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Human Flaws Exposed: Dazzle Patterns

12 Monday Nov 2018

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Review: Dazzle Patterns, by Allison Watt
Freehand, 2018. 339 pp. $22

Clare Holmes works in a glassworks in Halifax, Nova Scotia, in 1917, a port city that buzzes with wartime traffic. Living in the big town instead of on her parents’ farm has provoked a constant, simmering conflict with Clare’s controlling mother, Ada. But Clare has plans that Ada would never dream of. The young woman is saving up for her passage to France so that she can become a Red Cross nurse and be near her soldier fiancé, Leo.

However, when a ship blows up in the harbor, the blast destroys the glassworks and a swath of town, leaving many dead. The consequences for Clare are severe and cascading. Not only does she lose an eye, which means Ada grabs her and brings her home; Clare worries that Leo won’t want her anymore; and, worse, the post-traumatic stresses sap her desire to live. Her friends hold out hope that she’ll be able to return to the glassworks, but her job there involved checking the product for flaws, and the boss isn’t the only one who doubts she can manage that with only one eye. It’s a nice twist, the flaw-checker who feels — and is — damaged herself. And she becomes so aware of her imperfection that she can hardly get out of bed, let alone function.

But Clare is nothing if not independent-minded, and Watt has put her protagonist’s inner life on vivid display. Overcoming her disability literally means Clare has to develop another way to see the world in perspective; and when you read that she takes up drawing, the metaphor gains breadth. But her adaptation of course involves how she sees herself, and this is my favorite aspect of Dazzle Patterns. Where once Clare defined the future as being Leo’s wife, or, more immediately, staying out of Ada’s clutches and becoming a nurse, she now takes a larger view. It’s as if Clare’s loss and necessary compensation for it have let her grow in unforeseeable ways, to extend the metaphor even further.

Watt’s at her best when the narrative stays in Halifax. She portrays the home front and all its fears and prejudices with a sure hand, as well as the boarding house Clare lives in, the glassworks, and the horrific aftermath of the explosion. Here’s the destruction recounted through the eyes of Fred, a glassblower whom Clare later befriends:

Walking back to his rooming house Fred saw houses fallen in upon themselves, charred like abandoned bonfires, or burnt completely away, only the chimneys flooded with black puddles of ash and snow. Standing houses stared blank-eyed, all their windows gone. Telephone poles tilted. On the street, a breadbox, a school bag, a woman’s evening shoe, black patent with a pointed toe and a velvet bow. At the corner of Agricola and West Street, Fred brushed the snow off and righted an empty baby carriage.

But I think Fred’s less successful than Clare as a character. Watt makes him a prewar German immigrant, which allows her to evoke the jingoistic suspicion of an “enemy alien” who is actually a naturalized Canadian. I like the theme and how Watt plays it, but Fred’s a bit too good to be true, as if the chief victim of the narrative must be a paragon.

Leo’s more believable as a person, but what happens to him, less so. He’s a sapper, assisting the engineer officer who tunnels under German lines. Watt’s depiction of that rings true. But the narrative fudges on what the Western Front looks and feels like, and other details are simply inaccurate. Most critically—and I don’t want to reveal too much–Watt fails to consider what a civilian’s possession of a firearm in a war zone can mean, as in getting the entire village put up against a wall. Moreover, that entire setup seems designed to alter Leo in convenient ways, whereas leaving him as he was, though messier, would add depth and conflict.

Finally, I hope that what I read is an uncorrected proof — although it doesn’t say so — and that a proofreader will catch mistakes like the constant misspelling of Fred’s German name, and the typographical and grammatical errors that crop up.

Still, I enjoyed Dazzle Patterns. The story is compelling, Watt tells it with brio, and has provided a heroine worthy of your time and attention.

Disclaimer: I obtained my reading copy of this book from the publisher via Historical Novels Review, in which this post appeared in shorter, different form.

Internal Medicine: The Winter Soldier

05 Monday Nov 2018

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Review: The Winter Soldier, by Daniel Mason
Little, Brown, 2018. 319 pp. $28

In 1915, war sends Lucius Krzelewski, a third-year Polish medical student, to a regimental hospital somewhere on the Polish front. But what that sounds like bears no relation to what he finds there — he’s the only doctor, aided by a single nurse and three orderlies, and they toil inside a dark, dank, freezing church whose roof has a large hole in it. They have no x-ray machine, laboratory, or hospital beds, and though they have fairly steady supplies of dressings, carbolic, morphine, and chloral, the emergency medicine is far from anything Lucius has ever heard of. In fact, he’s hardly ever touched a patient, his training having consisted of rote memory and recitations. He does possess an extraordinary internalized representation of what the human body looks like beneath the skin, and his diagnostic instincts are very sharp. Unfortunately, what matters now is how quickly and effectively he can perform amputations.

