In August, I think it was, I was meant to read Kingsley Amis’s Lucky Jim. A short book about mishaps in academia, I thought it would be a quick zip through – probably why I didn’t pick it up until the last week in August. But then somehow life caught up with me and tripped me up, and now look at me: writing that review in October! It took me most of September to finally read. So then, having not learnt from my mistakes, I picked an even bigger book to try and cram in the last five days of September – A Discovery of Witches by Deborah Hackness. Well, in terms of speed I’m managing that much better, but it’s October now and I’m not even halfway through.
I’ve not been reading much and I’ve certainly not been writing much. It makes you feel loads rubbish about it all – even though I know things like self-imposed challenges aren’t exactly life or death. There has been a lot going on recently, and I am trying to organise myself. I started a new job, we’re moving house, lots of exciting things are happening on the farm – and slowly I’m getting back into writing.
I enjoyed Lucky Jim and I did laugh out loud for quite a few bits. It’s not my usual fare and reads a little too high-brow-making-fun-of-low-brow. I think my main issue was with the character of Jim. He thought too much about all of the wrong things, and while his escapades were very funny and outrageous, it all just felt a little too heartless. The university environment was nicely recreated, and there was something great about his eternally-distracted head of department. While I maybe didn’t have a lecturer quite at that level, there were echoes of familiarity.
I’ve started on A Discovery of Witches and while I’m fighting the neverending stereotypes that perpetuate that kind of supernatural writing – of which I’ve read a great deal – I am enjoying it. It is reading a little bit like Twilight for graduates, and I can’t help but see Matthew Clairmont as a bit of a cliche. There’s time yet, though!
I have three more books in my stack to read. At least one is non-fiction, another is an Ian McEwan, and I can’t remember what the third one is. As I’m packing things up for the big move, I can help but stress at the sheer volume of books I own. I’m a book addict!
Hello all! Now I know what you may be thinking – it’s not the beginning of a new month, let alone the end of the last, so why am I updating my Goodreads Challenge now? Well, it’s because I have failed. Semi-failed, let’s call it.
As you may recall, for July I was meant to be reading Ben Wilson’s history of the British Navy, Empire of the Deep. However, it is the last week of the month and I am barely a quarter of the way through. I’m enjoying it but it’s hard going. There’s a lot of history, a lot of people and place names, and a lotta lot of writing. Sometimes, after a hard day’s work, I don’t fancy ploughing through a thesis on the Spanish Armada.
So I’m tweaking my Goodreads Challenge – just for July. And since I’ve had this book on my shelves for longer than Empire of the Deep, and began and finished it in the month of July, then my month’s read will be Bodies of Light by Sarah Moss. And according to my Goodreads, I have read 11 out of my pledged 12 books to read this year! (I have the rest of my own challenge to read too, so I should be well on my way to a good book year.)
I was drawn to this book because of its connection to the Pre-Raphaelite Brotherhood of painters, prolific in Victorian England. My favourite artist is John William Waterhouse, who wasn’t a core member of the Brotherhood but affiliated nonetheless, and one reason why I chose to study my MA at Hull was because they offered a module in Victorian Literature and the Visual Arts. After reading this book, I wish I had encountered it when I was writing my dissertation, as it definitely ties into my study of the female protagonist/antagonist and the use of hysteria/lunacy to demean and belittle women.
To begin with, I was quite confused, as the part of the book the blurb talks about happens much further in, so for a while I wondered if there was a typo on the sleeve, the characters of Ally and May bearing too much similarity to the names of Elizabeth and Mary, who we encounter first. Elizabeth is the mother of Ally and May, married to Alfred Moberley, a painter and artist, and if it was her goal to transform into her own mother, she achieves it perfectly, and then some. The story is set mostly in Manchester, though we move to London later on, and follows chiefly Ally, who struggles to achieve the nigh-impossible aspirations her mother has dreamt up for her, inspired both by her own upbringing and issues following Ally’s birth. As she aspires to things only just becoming available to her gender, her unresponsive mother just sets the bar higher, even as Ally smashes Victorian versions of the glass ceiling as she studies and works herself nearly to death to qualify as one of the first female doctors.
