 | Falling Awake by Alice Oswald {Reviewed by THOMAS} “find a leaf and fasten the known to the unknown / with a quick cufflink / and then unfasten” The images of nature in Falling Awake act not so much as metaphors for contents of the human mind but rather are points at which nature presses so hard upon the surface of the human that it ruptures that surface and breaks through, or, rather, nature wears away that surface and flows through, subsuming the human, the reverse flow of what is usual in that performance of language that we call metaphor. To observe is to become that which is observed, or, rather, to surrender oneself to the observed, to lose the idea of oneself, at least for that moment, but a moment from which there is in fact no return, and, similarly, in the reading of good poetry there is no defined border between interpretation and one’s own underlying thinking, so to call it, brought to the poem and brought away again altered in some way, not so much by the forces in the poem itself but by its own forces, catalysed in some way by the poem. In Oswald’s poems, water is language is life. Gravity pulls on all, and to surrender to falling, to the earthward pull, is the tendency of water towards the sea, of language towards silence, of life towards death. To resist this pull, to be some thing, to take names, to speak, is to weary and age oneself, to repeat oneself, to erase oneself by seeking to avoid erasure (“the eye is a white eraser rubbing them away”), to bring forward that point at which surrender is inevitable, even though the only alternative to struggle is surrender. And what remains after form has gone? How soon the pull-to-flow, ever present, however resisted, after a moment, a crucial reverse moment, “as if in a broken jug for one backwards moment / water might keep its shape”, tends everything towards its goal. In ‘Alongside Beans’, Oswald shows the vegetal profusion of the beans underscoring the human passage through illness towards death by travelling the path in reverse, progressing from the grave to ominous swellings, to vague symptoms, to widespread growth and profusion. This is time moving backwards, this is not resurrection or rebirth but their opposite, the compensatory movement of vegetal time to that which pulls always at us. It is possible, with great effort, to resist this gravity, this tendency towards death, but only with great effort. ‘Dunt: A poem for a dried-up river’ describes the repeated efforts of a lifeless Roman figurine to (re)produce water from dry rock, “try again”, “try again”, which not only enlivens her, into the groans and pains that are the symptom of enlivenment, but produces a trickle, “go on”, “yes go on”, then a stream, at least a mucky liquid flow, a “fish path with nearly no fish in”, an image of the poeting process of effort and release, some sort of release after some sort of effort. Is the effort to take a name, to make a word, to struggle, only of any sense when seen in the context of the release that succeeds it, the release into namelessness and into silence? Oswald allows her poems to tend towards that silence. She senses an affinity with the cooling, increasingly clumsy and stupid flies, losing, through the increasing cold of the season, their capacity to speak. But what would they say? “what dirt shall we visit today? / what shall we re-visit?” Meaning is worn away by repetition, but this wearing away is its own meaning. We are caught, it seems, in a moment of vertigo, a conflict between free will and gravity, being and release, words and silence. As we are thus disabled, or thus enabled, nature reaches its strangeness towards us more than we can push our ordinariness towards it, at these moments nature takes our humanness from us even to the extent of appropriating our human capacity for speech, though it be our speech, like Oswald’s eldritch image of the vixen who speaks, “it’s midnight / and my life / is laid beneath my children / like gold leaf”, a statement impervious to rational approach, yet somehow right and somehow essential. Nature is not so much wonderful or beautiful, not a reassurance but a threat, always seeking our erasure, to undo us, to bring time to bear upon us, although perhaps this is not something we should feel as a threat, this perhaps is what we long for, our release, our rest, our cessation, and we could perhaps welcome, and even seek, that moment “when something not quite anything changes its mind like me / and begins to fall”. The final, extended sequence, ‘Tithonus’, is marked out in seconds for the 46 minutes before dawn in midsummer, the sounds observed and voiced really more a patterning of silence, the words more a patterning of their absence, the meaninglessness that crumbles away the edges of words at all times, this onward pull of time. The poem is not a progress towards dawn as a moment of birth or rebirth, rather a progression into decrepitude, beyond decrepitude, beyond imbecility, losing the idea of the self, “very nearly anonymous now, to the point where dawn is a longed-for release, heralded with the final words, “may I stop please”. |
 | I Love Dick by Chris Kraus {Reviewed by THOMAS} First published in 1997, long before Knausgaard or Heti, this novel was a well-placed detonation beneath the wall dividing memoir and fiction. Ostensibly an account of Kraus’s all-consuming middle-aged crush on a man she has met only briefly and who has seemingly done nothing to encourage her obsession, the first half of the book consists of a hilarious compilation of letters addressed to ‘Dick’ by Kraus and her husband, with whom she plays a hugely ironic game of cultural and psycho-social toe-to-toe positioning. Following the delivery of the great mass of letters to ‘Dick’, Kraus and her husband separate and Kraus continues to pursue the passive ‘Dick’, who remains a tabula rasa for her projections, until he becomes little more than a ‘dear diary’ figure, recipient of essay-letters concerning art and cultural theory. Kraus pursues her ‘crush’ through a maze of received social constructs and gender-role expectations with a snide irony that both deepens and ridicules the pathos of her rather abject attempts to ‘possess’ ‘Dick’. A letter from the ‘real’ Dick at the end implies that the liaisons recounted in the second half of the book are entirely fictional, and that Kraus has used her projected ‘Dick’ as a sort of catalyst to examine and make changes in her personal and artistic life. In any quest for authenticity, each manifestation of the personal is a struggle with the demands of form. Here, Kraus forces the bourgeois genre of the epistolary novel to burst from interior pressure to allow the first person to penetrate from the letters into the more empowering narratorial frame. |
NEW RELEASES
A few of the interesting books that arrived at VOLUME this week.
A beautifully presented, various and interesting collection of twenty-first century stories by Maori and Pasifika writers, both well-known and emerging (and some artists, too).
What is the reality of selfhood in the online world? The internet is a breeding ground for every possible permutation of identity, blurring traditional distinctions between truth and falsehood. O'Hagan issues three beautifully written and thoughtful bulletins from the permeable interface between cyberspace and 'actuality', a space of hidden, assumed and ghosted identities.
Pax was only a kit when his family was killed and he was rescued by 'his boy', Peter. Now the country is at war and when his father enlists, Peter has no choice but to move in with his grandfather. Far worse than leaving home is the fact that he has to leave Pax behind. But before Peter spends even one night under his grandfather's roof he sneaks out into the night, determined to find his beloved friend.
Illustrations by John Klassen.
Animals all around the world show that, no matter what our differences, we all have similar experiences and have similar hopes. A beautifully illustrated book. $25
An excellent guide to making a wide range of authentic cakes. Clear instructions and excellent illustrations make this book (and its contents) irresistible.
>> Learn to make choux and speak French at the same time.
Deep in the heart of the treeless city, Frankie dreams of one thousand trees. In her imagination she moves around, between and among them. An excellent introduction to prepositions.
"As engrossing as any thriller, Anosh Irani’s novel offers readers so much more. An aggregate of storytelling accomplishments, The Parcel captivates with its vividly rendered characters and commands the reader’s attention by way of unnerving – and at times profoundly disturbing – portraiture of an abject group at the bottom of an already denigrated community at the heart of India’s booming financial hub." - Quill & Quire
Greed, murder, torture, colonialism and appropriation - a distillate of British colonial history.
