Tag Archives: 2016

35. Mermaid in Chelsea Creek, by Michelle Tea

30 Aug

Screen Shot 2016-08-23 at 11.08.13 PM

I have a soft spot for Michelle Tea, because of her debut novel/memoir The Passionate Mistakes and Intricate Corruption of One Girl in America, which I somehow read when it came out in 1998. Tea is around my age and also from the Boston area, and we hung out in a some of the same places. In the late ’90s and as a young person it was a new thing for me to see a memoir set in a milieu I was familiar with; I don’t remember the details much more than that, but I remember loving the book and finding it relevant to my experience.

Since then Tea has become a major alt-culture figure in the queer literary scene. The latest edition of Passionate Mistakes has an afterword by uber-cool lesbian poet Eileen Myles, for example. Tea has written many things in many genres, and Mermaid in Chelsea Creek is her attempt at a teen novel, though of the quirky, intellectual type that gets published in hardcover by McSweeney’s.

I found it sort of readable and sort of desperately boring. It’s about a 13-year-old girl who discovers she has magical powers. In fact, she’s the girl all the local legends have been about, and it’s her job to do something really big that will save everyone!  If there is a more hackneyed plot device at this point, I don’t know what it is. I would like to personally round up all these ordinary teens with magical powers, starting with Harry Potter and ending with Tea’s heroine Sophie Swankowski, and subject them to various George Saunders torture-worlds. That would be entertaining.

Tea’s personal spin on the premise is also kind of predictably Social Justice and annoying. Her heroine Sophie learns about indigenous peoples (the vocab has to be explained to her by another character, which at least is realistic) and their various histories of magical tradition. Sophie is Polish, so her main magic comes from that Old Country, but a Mexican-American character named Angel contributes her lore as well. There’s lots of special candles and reaching within to create emotional shields and making sure to respect everyone’s cultural traditions.

There were things I liked about the book. The decayed urban landscape of Chelsea, Massachusetts made a great setting. Some action took place in the town dump, which was interesting. There were talking pigeons who quoted poetry. Angel is a girl whom everyone thinks is a boy, and it seemed like Sophie might have a huge crush on her once she grows up a little. Sophie’s single mom worked at a free health clinic and was realistically angry, stressed and exhausted. Sophie was just getting old enough to feel sorry for her, which was also realistic and interesting.

Tea is a compelling writer, and there was so much that these people could have learned, gone through. I found casting spells and learning about hokey generations-old curses to be the least interesting direction to develop them in.

33. Omon Ra, by Victor Pelevin

20 Aug

IMG_1721

The dateline at the end of Omon Ra, by Victor Pelevin, reads “—Moscow, 1992” which is enough to make a person familiar with recent Russian history break out in full-body chills. Moscow, 1992. Russian society was fully in the throes of perestroika, chaos, collapse and regeneration. The story in the West has always been that this was a wonderful flowering of democracy, but for many Russians it was a period of lawlessness, hunger, total uncertainty, and the end of everything they’d been asked to believe. Pelevin is a cult figure, the most important Russian writer to emerge from the era. He was 30 years old at the time he wrote Omon Ra, living at a time and in a city of almost unimaginable upheaval. Chills.

The book—which is a masterpiece, I can’t believe I’d never read it—is about a Russian boy in the Soviet Union who dreams of being a cosmonaut, but in Pelevin’s hands it’s dreams themselves that will be under interrogation. Is there any reality to them? For main character Omon (a strange name, itself chosen because of a dream), things are determined not by the outer reality, but by the inner.

As a little boy, for example, Omon realizes that he can be a pilot because he sees some pilots on television and:

“…was struck with a sudden thought…that if I’d just been able to glance at the screen and see the world from the cabin where the two fliers in fur-lined jackets were sitting, then there was nothing to prevent me from getting into this or any other cabin without the help of the television, because flight is no more than a set of sensations, the most important of which I’d already learned to fake, sitting in the attic of the winged hut with the red stars, staring at the enlistment office wall that was where the sky should be, and making quiet droning noises with my mouth.”

