Happy Friday!

Listening

I just finished listening to the audiobook version of All the Light We Cannot See by Anthony Doerr, and this is my favourite part… a fictional broadcast excerpt:

(And then he enthuses about coal.) "Consider a single piece glowing in your family's stove. See it children. That chunk of coal was once a green plant, a fir or a reed that lived one million years ago, or maybe ten million or maybe one hundred million. Can you imagine one hundred million years? Every summer for the whole life of that plant, its leaves caught what light it could and transformed the sun's energy into itself, into bark, twigs, stems, because plants eat light in much the way we eat food. But then the plant died and fell, probably into water, and decayed into peat, and the peat was folded inside the earth for years upon years, eons in which something like a month or a decade or even your whole life was just a puff of air, a snap of two fingers. And eventually the peat dried and became like a stone and someone dug it up, and the coal man brought it to your house and maybe you yourself carried it to the stove, and now that sunlight, sunlight one hundred million years old is heating your home tonight. [...] Open your eyes (concludes the man) and see what you can with them, before they close forever."

Eating

I’ve enjoyed making each one of the menus I’ve tried from Amy Theilen’s book Company. So far, they’ve been three: one Christmas-themed, with turkey, one called “More Time Than Money” kind of meal, with chicken, and one for Easter, featuring ham.

I like how when I pick a menu from this book, I’m surrendering my menu-planning decisions and letting her be the expert. I learn so much and the meal’s success turns out to be such a reward.

To use the leftover ham this week, I made this Ham and Tomato Penne, which sounds fancier in its original Italian: Penne al Baffo.

Reluctantly, I must sign off and get back to the real work… I leave you my dog as snack supplicant:


Lately reading

What is reading if one doesn’t keep an account of it? Ah, yes, the wonderful New Year’s resolution to grab those titles, to pin them down with a scribble of writing, to squeeze out some quotes and drop them here, to say, look! I’m reading!

First, well, I haven’t been reading, I've been listening… Audiobooks is all I have time for when writing an academic chef-d’oeuvre, so, I present to you, the things listened to…

Most recently: The Heaven and Earth Grocery Store by James McBride. (Here I imagine a spray of confetti. I don’t know why.) Lovely book, lots of characters, tidy end, and this one quote in which, I feel, McBride might be saying “this is the moral of my story”, but who knows. I like it because it gestures toward History.

(From Chapter 18) The odd group of well-wishers slowly moved down the hallway [...] as the group trumped forward, a rag-tag assortment of travellers moving 15 feet as if it were 15 thousand miles, slow travellers all, arrivals from different lands making the low trek through a country that claimed to be so high, a country that gave them so much yet demanded so much more. They moved slowly like fusgeyers, wanderers seeking a home in Europe, or Aroo [sp?], West-African tribesmen, herded off a ship on a Virginia shore to peer back across the Atlantic in the direction of their homeland one last time, moving toward a common destiny, all of them, Isaac, Nate and the rest, into a future of American nothing. It was a future they couldn't quite see, where the richness of all they had brought to the great land of promise would one day be zapped into nothing, the glorious tapestry of their history, boiled down to a series of ten-second tv commercials, empty holidays, and sports games filled with the patriotic fluff of Red, White and Blue, the celebrants cheering the accompanying dazzle without any idea of the horrible struggles and proud pasts of their forebears who had made their lives so easy. The collective history of this sad troop, moving down the hospital corridor would become tiny blots in an American future that would one days scramble their proud histories like eggs, scattering them among the population while feeding mental junk to the populace on devices that would become as common and small as the hot dog that the dying woman thought she smelled.

I also like hot dogs.

Next, finished just last year, Transcendant Kingdom by Yaa Gyasi. I wanted to pause here to praise the narrator, Bahni Turpin, and thank goodness for a quick Google search… I see she’s been praised a bunch, so we’re going to move on. Still, uh, I’m tempted to add that the narration here might have made this book more fun to listen to than to read… On with the quotes.

This, from Chapter 8, is a cool analogy of what research feels like.