Mouth-watering, authentic traditional recipes together with notes on Swedish food culture and traditions. Appealing.
Were Israel's kibbutzim a practical expression of the socialist ideal of absolute equality, or were they an assault on those aspects of culture, such as the individual and the family, that could resist indoctrination?
Frozen Dreams: Contemporary art from Russia edited by Hossein Amirsadeghi and Joanna Vickery $105
A generous and varied survey. Some of these works you may have seen before, but many will come as a complete surprise.
Reporting from the interface between neuroscience and psychology. What can our brains tell us about the way we think?
A novellistic recreation of the life of Eugenia Falleni, who grew up in Wellington, New Zealand, and then lived as male in Sydney, Australia, eventually arrested in 1920 for the murder of "Harry Crawford"'s wife Annie Birkett in 1917.
"A richly imagined and voiced novel that floats across time, and through the shifting sands of identity. A buoyant, beautiful debut!" - Dominic Smith
>> Read an extract.
>> The author is one of these Imperial Broads.
Insomnia, Homer by Osip Mandelsh'tam, translated by David Karena-Holmes
Ballade of the Hanged Men by Francois Villon, translated by David Karena-Holmes
Autumn Thoughts, 2004 by David Karena-Holmes
Without refrigerators, whether in a European ghetto last century or wandering in a desert millennia ago, Jewish culture has developed a wide array of different methods to preserve food. This book is the ultimate guide to fruit jams and preserves (such as Queen Esther's Apricot-Poppyseed Jam or Slow Cooker Peach Levkar to Quince Paste, Pear Butter, and Dried Fig, Apple, and Raisin Jam), pickles and other savory preserves (including Shakshuka, Pickled Carrots Two Ways, and Lacto-Fermented Kosher Dills), and recipes for the use of preserves in holiday preparations, such as Sephardic Date Charoset, Rugelach, and Hamantaschen.
"Now more than ever, the world needs a book like Draw Your Weapons. With mastery, urgency and great courage, Sarah Sentilles investigates the histories of art, violence, war and human survival. In her haunting and absorbing narrative, the act of storytelling itself becomes a matter of life and death." -- Ruth Ozeki
"A beautiful, harrowing, and moving collage that portrays the making of art as a powerful response to making war." - Alice Elliott Dark
A novel of George Orwell struggling to complete writing Nineteen Eighty-Four while descending towards his death from tuberculosis.
A well-documented and fully illustrated description of this internationally important collection. Special price.
The composer and broadcaster shows how music can affect us and form us at a subrational level, with examples from his life, growing up in the Liverpool of the Beatles and moving towards his career as a composer, choral conductor, concert promoter, critic, university teacher and radio presenter. He is especially in the capacity of music to provide profound access to memory.
Makes comparisons between the market-driven politics of Britain, instigated by Margaret Thatcher, and of New Zealand, instigated by Roger Douglas. Mitchell describes the last three decades as "a long march down Dead-End Street", a neoliberal experiment that has realigned the priorities of government to the detriment of the people. Mitchell, one-time New Zealand resident and long-time British Labour MP for Grimsby, was the author of The Half-Gallon Quarter-Acre Pavlova Paradise (1972), a commentary on the New Zealand way of life.
Office-worker Zlata hopes for a record deal so she can leave Auckland city. She meets Hamish, graffiti artist and part-time drug dealer. Surrounded by a makeshift family of friends and ex-lovers, their dreams of music, art and travel take shape. Iceland lays bare the reality of a generation trying to find their place in a city being reshaped.
>> "Iceland is as far as you can get from here" by Dominic Hoey (a.k.a. Tourettes).
>> 'Loveable Losers'.
Endurance feats, solo pursuits, historic races, great stories, snappy pictures, galloping grannies, marathon monks, a great gift.
"Terrific. Charman flings open the doors of a cabinet stuffed with zoological and human curios, blows off the dust of a couple of centuries, and talks us expertly and entrancingly through each exhibit." - Charles Foster, author of Being a Beast
Texts on race identity and prejudice, assembled to accompany the documentary film.
The Night Box by Louise Greig and Ashling Lindsay $23
When Max turns the key and opens the Night Box, the day slips in as the darkness comes swooping out. The stars start to sparkle and shine and the night animals come out to play. Nobody could be scared of the night after reading this book.
Dead Zone: Where the wild things were by Philip Lymbery $30
Climate change, habitat loss, the demand for cheap meat are just some of the factors pushing species towards extinction. Human well-being depends on a thriving natural world, but what of the future as the plane's resources reach breaking-point? From the author of Farmageddon.
The Adventures of John Blake: Mystery of the Ghost Ship by Philip Pullman and Fred Fordham $30
When John dives from the ghost ship to rescue a girl washed overboard from her family yacht he has to find a way to get her back through the curtain of time into her own world and time. A new graphic novel series for children.
Could be useful.
In the summer of 1727, a group of men and boys are put ashore on a remote sea stac to harvest birds for food. No one returns to collect them. Why? A children's novel based on a true story set in St. Kilda.
Horus, son of Isis, vows bloody revenge on his Uncle Set for the murder and usurpation of his Pharaoh father. A huge amount of fun packed into one graphic novel.
>> Before he colored it in.
BOOKS @ VOLUME #29 (24.6.17)
Find out what we've been reading.
Find out what's happening at VOLUME.
Find out about our poetry competition.
Find out about new books.
Humans create objects for function but the meaning of those objects reaches far beyond their function. This excellent series unpacks the meaning concentrated in a plethora of common objects and illuminates layers of culture that are seldom noticed but always active.
Choose your object and learn your lesson (>click<): Earth, Egg, Traffic, Tree, Bread, Hair, Password, Questionnaire, Bookshelf, Cigarette, Shipping Container, Glass, Hotel, Phone Booth, Refrigerator, Silence, Waste, Driver's Licence, Drone, Golf Ball, Remote Control.
>> Read Thomas's review of Dust by Michael Marder.
>> Read Stella's review of Shipping Container by Craig Martin.
>> Read Thomas's review of Hotel by Joanna Walsh.
>> Watch this Hotel trailer.
>> Joanna Walsh talks about the hotel.
>> Read Thomas's review of Bookshelf by Lydia Pyne.
**** SOME PHOTOGRAPHS OF THIS EVENT HERE ****
>> 'Is the Object Really Necessary?' Read Stella's provocative essay, presented to Jemposium in 2012.
>> Visit the Object Lessons website to learn more about the books and all manner of related essays and articles (you can even submit your own object lesson).
