Winner of the 2024 Republic of Consciousness Prize
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The Brazilian Ana Paula Maia is a city-suburb dwelling, female author but her clear preferenWinner of the 2024 Republic of Consciousness Prize
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The Brazilian Ana Paula Maia is a city-suburb dwelling, female author but her clear preference in writing is for county-based, male, working class characters. In particular she writes about those working in professions on the edge of society, doing jobs necessary to middle and upper class living but ones which are not just hidden from that society, but the brutal reality of which is deliberately and willfully not contemplated.
“De Gados e Homens”, originally published in 2013 was very much in this tradition, following on from the trio of novellas in the Sago des Brutos series: Entre rinhas de cachorros e porcos (2009), O trabalho sujo des outros (2009) and carvão animal (2011) which were translated into English by Alexandra Joy Forman and published by Dalkey Archive - with this one more a standalone (if still rather short) novel.
It was then translated by Zoe Perry and published in English as “Of Cattle and Men” by the always excellent Charco Press in 2023.
In a Pen interview around this time, translated by Carolina Orloff, co-founded and co-owner of Charco Press, Ana Paula Maia spoke about the development of her writing style and her characters
For a few years now, I have been trying to write in a style that is more economical and more direct. And there’s a reason for that: the characters. My characters are direct and objective. They live lives free of subterfuge, without much choice, focusing just on what needs to be done. A construction of drawn-out reflexions filled with digressions would be out of place in a story where these characters are the centre. And I think the brutalism of the book lies in the raw construction of the characters. Their fears, their intentions and their actions are apparent. There is no coating, no glossing that can hide who they really are. You understand who they are and what they are capable of.
The core character of this book is her recurring character Edgar Wilson – we are first told “since he’s stop working in the coal mines, the only job he could get was with cattle, but what he really wants to do is work with hogs”. His work in coal mines of course we know from his chapter-length cameo in “carvão animal” and the terrible underground explosion and fire with which he is involved and that novella ends with him aiming to “take a job offered to me some time ago, if it’s still open”, one slaughtering pigs. As an aside this story ends with him “heading west, to work with hogs” – which of course leads us to “Entre rinhas de cachorros e porcos” (that book in turn ending with him heading of in search of snow – the desire for which first comes to him in this book when his new colleague Santiago turns out to have worked in Iceland slaughtering reindeer and Edgar “for the first time …wanted to see snow”.
Although therefore the novel post-dates ““Entre rinhas de cachorros e porcos” in the Edgar Wilson timeline, I would say that both the writing and the character seeming much more mature and considered.
In terms of the writing – while there are a number of violent incidents and deaths, it is nothing like to the same density as on the pig farm.
In terms of character Edgar Wilson seems to have developed more of a philosophical and spiritual outlook on life – his slaughtering of the cattle accompanied by a ritualistic sign of the cross between their eyes and openly and calmly acknowledging under the confrontational questioning of a visiting student his own complicity as a murderer (a scene which is the book’s highlight).
And the book also takes a more surreal/enigmatic turn when the cows themselves start to act oddly (for example developing lemming like tendencies) and this adds further depth and nuance to the novel compared to the author’s earlier work.
Where I think the book is let down is that the central message (not just of the book but of much of the author’s writing) is spelt out a little too clunkily: in particular on the visit of the students Edgar Wilson confronts the woman back with “Have you ever eaten a hamburger …. And how do you think it got there”. There was also a rather bad taste (and unfortunately timed for publication) incident involving Lebanese and Israeli sheep and some yellow paint - both of which cost the book in my opinion.
Nevertheless an intriguing novel - rounded up from 3.5 * as it’s the culmination so far of the English translations of the author’s distinctive body of work - a Brazilian and brutalist, sometimes biblical version of Magnus Mills....more
He doesn't consider the wretched landfill scavengers, who could also benefit from the better trash. He just doesn't care. Just as those above him do
He doesn't consider the wretched landfill scavengers, who could also benefit from the better trash. He just doesn't care. Just as those above him don't care. In the diminishing scale from starving to degenerate, he occupies a place just above miserable. Missing it just by a hair, same as being grazed by a bullet. Erasmo Wagner picks up more than twenty tons of garbage on his daily route. Measures the wealth of a society by the amount of trash it produces. And his is a fairly short route, so he thinks about how much money goes into what ends up being thrown out. Everything transforms into trash; even he himself is trash to the many people, rats, and vultures that constantly peck at him.
The Brazilian Ana Paula Maia is a city-suburb dwelling, female author but her clear preference in writing is for county-based, male, working class characters. In particular she writes about those working in professions on the edge of society, doing jobs necessary to middle and upper class living but ones which are not just hidden from that society, but the brutal reality of which is deliberately and willfully not contemplated, what the back cover of the Dalkey Archive edition (in poetic language which I am not clear if is translated) calls them “heroes of vile circumstance ……… forced to carry society’s burdens”.
The effect is something like a Brazilian and brutalist, sometimes biblical version of Magnus Mills.
Translated by Alexandra Joy Forman (possibly a little unevenly – as some passages did not seem to read entirely logically) this novella was published in “Saga of Brutes” was published by Dalkey Archives in 2016 as a collection of three strongly linked novellas.
In Brazil Sago des Brutos #1 (Entre rinhas de cachorros e porcos) and #2 (O trabalho sujo des outros) were originally published together in 2009; with #3 (carvão animal) following in 2011.
My reviews of the first and third of these are here
Maia’s writing features as a recurring character Edgar Wilson (apparently based after one of her inspirations Edgar Allan Poe’s and his story “William Wilson”) – but all her books appear to feature similar everyman type characters with initials EW (which may as well serve as “ewww” given much of the material covered – although these books are designed to get a much more visceral reaction than that).