However, Sister Margarete, the nurse, is there to teach him, and he proves a quick study. Not always quick enough for her taste, to be sure — she has a sardonic way of observing formalities that tells him she knows more about his inexperience than she’s letting on. She also senses his social unease, though not its cause, a stuffy, aristocratic upbringing:

He wondered if he had grown up in another time or place — among a different, silent people, his unease would never have been noticed. But in Vienna, among the eloquent, where frivolity had been cultivated into a faith, he knew that others saw him falter. Lucius: the name, chosen by his father after the legendary kings of Rome, itself was mockery; he was anything but light. By his thirteenth birthday, so terrified by his mother’s disapproval, so increasingly uncertain of anything to say at all, his unease began to appear in a quiver of his lip, a nervous twisting of his fingers, and at last, a stutter.

Ever since then, Lucius has seldom been able to talk to anyone easily, unless it’s about medicine, for which he has that preternatural, internal feel. It is his life raft, his hope, his balm for what ails him, a malady he cannot diagnose. Yet he can talk to sister Margarete. That in itself is astonishing, for she belongs to the Order of Saint Catherine of Siena, speaks about lice in biblical phrases, and has been known to withhold painkillers from patients who try to trespass certain boundaries, a mistake they don’t make twice.

Yet this formidable, utterly correct angel of mercy isn’t all she seems, any more than Lucius is, which may explain the growing, unspoken attraction between them. The jacket cover typically tells too much, so I advise against reading it, but this much I’ll say: The arrival of a soldier suffering acute shell shock provides a defining moment in the narrative.

And those hospital scenes are terrific. Mason is not only an exceptionally accomplished novelist, he teaches psychiatry. You sense that his portrayal of psychological battle trauma, terse and stripped-down as it is, is all the more authentic, without a trace of the theatrical. Likewise, his depictions of incompetence, class-consciousness, bitter ethnic rivalry, and utter disarray within the Austro-Hungarian Army ring absolutely true. There’s a brief battle scene (which, though vivid, seems a bit contrived), but Mason’s more concerned with suffering behind the lines and what people can and will do when they are pushed far enough. Only in those circumstances can Lucius see his shortcomings and capacities, which is why, despite the intense cruelty, pain, and heartache, his experience transforms him. Internal medicine, indeed.

Where The Winter Soldier troubles me is toward the beginning and the end. Once Lucius sets eyes on his so-called regimental hospital, the forward narrative pauses for forty or so pages to recount his upbringing and education. It’s interesting, mostly, beautifully written, and often darkly funny, yet I found myself saying, Oh, come on, already. Does the novel need all of this material, and must it come right there? I invite you to decide, as with the ending, not all of which seems entirely credible to me.

But The Winter Soldier is an excellent novel, an unusual tale of romance and coming of age, set against an equally unusual portrayal of war.

Disclaimer: I obtained my reading copy of this book from the publisher via Historical Novels Review, where this post first appeared in shorter, different form.

The Sussex Ghost: Lost Among the Living

18 Monday Jun 2018

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Review: Lost Among the Living, by Simone St. James
NAL, 2016. 318 pp. $15

For three years, Jo Manders has struggled with the loss of her husband, Alex, who flew for the RAF, and whose airplane crashed in German territory in 1918. The verdict of missing, presumed dead leaves her in limbo, which is painful enough. It also leaves her without a widow’s pension, which poses financial hardship, especially since she pays for the institution where her psychotic mother resides. (Her father, she never knew.) So when Alex’s aunt, Dottie Forsyth, offers Jo a position as a companion, the distraught young woman gets rid of nearly all Alex’s belongings and accepts.

Airco D.H. 9A, part of the infant RAF, ca. 1918 (courtesy WIkimedia Commons, public domain)

What she hasn’t reckoned on is how difficult Dottie is and how impossible to talk to. She calls Jo “Manders,” as if she were a servant rather than a relative by marriage, and denies any emotion, as if it were the influenza pandemic revisited. There’s also the matter of Alex’s late, mentally disturbed cousin, Frances, who died plunging off the roof of the Forsyth manse in Sussex, at age fifteen, during the war. As happens with such tragedies among the gentry, rumors fly in town about the dead girl. To wit: She’s still alive, kept in chains, goes one story. No; she’s dead, and her ghost haunts the woods, scaring children who play there. Or it’s Frances’s dog that does the haunting, a monster more like, that can tear a human into pieces — and did so, once.

Lost Among the Living therefore sounds like Jane Eyre meets The Hound of the Baskervilles. If you like, you can throw in Daphne Du Maurier’s Rebecca, because of Jo’s employment as a companion, and because her married name resembles Manderley, the mansion in that story. So the novel under discussion here evokes famous literary bloodlines, which implies a responsibility. In large measure, St. James meets it.

Normally, I avoid Gothic fiction because so much of it relies on melodrama. I also have no patience for the supernatural or paranormal or whatever euphemism you want to use for ghosts playing field hockey in the attic. So how did Lost Among the Living rope me in and keep me reading?

Easy. St. James is a very skilled novelist, and her psychological insights, gift for characterization, and descriptive pen need no doors slamming by themselves to create suspense. She’s not afraid to linger on emotional transitions, and because she keeps the reader engaged, the narrative still moves at an enviable clip. From the first, she draws you in, creating Jo as a sympathetic character. Consider this early passage, when the young widow thinks about what returning to England will mean after she has spent a dreadful three-month tour of the continent with Dottie:

I tried to picture primroses, hedgerows, and soft, chilled rain. No more hotels, smoke-filled dining cars, resentful waiters, or searches through unfamiliar cities for just the right tonic water or stomach remedy. No more sweltering days at the Colosseum or the Eiffel Tower, watching tourists blithely lead their children and snap photographs as if we’d never had a war. No more seeing the names of battlefields on train departure boards and wondering if that one — or that one, or that one — held Alex’s body forgotten somewhere beneath its newly grown grass.