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Shipping Container by Craig Martin {Reviewed by STELLA}
Back in 2008, I delivered a Pecha Kucha presentation entitled ‘Cargo’, about my jewellery and the process of an exhibition which in part involved shipping some artworks to Amsterdam. Living in a port city, stacks of containers are never too far from where one lives and the loading and off-loading of freight from container ships are a constant reminder of the movement of goods from production to consumption. Shipping Containerby Craig Martin is a wonderful exploration, delving into the development of the container in the face of changes that have occurred since the 1960s, with the rise of globalisation, the need for standard shipping efficiencies and the movement of the manufacture of goods to countries often remote from the marketplace. Martin covers plenty of ground in this highly readable and succinct work for the 'Object Lessons' series. aseries that has at its heart the following rationale: “short, beautifully designed books about the hidden lives of ordinary things”. His object, the container, carries all objects. He explains how we moved from highly skilled longshoremen and dock workers to mechanised winches and cranes to computerised systems and highly precise logistics. As a lecturer in design culture, an author on spatiality and the geographies of architecture, Martin’s intimate writing about the shipping container opens with him sitting in a repurposed container at Cove Park, a residency for writers and artists. And it is his obvious fascination with this object, its form and function along with its cultural, socio-political and economic impact that makes the subject so interesting. He goes on to look at the history of the container and the development of an international standard (ISO) for size, dimensions and lifting apparatus for these containers, how efficiencies were developed for transportation between sea, rail and road, creating the seamless systems we have today. He also looks at the aesthetic functionality of the container in its myriad of purposes, and the impact on the workplace. In our globalised society with our ‘just in time’ economic ethos, the shipping container is our hidden wonder. |
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The Beautiful Bureaucrat by Helen Phillips {Reviewed by STELLA}
From sitting in a shipping container to working in a windowless office, intriguing and bizarre, Helen Phillips’ The Beautiful Bureaucrat is unforgettable. Josephine and Joseph are desperate to find work. Recently moved to the city, they need to survive and the job market is not being kind. When an administrative job is offered to Josephine, she takes it. On her first day at work she can’t initially even find the entrance to the enigmatic building, but, eventually, she finds herself sitting in a barren office at a desk where she is instructed to enter the data from a pile of paperwork which is refreshed every day. Her job is to enter names and dates. Thinking that this is probably insurance details or suchlike, she adjusts herself to the dull repetitive work, telling herself that it’s only temporary. Strangely, she rarely sees another worker – all are at their stations and those she does encounter are strangely nervous or aggressively repellent. Bureaucracy has never been so achingly mysterious. Phillips draws you into this odd world of efficiency with its dire aesthetics (think utilitarian desk, chair, unappealing colour scheme) and increasingly strange behaviour. Josephine becomes numbed to her task, yet a voice keeps nagging at her, what is this data that she keeps entering? Who is she working for and does it matter? And what happens if she makes a mistake? She knows she should just get on with it, that she should keep her head down, but something is not quite right in this Kafkaesque world. When Joseph gets a job, he becomes increasingly cut off and their relationship begins to deteriorate – why is he keeping secrets? Phillips plays this dance beautifully, creating a landscape that becomes increasingly disturbing, yet giving the reader enough levity to offset the macabre in this satire about life, death, work and modern living. |
 | Blue Self-Portrait by Noémi Lefebvre {Reviewed by THOMAS} It takes approximately an hour and a half to fly from Berlin to Paris. Upon that hour and a half, a human memory, especially one working at neurotically obsessive speed, can loop a very large amount of time indeed, an hour and a half is plenty of time to go over and go over the things, or several of the things, the unassimilable things, that happened in Berlin, in an attempt to assimilate those things, though they are not assimilable, in an attempt, rather, albeit an involuntary attempt, to damage oneself by the exercise of one’s memories, to draw self-blame and self-disgust from a situation the hopelessness of which cannot be attributed to anything worthy of self-blame or self-disgust but which is sufficiently involved to exercise the self-blame and self-disgust that seethe always beneath their veneer of not-caring, of niceness, the veneer that preserves self-blame and self-disgust from resolution into anything other than self-blame and self-disgust. Upon this hour and a half can be looped, such is the efficacy of human memory, not only, obsessively, the unassimilable things that happened in Berlin but also much else that happened even into the distant past, but, largely speaking, the more recent things that have bearing upon, or occupy the same memory-pocket, not the best metaphor, as the unassimilable things that happened in Berlin, for disappointment and failure seldom happen in a vacuum but resonate with, even if they are not the direct result of, disappointments and failures reaching back even into the distant past, self-blame and self-disgust having the benefit, or detriment, if a difference can be told between benefit and detriment, of binding experiences to form an identity, and, not only this, upon that hour and a half can be looped also an endless amount of speculation and projection as to what may be occurring in the minds of others, or in the mind of, in this case, a specific other, a German-American pianist and composer with whom the narrator, who has been visiting Berlin with her sister, has had some manner of romantic encounter, so to call it, the extent of which is unclear, both, seemingly, to the narrator and, certainly, to the reader, the reader being necessarily confined to the mental claustrophobia of the narrator, on account of the obsessive speculation and projection and also the inescapable escapist and self-abnegating fantasising on the part of the narrator, together with the comet-like attraction-and-avoidance of her endless mental orbit around the most unassimilable things that happened in Berlin, or that might have happened in Berlin, or that did not happen in Berlin but are extrapolative fantasies unavoidably attendant upon what happened in Berlin, untrue but just as real as truth, for all thoughts, regardless of actuality, do the same damage to the brain. Lefebvre’s exquisitely pedantic, fugue-like sentences, their structure perfectly indistinguishable from their content, bestow upon her the mantle of Thomas Bernhard, which, after all, does not fall upon just any hem-plucker but, in this case, fully upon someone who, not looking skyward, has crawled far enough into its shadow when looking for something else. Where Bernhard’s narrators tend to direct their loathing outwards until the reader realises that all loathing is in fact self-loathing, Lefebvre’s narrator acknowledges her self-loathing and self-disgust, abnegating herself rather for circumstances in which self-abnegation is neither appropriate nor inappropriate, her self-abnegation arising from the circumstances, from her connection with the circumstances, from her rather than from the circumstances, her self-abnegation not, despite her certainty, having, really, any effect upon the circumstances. Not at all not-funny, pitch-perfect in both voice and structure, full of sly commentary on history and modernity, and on the frailties of human personality and desire, providing for the reader simultaneous resistance and release, Lefebvre shares many of Bernhard’s strengths and qualities, and the book contains memorable and effective passages such as that in which the narrator recalls playing tennis with her mother-in-law, now her ex-mother-in-law, and finding she is not the type for ‘collective happiness’, or her hilariously scathing descriptions of Berlin’s Sony Centre or of Brecht’s house, now a restaurant, or of the narrator's inability to acknowledge the German-American pianist-composer's wife as anything but 'the accompaniment', or, indeed many other passages, but the excellence of the book is perhaps less in the passages than in the book as a whole. I will be surprised if I read a better book this year. |
 | Dust by Michael Marder {Reviewed by THOMAS}
Dust is substance without form, or, rather, substance post-form, matter without identity, matter that has relinquished, or has been forced to relinquish, by abrasion perhaps, or fatigue, whatever identity it has most recently had, matter now adrift, out of place, bereft of form, bereft of nameability, other than as dust, not taking on another form, nor moving towards taking on another form, not taking on any of the set of identities that we associate with form, applying, as we do, identities to forms rather than to substance, matter that cannot be defined even as anything other than dust, a kind of dirt, but not a dirty dirt, a clean dirt, in other words a non-dirt, a self-negation, an oxymoron, a substantial nothing, an accumulation of entitilessness on the surface of an entity, a nonentity seeking to overwhelm an entity, evidence of entropy, evidence of the action of time upon everything our lives are made of, evidence that our world is contingent rather than ideal, that things slip away from under the ideas we fit to things, that ideas will always be disappointed in the actualities to which they are applied, even the relatively simple ideas that we call nouns, evidence that our ways of thinking and the ways of the world of which we think are not subject to the same laws, or to the same processes, if what they are subject to are not laws, evidence that matter seeks release from time, release from form, for it is form that makes us vulnerable to time, evidence that matter above all grows tired and seeks to rest. Years ago I wrote a sheaf of notes towards what I intended to be a short book on dust, but this is, fortunately, now little more than e-dust among all the other e-dust. Luckily, Michael Marder has written a very interesting book on dust and, if you have any interest in dust, or in the universal processes that are evidenced in dust, I recommend you read it.