Here / in the second novella - “The Dirty Works of Others” we have Erasmo Wagner – working as a trash collector (from the novella’s last sentence – “he’ll continue collecting the garbage of others, like a beat of burden, sterile, hybrid, unquestioning”) and we also learn of his brother who operates a jackhammer on a road crew – Erasmo Wagner’s previous job – and of his cousin who works in sewerage.
Wagner himself is an ex-prisoner, convicted for the murder of a man who abused his younger brother and then killed his parents – and in prison taught himself to be “attentive to imminent fatality” and learnt not to search for meaning or love in life – making him perfectly suited to his role as someone who cleans up the trash that society produces – a role whose importance is seen when the trash truck drivers stage a strike.
Overall this is a short novella, one where the violence and brutality seems less gratuituous and dominant than “Between Dog Fights and Hog Slaughter”....more
Fire reproduces in fire, and what keeps it alive is oxygen, the same thing that keeps man alive. Without oxygen a fire will self-extinguish, and ma
Fire reproduces in fire, and what keeps it alive is oxygen, the same thing that keeps man alive. Without oxygen a fire will self-extinguish, and man too. Like man, fire needs to nourish itself to keep burning. It voraciously devours everything around. Suffocate a man, and he'll die because he's unable to breathe. Smother a flame, and it also dies.
Flames stay ablaze as they burn through wood, a mattress, or curtains, among other flammable products. Human beings are flammable products, too, that will keep a fire creeping for a long time. They survive on the same principle, and when they're facing off, they want to destroy each other, to devour one another. Since man discovered fire, he has tried to dominate it. But fire won't ever be dominated.
Translated by Alexandra Joy Forman (possibly a little unevenly – as some passages did not seem to read entirely logically) this novella was published in a collection of three thematically, character and even incident linked novellas as “Saga of Brutes” by Dalkey Archives in 2016. In Brazil – the connected novellas Sago des Brutos #1 (Entre rinhas de cachorros e porcos) and #2 (O trabalho sujo des outros) were originally published together in 2009; with #3 (carvão animal) following in 2011.
The Brazilian Ana Paula Maia is a city-suburb dwelling, female author but her clear preference in writing is for county-based, male, working class characters. In particular she writes about those working in professions on the edge of society, doing jobs necessary to middle and upper class living but ones which are not just hidden from that society, but the brutal reality of which is deliberately and willfully not contemplated, what the back cover of the Dalkey Archive edition (in poetic language which I am not clear if is translated) calls them “heroes of vile circumstance ……… forced to carry society’s burdens”.
Translated by Alexandra Joy Forman (possibly a little unevenly – as some passages did not seem to read entirely logically) this novella was published in a collection of three thematically, character and even incident linked novellas as “Saga of Brutes” by Dalkey Archives in 2016. In Brazil – the connected novellas Sago des Brutos #1 (Entre rinhas de cachorros e porcos) and #2 (O trabalho sujo des outros) were originally published together in 2009; with #3 (carvão animal) following in 2011.
The effect is something like a Brazilian and brutalist, sometimes biblical version of Magnus Mills.
Maia’s writing features as a recurring character Edgar Wilson (apparently based after one of her inspirations Edgar Allan Poe’s and his story “William Wilson”) – but all her books appear to feature similar everyman type characters with initials EW (which may as well serve as “ewww” given much of the material covered – although these books are designed to get a much more visceral reaction than that).
The book has two chief protagonists: Ernesto Wesley (another of the author’s “EW” protagonists) is a firefighter with congenital analgesia which renders fire pain free for him; and his brother Ronivon who works at a crematorium. Ernesto Wesley’s 5 year old daughter was killed in a car crash for which his oldest brother Vladimilison was jailed (for being intoxicated) – Ernesto Wesley attending the accident in his fire fighting role and never speaking to his brother again, before being widowed some time later when his grief stricken wife committed suicide.
The book – whose main themes are the links between fire and men (living and dead) and fuel also features:
Maia’s recurring character Edgar Wilson. Here he is seen in his job as a miner – one after a mass fatality mining accident – which Ernest Wesley attends - he leaves determined to take a job above ground, although we know from the later novella “Of Cattle and Men” that he works first with cattle.
Erasmo Wagner from “The Dirty Work of Others” – at the time in jail and who murders a prisoner who fatally wounds and then burns Vladimilison after a prison yard dispute.
So featuring as a back story to both the other books in the Saga of Brutes trilogy.
It also has a section set at a charcoal burning plant – where Ronivon has to take a backlog of bodies after the crematorium is temporarily shut and a number of other side plots (a chicken keeping neighbour and her on-going dispute with the mongrel the brothers have adopted; a fellow crematorium worker who wants, after his death, for his gold teeth to go to his estranged daughter) meaning that, compared to the other novallas though this one is more multifaceted but perhaps loses focus as a result.
The planet is finite and transitory. As the space to store trash dwindles, so too does the space to inhume bodies. Some decades or centuries from now there'll be more bodies beneath the earth than on it. We'll be stepping on our ancestors, neighbors, relatives, and enemies, like we step on dry grass: without even noticing it. Ground soil and water will be contaminated with leachate, liquid containing toxic substances that drains from bodies in decomposition. Death has the power to generate death.
In spite of a certain melancholy that comes over him when he thinks of the incinerated, Ronivon knows that asepsis is best achieved by setting mortal remains on fire. Otherwise to think of the end of the world is to think of mountains of dross and the earth soaked through with the inhumed.