He goes on:

“That means, I thought, I can look out from inside myself like looking out of a plane, it doesn’t really matter at all where you look out from, what matters is what you see…”

Of course, latent in the book is the era in which it was written: The channel, as it were, that Russians had been looking at, had just been changed. Are you staring at the enlistment office wall or at the sky? What skills might you need to survive when the two become interchangeable? Pelevin takes a fatalistic approach to the question. Omon reflects:

There’s obviously some strange correspondence between the general outline of a life and that stream of petty events which a person is constantly involved in and regards as insignificant. I can now see quite clearly that the course of my own life was already set, determined before I had even begun to think seriously about the way I wanted it to turn out. I was even given a glimpse of it in simplified form. Perhaps it was an echo of the future. Or perhaps those things which we take for echoes of the future are actually its seeds, falling into the soil of life at the very moment which in distant retrospect comes to seem like an echo out of the future.

He goes to flight school. Nothing is as it seems, in ways too brilliant for me to spoil in this review. Omon’s journey could be called a blistering indictment of the Soviet Union—or at least a profoundly disturbing one, since this is a world in which men’s legs are broken to fit the planes instead of the planes being built to fit the men. But there’s a strain of dry humor or meditative detachment throughout, that says that the author knows you can’t  blister something which was never really there.

I wish I could comment on the book’s end without giving away its punch. I’ll just say it is now officially my favorite closing strategy since Infinite Jest, and references another Russian classic, Moscow—Petushki.

32. Sarah Falkner, Animal Sanctuary

19 Aug

Screen Shot 2016-07-02 at 9.41.20 PM

I bought this book off the Starcherone table at my very first AWP, three years ago, on the recommendation of the publisher, and it has been sitting on the to-read shelf ever since. I should give Cathy at 746Books a huge shout-out for forcing me (I mean, inspiring me) to deal with problems like this.

Animal Sanctuary is the fictional story of Kitty Dawson, a failing and somewhat desperate 1950s female movie-star who opens an shelter for big cats after having acted in many movies featuring animal disasters. Kitty’s story is mirrored by the story of lesbian university student who became her body double while on location during her last film in Africa. The student is seeking a missing girlfriend, with a complicated disaster story of her own.

Despite those improbable events, this book is not plot-driven (which goes a long way towards explaining why it sat on my shelf for so long). The pleasure is much more complex, lying in the tensions and meditations on gender, narrative and otherness that Faulkner sets up with the above characters. The first doubling, of the female ’50s screen star and the big tawny cat in captivity is great. It’s not something I would ever have thought of, but both share a combination of beauty, power and imprisonment. Both are majestic and victimized, sexy and sad. The second doubling, of the lesbian university student, herself doubled in her lover, adds a layer of intrigue: the two girls are looking for meaning, looking for a way to participate actively in their world that feels authentic to them.

The narrative progressed in a self-conscious way, with, for example, a chapter that alternates between sections in dialog between Kitty and her psychotherapist, on the one hand, and the film director and an interviewer, on the other. There are art-grant applications, summaries of scenes from movies, conversation snippets, a chapter of snippets of film theory . The changing texture of the reading experience kept things interesting. And I thought Falkner’s prose was quite good.

The second half of the book focused on the art career of movie-star Kitty Dawson’s son, Rory Dawson.

We meet Rory when he’s on vacation in Mexico with his lover David, an older, more successful, artist. The echo, here is about spectacle populations. The Mexicans are a double for the film-star/ woman/ other, while Rory and David are the doubles for the director/artist appropriating the other. I appreciated another sophisticated doubling, but the Rory perspective, with whom the reader was supposed to sympathize, made me want to tear my hair out.

Rory and David are interrupted in their Mexican vacation by some asshole rich-people collectors, the Whaleys. David explains to Rory that the price of success in the art world is sometimes hanging out with such people (this is true).  But Rory is pissy and horrified at the collectors’ culturally insensitive travel objectives. They want to see touristy things! They hire a car instead of taking the perfectly good bus! No one knows Spanish or cares about really understanding the culture! David colludes with them! He plans a new conceptual piece using a theory-concept (about gift economies) that he doesn’t really understand!

I just found this so irritating. Rory is the son of a movie star. By wanting to make it in the art world, he is setting out to make extremely high end luxury goods for the super-rich, and no amount of ideologically correct bus travel can change that. Moreover, his famous name means that he can insult the Whaleys and get away with it. And of course he does, and in later chapters is an art star himself. His mission (and later the mission of animal sanctuary employees) is to understand the other, see through their eyes, correctly use their shamanistic rituals in his art.

This is an elegant construction for Falkner’s book: She’s setting up oppositions and then trying to bridge them through understanding. I think in terms of what she was aiming for, it was successful. But I personally found the argument frustratingly useless and self-centered. Understanding doesn’t actually do anything, doesn’t change any of the underlying facts of the power dynamics she’s trying to critique.