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NEW RELEASES
These interesting books (and other interesting books) have all arrived at VOLUME this week.
Click through or come in to secure your copies or to find out more.
An excellent new translation of some of Kafka's best stories.
"Hofmann's translation is invaluable - it achieves what translations are supposedly unable to do: it is at once 'loyal' and 'beautiful'." - New Republic
"Anything by Kafka is worth reading again, especially in the hands of such a gifted translator as Hofmann." - The New York Times
>> Kafka never left home.
Imagine a type of writing so hard to define its very name means a trial, effort or attempt. An ancient form with an eye on the future, a genre poised between tradition and experiment. The essay wants above all to wander, but also to arrive at symmetry and wholeness; it nurses competing urges to integrity and disarray, perfection and fragmentation, confession and invention. Essayism is a personal, critical and polemical book about the genre, its history and contemporary possibilities.
The new book from the author of the astounding Signs Preceding the End of the World. "Part surreal fable and part crime romance", the whole book is a meditation on the durability of integrity when confronted with power.
"Yuri Herrera must be a thousand years old. Nothing else explains the vastness of his understanding." - Valeria Luiselli
>> Read an extract. 
“Thomas Morris does for the history of cardiac surgery what The Right Stuff and Hidden Figures did for the space race. The book is – appropriately – pulse-thumpingly gripping and will be enjoyed by anyone who, in any sense of the phrase, has a heart.” – Mark Lawson
“Tremendous. An exhilarating sweep through ancient history and contemporary practice in surgery of the heart. It’s rich in extraordinary detail and stories that will amaze you. A wonderful book.” – Melvyn Bragg
An essay on the importance and the joys of reading. Macfarlane recounts the story of a book he was given as a young man, and how he managed eventually to return the favour, though never repay the debt.
Seduced by politics, poetry and an enduring dream of building a better world together, the unnamed narrator falls in love with a university professor. She swiftly learns that what for her is a bond of love is for him a contract of ownership. A searing indictment of attitudes to marriage in modern India, and an avocation of the power of art to transact change (or at least revenge).
"It would take Carol Ann Duffy, Caroline Criado-Perez, Arundhati Roy and Salman Rushdie to match Kandasamy's infinite variety." - Independent
Seeing People Off by Jana Benova $38
"Elza and Ian were Bratislava desperadoes. They didn't work for an advertising agency and weren't trying to save for a better apartment or car. They sat around in posh cafés. They ate, drank, and smoked away all the money they earned.""Seeing People Off is a fascinating novel. Fans of inward-looking postmodernists like Clarice Lispector will find much to admire here, as will most readers with a taste for the experimental." - NPR
>> Read an extract.
“This book is a celebration,as well as a history, of the continual and various human world maintained, in its diversity despite persecution, condemnation and affliction. It represents the ultimate triumph of London.”
"Peter Ackroyd is the greatest living chronicler of London". - Independent
As she becomes accustomed to her new job processing files in a mysterious windowless building, Josephine begins to suspect these strings of number have some relationship to the lives (or deaths) of actual people, and notices also that her relationship with her husband is beginning to change. Unsettling and memorable.
"Funny, sad, scary and beautiful. I love it." - Ursula K. Le Guin
"I began to pull the threads of my experience back together. Instead of divergent stories about public failure, private torment, and postnatal distress, I started telling myself a united story: the truth, or as close as I could get to it." A Rhodes scholar and former Green MP, Holly Walker tells the story of how she became one of New Zealand's youngest parliamentarians, how motherhood intervened, and how she found solace and solidarity in the writings of women.
This biography of an English 'beech-and-bluebell' wood through the seasons and through history both natural and human, is a portrayal of the relationships of humans to nature and a demonstration that poetic writing can be scientifically precise.
"'His remarkable scientific knowledge, intense curiosity and love of nature mean entries erupt with the same richness and variety as the woods they describe. Fortey's enthusiasm for his new wonderland is infectious and illuminating, deep and interesting." - Guardian
"As I crammed the cream horn voraciously into my mouth, at once I heard Francin's voice saying that no decent woman would eat a cream puff like that." An enjoyably exuberant portrayal of life in a small Mitteleuropean town between the wars.
Lethem examines and imparts his love for his favourite books and authors, including Knausgaard, Ishiguro, Melville and Lorrie Moore. >> Interview with Lethem here.
Set in a time when many men in the upper classes in Europe were closeted gay, this novel revolves around three men: Prince Philipp von Eulenburg, Kaiser Wilhelm II's closest friend who becomes the subject of a 1907 trial for homosexuality; Magnus Hirschfeld, a famed Jewish sexologist; and Harry Kessler, a leading proponent of modernism, whose diaries allude to his own homosexuality.
More than forty pieces demonstrating the importance and rewards of approaching the world guided by the principles of science.
A very accessible handbook to the ideas and analysis provided in the hugely influential Capital in the Twenty-First Century.
At the dawn of the 20th century, a young Lebanese explorer leaves the Levant for the wilds of Africa, encountering an eccentric English colonel in Sudan and enlisting in his service. In this lush chronicle of far-flung adventure, the military recruit crosses paths with a compatriot who has dismantled a sumptuous palace in Tripoli and is transporting it across the continent on a camel caravan.
"Renders the complex social landscape of the Middle East and North Africa with subtlety and finesse. Yet one doesn't need to care about the region's history, or its present-day contexts, to enjoy Moving the Palace, Majdalani's richly textured prose are reason enough." - The Wall Street Journal
"An eloquent, captivating excursion through a Middle East history that is more relevant today than ever. Majdalani is a major storyteller and a novelist with conscience who writes the past with transnational awareness." - Rawi Hage
Finding Language: The Massey University Composer Addresses edited by Michael Brown, Norman Meehan and Robert Hoskins $40
Includes Margaret Nielsen on Douglas Lilburn, and lectures by Jack Body, John Ritchie, David Farquhar, Edwin Carr, John Rimmer, Lyell Cresswell, John Cousins and Chris Cree Brown.
Behave: The biology of humans at our best and worst by Robert Sapolsky $40
What drives human behaviours such as racism, xenophobia, tolerance, competition, morality, war, and even peace?
Sound: Stories of hearing lost and found by Bella Bathurst $40
A thoughtful consideration of the place of sound and hearing in our lives and culture and identities, springing from the author's progressive deafness and the recovery of her capacities.
What We Cannot Know: From consciousness to the cosmos, the cutting edge of science explained by Marcus de Sautoy $23
The things we know that we don't know is a quantifiable penumbra around what we know. Science is always reaching our into this penumbra, but also often inadvertently reaching the things we didn't know that there was to know, causing us to rethink the things we thought we knew.
"Brilliant and fascinating." - Bill Bryson
Warren the 13th and the Whispering Woods by Tania del Rio and Will Staehle $35
When 13-year-old Warren discovers that his beloved hotel can walk, it ferries its guests to all sorts of unexpected locations. Unfortunately, Warren gets separated from the hotel and has to follow it through a sinister forest teeming with sinister (and quirky) characters...