A fighting dog is a dog that has no choice. He learned what his owner chose to teach him ever since he was a puppy. He's recognizable by his short
A fighting dog is a dog that has no choice. He learned what his owner chose to teach him ever since he was a puppy. He's recognizable by his short or amputated ears, scars, stitches, and lacerations. He's had no choices in life. That's exactly how it's been for Edgar Wilson who was trained at a young age to kill rabbits and frogs. He has some scars beneath his arms, and on his neck and chest. There are so many lines and sutures on his skin he doesn't remember where he got half of them. However, scars of violence and resistance to death on other animals have never dulled the glint in his eye while he contemplates a big sky. Night and day, he spends a good deal of time looking up. Maybe he expects something to happen in the sky or with the sky.. maybe he'd like to cut up some clouds with his big knife.
Despite having been raised like a fighting dog, he knows it's better than being a pig. That's because pigs can't look up at the sky. They just can't. Anatomically, pigs were made basically to look at the ground and to feed on whatever they found there. Edgar knows that he's a fighting dog raised to kill pigs, rabbits, and men. However, every bit of a pig is relished. Rabbits can be eaten with green olives and almonds. Men are often given a mass. As an excuse to light a candle and pray.
The Brazilian Ana Paula Maia is a city-suburb dwelling, female author but her clear preference in writing is for county-based, male, working class characters. In particular she writes about those working in professions on the edge of society, doing jobs necessary to middle and upper class living but ones which are not just hidden from that society, but the brutal reality of which is deliberately and willfully not contemplated, what the back cover of the Dalkey Archive edition (in poetic language which I am not clear if is translated) calls them “heroes of vile circumstance ……… forced to carry society’s burdens”.
The effect is something like a Brazilian and brutalist, sometimes biblical version of Magnus Mills.
Translated by Alexandra Joy Forman (possibly a little unevenly – as some passages did not seem to read entirely logically) this novella was published in a collection of three thematically, character and even incident linked novellas as “Saga of Brutes” by Dalkey Archives in 2016. In Brazil – the connected novellas Sago des Brutos #1 (Entre rinhas de cachorros e porcos) and #2 (O trabalho sujo des outros) were originally published together in 2009; with #3 (carvão animal) following in 2011.
Maia’s writing features as a recurring character Edgar Wilson (apparently based after one of her inspirations Edgar Allan Poe’s and his story “William Wilson”).
This book is effectively (as far as I can tell) the sequel to the later novella “De Gados e Homens” (published by Charco Press in 2023 in a translation by Zoe Perry as “Of Cattle and Men” and winner of the inauagral Cercador Prize) which also features Edgar Wilson as the main protagonist.
In that latter book, Edgar Wilson, after a mining career is working with cattle but is desperate to work with pigs; he also in that book develops a sudden interest in snow. Here he has finally his job with pigs, but at the book’s end sets out South to find some snow (note that as far as I know the author’s as-yet-untranslated next book “Enterre Seus Mortus” has Edgar working as a collector of dead animal bodies – I am unclear where that falls in sequence).
Compared to “Of Cattle and Men” this book is unfortunately heavy on violence.
In around 50 pages, and just from what I can recall, Edgar Wilson: murders first a fellow worker who he thinks is having an affair with his girlfriend, and then his girlfriend when she is clearly pining for her missing lover; agrees to stage a fake kidnap of an acquaintance – to test the fidelity of their girlfriend – but rather over stages it and then abandons the body after the car in which he has stashed his “victim” is accidentally rear-ended by a truck; leaves a woman dying in a car crash as he is more interested in finding his missing pigs; watches a friend dying of cancer commit suicide; sees his favourite dog mauled and killed in a dog fight; and, most transgressively, agrees to visit the cancer stricken sister of his co-worker and friend to whom the latter had donated a kidney which he now needs, and assists to cut out her kidney and leave her to be devoured by her own chihuahua, only for a relative to fry the liberated kidney for dinner before they can work out a way to transplant it.
And as a result of so much violence it is also light on anything in the way of redeeming qualities (the opening and closing passage to my review being rare examples of when the writing excels). I had the impression that the Edgar Wilson in this story was actually a much less mature and thoughtful character than the one in the later written, but earlier set, story.
Sad days can be cold or hot, gray or blue. And shadows contour souls, desires, and thoughts. These shadows belong to no one, they can come from anywhere: from a wall nearby, an ocean wave, an expanded wing in the sky. Sometimes, even the stars seem to make shadows. Though they're dead, they overshadow with their insistent glimpse of infinity. And in thinking of stars, sometimes he wishes for a stairway to the sky. So he can blow them out.
A short (less than 160 generously spaced pages) but deeply impactful novel. It was shortlisted for the William Winner of the 2023/24 Gordon Burn Prize
A short (less than 160 generously spaced pages) but deeply impactful novel. It was shortlisted for the William Hill Sports Book of the Year, but has also very deservedly appeared in many end of 2023 literary fiction highlight lists and on the longlist for the last literary prize list of the year - the 2023/24 Gordon Burn Prize (which it won in 2024).
The book is based on someone the author’s antique dealer parents know through flea markets – a natural storyteller who worked for years as a horse trainer/groom in US flat racing circles, starting in small races in Iowa, but at one stage getting to Kentucky and the pinnacle of the racing season.
Less than two years ago I had barely touched or been near a horse – now I spend considerable parts of my weekend around them and will spend much of this week at the London International Horse Show – so I had a natural bias towards this book and could identify with elements; but from reviews it is clear it appeals just as much as those odd people with no interest in horses.
Based on hours of transcribed interviews, Scanlan has honed her prose down to a series of vignettes which turn a memoir into a novella.
She has said (based on some interviews of her own) “I was developing the shape of the story in my mind, creating the arc …. I wanted to be as faithful as possible to Sonia’s voice, but there was a lot of intervention from me. It’s a combination of our voices, and my sensibility is definitely there …. I wanted to preserve - amplify, exaggerate - Sonia's idiosyncratic speech, her bluntness, her flair as a storyteller. I arrived at what you could call a composite portrait of a self.”