At one point, Rory lives in a dual-chambered cage with a lion for months, allowing the lion to see him, but he can’t see the lion. Whatever Rory’s intent, only one participant in the piece is there voluntarily, and it’s not the lion! I kept wondering if Falkner’s intent was to make Rory satirically ridiculous, but I don’t think it was.

In the end chapters he comes in for critique by a female art assistant, not for his ideologically correct approach to using indigenous rituals in his art, but for basically being a successful artist and employing her. She’s not making any art of her own—kept too busy at Rory’s—but wants to be an art star herself, and blames Rory and the corrupt art system for keeping her down. There’s a hard-to-pinpoint way that the whole book felt like this to me: Of someone wanting to have their critical cake, and eat it too. I enjoyed the medium, but not the message!

 

 

 

 

 

31. Simians, Cyborgs and Women, by Donna Haraway

29 Jul

Screen Shot 2016-07-02 at 9.34.09 PM

This dense academic work, written in the 1980s by a Marxist-feminist History of Consciousness professor at U Berkeley, was lurking on my shelf at #4 in the #20BooksofSummer challenge. It will definitely be the most challenging book on the list.

I was interested because it contains Haraway’s most famous essay, “A Cyborg Manifesto.” And I’m interested in cyborgs because, well, dear reader, you try to count people walking down the street in New York City, and see how long it takes before you see one who doesn’t have a smartphone in their hand. The phone is the last thing we touch before sleeping, the first thing we touch upon waking. It contains our lovers, our social lives, the photos of our children. We turn to it for entertainment or consolation in an awkward hour. We live in there often better than we do out here. And if you count drugs as molecular prostheses, well, the ship has sailed: We’re cyborgs. Whatever our value-judgements on that, it’s a profound human transformation that seems worth trying to catch a glimpse of as we speed through it.

Haraway was writing in the ’80s, before the emergent technologies had really emerged, so her sense of the cyborg is coming less out of our daily digital reality and more out of the traditions of cultural theory she’s been educated in. Cyborgs, she writes, are “creatures simultaneously animal and machine, who populate worlds ambiguously natural and crafted.” Their value, to her Marxist-feminist project, is metaphorical. If I can break this down much more baldly than I think she would (and perhaps inaccurately; I am no expert here, reader beware!), the cyborg as a half-natural, half-created thing is a powerful tool because it helps us understand that seemingly naturalized social categories, like “women” and “race” as not-so-all-natural after all.

This is the old-fashioned stuff of my Brown University education. The first essays in Haraway’s Simians, Cyborgs and Women, well before we get to the cyborgs, are about how the academic branch of “social biology”—in particular in the ape studies of the 1950s—has created a story about human beings influenced by narratives of patriarchy and domination, and thus has falsely “proved” a natural order of patriarchy and domination.

If the scientist are all men, for example, and they believe that human societies are run by dominant males, they’ll find that ape societies are run by dominant males. In one influential study (which I remember reading about in college) male-led science teams did a test that removed the dominant male from an ape group, and discovered that chaos and fighting ensued. They concluded that dominant men kept social order. Haraway draws on later woman-headed studies to point out alternative conclusions. Maybe if they’d removed the weakest male, the chaos and fighting would have been worse. We don’t know since they didn’t check, testing instead for what they expected to see. Or maybe with removal of the dominant male, cooperation and negotiation increased and the ape society got more equal and better for all its members. “Negotiation” may have looked like disorder to the patriarch.

Haraway also critiques the language of this old-fashioned science, which suggested that female apes engage in “prostitution” and allegedly trade sex for “status.”  Again, she suggests there may be behavior outside the frame. Could the female ape be seeking pleasure? How does the researcher know her motivations? Summaries of later women-led studies on apes provide plentiful alternative conclusions to the view of human “nature” as being led by dominant males, with whom females trade their sexuality for safety, protection and status.

Again to go broad-strokes, I think that Haraway’s larger point is that proving this ape-study idea of the female false undermines the whole category of female. A “woman” is a moving target, depending on who is seeking her.

“‘Woman’ only exists as this kind of imaginary being, while women are the product of a social relation of appropriation, naturalized as sex. A feminist is one who fights for women as a class and for the disappearance of that class.”

