capote’s work has kept a kind of searchlight on their lives, perhaps making moving on a far more difficult journey

Perry was always asking me: Why are you writing this book? What is it supposed to mean? I don’t understand why you’re doing it. Tell me in one sentence why you want to do it. So I would say that it didn’t have anything to do with changing the readers’ opinion about anything, nor did I have any moral reasons worthy of calling them such–it was just that I had a strictly aesthetic theory about creating a book which could result in a work of art.

“That’s really the truth, Perry,” I’d tell him, and Perry would say, “A work of art, a work of art,” and then he’d laugh and say, “What an irony, what an irony.” I’d ask what he meant, and he’d tell me that all he ever wanted to do in his life was to produce a work of art. “That’s all I ever wanted in my whole life,” he said. “And now, what was happened? An incredible situation where I kill four people, and you’re going to produce a work of art.” Well, I’d have to agree with him. It was a pretty ironic situation.

Capote by Jack Mitchell, Wiki Commons

The ‘blue’ quote is from the book itself, the green quotes are all from the New York Times interview, which is fascinating. Capote Interview with George Plimpton of the New York Times

 The book was 6 years in the writing, beginning before the case was solved, taking in the investigation, the whole legal process, and, later on going interviews and correspondence with Dick Hickock and Perry Smith, during the years they spent on Death Row whilst the due process of law and appeals by the lawyers for the defence continued. Its ‘wrap’ is the expected one.

In Cold Blood Amazon UK
In Cold Blood Amazon USA

John le Carré – Call for the Dead


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The Freezing Fog of the Cold War : George Smiley 1

Despite being fascinated by espionage – the hidden stuff of it, and the psychology of those who do it, rather than the glitzy Bond aspects – I have somehow never read le Carré, nor seen or heard the TV or radio adaptations of his books.

This, then his first book, is my first outing too with George Smiley, loner, a quiet man, with a private life full of some sorrow, as his rather glamorous, society wife, an unlikely match, has done the more expected thing and run off with a glamour playboy.

Set in the late 50’s/early 60’s, as the Cold War was getting close to freeze point, this is as much a murder mystery as a spy thriller. Smiley recently interrogated a Foreign Office official who had come under the radar of possibly passing information to East Germany. He had been pretty certain that the man, Fennan, was in the clear, and had given him understanding that this would be his conclusion. The interview, an informal one, ended amicably on both sides. Except that Fennan then killed himself, and, even more curiously, posted a letter to Smiley on the same evening requesting a meeting.

The familiar face of George Smiley: Sir Alec Guinness in dry and wintry mode

I found this an interesting and atmospheric read, melancholy, cerebral and with nice and understated humour and a good evocation of time and place, as the following section shows. Smiley has gone to the dead man’s Surrey home, there to try and make sense of events, which do not quite seem to add up :

Merridale Lane is one of those corners of Surrey where the inhabitants wage a remorseless battle against the stigma of suburbia. Trees, fertilized and cajoled into being in every front garden half obscure the poky ‘Character dwellings’ which crouch behind them. The rusticity of the environment is enhanced by the wooden owls that keep guard over the names of houses, and by crumbling dwarves indefatigably posed over goldfish ponds. The inhabitants of Merridale Lane do not paint their dwarves, suspecting this to be a suburban vice

There are some interesting relationships which are clearly quite strong ones, but hidden behind an understated English reserve. Aiding Smiley in his investigations are a couple of professional colleagues, Mendel and Guillam, both of whom go the distance in what is after all, a dangerous pursuit – the hunting down of those who are prepared to kill in the service of a theory and philosophy. There is a subtext of masculine friendships, strong, clearly, but the emotional connections are not spoken about: this is stiff upper lip land, in time and in place. ‘Feeling’ language belongs to Fennan’s widow, Elsa, a German refugee, survivor of the war :

it’s an old illness you suffer from, Mr Smiley………..and I have seen many victims of it. The mind becomes separated from the body; it thinks without reality, rules a paper kingdom and devises without emotion the ruin of its paper victims. But sometimes the division between your world and ours is incomplete; the files grow heads and arms and legs, and that’s a terrible moment, isn’t it. The names have families as well as records, and human motives to explain the sad little dossiers and their make-believe sins….The State is a dream too, a symbol of nothing at all, an emptiness, a mind without a body, a game played with clouds in the sky

There are obviously a lot of wheels within wheels plots to be unravelled, and the reader is in that rather enjoyable place where almost everyone might come under some kind of suspicion. Histories – both personal and the history of conflicts between states and ideologies are under investigation.