And these vignettes come together excellently to paint an unvarnished but deeply compelling picture of a life and of a self-contained world.
Longlisted for the 2024 Republic of Consciousness Prize
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Winner of the 2021 Goncourt Premier Roman (a French literary prize for first novels) – Longlisted for the 2024 Republic of Consciousness Prize
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Winner of the 2021 Goncourt Premier Roman (a French literary prize for first novels) – this edition, translated by Lorna Scott Fox (disappointingly this is only mentioned on the back cover) is published by the London based small press Les Fugitives. The original author is a photo-journalist.
It tells the story of an honour killing, of a young, pregnant but unmarried woman; which takes place in an Iraq caught up with the war with the Islamic State.
It is told in four interwoven strands:
A conventional first party narrative account by the woman herself;
Striking first party sections told in turn by a number of family members – each starting “I am” and in which explores their seemingly intractable identity and familial role and obligations;
The ageless voice of the Tigris river itself (which together with the Euphrates of course defined the land between two rivers of ancient Mesopotamia);
Extracts from the ancient legends of Gilgamesh.
Of these two parts the family and Tigris sections were the strongest I felt.
It is a distinct and powerful novella.
If I had a criticism though it is too short for my taste and I think would be better value and a more satisfying read if published perhaps in a collection of the author’s writing and photography or an anthology of stories set in the same period in Iraq history.
I received this as an extremely thoughtful Secret Santa gift from a Wisconsin raised work colleague. It is effectively two separate but very related bI received this as an extremely thoughtful Secret Santa gift from a Wisconsin raised work colleague. It is effectively two separate but very related books in a series of Captivating History Books, designed to make history interesting. The first is a state history which also serves as a history of the US itself; the second, and the reason it was of particular interest, is the story of the Peshtigo Fire of 1871 – the deadliest wildfire in US history. What made this especially fascinating was that I received the gift when I was part way through the Baillie Gifford winning “Fire Weather” (https://www.goodreads.com/review/show...) and the Peshtigo Fire was in essence the same Fire-Tornado discussed at length there (this one caused by slash-and-burn logging techniques at a time of drought).
Fort McMurray, founded at the dawn of the Petrocene Age, has grown into an unlikely flashpoint in this collision between the rapid expansion of our
Fort McMurray, founded at the dawn of the Petrocene Age, has grown into an unlikely flashpoint in this collision between the rapid expansion of our fossil fuel-burning capacity and the rigid limitations of our atmosphere. Here, in this city's fire and the events leading up to it, can be seen the sympathetic feedback between both the headlong rush to exploit hydrocarbons at all costs, in all their varied forms, and the heating of our atmosphere that the global quest for hydrocarbons has initiated, and that is changing fire as we know it.
Winner of the 2023 Baillie Gifford Prize – the UK’s biggest non-fiction prize and also shortlisted for the (US) 2023 National Book Award for non-fiction and a 2024 Pulitzer Prize finalist.
The book is a fascinating, polemical account which centres on the 2016 Fort McMurray wildfires, but uses those as a way to explore what the author calls the Petrocene Age (“the period of history in which our Promethean pursuit of fire’s energy, most notably crude oil, in conjunction with the internal combustion engine, took a quantum leap to transform all aspects of our civilisation and, with it, our atmosphere”).
The excellent opening section of the book explores for around 70 pages, the bitumen industry in and around Fort McMurray, and fire itself.
The second section really concentrates on the fire itself – with a series of dramatised accounts of those caught up in it. The strength of this section is the way in which the author shows how people (even fire experts) could simply not comprehend something which was terrible past their own experience and imagination (the author is particularly fond of Taleb’s “Lucretius Problem” and later links to attitudes to extreme climate change) – but large parts of it drag. I found that I gained much more understanding of the fire from watching videos and as a written account I think an Atlantic/Sunday Supplement style illustrated essay would have worked much better for this part.
The closing section – which is as strong as, while perhaps less original than, the opening - looks at the history of the discovery of greenhouse gases and their potential for huge effects on the earth’s climate. It argues in some detail that many fossil fuel extracting corporations were for years at the forefront of this research. It also contains fascinating detail on fire tornadoes.
Despite the slight drag in engagement in the middle section this is a never less than highly intelligently written book – and of much better quality and much wider ranging in its literary sources and ideas than the vast majority of non-fiction writing.
In all of this, I’ve talked a lot of death. Animals sent to the fat, culled and slurried, blood enough to float a gunboat. But before Simply Red, I
In all of this, I’ve talked a lot of death. Animals sent to the fat, culled and slurried, blood enough to float a gunboat. But before Simply Red, I’d never seen a dead body before, y’know, a dead fella. Come close. Warehouse in Shropshire, a bloke’s knees rolled flatter than oats under fifty tonne of rig.
The publisher bills this Foot and Mouth inspired, Cumbrian hill-farm set novel as a neo-Western thriller with echoes of Cormac McCarthy and Annie Proulx.
While not disagreeing I would provide two further and for me more pertinent comparisons:
Jean Baptiste Del Amo’s 2019 Republic of Consciousness Prize winning “Animalia” with its earthy, visceral and brutal tale of farming but with Cumbrian sheep replacing French pigs;
And a cross Irish Sea transplantation of the genre of novels I have christened Craic Cocaine (think Lisa McInerney’s Cork City trilogy, Luke Cassidy’s “Iron Annie” or Colin Barrett’s 2024 debut novel “Wild Houses”) – literary fiction, written with a mixture of crackling dialogue (here perhaps more of the powerfully sparse and dry variety), great description (a favourite here was “Riding aside great bare fields with birches praying to winter and the lines stripped to mud by tractors”), black humour and violence, billed as about the Irish working classes but often more straying into criminal (and particularly drug dealing) territory.