I’m not a Marxist-feminist, so I find that kind of thinking to be going too far. Can we correct our biases and look again at men and women in nature, more carefully? Can we focus less on traits of females and more on activities that are female? (Like, carrying children, giving birth, breastfeeding; I know! I know! Un-PC of me to mention it).

I was also not convinced by the Cyborg Manifesto. Haraway’s contention is that embracing our cyborg reality will be liberating. For the reasons above, and for others, such as that the multi-nature of the cyborg is a good model for political movements that have to simultaneously represent many groups—women of different class and race statuses, for example. It’s a truism of this kind of Marxist-feminist philosophy that people with different experiences can’t be unified. Each experience matters; any movement must honor the particular without trying to universalize.

“Cyborg feminists have to argue that ‘we’ do not want any more natural matrix of unity and that no construction is whole.”

I suppose the cyborg-as-metaphor could be useful in those ways, but in 2016 metaphor seems to be the least of our worries: Let’s talk about the cyborg-as-reality. Who is producing the machine parts? Who is profiting from them? How are they controlling those of us who are ever more dependent on them for our fertility, our sex lives, our social lives, our happiness, our work? If the Marxist-feminist project is to create a society in which no group dominates any other, the cyborg does not, to me, seem like an ally.

The Manifesto ends with a tribute to the futures imagined by some excellent science fiction writers—Samuel R. Delaney, Octavia Butler, James Tiptree Jr. and Vonda McIntyre, among others.

 

 

 

 

30. The Rules of Inheritance, by Claire Bidwell Smith

11 Jul

Screen Shot 2016-07-09 at 8.50.09 PM

Oh, this book is lovely.

Claire Bidwell Smith’s story of losing her parents to cancer, a few years apart, in her late teens and early 20s is moving and beautiful, infused through its pages with what good, nice, wonderful people they all were. Despite the teenaged Claire’s tattoos and anger that her parents were sick, the book is rich with how much they loved each other. You don’t read much about happy families, you know? And Smith’s was unlikely. Her father was 55, with grown children, two divorces and a second career as a steel magnate when he met her mother, a Manhttan food stylist (years ago, before it was a rom-com staple!) in her late 30s, also twice-divorced, and in her turn convinced she’d never have children. Claire was adored. “Even at eighteen I already know that she poured all her energy into raising me,” she writes of her mother.

And oh, this book is so heartbreaking.

The Rules of Inheritance came out in 2012, and I bought it new in hard-cover but haven’t read it because I know the author. I had a brief, intense friendship with her during the period that the book covers, a friendship that was interrupted by her several moves and her career change. I think I’ve always been afraid of how painful it would be to read. I knew that though the book is a tribute to Smith’s mother and father, it’s also, mostly, about the terrible grief and loss that she lived with during the time I knew her, a shadow-life I never really saw. “Grief is like another country…. It’s a place,” she writes. In her grief, she drank too much and threw herself into bad relationships and lied to her friends and sometimes went home to hide in the footwell of her desk to sob. She had a car accident, and no one to call afterwards. In her own words, she “can’t shake the feeling that there should be someone else here… some adult, someone more qualified and responsible than me, should show up and take over. But there is no one.” She did dangerous, terrible things because in some magical way she imagined they would bring her mother back. She’s articulate and full-hearted and she brings the reader along in her sorrow.

Here’s a beautiful passage:

Finally I realized that twenty-eight was ten years since my mother died.

I realized that when I was eighteen, it wasn’t just my mother who died but a part of me as well. … It was like, without my mother I couldn’t possibly go on. I couldn’t grow up, become a woman, do things that she would never know about, go places she’d never been, think things I couldn’t tell her. So even right now, there is a part of me that refuses to believe that I am the woman I have become. Except every so often I catch a glimpse. I see it in a passing glance in the mirror, hear it in an accidental laugh. … Suddenly there are these two parts of me, then and now, staring back at each other, wondering where the other came from.

The Rules of Inheritance was such a difficult read, but I think it would be a wonderful book to give anyone confronting the death of a loved one. I also read it with interest as a mother because it was so revealing about the teenage daughter’s psychology in a crisis.

Despite Smith’s losses and her painful years dealing with them it’s always obvious to the reader—though not to her at the time—that she will rebuild herself, make a life, survive beautifully. And she does.