Mrs Pasternak said something else that year that I never forgot. She said, "The truth is, we don't know what we don't know. We don't even know the questions we need to ask in order to find out, but when we learn one tiny little thing, a dim light comes on in a dark hallway and suddenly a new question appears. We spend decades, centuries, millenia, trying to answer that one question so that another dim light will come on. That's science. But that's also everything else, isn't it? Try. Experiment. Ask a ton of questions."

Asking a ton of questions has never been a problem for me. I should be an interviewer. Actually, I think that conversation is different though… it’s not about asking a ton of questions, it’s more about what questions are asked. It can make a conversation boring or interesting, and maybe that’s the fun of it.

Onward!

This quote, from Chapter 40 makes me think of Brad S. Gregory’s book, The Unintended Reformation (I read it a year ago now, and made a summary here).

This is something I would never say in a lecture, or a presentation, or, God forbid, a paper, but at a certain point, science fails. Questions become guesses, become philosophical ideas about how something should probably, maybe, be. I grew up around people who were distrustful of science, who thought of it as a cunning trick to rob them of their faith. And I have been educated around scientists and lay people alike who talk about religion as though it were a comfort blanket for the dumb and the weak, a way to extol the virtues of a God more improbable than our own human existence. But this tension, this idea that one must necessarily choose between science and religion, is false. I used to see the world through a God lens and when that lens clouded, I turned to science. Both became for me, valuable ways of seeing, but ultimately both have failed to fully satisfy in their aim: to make clear, to make meaning.

But, back to non-controversial topics, the following quote is a touching reflection on the problem of drug-addiction and the people affected by it. It’s from Chapter 42.

And that's what so many people want to get at: the cause of the drug use, the reason people pick up substances in the first place. Anytime I talk about my work informally, I inevitably encounter someone who wants to know why addicts become addicts. They use words like "will" and "choice" and they end by saying, "don't you think there's more to it than the brain?" They're skeptical of the rhetoric of addiction as disease, something akin to high blood pressure or diabetes, and I get that. What they're really saying is that they may have partied in highschool and college but look at them now, look how strong-willed they are, how many good choices they've made. They want reassurances, they want to believe that they have been loved enough and have raised their children well enough, that the things that I research will never, ever touch their own lives. I understand this impulse. I too have spent years creating my little moat of good deeds in an attempt to protect the castle of my self. I don't want to be dismissed the way Nana was once dismissed. I know that it's easier to say "their kind does seem to have a taste for drugs," easier to write all addicts off as bad and weak-willed people, than it is to look closely at the nature of their suffering. I do it too, sometimes. I judge. I walk around with my chest puffed out, making sure that everyone knows about my Harvard and Stanford degrees, as if those things encapsulate me. And when I do so, I give in to the same facile, lazy thinking that characterizes those who think of addicts as horrible people. It's just that I'm standing on the other side of the moat. What I can say for certain, is that there is no case study in the world that could capture the whole animal of my brother, that could show how smart and kind and generous he was, how much he wanted to get better, how much he wanted to live. Forget for a moment what he looked like on paper, and instead, see him as he was, in all of his glory, in all of his beauty. It's true that for years before he died, I would look at his face and think; "what a pity, what a waste." But the waste was my own. The waste was what I missed out on, whenever I looked at him and saw just his addiction.

Recently, on our Jamaica trip, my mother-in-law looked over at me and asked what kind of book I was reading. (It was a holiday, and so contrary to the whole “I’m only listening to audiobooks” spiel above, I had a physical book in my hands.) When I told her it was fiction, she smiled and said she preferred non-fiction.
I do too!
Most of the time!
But the above quote? That’s why there’s fiction!