The book’s first party protagonist is Steve (Elliman), son of a Cumbrian Hill Farmer and the book, is written looking back on the time in early spring 2011 when Foot and Mouth ravaged the sheep farms of the area (and wider) leading to mass culls and burnings of the flocks by the MAFF (Mininsrty of Agriculture, Farming and Fishing – the predecessor to DEFRA), with squaddies and the local police (here lead by a copper known as Big Red).
Just as an aside I was impressed with how convincingly the retrospective view is was done, we are not given the usual ridiculously excessive, apparently recalled detail but instead what still strikes Steve some decades later. So that a crucial confrontation takes place on “the day of an big English match. I can’t remember which, but we lost if that narrows it down” , a flash new car bought with some crime proceeds is “an off roader, another Land Rover from what I remember”.
When early in the book Steve’s Father’s Flock is clumsily and bloodily executed, Steve takes the one remaining ram, and visits the neighbouring larger farm of William Herne (who is supposedly to blame for the outbreak). There he is quickly drawn in to assisting William with hiding some of his flock on a mountain plateau (partly drawn by a near lifelong attraction to William’s fiercely independent wife Helen) but leaves for the South when that plot quickly fails (due to Big Red discovering the sheep).
Returning to Cumbria after his father’s death he is drawn back into William’s orbit, and sharing tales of a rather psychopathic sheep rustler and on-the-spot butcher he met while driving lorries, seems to confirm William’s decision to move into more criminal activities. These start with a large scale raid on a Southern farm to steal a whole flock of prize sheep, but quickly descend into hosting a drug dealing gang and participating in an attempt to steal cash from a rival gang; the plot itself descending into violence.
If I had a criticism of the book’s structure it is that we only meet William after Foot and Mouth. We are I believe meant to see him as drawn to violence and crime, by the violence done to their flocks and their lack of any other economic prospect: but not knowing much (or anything) of his previous life did not really give me any impression of a change in attitude so that I did not feel the requisite sympathy with their attitudes.
Steve is a more rounded character – as a narrator we get more insight into his backstory and also revisit him later in life from when he is narrating the book, and through him we get a really strong insight into a hard working farming mentality.
Overall this is a very different and striking book – and while the violence and criminality were too dominant for it to be to my personal taste, I would not be surprised to see it on book and prize lists on publication in 2024.
My thanks to John Murray Press for an ARC via NetGalley
Because I’m a shepherd and if that’s not an answer, well, I tell you how it is. You’re born in a field with nowt but a fire for company, one that about keeps you hot, and you don’t know where it came from or how you got in the field or how to start another fire, but you know how to keep it going. And the one thing you do know for sure – if you don’t feed it, that fire’s going out and you don’t want to be the one to let it.
Something of a Bookstagram (it is all over my Instagram feed) and Goodreads sensation (at the time of writing this review, the book has an astonishingSomething of a Bookstagram (it is all over my Instagram feed) and Goodreads sensation (at the time of writing this review, the book has an astonishing average of 4.66 from the 30+ Goodreads friends that have reviewed it) – there is no doubt this is a very well crafted piece of novel writing indeed – its omission from prize lists in 2023 is rather incomprehensible as I think for many readers this will be the best novel of 2023.
It is a 400 year journey set in a single (but ever evolving) house in some equally ever-evolving New England woods
It has a wide and shifting range of characters (early Colonial escapees; Native Indian Abductee turned murder witness, apple tree sapling, apple growing entrepreneur, his two spinster daughters turned ghostly songwriters, slave bounty hunter, landscape artist and his housekeeper, spirit medium, a chestnut blight spore, the mother and later the sister of a schizophrenic (and the doctor who tries to treat him), a mating beetle, a true crime writer, an amateur (but sadly disgraced at his moment of glory) historian and is told in a series of different styles and vignettes.
And even though many of the characters initial appearances are brief – they are typically very well rounded (for example in the historian chapter we learn of the complex interplay of his marriage) and the characters recur at later times in a cleverly constructed way.
If I had a concern over the novel – and hence my 4.5 star rating – it relies a little too much on the supernatural both for my own personal tastes and I and as a convenience to propel and link the plot. I also think that compared to many other readers the New England setting does not resonate with me....more
Surprisingly high quality book – combing some vibrant colour photography from Justin Minns (a Suffolk based landscape photographer) with commentary frSurprisingly high quality book – combing some vibrant colour photography from Justin Minns (a Suffolk based landscape photographer) with commentary from Elly Griffiths which links to the landscape and settings of the Ruth Galloway series (with many of the pictures being captioned with quotes from the books).
I don’t think the book would be of interest to non Ruth Galloway fans – other than it might draw you into a very enjoyable series, but for fans it is almost essential I would say....more
First in a new police procedural detective series from seemingly a well known writer whose previous DI Barton books were set around his native PeterboFirst in a new police procedural detective series from seemingly a well known writer whose previous DI Barton books were set around his native Peterborough but whose parents have a chalet near Cromer – hence inspiring this series.
The protagonist here is Detective Sergeant Ashley Knight, of a Wymondham based Norfolk Major Investigative Team: when two bodies are discovered on a Norfolk Beach (one decapitated, one buried in the sand and left to drown), the Cromer based Knight is the obvious person to act as a day to day lead on the investigation.
The two dead bodies are a couple of elderly hippy drifters – and those dragged into the case include a local homeless beach drifter, someone recently released from a secure mental institution, with the next dead body discovered (also drowned) a woman – all of whom seem to have been very disturbed and fearful recently. Strange graffiti left around the town refers to seven deaths needed by the sea.