29. Rethinking Normal, by Katie Rain Hill

7 Jul

Screen Shot 2016-07-06 at 9.23.14 PM

The random books on my to-read shelf that I’m now being forced to read by the 20 Books of Summer Challenge turn out to be amazing! I should trust myself (or maybe not trust myself?) more often. Rethinking Normal by Katie Rain Hill was a book I received free at a charity event, in a bag with at least three other transgender memoirs and a lot of teen LGBTQ fiction. I’m not that into teen fiction. I tried a couple of the books from that haul and disliked them, and this one has been unexamined on the shelf ever since. I probably would have eventually given it away, and I’m so glad I didn’t.

Katie Rain Hill was the first openly transgender teen to graduate from high school in Oklahoma. She became a media star whose arc I now vaguely remember, since she had a transgender boyfriend, and the headline “transgender girl dates transgender boy” was of course irresistable. In Rethinking Normal she tells her story, from her happy pre-gender early childhood, through her increasing feelings of dysphoria, depression and despair—over a problem for which she had no name in the early 2000s—to finally her blissful discovery of transgenderism and eventual transition from male to female. There’s such a compelling natural arc to this material, and Hill and her co-author made a true page-turner out of it. Katie comes across as a reasonable, rational and generous narrator, who forgives people who shun her (when they come around), and credits even estranged family members for their best efforts. She’s likeable, and watching her become happy and healthy was really satisfying.

As a mother, I cried at the part where Luke (Katie’s pre-transition name) finally discovered transgenderism on the internet, and immediately went to get his mom to explain to her that this was what his problem was, and this was what he’d been wanting. The mother, poor woman, had been witless with helplessness and fear for years, unable to help her depressed, suicidal small child. (His first suicide attempt was at 8.) His mom was a religious woman in a conservative mileau, and had no affinity for trans issues but she (miraculously!) said, “Ok, if this will help, tell me what to do and I’ll do it. I’ll do anything to keep you alive. Make a list.” She admitted later she expected someone to firebomb their house, but she supported him anyway. As a mother, I completely understand that.

I also found this story uplifting for personal reasons. It was great to read a trans story that brought me back to the roots of why I think freedom of gender expression should be a human right. There are lots of people, like Katie, for whom the current categories really don’t fit well. Why shouldn’t it be up to her, or her family, to decide on her own identity? Making little kids like Katie less totally fucking miserable is a worthy goal in a humane society. To me, it’s worth some inconvenience to the majority.  I know trans activists think the bathroom issue is nonsense, but as a woman in her 40s, who has been at the receiving end of about 30 years of creepy behavior by men (not all men, but they’re out there, you know?), breaking down the gender wall in places like locker rooms and bathrooms is sort of a problem. And I don’t think it makes me a bigot to say so, though from the vituperation by trans activists, you’d think any reasonable woman who had her doubts was Satan incarnate. The bathroom issue is inconvenient. It will create scary situations for women. To deny that is ridiculous. I would find the activism a lot more compelling if people would just admit it, and say, “Let’s do it anyway, for kids like Katie.” Her story reminded me of that, for which I was grateful.

I could go on. I also am genuinely freaked out by all the people taking drugs and getting these surgeries because transgenderism is now trendy and considered to be radical…the types who think being trans is undermining the system, and who don’t compute that they’re directly enriching the drug companies, and are signing up to do that forever. The Man is laughing about that one all the way to the bank. But again, Rethinking Normal reminded me that being trans is a matter of life and death for some people, and they’re the ones who matter, not the politics, not the drug companies. Great book.

 

 

 

 

 

 

 

 

28. My Sister Life, by Maria Flook

6 Jul

My Sister LIfe

My Sister Life by Maria Flook is number one on my list in my 20 Books of Summer challenge, inspired by Cathy at 746 Books. I’ve been avoiding this one for a few reasons. One, it has a depressing subject matter: It’s a memoir about how the author’s sister’s disappearance as a young teenager. Two, it was a little unclear from the cover copy what kind of book it was, since it seemed that the sister’s story would also be told. I wasn’t sure if it was a true memoir or a fiction hybrid, which gave me an off-feeling about it. And Three, a shallow reason to not read something: I’ve been avoiding Amazon by getting used books through Powell’s, and this was a particularly yellowing and unattractive book. A fancy design conceit where there was a hole in the front cover to indicate the sister’s absence looked vandalized and disturbing.