Do you know why else there’s fiction? For long heartbreaking passages, like the following one, from Small Island by Andrea Levy. I wanted something to read carelessly, at the beach or sheltering from the rain, or bored-to-smiles in an airplane, but mostly, I wanted something about Jamaica. Small Island is full of snappy sentences, funny and bright with imagery. Set in 1948, it describes character’s stories as they live through the war. The long passage is the following:

See me now - a small boy, dressed in a uniform of navy blue, a white shirt, a tie, short trousers and long white socks. I am standing up in my classroom; the bright sunlight through the shutters draws lines across the room. My classmates, my teacher all look to me, waiting. My chest is puffed like a major on parade, chin high, arms low. Hear me now - a loud clear voice that pronounces every p and q and all the letters in between. I begin to recite the canals of England: the Bridgewater canal, the Manchester-to-Liverpool canal, the Grand Trunk canal used by the china firms of Stoke-on-Trent. I could have been telling you of the railways, the roadways, the ports or the docks. I might have been exclaiming on the Mother of Parliaments at Westminster - her two chambers, the Commons and the Lords. If I was given a date I could stand even taller to tell you some of the greatest laws that were debated and passed there. And not just me. Ask any of us West Indian RAF volunteers - ask any of us colony troops where in Britain are ships built, where is cotton woven, steel forged, cars made, jam boiled, cups shaped, lace knotted, glass blown, tin mined, whisky distilled? Ask. Then sit back and learn your lesson.

Now see this. An English soldier, a Tommy called Tommy Atkins. Skin as pale as soap, hair slicked with oil and shinier than his books. See him sitting in a pub sipping a glass of warming rum and rolling a cigarette from a tin. Ask him, "Tommy, tell me nah, where is Jamaica?"

And hear him reply, "Well, dunno. Africa, ain't it?"

See that woman in a green cotton frock standing by her kitchen table with two children looking up at her with lip-licking anticipation. Look how carefully she spoons the rationed sugar into the cups of chocolate drink. Ask her what she knows of Jamaica. "Jam- where? What did you say it was called again. Jam- what?"

And here is Lady Havealot, living in her big house with her ancestors' pictures crowding the walls. See her having a coffee morning with her friends. Ask her to tell you about the people of Jamaica. Does she see that small boy standing tall in a classroom where sunlight draws lines across the room, speaking of England - of canals, of Parliament and the greatest laws ever passed? Or might she, with some authority, from a friend she knew or a book she'd read, tell you of savages, jungles and swinging through trees?

It was inconceivable that we Jamaicans, we West Indians, we members of the British Empire would not fly to the Mother Country's defence when there was a threat. But, tell me, if Jamaica was in trouble, is there any major, any general, any sergeant who would have been able to find that dear island? Give me a map, let me see if Tommy Atkins or Lady Havealot can point to Jamaica. Let us watch them turning the page round, screwing up their eyes to look, turning it over to see if perhaps the region was lost on the back, before shrugging defeat. But give me that map, blindfold me, spin me round three times and I, dizzy and dazed, would still place my finger squarely on the Mother Country. (p 117-9)

Blindfold me, spin me round and my hands will find a book. Hooray for books! Listening to this “Writers and Company” episode, you can hear in the first half the absence of books growing up for one writer, the disdain for the plentiful-ness of books everywhere for another…

But this is long enough and the subject of books is inexhaustible. So here, I’ll take a bow, gather my bookmarks and be off. May you enjoy your reading wherever you are.

Reading and writing (forever!)

I must constantly trick myself into writing here, as if it were a high-wire act I was only performing for myself. I like getting to the end, having spent time fully concentrated in the act of balancing vague feelings and concrete words. I also like finding how other writers manage… top of list is Craig Mod’s recent interview for Every.to in which he says of his newsletters: “I think of them as my public sketchbooks.” Fantastic! Welcome now, to this here post, on this here blog, which happens to be, “my public sketchbook”!

Shall we discuss reading fiction? Lets! because recently, two books have mentioned it. There’s Claire Messud in Kant’s Little Prussian Heand and Other Reasons Why I Write (2020):

“We must struggle to change our institutions, but our resistance to the depravity and depletion of these times must go beyond that. It must also occur in our souls.” (p 108)

and

“Art has the power to alter our interior selves, and in so doing to inspire, exhilarate, provoke, connect, and rouse us. As we are changed, our souls are awakened to possibility - immeasurable, yes, and potentially infinite. If ever there was a time for art, it’s now.” (p 109)

And there’s George Saunders in A Swim in a Pond in The Rain (2021):