I really enjoyed this book, once I got over the initial hurdle. Moss writes – I don’t know if this makes sense – like an Oxbridge graduate, but her descriptions are sparse and evocative of the Victorian family life. The exchanges between Ally and May, particularly when they are left alone as their parents go away and the girl who works for them disappears, are so believable, and I loved their arguments about the laundry. Poor Ally lives in terror of her mother’s disapproval but May is the typical second child – can do no wrong.
I would have liked more about the artwork, and the artists, purely for my own interests. But I soon got caught up in Ally’s life and invested in her progress as she faced the trials against her. Moss skilfully depicts Ally’s mental health, outbursts of nightmares and episodes of suffocation brought about by her mother’s gargantuan expectations and treated in typical Victorian ways – bruising, burning, slapping and the general demeaning treatment of medical staff and the people around her. Elizabeth, Mrs Moberley, works with poor and abused women and mothers and constantly compares her daughter’s struggles with those of people who have no money, no opportunity and never seem to grumble despite the horrors thrown at them. It is a powerful parallel to today’s treatment of those with mental health problems. While we might acknowledge the illness nowadays and be trying to tackle it, Moss’s novel exposes the Victorian attitudes most people hold towards it today. Mental health is not directly comparable – it is so individual and particular, what would be manageable to Person A just tips Person B off the cliff.
So I would definitely recommend this somewhat secret gem of a book to anyone interested in the Pre-Raphaelites/Arts and Crafts movement, Victorian literature, gender studies and mental health.
I’m still persevering with Empire of the Deep. It’s a worthy read and I’m learning loads, and it will run nicely alongside my nautical fantasy novel I’m writing. To keep me ticking over till August I’ve picked up Amanda Owen’s A Year in the Life of the Yorkshire Shepherdess, though I do have the new Robin Hobb book ready and waiting in the wings. My next book, for August, will by Lucky Jim. My book that I’m writing has a university setting for part of it so this book will help with that.
What are you reading? Have you read Sarah Moss’s Bodies of Light? Or anything similar? Let me know in the comments!
This is a novel written in modern times but in the very convincing fashion of a Victorian crime thriller. Michael Cox is a history buff of the era so he is a safe pair of hands. The story reads confidently enough, especially for a debut, but reading through the acknowledgements it’s obvious that this has been a long labour of love.
Edward Glapthorn, or Glyver, or others, is our protagonist who opens the story with the most convincing first line I’ve probably ever had the pleasure to read:
“After killing the red-haired man, I took myself off to Quinn’s for an oyster supper.”
Move over Jane Austen! This is exactly the sort of opening line we get told about in writing classes. Grab the reader’s attention, get ’em wanting to read more. And Cox certainly does that.
The world-building is good, with a whirlwind of locations in London (eateries, roads, locales) traversed, often with a helpful Editor’s Note (not that such a thing means a great deal to me, to whom London is a big fog). But beyond that we are immersed in a cultural creation, too, which reminds me greatly of one of my favourite books, AS Byatt’s Possession. Here too we have a poet of the era, convincingly invented, with the irresistible name of Phoebus Rainsford Daunt. And this is our villain, who we barely even see, in a psuedo-Rebecca role. The first half of the novel is devoted to pursuing this man, though we aren’t given the real reason until partway through, at which point Daunt decreases his importance as an agent and instead what he is blocking becomes the bigger goal.
Cox succeeds in creating the typical Victorian style. Hot on the heels of being swamped by Radcliffe’s somewhat clumpy, clunky prose, Cox streamlines it, but only to a suitable point. In Victorian literature, a character doesn’t just leave a room; he admires everything, from the chaise-longue by the window to the writing desk made by the famous carpenter to twenty volumes on the bookshelf. and usually a nugget of information is concealed within all this description, something which throws a speed reader like me.
I really enjoyed this book, even though I read the last 100 pages on the journey down to Castle Combe in a hurry to finish it for the end of the month. At times Edward’s voice started to annoy me, but we were luckily provided with a short reprieve in the form of another character’s account. His hedonism and reliance on substances while he went through his existential crisis phase (or woe-is-me Harry Potter 4 & 5 phase) felt a little stale, but it fit with the obsessive aspects of his personality. The ending was quite satisfying (no spoilers here!). It only took me so long to read because again I had a few other bits to do and I took about a week off reading it.