James Mason in Sidney Lumet’s The Deadly Affair


This was filmed as ‘The Deadly Affair, directed by Sidney Lumet, and starring James Mason, Simone Signoret and Maximilian Schell, it presumably takes some liberties, not least of which is the renaming of George Smiley as Dobbs

Call for the Dead Amazon UK
Call for the Dead Amazon UK

Ngaio Marsh – Vintage Murder


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Murder by bubbly………..

Vintage Murder, Marsh’s 5th book in her Inspector Alleyn series, published in 1937 is, like the second one, Enter A Murderer, given a theatrical setting. This was of course the author’s true home anyway. As is the slightly surprising location of this one – New Zealand which is, again, Ngaio Marsh’s home. Just as the reader is getting used to Alleyn’s regular companions – ‘Brer’ Fox, Bailey and Thompson from the Yard and the bumptiously enthusiastic journalist Nigel Bathgate, we have to journey with Alleyn sans regulars, though assiduous readers will be pleased to see that the sensible character actress Susan Max, from book 2, is also ‘down under’ as one of the members of The Carolyn Dacres English Comedy Company, touring New Zealand. Alleyn, on extended recuperation leave from Scotland Yard following some kind of major operation (we are not party to his medical records) encounters the company and renews his acquaintance with Max on the train travelling to their first New Zealand performance in North Island. The urbane Alleyn gets to meet the company, and is invited to a celebratory back stage party.

Unfortunately as a death occurs, and is, of course, murder most horrid, and Alleyn was present at the scene of the crime, he begins as a witness and potential suspect, as the local police investigate. Quickly realising his impressive credentials – he is the author of the major manual for young Police Investigators in cop school – the locals are happy to have him join the investigating team. Far from viewing the locals as ‘hicks’ and crashing in with offensive superiority, there is a nice give and take between the New Zealand professionals and the Brit, with respect shown on both sides. Something I particularly like about Marsh is her relative freedom from the class and race attitudes which are rather prevalent in ‘Golden Age’ To be sure, prejudice does show, in attitudes towards another person present at the murder scene – a Maori physician – but Alleyn is interested to gain knowledge about a culture so very far from his own.


                               Maori tiki

Ngaio Marsh continues to delight me with her wonderful crafted writing, depth characterisation, fiendish by believable plotting. She gets better, so far, book on book, and has effortless wit and style in the person of the marvellous Alleyn.

I was particularly enchanted, in this book, by the inclusion of various sketches from Alleyn’s notebook – the ingenious mechanism by which murder most horrid was done, and the methodical method by which Alleyn records the precise sequence of events, movements of suspects, locations, motives, alibis and all

Alleyn continues to be a romantic at heart, rather susceptible on the inside to the charms of strong-minded, intelligent, sophisticated and vibrant artistic types. Here, leading lady Carolyn Dacres causes his heart to flutter, and he is susceptible. As in the second book, he is remarkably chivalrous, neither taking his position of power or his own allure for granted. Marsh allows him no bedroom scenes, his behaviour is proper, but he does feel he could easily fall under the spell of a woman of charisma, beauty and intelligence, even if, as he half suspects, he might be being played. I assume susceptibility to alluring actresses will not trouble him much longer, because Marsh is getting to the point in the series where Alleyn will soon meet his match and well-deserved destiny…………

What good fun she has. Unlike modern crime novels, there is a lack of grisly detail on the very bloody way violent death happens, which suits me fine, having a somewhat vivid imagination and delicate stomach!

Vintage Murder Amazon UK
Vintage Murder Amazon USA

Philip Roth – American Pastoral


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Endlessly reflecting mirrors

american-pastoral-book-coverPhilip Roth’s Pulitzer prize-winning American Pastoral is beautifully written, deeply disturbing and at times offensively misogynistic. It is also bitter, angry, sharply incisive about the frailty and illusion of the American Dream – and, heart-breakingly tender about the ties that bind us, particularly the love of a parent for their child, however wayward, however lost.

And, as well as all this, it is a fascinating series of challenges about the nature of writing and the nature of the writer. Roth throws down the gauntlet from the start, asking us not to forget that one of the central characters is his continuing alter-ego , Nathan ‘Skip’ Zuckerman. The story we reading, presented by Zuckerman, into the life of Seymour ‘Swede’ Levov, Zuckerman’s childhood hero, is possibly Zuckerman’s invention. Certain events happen to Levov, but the reason they happened, the psychoanalytical unpicking of them, may be only the writer in the book (not to mention the writer of the book) shaping a chimera.