“There’s a certain way of talking about stories that treats them as a kind of salvation, the answer to every problem; they are ‘what we live by,’ and so on. And, to an extent, as you can see by this book, I agree. But I also believe, especially as I get older, that we should keep our expectations humble. We shouldn’t overestimate or unduly glorify what fiction does. And actually, we should be wary of insisting that it do anything in particular.
(…)
“So, trying to stay perfectly honest, let’s go ahead and ask, diagnostically: What is it, exactly, that fiction does?
”Well, that’s the question we’ve been asking all along, as we’ve been watching our minds read these Russian stories. We’ve been comparing the pre-reading state of our minds to the post-reading state. And that’s what fiction does: it causes an incremental change in the state of a mind. That’s it. But, you know - it really does it. That change is finite but real.
”And that’s not nothing.
”It’s not everything, but it’s not nothing.” (p 382-3)

Then, to this end, Saunders makes a little list of fiction-reading benefits:

“I am reminded that my mind is not the only mind.
”I feel an increased confidence in my ability to imagine the experiences of other people and accept these as valid.
”I feel I exist on a continuum with other people: what is in them is in me and vice versa.
”My capacity for language is reenergized. My internal language (the language in which I think) gets richer, more specific and adroit.
”I find myself liking the world more, taking more loving notice of it (this is related to that reenergization of my language).
”I feel luckier to be here and more aware that someday I won’t be.
”I feel more aware of the things of the world and more interested in them.
”So that’s all pretty good.” (p 387-8)

Ah… Saunders… this description is delectable. I’m sorry… my appreciation for this book borders on fandom, but I can’t help it. It’s like ordering a meal at a restaurant and being so perfectly satisfied, you’d kiss your fingers, because the chef was married and because this is an acceptable form of flattery in Europe, even if you’re Canadian.

But food is also fortifying. So let’s end on writing advice. There is plenty in Saunders’ book, but this one is at the end. Saunders quotes Robert Frost, who, after listening to a long and complicated question about writing, answered “Young man, don’t worry: WORK!”

Saunders writes: “I love this advice. It’s exactly true to my experience. We can decide only so much. The big questions have to be answered by hours at the desk. So much of the worrying we do is a way of avoiding work, which only delays the (work-enabled) solution.
”So, don’t worry, work, and have faith that all answers will be found there.” (p 387)

Reading list: Paris Stories by Mavis Gallant

How to start: Mavis Gallant was a Canadian writer who lived in France. About reading short stories she writes the following in a Preface to The Selected Stories: "There is something I keep wanting to say about reading short stories. I’m doing it now because I may never have another occasion. Stories are not chapters of novels. They should not be read one after another as if they were meant to follow along. Read one. Shut the book. Read something else. Come back later. Stories can wait."

Favourite quotes: “In loving and unloving families alike, the same problem arises after a death: What to do about the widow?” (p 32)

“Barbara often said she had no use for money, no head for it. ‘Thank God I’m Irish,’ she said. ‘I haven’t got rates of interest on the brain.’ She read Irishness into her nature as an explanation for it, the way some people attributed their gifts and failings to a sign of the zodiac. Anything natively Irish had dissolved long before, leaving only a family custom of Catholicism and another habit, fervent in Barbara’s case, of anti-clerical passion.” (p 195)

“Barbara was aware of Diana, the mouse, praying like a sewing machine somewhere behind her.” (p 229)

“The only woman his imagination offered, [Grippes] with some insistence was no use to him. She moved quietly on a winter evening to Saint-Nicholas-du-Chadonnet, the rebel church at the lower end of Boulevard Saint-Germain, where services were still conducted in Latin. […] She entered the church and knelt down and brought out her rosary, oval pearls strung on thin gold. Nobody saw rosaries anymore. They were not even in the windows of their traditional venues, across the square from the tax bureau. Believers went in for different articles now: cherub candles, quick prayers on plastic cards. Her iron meekness resisted change. She prayed constantly into the past. Grippes knew that one’s view of the past is just as misleading as speculation about the future. It was one of the few beliefs he would have gone to the stake for. She as praying to a mist, a mist-shrouded figures she persisted in seeing clear.” (p 251)

“She had destroyed this beauty, joyfully, willfully, as if to force him to value her on other terms.” (p 283)

Tangential: A 47 minute documentary about Mavis Gallant and her writing is available on Vimeo. It’s called “Paris Stories: The Writing of Mavis Gallant”.