If you like Victorian literature, murder mysteries or crime thrillers, I definitely recommend it. I’ve had it on my bookshelf for ages. I will also recommend the other book I mentioned, too, Possession by AS Byatt, as I love that book and it goes further to actually create the poetry.
Now I’ve taken on maybe a bit more than I can chew here with July’s choice.
I had a couple of non-fiction reads in the pile that I’ve been steering clear of and so I decided to pick one up. I love anything to do with the sea and one of my own books is going to be partially set at sea in a naval environment, so I’m on with Ben Wilson’s Empire of the Deep: The Rise and Fall of the British Navy. I’ve read about fifty pages and am really enjoying it, but as it’s a historical narrative it’s taking a good bit longer as I need to concentrate. The font is teeny tiny and a fair few things I don’t have a clue on. Why do all kings have to have similar names? So far I’m keeping up, but Wilson’s style is conversational to the point of being on first name terms with Edwards I – III, to the point where I don’t know which one is being talked about.
I am entertaining the idea of reading one of my fiction books alongside, maybe Lucky Jim, to give two months to read this mammoth beast of a book. I’m determined not to fail in my quest!
For May I chose The Magus to read from my remaining books. I’ve read John Fowles before – The French Lieutenant’s Woman is one of my favourite books so I had high hopes about The Magus.
It is a big book – not just in length but in content. The blurb talks about our protagonist, Nicholas Urfe, being held by a master trickster – but make no mistake, the master trickster in residence here is Fowles himself.
It took me a long time to read it – not because it was uninteresting or particularly hard, but because it just is a very big book. That being said, the last 200 pages roared by as the plot kicked it up about four gears.
Nicholas Urfe, as a typical rudderless middle-class graduate of the post-war era, finds himself teaching English in a Greek school for boys on a remote, isolated island. It follows nicely from Romance of the Forest with a travel literature edge. Fowles captures Greece wonderfully – his prose reminded me of holidays to Crete and Lesvos and brought back lovely memories. I also liked the TEFL aspect, especially so as Nicholas had similar feelings of unfulfilment regarding teaching that I had experienced in my short tenure.
The book is best thought of as London and England bracketing either side of the fat Grecian middle section. Nicholas flees a girlfriend, disappointment in his own failings and general disillusionment to an island that then reflects these three things again back at him. The master trickster he meets is a strange patriarch, Conchis, who Fowles paints expertly as a man who shifts in all but shape. There are powerful moments detailing Conchis’s life, in particular the recollection of his days serving on the front in WWI, but in typical Fowles style (a la French Lieutenant’s Woman) the rug is pulled out from under the reader’s feet. As a result, the story is lush, deceptive, and twists and turns at every page.
I enjoyed it, though it was strange, and at times felt a little laboured. (I am in the middle of my own editing so I’m seeing everything bloated and over-egged so I might just be projecting outwards.) As a mystery it was good to figure bits out, though sometimes the cycles of mystery were so dense it was hard to decide what the actual point of it all was. It felt a little too high-brow for me at times: a lot about psychology and psychiatry, which went over my head, and sometimes it was hard to keep track of what was real and what wasn’t (though I guess that was purposeful). Nicholas, our narrator, also did my head in from time to time. He was full of his own self-importance, but then again, all his flaws got called out on. This is a story about how our own selfishness and egocentric behaviour can drastically affect those around us – and Nicholas is forced to confront his own shortcomings. I’m not sure if he will really learn from his mistakes, but over the course of the novel he comes a step closer to comprehending that he is not the only player on the stage.
The ending was wholly ambiguous and I made my own conclusion, based on a Disney-fuelled happily ever after.
It is very much a sort of book that will haunt you, and it also makes you not trust anybody or anything they ever say, which is very helpful in everyday life.
My next book is The Meaning of Night, a contemporary Victorian crime thriller, which Maura is cuddling up to below.