A Bold and Dangerous Family: The Rossellis and the fight against Mussolini by Caroline Moorehead $38
A fascinating picture of how one family's disgust at Mussolini's grasp on Italy hardened into active resistance. From the author of The Village of Secrets and A Train in Winter.
Amazons: The real warrior women of the ancient world by John Man $40
The ancient legends of tribes of female warriors who killed their male offspring and removed a breast to improve their archery have long been considered just stories: exemplars of the dangers of female emancipation or avenging shadows of the rise of the patriarchy. Recent research has shown that tribes led by powerful warrior queens did exist in central Asia in ancient times. John Man presents the evidence.
"One could not wish for a better storyteller or analyst." Simon Sebag Montefiore
The Allure of Chanel by Paul Morand $23
Notes made by Morand in the 1940s towards a memoir of Coco Chanel, including transcripts of conversations he had with her, came to light after decades stuffed into the back of a drawer.
"The closest anyone can get towards a face-to-face with Coco." - Spectator
Uncommon People: The rise and fall of the rock stars by David Hepworth $40
The age of the rock stars, like the age of the cowboys, has passed. What did we want of them? Unable to sustain the pressure to be (at least) demigods, is it any wonder that so many of them burned and fell?
The Big Book of Bugs and The Big Book of Beasts by Yuval Zommer
Giant, splendidly illustrated, satisfyingly fact-filled books in the same series as The Book of Bees!
Unbroken Brain: A revolutionary new way of understanding addiction by Maia Szalavitz $30
Argues that addiction is a learning disorder rather than a brain disease, a bad habit or a crime. Reframing the condition provides a fresh approach to treatment, prevention and policy.
Pedagogy of the Oppressed by Paulo Freire $24
Argues that treating students as passive, empty vessels preserves the authority and advantages of the powerful by creating a culture of silence and passivity. Freire suggests the authoritarian teacher-pupil model can be replaced with critical thinking so that students becomes co-creators of knowledge. Crucial to Freire's argument is the belief that every human being, no matter how impoverished or illiterate, can develop an awareness of self, and the right to be heard. A new edition of this important book.
"A transformative text." - George Monbiot
"Truly revolutionary." - Ivan Illich
"Brilliant methodology of a highly charged and politically provocative character." - Jonathan Kozol
A young man's erotic and intellectual obsessions open the way for him to re-examine the history in the consequences of which he is immersed.
"This book is compassionate as well as painfully provocative, a contribution to some sort of deeper listening to the dissonances emerging from deep within the politics and theology of Israel and Palestine." - Rowan Williams, New Statesman
"Oz engages with urgent questions while retaining his right as a novelist to fight shy of answers: it's a mark of his achievement that the result isn't frustrating but tantalising." - Daily Telegraph
Theft by Finding: Diaries by David Sedaris $40
"Sedaris is like an American Alan Bennett, in that his own fastidiousness becomes the joke, as per the taxi encounter, or his diary entry about waiting interminably in a coffee-bar queue." - Guardian
"Cool, very funny, sardonic, yet open. There is an echo of Truman Capote or Tennessee Williams - with extra quirk. Or even Lewis Carroll. One of the biggest comedy writers of his generation." - Spectator
Requiem for the American Dream: The ten principles of concentration of wealth and power by Noam Chomsky $37
Incisive analysis of the detrimental effects of income inequality on a society and all it members, both rich and poor.
A reappraisal of Marx, contending the man and his thinking have been overwhelmed by the inflation of the reputations of both. Stedman Jones's carefully deflationary approach is also a portrait of his own conflicted attitudes towards the genesis and development of Socialism.
"A deeply original and illuminating account of Marx's journey through the intellectual history of the nineteenth century. Stedman Jones explores the friendships, affinities, rivalries and hatreds that shaped Marx's life with elegance and analytical brilliance." - Christopher Clark
A new series of very pickupable thoughtful small books to have with coffee (or whatever). The publishers have devised a quiz to match you with your first mini but we think reaching out at random will provide just as reliable results.
Desire by Haruki Murakami
Love by Jeanette Winterson
Babies by Anne Enright
Language by Xiaolu Guo
Motherhood by Helen Simpson
Fatherhood by Karl Ove Knausgaard
Summer by Laurie Lee
Jealousy by Marcel Proust
Sisters by Louisa May Alcott
Home by Salman Rushdie
Race by Toni Morrison
Liberty by Virginia Woolf
Swimming by Roger Deakin
Work by Joseph Heller
Depression by William Styron
Drinking by John Cheever
Eating by Nigella Lawson
Psychedelics by Aldous Huxley
Calm by Tim Parks
Death by Julian Barnes
[Does the order in which these titles have been listed suggest life's narrative arc?]
The 2017 CILIP Carnegie Medal for Outstanding Book for Children and Young People:
Salt to the Sea by Ruta Sepetys
It's early 1945 and a group of people trek across Germany, bound together by their desperation to reach the ship that can take them away from the war-ravaged land. Four young people, each haunted by their own dark secret, narrate their unforgettable stories. They converge in a desperate attempt to board an overcrowded ship in a Baltic port, which is tragically then sunk by a torpedo. Based on a true story, the incident was the worst maritime tragedy ever.
The 2017 CILIP Kate Greenaway Medal for Outstanding Book in Terms of Illustration:
There is a Tribe of Kids by Lane Smith
Lane Smith takes us on a colourful adventure through the natural world, following a child as he weaves through the jungle, dives under the ocean and soars into the sky. Along the way he makes friends and causes mischief with a dazzling array of creatures both large and small - but can he find a tribe of his own? Full of warmth and humour, There Is a Tribe of Kids is a playful exploration of wild childhood - of curiosity, discovery and what it means to belong.
The Amnesty CILIP Honours:
Carnegie: The Bone Sparrow by Zana Fraillon
Greenaway: The Journey by Francesca Sanna
QUIRKY BOOKS FOR DULL DAYS
Some books are dissimilar to other books (and a good thing, too). A few examples:
"Wednesday, May 7th: Two of them came today, dragged me out of my cage and put me in some kind of improvised maze made out of books and old toilet tubes. A labyrinth with no escape. They were treating it like some kind of game, laughing and squealing as I desperately scrabbled from blind alley to blind alley, but I knew it was no game. They're trying to crush my will, to grind me down. They can take my freedom, but they will never take my soul."
A pitch perfect spoof both on Ladybird books and on modern art.
"'Is the art pretty?' says Susan. 'No,' says Mummy, 'Pretty is not important.'John does not understand. 'It is good not to understand," says Mummy. John doesn't understand. John sees the painting. 'I could paint that.' says John. But you didn't,' says Mummy."
Also available in the Dung Beetle Reading Scheme: We Go Out and We Learn at Home. Funny.
On each page of this book, an object is presented with an accompanying photograph of the maker and text explaining the purpose of the object. The objects themselves as a photo essay are compelling, but it is in the text that the passion for making, for creating from scratch or for cannibalising other objects, and the pleasure and pride in creating a successful and useful object is revealed.The aesthetic of these objects is clumsy, quirky and oddly appealing, reminding us that there is a place for the home-made, for folk art in a time of slick, mass production.