Reading list: A Moveable Feast

How to start: A Moveable Feast is an fun, easy read. Like Karl Ove Knausgaard who wrote that when a journalist alluded to his collection of books he’d answered that he hadn’t read most of them “and the ones I have I don’t remember a thing about” I too remember very little of the books I’ve read. I think that’s why I take care to write out quotes I like. In the case of this book, I have only one. “They say the seeds of what we will do are in all of us, but it always seemed to me that in those who made jokes in life the seeds were covered with better soil and with a higher grade of manure.”

What I like better than that quote is one by Francine Prose. She writes:

Finally, before we leave the subject of sentences, let’s return once more to Hemingway, and to the passage from his memoir of his youth in Paris, A Moveable Feast, in which he describes his working method and which subsequent generations of writers have taken as a form of implicit literary advice:

Sometimes when I was starting a new story and I could not get it going… I would stand and look out over the roofs of Paris and think, “Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.” So finally I would write one true sentence, and then go on from there. It was easy then because there was always one true sentence that I knew or had seen or had heard someone say. If I started to write elaborately, or like someone introducing or presenting something, I found that I could cut that scrollwork or ornament out and throw it away and start with the first true simple declarative sentence I had written.

For years, I’ve heard this passage about the one true sentence cited as a sort of credo. And I’ve nodded my head, not wanting to admit that I honestly had no idea what in the world Hemingway was talking about. What is a ‘true’ sentence in this context – that is, the context of fiction? What makes Hemingway’s advice so hard to follow is that he never quite explains what ‘true’ means.

Perhaps it’s wisest to assume that Hemingway, like countless others, was simply confusing truth with beauty. Possibly what he really meant was a beautiful sentence – a concept that, as we have seen, is almost as hard to define as the one true sentence.

In any case, it should encourage us. Hemingway was not only thinking about the good and beautiful and true sentence, but also using it as sustenance – as a goal to focus on, as a way to keep himself going. And though it’s obvious that times have changed, that what was true in Hemingway’s era may no longer be true today, the fact remains that Hemingway not only cared about sentences, not only told his publishers that they mattered to him, but told his readers, and told the world. (Reading Like A Writer, pages 61-62) 

Ernest Hemingway also compiled and published writing advice. The Brain Pickings blog features a sample.

Reading list: Charles Dickens' Dombey & Son

How to start: Dombey and Son is a huge book. I thought I was done halfway through, only to discover I hadn’t noticed that the edition I’d picked up had a second part. But Dickens is always fun to read…

Three favourite quotes: “The barrier between Mr Dombey and his wife, was not weakened by time. Ill-assorted couple, unhappy in themselves and in each other, bound together by no tie by the manacle that joined their fettered hands, and straining that so harshly, in their shrinking asunder, that it wore and chafed to the bone, Time, consoler of affliction and softener of anger, could do nothing to help them. Their pride, however different in kind and object, was equal in degree; and in their flinty opposition struck out fire between them which might smoulder or might blaze, as circumstances were, but burned up everything within their mutual reach, and made their marriage way a road of ashes.”

“The cheerful vista of the long street, burnished by the morning light, the sight of the blue sky and airy clouds, the vigorous freshness of the day, so flushed and rosy in its conquest of the night awakened no responsive feelings in her so hurt bosom.”

“… and they got up together, and went on together; Di more off the ground than on it, endeavouring to kiss his mistress flying, tumbling over and getting up again without the least concern, dashing at big dogs in a jocose defiance of his species, terrifying with touches of his nose young housemaids who were cleaning doorsteps, and continually stopping, in the midst of a thousand extravagances, to look back at Florence, and bark until all the dogs within hearing answered, and all the dogs who could come out, came out to stare at him.”