We get grief, hoping for the relief she senses she won’t have, and the endless drudgery she’s suffered the past three months and fears will recur–all of it subtly rendered.

As a first-person narrator, Jo is naturally the deepest character, but her memories of Alex bring him alive, and Dottie comes through in all her hideous glory without being a cartoon. I’m particularly impressed that when Jo receives a terrible shock, she doesn’t immediately do a one-eighty to accommodate the change but fights it, internally and externally, creating tension. So many suspense novelists, or those of any stripe, devote a paragraph, a summation, to “explain” why and how the protagonist must “face facts” and do what they’d never wanted to do. Not here. Call this novel Gothic or whatever you like, but these characters have inner lives. That’s the reason it doesn’t even matter that I guessed what changes were coming; the real surprise is how Jo deals with it, which feels real.

This is why I could swallow Frances’s spectral presence in the story. I would have preferred otherwise, and I believe it was unnecessary — indeed, the mystery element she adds could have come from perfectly uncontrived, utterly earthbound sources. But that’s the author’s style, and she has a wide readership, so she knows better than to listen to me.

However, I do think she overreaches in the last fifty pages, setting up a final confrontation that again is no surprise and whose mechanics are hokey, completely unlike the rest of the novel. To repeat myself, I think St. James could have written the ending another way, so the choice seems more like holding up a banner for her genre than to achieve the desired conclusion. Still, I’m glad I read Lost Among the Living. Maybe you’d like it too.

Disclaimer: I obtained my reading copy of this book from the public library.

Murder Jambalaya: King Zeno

11 Monday Jun 2018

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Review: King Zeno, by Nathaniel Rich
FSG, 2018. 386 pp. $28

During the final year of the First World War, three narratives and a hell of a lot of dead bodies converge in New Orleans. The main story line belongs to Isidore (Izzy) Zeno, the best young cornet player no one’s ever heard of, who believes he has a new style of jass, as it’s then called, but can’t get gigs. To make ends meet, he aids a friend who’s a stickup artist, but the risks are far greater than the rewards, and that sort of sideline is destined to cause trouble.

Then there’s Bill Bastrop, a police detective assigned to deal with the stickups but switches to homicide detail when a friend and mentor on the force is killed one night in a setup. That, in turn, leads Bill to probe the rash of ax murders that the dead detective was investigating. However, Bill can barely hold it together, suffering from what would today be called post-traumatic stress from his wartime service. He received a hero’s acclaim, but he knows he’s a coward, and he lives with it every second. How Bill managed to be released from the army with the war still going on is a mystery itself. But suffice to say that he’s miserable, obsessed with breaking a case that will redeem him in his own eyes, for which he neglects the wife he loves.

Finally, there’s Beatrice Vizzini, a widow from an underworld family who wants to leave the “shadow business” and go straight. To that end, she’s managing the effort to build a canal that will split New Orleans in two and, the city fathers hope, restore the port to its erstwhile glory. Her sociopathic son and heir, Giorgio, may have other ideas about her business strategy, and to say he’s a loose cannon is an understatement.

New Orleans shantytown during the war years (courtesy National Library of Medicine via University of Michigan)

Meanwhile, with all that, influenza ravages the city, so plenty happens in King Zeno. Too much, in fact, and it burdens the novel. The three narratives coincide only toward the end, when it takes a fair amount of contrivance to make that junction. The mystery hardly qualifies as a puzzle, for the solution is pretty clear early on, though the bodies keep piling up, in the streets and at the canal excavation site. The Vizzini narrative, easily the weakest of the three because the characters are neither engaging nor sympathetic, could drop out entirely. That would also remove the tendentious, thematic passages in which Rich tries to convince you that the canal is a metaphor that links this narrative to the other two. I don’t see it.

What King Zeno does have going for it is the atmosphere of New Orleans. You get the mosquitoes, the heat, the wealth alongside poverty, the racism, sainted past that was never glorious. The vigorous prose lets you hear the music, too:

Isidore pressed the cornet to his lips and the old chemical combustion — oxygen plus metal times flesh — blew everything else out of his head. He’d heard other players describe performing as a jubilant mindlessness, a physical sensation as ecstatic as sexual euphoria, but that wasn’t quite right. He used his mind too, running through scales the way Mr. Davis at the Waifs’ Home had taught him, calculating fourths and fifths; adding crooks, slurs, and drags; scanning ahead four bars in anticipation; posing and, within milliseconds, resolving questions of harmonic density, chordal patterning, and understructure…

More importantly, the narrative conveys implicitly the crime and corruption that pervade every human interaction, the fear with which African-Americans cope constantly, and the subterfuges they must embrace. For instance, Izzy may not visit his wife, Orleania, except in secret, for she’s a live-in nanny in a white home. Even to try is dangerous, for security guards patrol the streets, looking to abuse people they consider interlopers.