The police start to piece together that all of the protagonists were together at the end of secondary school some thirty years ago and that they (plus some others drawn in: a successful local car dealer, Ashley’s own police inspector boss – both of whom have been acting very strangely recently) were all part of a drug and alcohol impacted beach party a year or so after secondary school where a charismatic and attractive, but troubled, young girl (around who the group centred) died of an unexplained drowning – with some recently received photographs by a number of those involved and which seem to imply their culpability in the death, adding to the complexities and conflicted behaviors. Other characters involved are a local crab fisherman who seems to find many of the bodies and a disabled man whose relationship with the group at the party or the recent events is unclear.
The book - as the first in the series - has lengthy exposition on Ashley’s backstory (involving a severe injury to a colleague when she was part of a unit chasing joyriders and a subsequent lapse into depression and alcoholism) and a wary but growing relationship with her sidekick, a well connected youngster on a fast track scheme but with his own challenges and issues. The author explains in an afterword that he wanted a more complex protagonist than in his DI Barton series – and its interesting and I think deliberate how the characters own mental health struggles are a scaled down version of those implicated or involved in the deaths,
Another key character in the book is Cromer itself – the author has gained permission from a number of local businesses to feature them and this gives the book a strong authenticity. I must admit that Cromer is far from my favourite Norfolk beach (too stony, not particularly dog friendly, and too crowded in season) or towns (Holt which is featured and correctly praised in the book is far more to my tastes) but I was delighted in particular to see the excellent Doggie Diner featured (where I was fortunate enough to win a raffle for “what a load of old squit” Waffles the Giant Dog).
Overall an easy but enjoyable read and I will be interested to read the next in the series set in Hunstanton (again though not one of my favourite Norfolk resorts – hopefully Wells or Holkham will feature soon although I suspect Great Yarmouth will fit the series better)....more
For years Hew and I debated what had happened to me, politically, during that year at the Institute. Hew liked to tease me about what he called my
For years Hew and I debated what had happened to me, politically, during that year at the Institute. Hew liked to tease me about what he called my Libertarian Interregnum. But what I actually had, I posited, were Schrödinger’s politics—a complement to Schrödinger’s marriage and Schrödinger’s affair. When I wasn’t looking, I barely had politics at all—I had always been this way. When I did have to look, when I had to identify my position, my politics depended on the precise question presented and the point of observation. This is different from apathy, I think. There is strong science supporting the idea that I am not the only human being who is reactive and irrational in this way; that I am not alone in having moral intuitions that are little more than, well, intuitions—and one would never expect intuitions to be immune to circumstance or to hold the logic of a cohesive system.
A different, intelligent, ambitious, thought provoking, explicitly metaphor heavy if at times rather uneven and scattergun satirical debut novel dealing with campus cancel culture and with wider issues around changing social mores.
The first party narrator is Helen – a brilliant, extremely focused graduate student who specialises in the area of high temperature superconductivity (HTS(, particularly the fictional Nobel Prize winning Zhou-Eisenstadt-Smoot Theoretical Model. With Zhou in China (and largely out of collaborative reach now) and Eisenstadt dead (“in a dreadful accelerator accident, particles everywhere”) she had entered a four year collaboration with Percy Smoot at Cornell, her particular skill programming of the computer simulations as they aim for a practical generalisation of ZEST which could lead to a huge breakthrough in cheap and climate change friendly energy sources.
Now though, Perry has moved to Rubin Institute, “a liberterian, libertine dream: bottomless funding, unencumbered by institutional regulations … they eschewed trigger warnings … No code of conduct, No Human Resources … the promise it made to students … Learn from geniuses, graduate sans debt, feel free to carry Mace ….. Sandals for scandals” after a scandal with a student he groomed. After months of initial resistance Helen feels she has no academic choice but to join him, to the disgust of her socially active partner Hew (who nevertheless agrees to come with her, demanding at a minimum that they become vegan as a moral offset). Hew and Helen’s relationship is a complex one – a kind of marriage which they only affirm when it is challenged but play down when it is acknowledged (even between each other).
The Institute itself is a deliberately odd mix of fantastic working conditions and a deliberately amoral, non-politically correct social environment, one Hew finds completely intolerable, but which Helen largely tries to ignore as she concentrates single-mindedly on her collaboration with Perry.
An additional complication is Helen meeting (and finding herself attracted to – and in a kind of affair which is not an affair with) Leopold Lens a Roth-type non-orthodox Jewish author who her father adores. She also finds herself increasingly in the attention of the eponymous billionaire founder of the Institute one designed to provoke what he calls the “faculty lounge neopuritan Maoists” of Yale and other mainstream institutions.
Hew meanwhile far from coming to an accommodation with the Institute’s moral ambiguities is increasingly repulsed by them and takes part in various protests and protest groups onshore, at the Institute and particularly online.
In the meantime, he needed distraction. Online. It was absence, yes, but also so engaging. The internet was like a climbing wall. It was stressful and required contorted human postures, and you learned as you did it. It was implicit in participation that the goal was to find higher and firmer footing. Hew loved finding the creative, strong, dexterous arguments that situated someone where others wished to be. He was an absolute sucker for this contest. One time while bickering about how phone-bound he was, I had called Hew a Web Supremacist, to which he said mea culpa.
Helen by contrast is largely apolitical – particularly when it comes to what she sees as largely performative position taking and scientifically focused. The book takes lengthy pseudo-scientific detours into her work.
And the breach between them grows larger after a number of incidents (a murderous right wing counter attack on a mainland protest, a doubling down of the Institute’s more right wing positions, a largely ignored sexual assault at the Institute,– note this latter storyline was I felt one of the less well and rather superficially handled) leads to a mutual misinterpretation of each other’s position before culminating literally explosively in an incident which finally brings them together.