Tangential: Orwell wrote an interesting essay on Charles Dickens. I really liked his appraisal of the 19th century author. And recently the Allusionist did a whole feature about Charles Dickens with a special Christmas-time tie-in.

Reading list: Two Serious Ladies

How to start: The novel is strange, but so was the life of its author, and understanding that might help to appreciate the work Jane Bowles did. Francine Prose especially admires the narrative voice: “a voice that suggests the vocabulary and cadence of a highly educated, slightly batty, and neurotic child (…)” and later, “Jane Bowles’s touch is so sure, her language so well chosen and controlled, her artifice so dazzling (and so insouciantly ready to acknowledge itself as artificial) that we not only admire but are wholly convinced, or at least beguiled, by a passage of dialogue that we cannot imagine any normal human being speaking.” (From Reading Like a Writer, page 107-8, and 186-7.)

Favourite passage:
“Having a nice time?” the girl asked Miss Goering in a husky voice.
“Well,” said Miss Goering, “it wasn’t exactly in order to have a good time that I came out. I have more or less forced myself to, simply because I despise going out in the night-time alone and prefer not to leave my own house. However, it has come to such a point that I am forcing myself to make these little excursions –”
Miss Goering stopped because she actually did not know how she could go on and explain to this girl what she meant without talking a very long time indeed, and she realized that this would be impossible right at that moment, since the waiter was constantly walking back and forth between the bar and the young people’s booth.
“Anyway,” said Miss Goering, “I certainly think it does no harm to relax a bit and have a lovely time.”

Reading list: 3 titles

Rashomon and Other Stories by Ryunosuke Akutagawa

How to start: Akutagawa died young, committing suicide at 35 and ending a brilliant writing career. Today, a literary prize in Japan bears his name. An article in Japan Times gives further detail about his life and legacy.

Favourite passage: "Goi was a very plain-looking man. His hollow cheeks made his chin seem unusually long. His lips... if we mentioned his every striking feature, there would be no end. He was extremely homely and sloppy in appearance."

Tangential: Rashomon was made into a film in 1950 to great critical acclaim. Roger Ebert had a lot to say about it.

Sixty Stories by Donald Barthelme

How to start: Barthelme is a postmodern writer and my appreciation for the genre amounts to the appreciation I have of Jelly Bellys for their transitory shock of flavour. If I don't understand most of his stories, his obituary in the New York Times makes me wish I did.

Favourite passage: "They sit down together. The pork with red cabbage steams before them. They speak quietly about the McKinley Administration, which is being revised by revisionist historians. The story ends. It was written for several reasons. Nine of them are secrets. The tenth is that one should never cease considering human love, which remains as grisly and golden as ever, no matter what is tattooed upon the warm tympanic page."

Mother's Milk by Edward St. Aubyn

How to start: Mother's Milk is the fourth book in a series of five, that collectively form the Patrick Melrose Novels. In 2012 the series was published as a single volume.

Three favourite passages: "He was having (get it off your chest, dear, it'll do you good) a midlife crisis, and yet he wasn't, because a midlife crisis was a cliché, a verbal Tamazepam made to put an experience to sleep, and the experience he was having was still wide awake (...)."

"He struggled so hard to get away from his roles as a father and a husband, only to miss them the moment he succeeded. There was no better antidote to his enormous sense of futility than the enormous sense of purpose which his children brought to the most obviously futile tasks, such as pouring buckets of sea water into holes in the sand. Before he managed to break away from his family, he liked to imagine that once he was alone he would become an open field of attention, or a solitary observer training his binoculars on some rare species of insight usually obscured by the mass of obligations that swayed before him like a swarm of twittering starlings. In reality solitude generated its own roles, not based on duty but on hunger."

"Now she had an hour, perhaps two, in which to answer letters, pay her taxes, keep in touch with her friends, revive her intellect, take some exercise, read a good book, think of a brilliant money-making scheme, take up yoga, see an osteopath, go to the dentist and get some sleep. Sleep, remember sleep? The word had once referred to great haunches of unconsciousness, six, eight, nine-hour slabs; (...)."

Tangential: The New Yorker published an interview with the author in 2014, entitled "The Real Life of Edward St. Aubyn."