Izzy’s story therefore makes gripping reading, as does Bill’s, often, but only as separate entities. As a whole, King Zeno doesn’t feel like a satisfying literary dish as much as a jambalaya of varied flavors. Some stand out, some I can do without, but they don’t go together.

Disclaimer: I obtained my reading copy of this book from the public library.

Awakening in Egypt: Dreamers of the Day

14 Monday Aug 2017

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Review: Dreamers of the Day, by Mary Doria Russell
Random House, 2008. 249 pp. $15

Agnes Shanklin, a forty-year-old Ohio schoolteacher, knows she’s ugly, drab, incompetent, ungrateful, unworthy, and just about un-everything else. How does she know this? Why, her sainted mother, may she rest in peace, told her so every day, and Mumma’s voice still resounds in Agnes’s head every time the still-dutiful daughter dares call a thought her own.

But it’s 1921, and the influenza pandemic that has killed even more people than the First World War has set Agnes free. Her entire family has died, including Mumma, which results in a financial windfall–three estates to inherit–but, most important, nothing to stop Agnes from learning what life can be like when nobody’s degrading her. On a whim–a new experience in itself–she shops in the fanciest department store in town and manages to hold off the maternal yammer in her ear while she acquires a bob haircut and an up-to-the-minute wardrobe. Thus equipped, she decides to expand her horizons and take a vacation, another first. Her destination is Cairo, and her only companion will be her dachshund, Rosie.

Egypt might seem an unusual destination for Agnes, but she recalls, with excitement, a lecture she attended about Lawrence of Arabia. And it’s nothing short of wonderful that when she reaches Cairo, she meets the man himself–and Winston Churchill, Britain’s minister for the colonies, and Gertrude Bell, the famous Arabist and traveler in the Middle East. They’re in Cairo to negotiate an agreement ancillary to the Treaty of Versailles that will redraw the map as we essentially know it today. Agnes, at first abashed to be in such august company, gradually scrapes her confidence together and contributes to dinner-table conversation about colonial politics, crossing swords with Churchill and Bell.

Lowell Thomas’s 1919 photo of T. E. Lawrence (courtesy Wikimedia Commons; public domain in the U.S.)

That description illustrates the charm with which Russell has imbued Dreamers of the Day. In the abstract, it seems completely implausible that an Ohio schoolteacher could crash a diplomatic party, let alone be welcomed into its midst, yet Russell makes that work. There seems no reason to doubt that when their paths cross at the best hotel in town, Agnes will be swept up into dinner parties and social excursions. What’s more, I love Russell’s characterizations of the diplomats, especially that of Lawrence, who comes across as more sensitive and thoughtful by half than anyone else there, and believably so. Russell says she’s let the famous characters speak the words they wrote or were ascribed to them in multiple sources, and I believe that too.

The best historical novelists render the period through their characters’ internal lives so that you can practically breathe the atmosphere on the page. So it is here, from the second paragraph:

You must try to feel the hope and amazement of those years. Anything seemed possible–the end of ignorance, the end of disease, the end of poverty. Physics and chemistry, medicine and engineering were breaking through old boundaries. In the cities, skyscrapers shredded clouds. Trucks and automobiles were crowding out horse-drawn cabs and drays in the boulevards below. The pavement was clean: no stinking piles of dung, no buzz of flies.

However, this viewpoint also demonstrates the chief weakness of Dreamers of the Day. The sense emerges both between the lines and in them that Agnes realizes what the future will hold, a dramatic irony that needs no emphasis, since the reader already knows that the diplomats failed utterly to create peace in the Middle East. Her uninformed skepticism, especially balanced against the more optimistic views of Bell and Lawrence, sounds forced and artificial. The “hope and amazement of those years” might have served Russell better in Agnes’s mouth.

Russell compensates somewhat by letting Agnes fall in love with a man who may or may not be a German spy. Karl offers a political counterpoint to the Brits, but he also shows her attention and kindness and even tells her forthrightly that Mumma doesn’t sound very nice at all. I like this part and wish there had been more of it, for Dreamers of the Day works best when the politics share the narrative rather than overwhelm it.

That’s why I don’t understand the last chapter, which drops into magical realism, a mode I dislike and one at odds with the book. It’s there, I think, to allow Agnes to soapbox about subsequent politics–another no-no–when the real story ends in Cairo.

Not only that, but as someone who admires Russell’s skill and diligence, I’m startled that she cuts corners about Gallipoli, Churchill’s great failure. I like her take that Churchill was a such a narcissist, he’d never miss a chance to rehash the campaign and exonerate himself. But the scene relies on so many historical inaccuracies, he sounds like an ignorant fool, and that’s plain wrong.

So I think that, unlike Doc, which I reviewed in these pages and liked very much, Russell gets ahead of herself in Dreamers of the Day; despite some fun bits, it doesn’t quite come together.

Disclaimer: I obtained my reading copy of this book from the public library.