A book of 26 quirky postcards by the outstandingly wry architectural artist, each interpreting an architect's work as the letter of the alphabet with which her or his name begins. Perfect for modern architecturophiles.
>> Babina's other work is also work is worth perusing.
An alphabetical phantasmagoria in which a succession of infants meet dreadful ends.
>> Watch! Listen!
The fascinating thing about the Soviet era bus stops is their individualistic nature, compared with the larger prescribed buildings of this period. They reflect the whims of their architects and the personalities of their local communities - many incorporate regional folk design in their decorative elements. A perfect book for the Soviet era architecture/design/aesthetic enthusiast.
Wonderful examples of how the Soviet scarcity aesthetic lingered even into the 1990s. For a similar book on New Zealand shops: The Shops by Peter Black and Steve Braunias.
Hundreds of the bards most powerfully insulting words in a fun, flip book format. Just add 'thou' before any of the 157,464 different insult combinations and you'll be ready to set dullards and miscreants in their place.
Can anyone guess what the old man with the red beard and slippers is thinking about as he eats his bottomless bowl of junket? Many people guess (and what guesses!), but what happens when a young boy on a tricycle gets the right answer?
Three classic Soviet-era children's books by leading avant-garde writers and illustrators, newly translated.
Ortberg retrofits the classics with cellphones.Very clever.
Anna Pallai was brought up on 1970s stalwarts of stuffed peppers, meatloaf and platters of slightly greying hardboiled eggs. When she rediscovered her mother's grease-stained 70s cookbooks, she knew she needed to share them with the world. All the illustrations in this nauseating book come from authentic (non-satirical) cook books.
In 1966 the artist Tom Phillips discovered A Human Document (1892), an obscure Victorian romance by W.H. Mallock, and set himself the task of altering every page, by painting, collage or cut-up techniques, to create an entirely new version. Some of Mallock's original text remains in tact and through the illustrated pages the character of Bill Toge, Phillips's anti-hero, and his romantic plight emerges. First published in 1973, A Humument - as Phillips titled his altered book - quickly established itself as a cult classic. Since then, the artist has been working towards a complete revision of his original, adding new pages in successive editions. That process is now finished. This 50th anniversary edition presents, for the first time, an entirely new and complete version of A Humument.
>> It is worth visiting the website.
Sometimes other languages have ways of saying things that come a lot closer to the actual experience of the thing than the language you normally speak is capable of. Luckily, Ella Frances Saunders has collected (and illustrated!) an excellent selection of these.
German is full of wonderful compound words, so it is the obvious language with which to construct new terms for situations that have been crying out for nomenclature (but probably crying rather quietly, as the need for the word is only made evident by its provision (which point is interesting in itself)). Witzbeharrsamkeit - Unashamedly repeating a bon mot until it is properly heard by everyone present. Scheidungskreidekreisprobe - The distribution of friends after a divorce. Frohsinnsfaschismus - The god-awful mediocrity of organised fun.
For over 70 years, Clowns International - the oldest established clowning organization - has been painting the faces of its members on eggs. Each one is a record of a clown's unique identity, preserving the unwritten rule that no clown should copy another's look. At first they were painted on real eggshells, then later (when they kept breaking) on to ceramic eggs, most of which are now housed at the Wookey Hole Clowns' Museum. Here images from this extraordinary archive are accompanied by the stories of the men and women behind the make-up.
Fifty-two images of everyday and unexpected objects provide the perfect canvases for creating funny, quirky and completely original faces. Just add eyes, noses, mouths, ears, hair and more from 6 vinyl sticker sheets packed with expressive features and other amusing accessories. Exemplary fun.
Russian Criminal Tattoo: Postcards by Sergei Vasiliev and Danzig Baldaev $40
An ethnographic portrait of a closed society with its own symbolic language and rituals. The 25 drawings and 25 photographs here have been chosen from the thousands copied from convicts’ skins by prison attendant Danzig Baldaev and photographer Sergei Vasiliev, and give an insight into the aesthetic, political, sexual, ‘tribal’ and spiritual concerns and traditions of Russian criminal culture.
Who better as a guide to the manly life than the man who was every man? These newspaper columns have only recently been identified as being Whitman's work.
Brush up on your breeds and have fun at the same time.
Once you start looking at the subjects' hair in artworks, you'll find amusement everywhere. This wee handbook from the collections of the Christchurch Art Gallery will get you started.
BOOKS @ VOLUME #28 (17.6.17)
Our latest bulletin of news, reviews and new releases.
[>> Click here for this week's new releases.]
NEW RELEASES
Books anticipated or surprising, just out of the carton.
Click through to find out more and to secure your next book.
A wonderfully written interior monologue, reminiscent of Thomas Bernhard, of a difficult woman obsessed with a portrait of the composer Arnold Schoenberg and thrown off kilter by a romantic encounter with a musician.
>> Read an extract.
"Trump, as extreme as he is, is less an aberration than a logical conclusion - a pastiche of pretty much all the worst and most dangerous trends of the past half century. A one-man megabrand, with wife and children as spin-off brands." Klein sees Donald Trump's presidency as the conclusion of the long corporate takeover of politics, using deliberate shock tactics to generate wave after wave of crises and force through radical policies that will destroy people, the environment, the economy and national security. This book provides a toolkit for resistance, starting with clarity of perception.
"I count Naomi Klein among the most inspirational political thinkers in the world today." -Arundhati Roy
"Naomi Klein as a writer is an accusing angel." - John Berger
>> How to jam the Trump brand.
>> "Trump is an idiot, but don’t underestimate how good he is at that."
Seb's beautiful, beloved wife Leda has been killed by a swan. Sorting through her belongings after her death, he comes across a packet of unopened letters from Olaf, a man whom Leda had never mentioned. Floundering professionally and sunk by grief, he decides to travel to Leda's home village in Latvia to patch her story together. But with each new person that he turns to for answers, Seb is met instead by more questions about Leda, her past and their life together.
"Although I began this novel captivated by its wicked humour, confident prose and gripping narrative, it was its savage tenderness that ensnared me. Far more than a tragicomedy of errors and erasures, Strange Heart Beating is about the idea of possession in relationships, and the lie that we can ever fully know someone even when we love them absolutely. Eli is an astonishing writer with a vision that is both acerbic and sympathetic." - Ka Bradley
>> "I can't think of many great books that aren't funny."
>> Read the first chapter here.
Like a star, the anorexic burns fuel that isn't replenished; she is held together by her own gravity. The saga of two young lovers and the culture that keeps them sick.
"A bold, beautiful novel about wanting to disappear and almost succeeding. Sarah Gerard writes about love and loneliness in a new and brilliantly visceral way." - Jenny Offill
"Rhythmic, hallucinatory, yet vivid as crystal. Gerard has channeled her trials and tribulations into a work of heightened reality, one that sings to the lonely gravity of the human body." - NPR
"Sarah Gerard's debut, Binary Star, radiates beauty. Gerard captures the beauty and scientific irony of damaged relationships and ephemeral heavenly lights. Just as with the stars, it is collapse that offers the most illumination." - Los Angeles Times
A regular visitor to the Swiss author-of-the-small Robert Walser during the last twenty years of his life during his time as a voluntary patient in mental asylums, Selig, who became Walser's guardian and literary executor, meticulously recorded their conversations and is the best biographical source for this period of Walser's life.
>> How Swiss is it?