And the book ends more focused on an idea of Hew’s that becomes somewhat viral – Dynamic Equity (using AI algorithms, behavioural analytics and blockchain to directly deal with inequity) - one that in another author’s hands would I think have been the whole book but which here is something of a late add-on, very much in keeping with this novel which if anything is overstocked with ideas but never less than stimulating and one easy to read cover to cover.
Recommended.
My thanks to PanMacmillan, Picador for an ARC via NetGalley...more
I originally read this book pre-publication in October 2023. Only 10 days ahead of its actual publication in January 2024 it was featured in the 2024 I originally read this book pre-publication in October 2023. Only 10 days ahead of its actual publication in January 2024 it was featured in the 2024 version of the influential and frequently literary-prize-prescient annual Observer Best Debut Novelist feature – and that prescience manifested again with this book being longlisted for the 2024 Booker Prize which occasioned a re-read of the book.
For me, on both reads, it fits firmly into a sub-genre of Irish literary fiction that I have christened Craic Cocaine –written with a mixture of crackling dialogue, quirkily vibrant descriptions (here for example “his face was pale, blue tinged as raw milk in a bucket” or “with a face on him like a vandalised church, long and angular and pitted, eyes glinting deep in their sockets like smashed-out windows”), black humour and violence. The books are often billed as about the Irish working classes but really seem to conflate that with the Irish criminal (and particularly drug dealing) classes.
Examples would include: Lisa McInerney with her Cork City Trilogy (particularly “Blood Miracles” the “drugs” part of what she self-styled as a “sex, drugs and rock and roll” trilogy); Kevin Barry – who in my view has now written something of a reverse temporal Irish drug-dealing trilogy: “City of Bohane” (future), “Night Boat to Tangiers” (present) and this year’s “A Heart in Winter” (past); Luke Cassidy’s debut “Iron Annie” and even Michael Magee’s multiple prize winning/nominated “Close to Home” (albeit more focused on drug consumption than dealing).
To be fair to the author, although this is a debut novel, he has long written within this tradition as a an award winning short story writer – his Young Skins Collection was published in 2014 and was winner both of the Rooney Prize for Irish Literature and the Guardian First Book Award, and the novella length story within it was turned into the 2019 Irish crime drama film “Calm with Horses” about an ex-boxer who works as an enforcer for a drug-dealing criminal family in rural Ireland while providing for his autistic son – but nevertheless I would have liked to have seem him made a transition in subject matter/sub-genre alongside the move to the longer form.
As an aside people studying English at Trinity is the other Irish literary fiction sub-genre (especially since the success of Sally Rooney) and it’s represented here by Marina.
This one has a simple set up and tight cast:
Dev Hendrick, something of a giant but still a victim of bullying at school, now lives on his own in his remote family home since the death of his mother (his father – who makes a cameo appearance in the novel - having long since been committed to a local psychiatric care facility) suffering secretly from panic attacks.
Some time ago Gabe and Sketch Ferdia - the two enforcers of the local drug baron instructed him they were going to use his house as a contraband storage area. Now, they turn up at his doorstep with Doll (Donal) – the battered and bruised brother of Cillian English, a small-time dealer who has fallen foul of their boss for losing (he claims in a flood) a stash of drugs and not paying the money back. Frustrated at Cillian’s seeming obliviousness to personal beatings they decide seizing his brother may force him to cough up the money.
The other main character (and with Dev an alternating point of view character) is Nicky – Doll’s seventeen-year-old orphaned girlfriend – who finds herself drawn after she is visited by a Ferdia in the hotel bar where she works to pass on the ultimatum to Cillian.
As an aside there are four of the Booker longlist set over a shorter time period: My Friends (two hours), Orbital (one earth day), Headshot (two days) – but in each case there we have a temporally bounded, structurally framed primary narrative, which acts as a framing device for a wide ranging narrative (in time and location). Here we have a much more straightforward narrative form – bounded both in time and location – and generally I do think this is perhaps the least adventurous novel on the longlist.
The strongest parts of the book for me were precisely when we move briefly away from the craic cocaine and change to the characters of Dev (struggling with long term mental health issues himself and somewhat directionless in life – at one point a Doctor he is seeing steps away from his professional detachment and remarks “What you are in Dev, is a holding pattern, only you’re not holding out for anything”) and Nicky, equally unsure where her future lies and how she feels about Doll (“The question [did she love Doll] had triggered a feeling, a recurring, fugitive feeling, one that had been surfacing more and more over the last while, and which Nicky did her best to dispel whenever it did ………. The feeling would come again, and she would push it away again, and on it would go until she could not do it anymore. When that day came, everything would change. She knew it would”)
But this is not really a genre that works for me and while a well written book is my least favourite of the longlist.
Nicky drove without hope, burning through an anxious and dwindling sense of compulsion. The countryside was huge and quiet and empty, and for every road she took, she had to forgo a dozen others, all those byways and back roads that digressed for miles into further orders of rural obscurity. Doll was lost and she needed to find him but the countryside wasn't giving her anything; the countryside was holding its tongue and steadfastly averting its gaze as she travelled towards the unending low horizon and the indistinct serrations of the distant mountain ranges, the wide-open fields flipping by like the row of blank pages at the end of a book after the story was over.
A collection of impressionistic watercolours painted from 2008-2009 as the author travelled around the coast from Aldeburgh in Suffolk to (my birthplaA collection of impressionistic watercolours painted from 2008-2009 as the author travelled around the coast from Aldeburgh in Suffolk to (my birthplace of) Kings Lynn – each painting accompanied by some diary type entries on their painting....more
Surprisingly entertaining as well as pointed satire of separatist movements.
The basic premise of the novel is that post the failed Scottish IndependeSurprisingly entertaining as well as pointed satire of separatist movements.