Seymour ‘Swede’ Levov, whose story Zuckerman tells, was a gifted athlete, an inheritor and emblem of the aspirational dream of America’s European immigrant community. Looking like a WASP, he is Jewish, his family, a generation or so back, by hard work, dedication and talent, rising in the Promised Land. Swede’s success at football, basketball and baseball, and his upright, hard-working personality have made him envied and adored, a kind of hero to others. One of whom is the slightly younger Zuckerman. Meeting again, in late middle age, it is now Zuckerman who has achieved fame, as a writer, and he is long past a time of adulating the seemingly much more simple character of a former sporting hero. Zuckerman in fact perceives the apparently settled straight as a die, unthinkingly patriotic, successful businessman, husband and father that Levov has become as a bit of a simp. The writer rather takes a position of intellectual, metropolitan, sophisticated arrogance. Though written in 1998, there are definite pointers and echoes here of the roots of our divided nation – both here and in the States, between the cultural intelligentsia and those who ‘seem’ as if they inhabit and engage with nuance less. Zuckerman indulges in various fantasies and theories, trying to worm behind the simple, satisfied persona Swede seems to represent. There are several writerly inventions Zuckerman engages in, each of which, again and again, proves wrong. Finally, Zuckerman, sophisticated in his cynicism, dismisses Levov

There’s nothing here but what you’re looking at. He’s all about being looked at……..He always was…..You’re craving depths that don’t exist……The guy is the embodiment of nothing

And then Zuckerman finds out how wrong, how very wrong he has been, and how he knew nothing of Swede, nothing of his life.

Swede had reached adulthood and maturity shortly before the end of the Second World War. Enlisting as a marine, trying to meet the manly, right, patriotic challenge of the war, he was still going through boot-camp training when the bomb was dropped at Hiroshima. He took his desire to serve his country into the post-war world. A model citizen, he worked hard, had a developed awareness of social responsibility, married his childhood sweetheart, Dawn, entered and successfully ran the family glove-making business, and fathered a beloved daughter.  Meredith, the daughter, was a teenager in the 60’s, at the time of the Civil Rights movement and resistance to Vietnam, and she became intensely radicalised, revolutionary.  Merry, the apple of Swede’s eye, committed a shocking and violent act whilst still at high school, and then went on the run, hunted as a terrorist. Swede’s family, marriage, business and life suddenly shattered.

Belatedly discovering these events, Zuckerman then weaves this into story. He creates a narrative of motive, a narrative to ‘explain’ how this normal family, and privileged, loved child could have so violently changed. However……because of the constant reminders earlier in the book that narrator Zuckerman was inventing stories and sub stories which were wrong, Roth is reminding us that this too is narrative, story, invention. We know certain facts happened, but the interpretation of why Swede, Merry and Dawn got to where they did, may not be right. Zuckerman ‘blames’ a childhood event for Merry going to the bad – but the event is Zuckerman’s imagined narrative, and may never have happened.

     Patty Hearst kidnapping/Symbionese Liberation Army – a kind of sign of those times

Going forward, to after Merry has gone underground, is a deeply disturbing, highly misogynistic section in the second part of the book, with the introduction of a young Jewish woman who may have been responsible for Merry’s violent radicalisation. This is a section distasteful to read, and highly unsettling – are we being shown an unconscious misogyny, particularly towards Jewish women, which comes from Roth himself, through his alter ego as Zuckerman – or is the author placing himself firmly and consciously on a slab, for the reader to dissect Roth himself?

And then, at the point where the reader might think they have been able to negatively ‘get’ Roth himself, as the creator of all this, comes a section, where, after many years of searching for his vanished daughter in hiding from the law, Swede finds her, living in utter degradation, weirdly, most weirdly, transformed. This is a section of utter heartbreak, riven tenderness and almost unbearably painful humanity. Roth took my breath away in this raw exposure of all our suffering, poor, magnificent, broken complex humanity. Like Zuckerman with Swede, we get it wrong with each other, again and again.

American Pastoral rightly won its Pulitzer prize. It is not in any way an easy book; it is a greatly, painfully challenging one – by turns horrible, horrific, stony, violent, hating and hateful – and full of compassion and suffering. Published in 1997, looking back over a roughly 50 year sweep, it is far from dated, and seems horribly pertinent today.

I shall for sure, read more of Roth’s later work, though I am still, months after finishing this one, processing it.

Radical Group of the times, The Weathermen, took their name from a line from this Dylan song as featured in the film Don’t Look Back

Finally I have been a long, a very long time coming to this one. FictionFan strongly, Author Philip Roth poses in New Yorkstrongly endorsed this, in her GAN quest, indeed naming it as The Great American Novel. I bought it, and there it sat on my bedside table for a couple of years. I think I had been too riven by other GANs to be able to handle further deeply uncomfortable, brilliant GANnish journeys. I got to it via a small subsection of my book group, who have embarked on some challenging American titles, and a slow, sectional read of them. This was my choice. Lacerating, and amazing, all together as FictionFan suggested, You can read her review

American Pastoral Amazon UK
American Pastoral Amazon USA