Death and Taxes: We That Are Left

31 Monday Jul 2017

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Review: We That Are Left, by Clare Clark
Houghton, 2015. 450 pp. $28

What a marvelous bunch these Melvilles are, minor Hampshire aristocracy who keep the new twentieth century at arm’s length. Sir Aubrey Melville, Bart., cares for nothing except his estate, Ellinghurst, whose manse is an architectural oddity, and whose three-hundred-year history he’s been writing forever. As for Lady Melville, if snobbery were a lethal weapon, she’d have as much blood on her hands as Jack the Ripper. The Melville children–Theo, Phyllis, and Jessica, in descending order–know her as Eleanor, the only intimacy she allows them, though Theo occupies a throne in her heart. Phyllis has withdrawn from the family in favor of books, angering Jessica in particular, who craves excitement and dotes on Theo, a selfish, mercurial bully who likes nothing better than to take horrifying risks and push others to do likewise.

The lonely sailor trying to stay afloat in this maelstrom of dysfunction is Oskar Grunewald, a fatherless young boy, son of a family friend. When in the Melville children’s company, he’s either ignored or targeted for abuse, just as he is at school. But you know he’ll be the hinge on which the narrative turns; the typically pointless prologue tells you so. And you also know, because of the title, the year the real action begins (1910), and an epigraph dating from the First World War, that the Melvilles are in for it. We That Are Left evokes a familiar theme in fiction, Edwardian gentry struggling to understand–or, more accurately, refusing to understand–that they’re dinosaurs. Untimely death and estate taxes will destroy their way of life, but more than that, unavoidable social changes are coming, and their cosseted world will never be the same.

Punch cartoon satirizing the changes in women’s dress, 1901-11, published in the U.S., 1921 (courtesy Wikimedia Commons; public domain in the U.S.)

But if this message sounds familiar, as narrated in, say, Philip Rock’s Passing Bells, Clark goes much deeper. Her characters live what they say and believe, so that you never feel they’re talking heads, a collection of opinions. With one exception, Clark reveals their inner lives so naturally and vividly that in understanding them, you see their milieu and its ferment as clearly as if you were standing there. And since most of her characters other than Oskar are disagreeable, it’s a rare feat to make them compelling, let alone to stretch their story to 450 pages and keep you riveted. How does she do this? One passage, from Oskar’s perspective, gives a glimpse:

It was as if the nerves in him had been magnetised, irresistibly drawing sensation to his eyes, his lungs, his brain, his skin, until the intensity of it was almost too much to bear. He walked along the familiar streets in a daze of seeing, overcome by the greenness of the lawns and the blueness of the sky and the perfect pewter gleam of the cobbles beneath his feet, struck time and again by the loveliness of things he had somehow never noticed before: the round glass panes in an overhanging upper window like bottoms of bottles, the splintery grey grain of a warped medieval lintel, the straining neck and gripping claws of a pockmarked gargoyle clinging for dear life to a narrow ledge, its mouth stretched wide and its veined wings raised and half-opened, ready for flight. He had not thought the world so full of ordinary marvels.

Oskar’s in love, of course. But Clark never has to tell you that; she renders a primary emotion in its full physical intensity, without any mention of rapid heartbeat or breath. (That Oskar’s studying physics accounts for the metaphors about magnetism and colors.) I admire this artistry very much, which goes far beyond use of prose, and certainly not the kind that explodes like fireworks or calls attention to itself, which Clark’s doesn’t anyway. Rather, I enter Oskar’s mind and heart, just as I do those of the less sympathetic characters like Jessica, who’s selfish, spoiled, and manipulative. I don’t have to like her, but I can see her point of view and care about how she learns about life.

That said, not everyone will sit still for a long, character-driven novel, especially one that takes fifty pages to get going. There’s too much talk of theoretical physics, which, aside from being technical, rather too baldly fits the theme of the laws of nature challenged. And though Clark stands above many authors I’ve read recently for her gift at writing character, she’s taken shortcuts with Eleanor, who’s got little to show except her obsessive love for Theo, her only boy. It’s also startling that the ending, though prefigured by the needless prologue, feels like an improbable reversal, almost Dickensian in content, and melodramatic besides.

Even so, I enjoyed We That Are Left and learned something about writing novels.

Disclaimer: I obtained my reading copy of this book from the public library.

Child Love: The Light Between Oceans

24 Monday Jul 2017

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Review: The Light Between Oceans, by M. L. Stedman
Scribner, 2012. 343 pp. $25

Tom Sherbourne returns to his native Australia after the First World War deeply disturbed by what he saw and did and seeking solitude. He has nothing and no one to hold onto, and he finds what he thinks is the perfect job, tending a lighthouse on a forlorn island off the Australian coast. There, no one will ask him about his past, and his exacting, meticulous duties will keep him busy for the months that stretch between brief shore leaves.

Tom wonders why he survived the war when so many others didn’t or came home physically or emotionally maimed. But that’s not the only trauma to trouble his dreams. His mother left home when he was a young boy–or did his father, a cold tyrant with no access to any feelings except anger, throw her out? Either way, both have passed from Tom’s life, and his brother Cecil, the favored son due to inherit the family business, is equally unapproachable in Tom’s eyes, though it’s not clear why. But it’s enough to know that Tom Sherbourne has no family to speak of, or to.