Gen-Xers and Millennials clash in the world of fashion - will irony or sincerity prevail? Will new animals emerge from the wreckage and waste of 21-st century Auckland?
>> Compare the attitudes.
>> Interview with Pip Adam.
In the digital age, what could be hipper than using a pencil and paper? The humble pencil, once the tool of the infant school, has now become the talisman of designers, artists, writers and other creatives. This book features profiles of pencil crafters, anecdotes about famous writers and their favorite pencils, and essays about the surprising role of pencils in world history and culture. Illustrated with pencil drawings.
>> Visit a pencil factory.
Coleman argues that Colclough was just as important as Kate Sheppard for the New Zealand women's movement in New Zealand.
A pair of lovers - a young female journalist and an older man who owns an isolated farm in the Brazilian outback - spend the night together. The next day they proceed to destroy each other.
"A Cup of Rage is a burning coal of a work, superbly translated by Stefan Tobler. You may consider a book this short to be scarcely worthy of the name, but it packs more power into its scant 47 pages than most books do into five or 10 times as many. Each of its seven chapters comes not only as an unbroken paragraph but as a single sentence: you have to read carefully to keep track, and once you have finished you will want to read it again. The writing is chewy - dense, tough, but well worth the effort."- Nick Lezard, The Guardian
Over two years, the Globe Theatre travelled to every country in the world, performing Hamlet. I what ways did the reception differ in different societies and conditions, and in what ways were the responses universal?
>> Off (and on) they go.
A beautifully illustrated survey of birds in nests and in art and mythology.
Four separate bewildered wanderers bear their symbolic burdens towards a common goal. A satirical epic of the Russian mentality, grand schemes and failures, from World War Two until the collapse of the Soviet Union.
"Some people see him as a latter-day Bulgakov; to others he's a Ukrainian Murakami." - Guardian
"Guy Standing has been at the forefront of the movement for nearly 4 decades, and in this superb and thorough survey he explains how it works and why it has the potential to revitalise life and democracy in our societies. This is an essential book." - Brian Eno
>> Protecting the precariat.
A preposterous board book. Fun.
A stunning photographic essay on the culture of the Argentinian rural bandits.
War and disaster bring an intensity of trauma to ordinary citizens, and compound the difficulties of those already receiving psychiatric care.
Uses 200 artworks to explore the pigments and effects of 10 major colours or colour groups.
"Stella Paul has written a most useful and readable book on the complex subject of color which addresses expertly both its material and affective properties. The many works of art that she illustrates are in her well balanced text not merely data for a clinical examination of color, but a source of sensitive analysis and interpretation." —Philippe de Montebello, The Metropolitan Museum of Art
Full of excellent examples of marrying old and modern elements without compromising the characteristics of either to make living spaces that are comfortable and pleasing.
A new edition of this beautifully written short book about life lived in harmony with the ebbs and flows of the tide.
Shepherd's timeless evocation of the Cairngorms and of the way in which humans find meaning and regeneration in the natural world puts her in the front rank of nature writers. This edition has an introduction by Robert Macfarlane.
This issue looks at Treasure Island from many angles and follows its many resonances. Robert Louis Stevenson is under-recognised as a prose stylist. Also in this issue, an audience with bookseller, supermodel and actress Lily Cole.
>> Read Stella's review.
>> There is, of course, a playlist for this book.
>> Murakami's lonely men.
>> Other books by Murakami at VOLUME.
>> A short animated biography.
>> In search of this elusive writer.
>> Murakami's website and FaceBook page.
>> Browse Murakami's record collection.
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Men Without Women by Haruki Murakami {Reviewed by STELLA}
Reading this collection of short stories is like watching a movie through a smeared lens, or like trying to listen to a conversation on the other side of a double-glazed window but being able to catch only fragments because there’s a party going on in the room you are in. My initial reaction to these stories made me think of peering down a jar made of thick glass – it’s all a bit opaque. Yet these are far from wishy-washy stories – they are precise, well-paced and ingenious. The reader is held at the exact point that keeps one moving on with increasing curiosity through this collection. Men Without Women is a wonderful observation of loneliness, of choosing aloneness over the pain of closeness. The men in Murakami’s stories often remain elusive, sometimes somewhat bland or hidden, avoiding pain or the risk of pain or disappointment, they make sure their connections with women are tenuous or remote. Despite this, Murakami cleverly draws you in - you have an emotional investment in these men’s tales. Loneliness and avoidance, along with reinvention are themes that run through the stories. The conversations that reveal the men’s relationship dilemmas are played out to the reader through an oblique association or a retelling by a third person, so the reader becomes an observer, a listener, nodding or shaking his/her head in agreement or surprise and always reading on, hankering for a bit more information. The reader is curious, and it is that same sense of curiosity that drives the actions of some of these men also. In the opening story, 'Drive My Car', Kafuku, a theatre actor, must find himself a chauffeur. His mechanic advises him to seek out a taciturn young woman, Misaki, who, it turns out, has the knack of listening well and asking the 'cut to the chase' questions that disarm Kafuku. He finds himself revealing his friendship with his (now deceased) wife's lover. His wife, he reveals, had often taken lovers and, out of curiosity, he strikes up a friendship with last of these after her death. During her lifetime, he had never queried her infidelities, preferring to imagine them not so, to accept her need for others, but as a widower he becomes curious and feels compelled to seek answers, answers that will reveal more about himself than about his wife’s behaviour. In 'Yesterday', a young man is avoiding everything like nothing else: avoiding his feelings, changing his history (he takes on a different dialect just to be different from everyone else), purposely failing his entrance exam, suggesting that his girlfriend date his most recent friend, our narrator of this tale. He’s avoiding what he sees as his pre-ordained life or a relationship that to anyone else makes perfect sense. His story is told through his new friend – a friendship that turns out to be fleeting in many ways, a vehicle only for an escape from connecting in any meaningful way with a young woman he has known most of his life. These tragi-comic stories have all the hallmarks of Murakami’s writing: fascinating observations, clever reflections that reference popular culture, a sense of the unusual in the usual humdrum of everyday existence, and characters that in isolation seem insignificant yet you can’t quite keep the whole cast from sneaking into your subconscious, and Dr.Tokai’s plea to another, “Who in the world am I?” in the haunting story 'An Independent Organ' from resonating well after you have shut the book. |
   | Gecko Press produce excellent books for younger readers, and they have a knack for finding those quirky tales that will make you smile and have children laughing, commiserating and cheering for their favourite story friends. An early chapter book series, with short chapters and plenty of pictures dotted throughout, is 'Detective Gordon', written by Ulf Nilsson and illustrated by Gitte Spee. The First Case introduces you to Detective Gordon, an old toad (he’s 19!) – the police chief of the forest. When Squirrel discovers that 204 of his 15,704 nuts have been stolen he is understandably upset and rushes through the forest to report the crime to the famous detective, insisting that his missing nuts must be found. Detective Gordon stands vigil at the scene of the crime, and, when a young mouse flits away with another nut, he makes to pursue her. Unfortunately, he’s frozen and stuck under a mound of snow. The young mouse digs him out, and then she is promptly taken to the police station, which is warm and snug, with a comfortable bed and plenty of cakes (Gordon has a penchant for a nice cup of tea and cake for every meal and between times too, and he sometimes (but don’t tell anyone) nods off). When the detective discovers the mouse has no name, no home and only stole the one nut due to extreme hunger, he takes pity on her, promptly names her Buffy and feeds and homes his new assistant. And then it's time to solve the crime! Squirrel’s becoming further agitated by his missing nuts and wants the criminals caught, but who is it? With snow falling and the tracks being covered, can the Chief and his new assistant catch the culprits? A lively and charming story with plenty of cake and lots of heart. There are three 'Detective Gordon' books, so far, to be enjoyed.