But how wrong I was to hesitate! This book was enthralling from the get-go, when, in chapter two, I realized that this would be a bad-mother memoir. In her first scene, the mother is getting dressed for a cocktail party, trekking “back and forth from her bureau to the closet dressed only in her strapless bra and panties.” She applies her “French Jean Patou perfume, pinching the rubber bulb of a cut-crystal atomizer. Next, she stooped before the full-length mirror to adjust her seamed stockings,” which she does “with insulated palms” wearing her short, white-cotton gloves for church. These details add up, gorgeously, until Flook explains that:

“Families take pride in their piety or in their prosperity, rejoicing in a father-and-son business venture, in a gifted child’s scholarship or in a prized commission in the military. But in our household Veronica’s enterprising sexuality overwhelmed our individual goals and spilled into family matters. Her erotic aspect emerged in her every routine and came more naturally to her than maternal duty.”

Flook’s thesis is simple but powerful. This cold, narcissistic woman did not provide love to her daughters and prevented their spineless father from doing so, either. The oldest sister, Karen, became promiscuous and ran away at age fourteen, to become a child prostitute. She lived in a trailer park with an abusive older ‘boyfriend’ named James and his other girlfriend, a woman named Ruth, who also ran a whorehouse where Karen soon started working. Amazingly, Karen preferred life with Ruth and James to the one at home with her well-off but frigid and mentally abusive parents. She left the world of luxury cruises and European vacations for the trailer park and prostitution without regret. Pitifully, she responds to Ruth and James’s affection and interest in her. James helps her steal a winter coat. They go out for ice cream and let her keep some of her earnings from prostitution. It’s extremely sad, but in Flook’s hands feels psychologically plausible.

Maria, the youngest child, also became a juvenile delinquent though a slightly more functional one. Her sister’s disappearance and the years where the family didn’t know if Karen was alive or dead turned Maria into a writer. She becomes morbid and obsessed with accidents and death, which she describes as “just keeping my eyes open.”

The book is powerfully written, full of subtle, sneaky metaphors for loss, and startling images that the writer uses to try to understand her experience.In one place she writes:

When one child goes missing, the remaining child is left untethered. I have seen a dog pull free of its collar and in its sudden freedom shudder, as if any connection it had had to the world remained in the coil of leather.

In another passage she recalls a childhood moment with Karen (as she does frequently) when little Maria has half-blinded herself with chlorine and her sister gives her a lollipop.

“I stared at the sucker” she writes. “Its glassy red bauble twinkled, exaggerated in my half-blind state. The candy warped the light with a kaleidoscope effect and it was just too beautiful to eat. ‘Aren’t you going to taste that?’ Karen asked me. Karen’s eyes weren’t blurred by the chlorine and she didn’t see the miraculous gift she had given me.”

Karen’s loss is a curse but it endows Maria with unusual powers.

I’ve written recently about terrible-stories-about-girls books, and how they unsatisfyingly present the drugs, promiscuity, abortions, etc., without seeming to delve into why. Flook delves. She may lay too much blame on her parents—the section where she explains that her mother bought her a pony to get her to spend more time away from home feels a little self-serving. But at least she’s looking for answers, making a powerful and articulate case for how she understands the forces that formed herself and her sister.

The second half of the book when Karen reappears and the sisters have some opportunities to be reunited but never really reconnect was less satisfying, especially since it brought up the same questions that made me hesitate over reading My Sister Life in the first place. How much of Maria’s startlingly clear retelling of Karen’s experiences is real? Karen doesn’t seem like she’d trust her sister enough to entrust such detailed recollections. One of the most unusual aspects of the book is that it does delve into the details and emotions of Karen’s experience  as a child prostitute so tenderly—Flook is retelling from a distance, and she doesn’t have the flatness of affect, anger, or defensiveness that often clouds such material when the author has been through it. The central question that kept me reading became How does she know? How did Flook and her sister heal the breach between them well enough to create this book? Frustratingly, that question was not answered.

 

27. The Price of Salt, Patricia Highsmith

30 Jun

Screen Shot 2016-06-29 at 9.24.49 PM

Thriller writer Patricia Highsmith—of Talented Mr. Ripley fame—published this groundbreaking early lesbian classic anonymously in the 1950s and later reissued it under her own name, when that could be done without destroying her career. (How times have changed, right?). But, amazingly, the changing times matter very little in the reader’s enjoyment of The Price of Salt. The book is a nail-biting romantic thriller that functions just as well today as it did in the fifties, despite that its forbidden love is now out-and-proud.