The basic premise of the novel is that post the failed Scottish Independence Referendum and as part of legislating for a number of promises made to keep the Union together, the bill to transfer some powers to Scotland had a clause listing the counties of the rest of the United Kingdom.
Graham Murray, a civil servant who checks Parliamentary legislation for accuracy, then sabotages the bill by striking out Norfolk (on the day the legislation passes) as an act of revenge against Norwich and a South Norfolk MP who relocated his role to Sunderland.
Graham, Norfolk born with a double maths A Level and a part actuarial background would be a little close to home were he not a fanatical Ipswich fan, a Fanta drinker (both inexplicable) and trained as an actuarial accountant (whatever that is).
Too embarrassed to admit their mistake, and concerned that changing it will re-open Scottish nationalism, the leaders of the Westminster Parties decide to pretend if spotted that this was a deliberate decision to grant Norfolk independence after a quiet and respectful campaign for years (much to the horror of the Queen).
Alan Cooper a low profile night-editor of the EDP – is tipped off about the change and decides to write a leader welcoming the change (rather than saying it is an error which must be reversed) and the Norfolk leaders of their various parties decide to do the same.
Norfolk thrives as the independence is so one sided (with no prior negotiation) that they simply stop paying any taxes to Westminster and charge a fortune for both RAF Marham and the Bacton North Oil Terminal – and quickly Norwich becomes a global low tax financial centre.
The other main character is Poppy Salbank – several times Miss Swaffham/Miss West Norfolk (but never successful on the County stage which is dominated by girls from Norwich). Now playing pubs as the Wiverton Belle (note the only geographical note that slightly niggled me is that Wiveton is to the East of Dereham which correctly is seen as the midpoint of Norfolk), she decides one evening in Swaffham to do a parody skit about West Norfolk needing its own independence – to her shock her satire is taken seriously and she finds herself head of a growing independence movement which is coupled with increasing mutual resentment between the thriving East and the not-thriving West, the posing of the equivalent of Tam Dalyell’s West Lothian Question, and further complicated when Graham Murray finds that mixing Fanta with Hunstanton carstone produces huge quantities of a rare earth. Poppy is the most impressive character in the novel – whereas others are happy to take advantage of circumstance, she ultimately sticks to her conscience and challenges the very essence of nationalism and separatist movements.
Overall this is a novel which manages to captures lots of local colour, is humourous and engaging and works really well as a satire of separatism (it would make very uncomfortable reading for any SNP fan) both by happily admitting the contradictions, hypocrisies and hatreds in most separatist cases (Brexit is an implicit target also) and by taking separatism to its extreme (the book ends with a man declaring he is his own independent state).
This book was recommended to me (and a wider group of Booker longlist survival victims) by jcgreens_reads from Bookstagram.as a thoroughly solid, careThis book was recommended to me (and a wider group of Booker longlist survival victims) by jcgreens_reads from Bookstagram.as a thoroughly solid, carefully crafted and deeply enjoyable read after all of the debates over the merits of the longlist and shortlist choices.
The opening chapter has Jacob Hampton on guard duty by a frozen river in the Korean War, terrified but reflecting on his wife Naomi back in North Carolina, four months pregnant when he was conscripted, and how, in light of the implacable hostility of his parents who opposed his marriage, how he had to rely on a similarly aged friend Blackburn (a caretaker at the local graveyard) to look after her. He is attacked by a North Korean who he manages to kill after a fierce struggle and only the thought of Naomi and his soon-to-be-born baby prevents him immediately succumbing to his own serious wounds and the all-enveloping cold, although he falls into unconsciousness.
Returning to Jacob’s home town, we see that Blackburn (part crippled and with a distorted face due to a polio attack when he was younger) has grown close to Naomi. She insists on them visiting the cinema in the local town, where she is still looked down on as a common but failed – Jacob was disinherited - golddigger for luring away the only surviving child of the Hampton family. A resulting confrontation with Jacob’s dad leads Naomi to flee the town (and the small house she and Jacob have been doing up on their limited funds) leads her to travel back to her widowed and rather bitter father’s farm.
When a telegram comes for Naomi telling of Jacob’s fate in the war, the local telegram master (with the same loyalties as the rest of the town) compromises his legal duty by taking it first to Jacob’s parents, who see it as an opportunity to for a plot whose repercussions then reverberate among all of the protagonists for the remainder of the novel.
I found this overall a very impressive novel and everything it was billed to be. It starts as something of a war adventure, takes a brief turn into psychological thriller before settling down into its real purpose and strength as a profound interior study of love and loyalty.
The characters are all drawn really well – the author is I feel particularly strong at drawing out internal and external conflict and mixed motifs across all of them. From the eponymous hero of the book (Blackburn), to the apparent villains (Jacob’s parents) all the characters are presented in a way which helps us to see both the past hurts that lead to some of their decisions and the dilemmas that they face over their future actions.
So for example at the same time we – and other characters - see Naomi as more thoughtful and far more in love with Jacob than her reputation allows, we also know that her first reaction on Jacob’s proposal was to boast of the dresses she could buy and money she could spend. And Blackburn very much a sympathetic victim and loyal friend, has his own gentleness broken under provocation and starts to query whether his own previous lack of violence was more due to circumstance than character. And with Jacob’s parents we have to place their seemingly terrible actions against their quiet but life-saving generosity during the Great Depression, and their tragedy with their two daughters struck down with flu.
The writing is also very strong – in particular the changing seasons at the graveyard as seen in the sections where Blackburn is the main protagonist, and the way that he legendary Ghost Lights of North Carolina are integrated in to the text is well done (and as importantly not over-laboured).
Recommended – I think this will appeal to fans of books like “Zorrie”.
My thanks to Canongate for an ARC via NetGalley...more