{REVIEWED BY STELLA}
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Bluets by Maggie Nelson {Reviewed by THOMAS}
“We love to contemplate blue, not because it advances to us but because it draws us after it,” wrote Goethe. Maggie Nelson’s book, comprised of 240 short numbered, mostly beautifully written passages, describes her life-long affinity for and attraction to (what she calls ‘love’ for) the colour blue in all its literal and figurative senses, along with describing a period of mourning after the end of an intense relationship (also called ‘love’). She is, she says, not interested in learning “what has been real and what has been false, but what has been bitter, and what has been sweet.” To this end, and with the assistance of a range of co-opted “blue correspondents” reporting from art, literature and history, she intimates a field of nuanced responses to the colour blue, even though subjective colour response is almost impossible to communicate. Indeed, blue’s attraction is almost its absence of meaning, or its relief from meaning. “Blue has no mind. It is not wise, nor does it promise wisdom. It is beautiful, and despite what the poets and philosophers and theologians have said, I think beauty neither obscures truth nor reveals it. It leads neither towards justice nor away from it.” More than colour, blue is also merely colour, altering the cast of whatever it is seen upon. Although she attempts to draw correlations between the two (“I have found myself wondering if seeing a particularly astonishing shade of blue, for example, or letting a particularly potent person inside you, could alter you irrevocably, just to have seen or felt it. In which case, how does one know when, or how, to refuse? How to recover?”), there is an apparently unbridgeable gap in Nelson’s life, at least in the period treated in this book, between, on the one side, her intellectual passions and, on the other, her physical passions, between, as she would term it, thinking and fucking. Each side yearns towards the other, but encounters only the seductively nullifying colour of the void between them: blue. |
 | Zone by Mathias Énard {Reviewed by THOMAS} Enard's text is like a ball-bearing rolling around indefinitely inside a box over surfaces imprinted with every sort of information about the wider Mediterranean, from Barcelona to Beirut, and Algiers to Trieste (the "Zone"), past and present. Enard very effectively uses the necessarily one-directional movement of a sentence to sketch out, through endless repetition and variation, the multi-dimensional complexity of the political, cultural, historical, social and physical terrain of the entire Zone. The narrative, so to call it, takes the form of a single 520-page sentence perfectly capturing (or perfectly inducing the impression of) the thought processes of the narrator as he travels, in ‘real’ time by train from Milan to Rome bearing a briefcase of classified information on terrorists, arms dealers and war criminals to sell to the Vatican, speeding on amphetamines, fatigue and alcohol, in his memory through multistranded loops from his experiences, which include his involvement as a mercenary in Croatia and working for the French secret service as well as his string of personal relationships, and in even greater loops of knowledge and association that pertain to the places in which his experiences took place and the history associated therewith. Enard’s prose is so irresistible and so mesmeric that the reader is effortlessly borne along, its forward movement not at all inhibited by the encyclopedic effect of the loops, and the loops upon the loops, upon the strand of the narrator’s journey, nor by the pieces of painful psychological grit not yet abraded from the narrator’s personal history of involvement in the recent traumas of the Zone. By so seductively inhabiting the mind of his less-than-admirable narrator, a mind caught between obsessive focus and restless discursion, Enard provides a panoramic view of the political and personal violence that has shaped the history and cultures of the Zone, and also intimates the way in which an individual is caught irretrievably in the great web of their circumstances, submission to those circumstances being the price of travelling along them. |
UNSTOPPED TEXT
What is the reason for and what is the effect of writing a book without full stops? Although the production of such a gush of text requires virtuosic skills from a writer, reading it does not necessarily require virtuosic skills from a reader (although it may). Written without full stops, does a text more realistically represent the ceaseless flow of thought (often in many different rivulets at once) or perhaps the unstoppable momentum of time? (if there is a difference between the two). The full stop is an artifice, an arbitrary attempt to represent thought and time as if we could control them by the application of punctuation (perhaps not such a bad idea). Here are four books from our shelves, each written in a single sentence:
Written in one long sentence (in which line breaks perform as a higher order of comma), McCormack’s remarkable and enjoyable book succeeds at both stretching the formal possibilities of the novel (for which it was awarded the 2016 Goldsmiths Prize) and in being a gentle, unassuming and thoughtful portrait of a very ordinary life in a small and unremarkable Irish town. The flow of McCormack’s prose sensitively maps the flow of thought, drawing feeling and meaning from the patterning of quotidian detail as the narrator dissolves himself in the memories of which he is comprised. This wash of memory suggests that the narrator may in fact be dead, the narrative being the residue (or cumulation) of his life, the enduring body of attachments, thoughts and feelings that comprise the person. Few novels capture so well the texture of a person’s life, and this has been achieved through a rigorous experiment in form.
Self’s great achievement and presumed intention is to create, by the breaking and reconstitution of language, a remarkable study of how thought moves in the mind, looping, moving at any one moment on many parallel tracks, in cul-de-sac curlicues and feedback loops. Thought is constantly assailed by interference, often arising from the mechanisms of language itself but also from the instability of referents, and Self’s text is full of rather funny linguistic jokes and precise ironic observations, and is frequently every bit as irritating as your own thoughts. The identities of the narrators segue into one another, the actual world barely registering on, and having no clear delineation from, the loosely bundled and rebundled memories and urges that hardly pass as personhood, the distance between each stitch of ‘actual’ narrative containing great tangled loops and knots of mental thread. If our thoughts cannot define us, what can be the organising principle of our identities?
Written in one virtuosic 73-page sentence which exerts enormous pressure on language to make it more closely resemble thought and which makes form the primary content of this novella, The Last Wolf tells of an academic who is commissioned to travel to Extremadura in Spain where he seeks to determine the fate of the last wolves in that barren area. We read his relation to a Hungarian bartender in Berlin of the accounts of Extremadurans made to him via a translator (and usually based in any case on further hearsay), nesting the subject of the story in several layers of reportage, rumour and translation, the performative complexity of which is repeatedly punctured by the offhand comments of the bartender. Krasznahorkai, as usual, succeeds in being both comic and morose, this hopeless tale of human destruction and the frustrating impassivity of nature is one in which meaning is both invoked and withheld much like the presence of the last elusive wolf (or, rather, much like the story of the last wolf, for it is narrative that is the true quarry for the hunter).
Enard's text is like a ball-bearing rolling around indefinitely inside a box over surfaces imprinted with every sort of information about the Mediterranean, from from Barcelona to Beirut, and Algiers to Trieste (the "Zone"), past and present. Enard very effectively uses the necessarily one-directional movement of a sentence to sketch out, through endless repetition and variation, the complexity of the political, cultural, historical, social and physical terrain of the entire Zone, as well effectively inducing the narrator's patterns of thought, mesmeric, irresistible, but containing pieces of painful psychological grit not yet abraded from the his personal history and his involvement in the recent traumas of the Zone, in Croatia and elsewhere.