Supplies being unloaded for South Solitary Island lighthouse, Australia, 1946, unknown photographer (courtesy Wikimedia Commons, public domain)

However, on shore leave, he meets Isabelle Graysmark, a spirited, adventurous young woman, and they’re immediately attracted. Tom, much older and badly bruised, distrusts the vulnerability where tender feelings lead, and she practically has to convince him to marry her. He dares hope that Izzy will be his reward, however undeserved, for having survived a miserable childhood and the war. For her part, Izzy believes implicitly that she couldn’t have found a more loyal, steadfast, and loving husband, or a more nurturing father for their children. She only wishes he’d tell her what happened to him before they met.

To their delight, Izzy becomes pregnant almost immediately but miscarries–and again, and again. Each time, she blames herself, and what’s worse, she can’t understand his reaction. He aches for her, he’s sad and sorry, but he’s not devastated for himself. He cherishes their lives together as the first tenderness he’s ever known, a gift that many soldiers serving under him never got the chance to receive. He understands what she doesn’t, that life is often unfair, and that there’s no malign intent involved or blame to pass around, only bad luck and circumstance. But Izzy thinks his gratitude for what they have means that he’s cold and hurtful, incapable of feeling. And one night, when a rowboat lands near the lighthouse carrying a dead man and a young infant, the Sherbournes make a desperate decision that will mark their lives and others’.

The Light Between Oceans is an accomplished novel, and Stedman’s first. At its best, the narrative touches the lyrical and depth of insight and makes them one. Consider Tom’s first view of the island, before he meets Izzy:

Hundreds of feet above sea level, he was mesmerized by the drop to the ocean crashing against the cliffs directly below. The water sloshed like white paint, milky-thick, the foam occasionally scraped off long enough to reveal a deep blue undercoat. At the other end of the island, a row of immense boulders created a break against the surf and left the water inside it as calm as a bath. He had the impression he was hanging from the sky, not rising from the earth. Very slowly, he turned a full circle, taking in the nothingness of it all. It seemed his lungs could never be large enough to breathe in this much air, his eyes could never see this much space, nor could he hear the full extent of the rolling, roaring ocean. For the briefest moment, he had no edges.

It’s a good novelist who can make beautiful sentences draw the reader into a character’s inner life without calling attention to themselves. And in focusing her characters on the most primal attachment, that for a child, Stedman evokes tremendous power from a relatively simple story. I say relatively because she requires more coincidence and suspension of disbelief than I like, but once you get past that, there’s no denying the passions or the moral issues involved.

I have a harder time getting around Izzy’s character. I like how the spontaneous girlishness hides other, dangerous levels, but–without giving away too much–I think she becomes unglued, and by the time I finished the book, I didn’t like her much. Liking a main character isn’t requisite, but I wanted to feel more sympathy for her than I did, and I might have, had she struggled with the momentous decision that drives the narrative or consider how it might affect someone else. Instead, she sets her mind and seldom thinks about it again–refuses to, even.

All the same, Stedman’s a very good writer, and The Light Between Oceans will make you think.

Disclaimer: I obtained my reading copy of this book from the public library.

Two Young Men: Valiant Gentlemen

08 Monday May 2017

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Review: Valiant Gentlemen, by Sabina Murray
Grove, 2016. 489 pp. $27

This superb, engrossing novel derives much of its considerable charm from a rare feat. Valiant Gentlemen explores utterly serious subjects with insight and compassion, yet the author doesn’t take herself too seriously, nor do her characters. And this must be intentional, because when one character begins to look too hard at his reflection in later life, this shift marks his downfall.

The three stars in Murray’s constellation are Roger Casement, Herbert Ward, and Ward’s wife, Sarita. All three were historical figures, and Casement is particularly significant, a man who campaigned against colonial abuses in Africa and for Irish independence. If you’ve heard of him, you’ll almost certainly know his tragic end; but in this book, the journey counts more than the destination, so don’t let that deter you. (That said, skip the jacket flap, a hodgepodge that accomplishes nothing except to blab what should be withheld and hide what should be revealed.)

Herbert Ward, left, and Roger Casement, as young adventurers in the Congo in the late 1880s (courtesy Wikimedia Commons)

The journey here begins in the Congo in 1886, where young Casement and Ward meet. Both are looking for gainful employment and adventure, but since the work pays little, adventure keeps them going. At first, they toil for King Leopold of Belgium and his so-called International Association of the Congo, but then for British trade interests, both of which carry political consequences. However, at this point, those considerations still percolate below the surface. Ward, a former circus acrobat, seasoned traveler, dead shot, and gifted sketch artist, is at heart a deeply lonely man who wants to make good. Casement, a skilled linguist, brilliant organizer, charismatic, and possessed of boundless energy, is lonely too, but for a different reason. He’s homosexual, a fact he must conceal, and he’s hopelessly attracted to Ward.