Screen Shot 2016-06-29 at 9.24.33 PM

The vintage cover with Highsmith’s pseudonym

The story is about a shop-girl in Manhattan with dreams of making it as a set designer, who meets and falls for a married woman living in New Jersey. At first the erotic subtext of their relationship is repressed. The ‘falling for’ is something neither one of them can quite admit, the shop girl because she has a boyfriend and doesn’t quite know she’s gay, and the married woman, who has had lesbian affairs before, because she has a small child and is in the middle of a divorce. Or possibly because she’s manipulative and prefers to watch the shop girl want her than to let the shop girl have her.

Screen Shot 2016-06-29 at 9.25.41 PM

Beautiful young Highsmith.

The “salt” of the title is passion. Both women are to some extent capable of passing in the straight world. Both have huge incentives to do so. Both have to choose between eroticism, thrill, “salt” over almost everything else. For the married woman the price is so high it’s not easy to say that she should pay it. She faces terrible choices, and her response to the escalating stakes in both the affair and the divorce is half-rational at best. The shop girl, despite her naive passion is a cool customer; it’s wonderful to watch her discovering her own mind and sticking to her own desires, against massive pressure.  The complexity of these characters is why the story still works. I’ve read it’s what set the book apart from the other lesbian pulp of the ’50s.

Screen Shot 2016-06-29 at 9.25.59 PM

This last bit will be a spoiler, so STOP HERE IF YOU’RE GOING TO READ THIS BOOK!!

It’s my theory that the happy ending was forced by conventions of the genre. There’s a chapter that feels like a real, complex, ending (a chapter I wanted to be the end), and then a last chapter that feels like the kind of movie scene where people run through the airport to catch each other before the plane takes off. I am so curious what the author’s thinking was about those two choices.

 

23. The Rose of Tibet, by Lionel Davidson

22 Jun

Screen Shot 2016-06-21 at 9.15.38 PM

Recently I won my Top Reader reality-TV challenge*—a timed challenge!—by using my bookworm know-how to find an amazing book in an airport bookstore. You know, that moment of truth in the reader’s life when she has only a few minutes before her flight, and is confronted with a wall of generic bestsellers. The wrong choice will result in a dull 3-6 hours. In such conditions I’m happy to read a literary bestseller, a thriller, a romance, nonfiction, violent historical fiction about knights (strangely preponderant in the U.K.)…I’ll read anything as long as it’s tightly written and plotted, suspenseful and has realistic characters. You would think that every bestseller would be like that, but sadly no, very few. (Why mass-market fiction sells like gangbusters and is genuinely hard-to-read is a topic deserving its own post.)

I was hindered—or possibly helped—by having either read and disliked, or tried to read and not finished many of the literary entries available in the shop. Paul Beatty’s The Sellout, Johnathan Franzen’s Purity, The Portable Veblen by Elizabeth MacKenzie, Curtis Sittenfeld’s Eligible… all books I’ve already tried and discarded. I have also learned the hard way in previous airports about the later works of Phillipa Gregory, posthumous works by Robert B. Parker and Lee Childs, full stop.

The book I chose was The Rose of Tibet, by a writer I hadn’t heard of named Lionel Davidson. I chose it mostly because it was written in 1962 and is a thriller involving a hapless Englishman going on a desperate quest to find his lost filmmaker brother on the slopes of Mount Everest. The vintage re-release and the locale made the book seem a little bit different. I like Everest stories. The cover copy promised a thrilling, can’t-put-it-down plot.  And here was the first paragraph:

In the summer of 1949, when he was twenty-seven, Houston found himself having an affair with a married woman. She was thirty, and he was not in love with her, and he had gone into it only because he was bored and lonely. He didn’t think that the affair would outlast the summer, but it did, and by the autumn, when he started school again, he was wondering how to end it. He was a bit disgusted with himself.

It’s hard to say why I fell in love at first sight with this paragraph. The man-at-loose-ends was the perfect starting point for an adventure. I liked the character right away for sleeping with an older woman, and for being lonely. His slight self-disgust was human and unusual.

And then what follows is almost a James Bond-level thriller, with the exotic locale, Chinese-Tibetan politics in the 1950s, a forbidden romance and brilliant, excellent salting of the drama and suspense throughout the book’s early pages.