I get to come into April with a bit of a clean slate. Alongside my allotted monthly books I’ve been catching up with Robin Hobb’s Fitz and the Fool series, in anticipation for book 3 coming out soon. I finished the second book last month so have a relatively low on-the-go pile.
While waiting about in the lambing shed I started re-reading a book I’ve attempted many times – Stephen King’s The Gunslinger, Book One of the Dark Tower series. I’ve read lots of Stephen Kings over my time, including what is probably one of the scariest books ever, It. Have you seen the trailer for the new film coming out this year? It looks absolutely terrifying. I mean, clowns, hello! The scariest things out there. When I have kids we are so not having clowns at kids’ parties. And Pennywise isn’t even the big bad in It – he’s just a facet, a mouthpiece. Continue reading “April’s Goodreads Challenge: Starting Line”→
This month I read The Curious Incident of the Dog in the Night-Time by Mark Haddon. I chose it for my Challenge because I had bought it to read for the PGCE I never finished (like most things in my life) and everybody was raving about it. It’s sat languishing on my bookshelf for long enough.
This is one of those books that everyone raves about, but when it gets down to it, they’ve not read the book, but heard rave reviews about the stage adaptation. Their granny’s mate or little brother’s English class went to see it and it changed their lives.
So February has been and went and true to my goals, I finished my book for the second month of the year, and this time it was Hannah Kent’s Burial Rites. I’ve had this book on my bookshelf for a good long time and never picked it up so I thought now was as good time as ever. I must admit I think my enjoyment of it was certainly marred by the fact I started reading Ruth Ozeki’s A Tale for the Time Being and was utterly wrapped up in that.
Burial Rites is one of those books that was nominated for awards and was on everyone’s TBR list. There was a lot of hype and if everybody didn’t have a copy in their bag, they knew somebody who did. The story sounded compelling, and it fit into a perfect period of time: Nordic/Scandi thrillers, female-led murder mysteries. If it had been called The Girl in Iceland it might have sold even more.
Kent is only a young writer – one of these that have done Creative Writing XYZ and I’m not bitter at all (I half-wanted to do Creative Writing but everybody I spoke to about it scared me away from it with pitchforks and burning torches so there you go). The story is indeed compelling, about the consequences of a murder that has already happened in 19th century Iceland, of all places. Like Colman’s The Rule, a young writer from my neck of the woods, the barren, cold setting is winningly created with effective, sparse prose. I didn’t like the font the book was published in, which is ridiculous I know but when that’s what you’re staring at, it can really bug you if the story doesn’t drag you in and overpower you completely.
And this didn’t. I found it hard to get into for the first half of the book. There were a lot of viewpoints to follow, and the wet assistant reverend wasn’t my favourite of characters to follow, especially when he missed a lot of the action. Agnes, the central character and the only one with a first person POV, was the most interesting, but even when she told us the truth of the murder for which she was convicted and awaiting the death penalty, I didn’t feel gripped by her story. Based on true events, the narrative was haunted by unchangeability, and that was purposeful of course, but it felt like hopes were being raised every so often, all for nothing.
Kent is a good writer, but I felt the two daughters of the family Agnes stayed with were underdeveloped, bit players in the calm before the storm. Their mother was the strongest character, plagued by a cough, and I was happy she didn’t die in the end. As a newbie to farming, it was comforting to read familiar events and tasks in a cold, unforgiving environment. I think our technology on the farm isn’t much more advanced than theirs!
I haven’t picked my March book yet but it will be something short as I’m a little pressed for time. I’m trying to finish my own book before the end of the month plus we have a lot going on at the farm. I also started re-reading Robin Hobb’s Fool’s Assassin (Book 1 of Fitz and the Fool) after I finished Burial Rites, ready to start on Book 2 soon. Robin Hobb is one of my favourite writers, not just fantasy but overall. I’ve read lots of her trilogies and series, but I think Fool’s Assassin has been the hardest to get into. Fitz as a narrator is always compelling and sucks you into both his world and his thoughts, however in this book not a great deal happens over the first half. A plot point is introduced in chapter 1 and not picked up again, and instead we spend a lot of time with Fitz and Molly, and later Bee, in their home life. If I remember rightly, action picks up again, and I’m excited to see where that leads.