I find Valiant Gentlemen irresistible, the African scenes especially, because I’ve lived in Central Africa and researched Leopold, his hireling Henry Stanley, and the colonial plunder of that region. So it’s a particular pleasure to run across names of peoples, places, and historical figures I haven’t seen in years, more so that Murray captures their essence. For instance, when Ward remarks of Stanley’s latest book that it’s full of bravado, Casement ascribes that to the “typical writing style of short, ill-tempered men.” Touché. And when Murray describes the weather, and its “usual blanket of heat,” she re-creates what it feels like to be in that place:

Casement might welcome rain, but that would transform the path into a river, which would, in turn, give way to a mud track. And the brief relief from the insect population that happens in the wake of these torrential downpours would only offer up the intense humidity that mosquitoes love so well. One discomfort merely exchanged for another, which makes the absence of choice about such things almost tolerable. Or at least promotes a philosophical stance regarding his lack of control.

The two men’s paths diverge, as each gets what he’s been looking for. Casement sets his sights on becoming British consul in one African colony or other, and Ward leaves Africa and gets married. His bride is an Argentinian-American heiress, so you may well ask how a penniless, erstwhile acrobat manages to attract her and earn her father’s consent. But I won’t tell you, except to note that Sarita Sanford is a woman ahead of her time and says what she thinks. When two such irrepressible spirits meet, the results are bound to be hilarious.

The marriage gives Ward what he’s always wanted, respectability. But, unlike Sarita, he calls that an end in itself, the mirror-gazing I referred to above. She’s less conventional than he, perhaps because she recalls her early girlhood, and what it was like to be poor, differently from how Ward holds onto his past and a father who had only contempt for him. So he doesn’t quite know what to make of Casement the muckraker, who earns fame publicizing Leopold’s brutalities, a gripping subject that Murray handles with skillful economy yet raw power. Ward’s always happy to see Casement and drink with him–and the Ward children love their Uncle Roddie–but you sense the growing rift between the two old friends, and a betrayal in the wind. Sarita, meanwhile, understands Casement perhaps better than her husband, though the two men have a bond she can’t share. The First World War brings matters to a head.

Murray dazzles you without being self-conscious; it just seems natural. So it’s startling to come across phrases like “tipping point” or “I’m fine with that,” which I doubt were current in 1910, or careless errors, like council when the text implies counsel. All the same, I’m fine with unbridled zest and a bubbling, potent narrative; Valiant Gentlemen is a brilliant, magical book.

Disclaimer: I obtained my reading copy of this book from the public library.

South African Tragedy: Who Killed Piet Barol?

17 Monday Apr 2017

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Review: Who Killed Piet Barol?, by Richard Mason
Knopf, 2016. 362 pp. $28

Despite the title, this remarkable novel is no whodunit, unless you take the death implied in the title as a more symbolic accusation, in which case we’re all guilty.

Now that I’ve confused you thoroughly, let me explain. Piet Barol, last seen in The History of a Pleasure Seeker making his way in Amsterdam through roguish charm, has broadened his horizons and his debts. Styling himself a French viscount, he’s living large in Cape Town with his American wife, Stacey, a former opera singer blessed with charm and diplomatic cunning more than equal to his own. But the Barols’ furniture business is failing, partly because Piet can’t bring himself to collect what he’s owed, but mostly because they spend money they don’t have to keep up appearances. Things look desperate, especially as the year is 1914, and Europe plunges into war, which puts Piet in a bind. Had he represented himself truthfully from the get-go as a Dutch national, he’d be in the clear, since the Netherlands remains neutral. But as a French aristocrat, surely he should be fighting for la patrie?

The South African Native National Congress delegation to the British Parliament in 1914 tried unsuccessfully to reverse colonial land policy (courtesy historywiz.com)

So it’s altogether convenient that he disappear for awhile, and when he hears that there’s a forest full of high-quality wood available for the taking, he sees how he can restart his furniture business with practically no overhead. However, to find the wood and remove it, he must hire two Xhosa men, Luvo and Ntsina; and therein hangs a tale.

First of all, this is no ordinary forest, but one dating from the time of Jesus, fecund in its density:

The grove was almost a single being, so bound were its member trees to one another, and yet each was wholly individual. They had grown together from saplings and forged a union without conflict, free from betrayal and viciousness. In their crowns were gardens of fertile soil, several inches deep, dropped over centuries by passing birds. In these gardens earthworms wriggled, grown distinct from those that churned the forest floor. Their branches began thirty feet above the ground, and this refuge from predators made them desirable residences for all sorts of creatures that relished distance from the great cats.

The forest represents a society of interdependence, in other words, a metaphor for that which white colonists have set about destroying among the Bantu peoples whose land they have stolen. More specifically, the noblest trees serve a religious purpose for the Xhosa, who believe their ancestors reside within them, whereas Piet doesn’t even know that the trunks are as old as Christianity.

But Mason, who managed to make Piet a sympathetic character as an Amsterdam imposter, does so here as well. Not only does Piet befriend Luvo and Ntsina in a true sense and grow to trust them, he lets himself see things from their perspective and corrects his behavior accordingly. He also entrusts his young son, Arthur, to them so that the boy can learn the ways of the forest, which Piet correctly judges will help him grow into a man. That said, Piet nevertheless sets out to take the Ancestor Trees, and though he fully intends to compensate Ntsina and Luvo for the loss, he’s a plunderer. And his failure to stand up to Stacey, especially where his African associates are concerned, makes him a weakling.