The narration is also really interesting. In my copy there are two prologues, one from a contemporary writer, which contains many spoilers and should be skipped, and another by Lionel Davidson (second prologue, should definitely be read), who claims to be merely the editor of the following adventure story. Reading alone on the airplane I wasn’t quite sure if Davidson was in truth the author or just the editor, if I was reading fiction or non-, and I really enjoyed the suspense. The insertions of Davidson’s editorial voice served to dramatically increase the tension, with tantalizing asides like “oh, of course, Houston hadn’t murdered anyone yet…”.

As promised on the cover, I couldn’t put it down.  Alas, Top Reader is not a reality show that exists, but if it did, I feel confident that a panel of judges would pick The Rose of Tibet as the most readable book in that whole store, and I’d be moving on to the next round…..

 

 

24. The Mexican Man in His Back Yard, by Stephen D Gutierrez

10 May

Stephen D Gutierrez

So, in the critical wasteland which is the American Book Review, a review in the “working class fiction” issue, written by , recently stood out. It was readable and coherent, an utter rarity in that publication. It recommended the work of a writer named Stephen D Gutierrez, and operating on the assumption that a man who can write might know another man who can write when he sees one, I obediently purchased the book the reviewer was recommending, The Mexican Man in His Backyard.  The book turns out to be a quiet classic on poverty, race and storytelling. Also unique: The stories manage to be meta-fictional and really elegant without feeling commercially polished or insincere. It’s a very interesting book.

The stories are about Mexican-American life in Fresno and L.A., starting in the 1960s. The title story, subtitled “a fable” tells of a newcomer to a Mexican neighborhood in Fresno who is casually racist while thinking he’s multicultural. He wants to appropriate his neighbor (the titular Mexican man, hanging out in his backyard) while condescending to him. The story is complicated (first twist) by the fact that the narrator is also of Mexican descent, but barely speaks Spanish and rolls out racist chestnuts, like saying about his wife that “she’s as shy of Mexicans as they are around her.” So, Gutierrez seems to be critiquing not just the outsiders but the insiders who falsely venerate people they don’t essentially respect. It’s sharp, this story. It’s also structurally done very well, since it’s told by a first-person narrator we grow to mistrust. I love those reveals where the voice you think you trust starts sounding wonky, and such a device used on a story about the moral bankruptcy of our fashionable multiculturalism (the voice you think you trust), is a knockout punch. At the end of the story the narrator manages to briefly engage the Mexican Man, but the Mexican Man then goes back to his TV. The last line is “He didn’t care”  (about the narrator). And we are glad.

Another story I loved in this collection was “The Spot”.

The Spot was on the roof of a “squat building with drab gray walls and dark windows at the very top. Headquarters for an electronics firm, it employed many people and saw them go home at night.” On it, “was a tightly wedged corner by a buzzing electrical storage shed that overlooked the city, a metal structure vibrating your back when you stood against it.”

It doesn’t sound like a great place, but it was special to the narrator, who explains:

“And I held my first ass there, cupping that handful of delicious flesh, and almost got a hickey. I pulled away from scared and laughed nervously about. I dug my face in the collar of my heart throb’s pea coat as I grabbed another handful of ass and told her, “Not now.”

We kissed for hours.

The moon was up.”

The sentiment is heart-felt, and that bit of nervous elision “I pulled away from scared and laughed nervously about” is lovely.

Later the girl goes home, and the narrator meets up with his friends. While they’re hanging out in the park, shooting the shit, they hear a noise. “Great echoes reverberated off the handball courts.” It’s ambiguous, but I think what’s happening is that the sounds are gunshots. Someone says, “Shut up, they’re dying” though it’s not clear who or what or what it means. The last paragraph reads:

“We argued the last stretch, straining to hear. We couldn’t catch it anymore, the faint echoes sounding in the night, the loud hollow booms diminishing to a muffled vibrato, an airy remnant.”

Again, I thought this story, which is very short, was just brilliant. The juxtaposition of this idyllic early sexuality and urban decay has a kind of primordial beauty, of love flowering even against the electrical storage shed between people still young enough to be hopeful. If the sound is gunshots, a reading is available that the kids do know that their world is dangerous—they recognize the gunshots better than the reader does—but the danger hasn’t caught up to them yet. If it’s thunder or something more innocuous….maybe I’m the asshole for assuming it’s gunshots. I don’t know.

Every story in this book is that good. Each one could make its own new and different blog post. And the strategy of the collection overal—it lives in a weird space between essay, fiction and autobiography—feels endlessly inventive.

I wrote more about Gutierrez here.