Then again, the degree to which he comes to love and understand life in the wild frees him from many prejudices. It also releases the artist in him, so that the furniture he carves adopts African themes and is absolutely gorgeous. Morever, Mason takes care to show the village politics among the Xhosa, many of whom, in their own way, are just as rapacious as the colonials.

But in the end, you know that all this will go wrong, that the scale of destruction the white men wreak will be far greater than that of the black, and that only one side will profit. That systematic destruction answers the question of the title, and that’s why I said we’re all guilty for condoning or participating in the crime. But how Mason arrives at this conclusion makes a fine tale, and that he renders the Xhosa in ways that ring true is no accident. For a year, he lived among them in a tent, learning their language and culture, and establishing a center for green farming. Who Killed Piet Barol? is a worthy result, a wide-ranging discussion of morals and racial tensions, and a pretty good yarn besides.

Disclaimer: I obtained my reading copy of this book from the public library.

Destroyed by Desire: The Midnight Cool

20 Monday Mar 2017

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Review: The Midnight Cool, by Lydia Peelle
Harper, 2017. 359 pp. $27

Summer 1916, Richfield, Tennessee. Billy Monday and Charles McLaughlin, grifters who could smooth-talk just about anyone into buying a bridge, have rolled into town, normally a prelude to a quick deal and an even quicker getaway. But Leland Hatcher, the wealthiest man in Richfield–note the town’s (fictional) name–has advertised a beautiful black mare, The Midnight Cool, for sale. Charles, who knows horseflesh a little, has never seen so captivating an animal, and though he may be a vagabond, he decides he’ll have that horse. Billy, who knows people as well as horseflesh, is skeptical (and, by the way, note his name too, an ironic twist on Billy Sunday, a famous evangelist). What’s more, Hatcher’s daughter, Catherine, whom Charles meets by chance, tells him the horse isn’t worth his money.

But Charles is after more than the horse, something he realizes only when he tries to buy it. He wants to be welcome in homes like Hatcher’s, to ride in a car like his Pierce Arrow, and to be well thought of, as he supposes Hatcher is. But most of all, Charles wants Catherine, as captivating a young woman as he’s ever seen, though he assumes he’s not good enough for her. Wouldn’t you know, once Charles has sunk all the money Billy and he possess into The Midnight Cool, the horse throws and tramples Billy and must be destroyed. Naturally, the pair have to stick around in Richfield, so that Billy can heal and Charles can earn some money. Of course, that also gives him time to woo Catherine.

To his amazement, he succeeds more than he has any right to expect. Not only does Catherine respond, recognizing her own dreams of escaping Richfield in her new beau’s apparent freedom, he makes more money than he’s ever had before, and it’s even honest work. The British Army, fighting the First World War in French mud, has been buying American mules by the shipload. Charles scouts them out for a military contractor, and suddenly, the town worthies, including Leland Hatcher, begin to think of him as an up-and-coming young man involved in a righteous cause.

Unsung hero: a mule on the Western Front (courtesy warmule.org, via the National Library of Scotland)

But, as Billy, an Irish immigrant who’s fallen into many troughs on the waves of life, observes:

Caveat emptor, that was the first rule. The second was to never lie. Twist the truth, yes, hide it, decorate it, do what you would with it, of course, but you never looked a man in the face and opened your mouth and spoke an outright lie. You never knew when you might come through a town again, and you wanted to maintain a reputation.

Caveat emptor, indeed. Just as Charles has bought a murderous horse from an unscrupulous man (Hatcher drugged the horse so that she would seem docile), his other desires have blinded him too. He sees only the sympathy and attraction between Catherine and himself, not their differences; for starters, she’s a rebellious individualist, while he wants to fit in and be respectable. The mismatch between desire and personality repeats with all the other characters, save Billy.

Where many, if not most, novelists would focus on how people overcome obstacles to get what they want, Peelle’s more interested in how it hurts them once they have it. Hatcher does much worse than drugging horses, and he gets away with everything because he’s rich, but he’s also miserable. Peelle’s fascinated with power, which nobody uses well in this novel, and which always burns them. The reason that Billy lies outside this realm is that he wants what most people would consider little or nothing–only to see and appreciate life in its magnitude. Nobody can give him or deny him that, so he’s safe now, though of course, it wasn’t always so.

The Midnight Cool is a fine novel indeed, but reader, beware. As with Billy’s statement about telling lies and hiding truth, Peelle never lies outright, but she does hide things, sometimes in plain sight. I hate prologues, but I’ll make an exception here, because this one tells you what you need to know. Take it at face value, and if you keep going, you’ll be treated to a riveting, potent tale with characters whose inner lives are right out there. The Midnight Cool is a literary page-turner, what reverse snobs say is impossible, but trust me, Peelle’s an excellent storyteller, and her prose can be electric.

She does rely on one or two coincidences that might be predictable or predictably ironic or both, and she also shoves bits and pieces in odd places, so that you can learn how Billy and Charles met up and what keeps them together. But hell, nobody’s perfect. What I find more annoying are the cutesy mannerisms, such as the absence of quotation marks or the consistent use of alright instead of all right, which, though technically correct, strikes me as showing off.

All the same, Peelle has written something to brag about.

Disclaimer: I obtained my reading copy of this book from the public library.