The Book of Delights

The Book of Delights

By Ross Gay

The winner of the National Book Critics Award for Poetry offers up a spirited collection of short lyrical essays, written daily over a tumultuous year, reminding us of the purpose and pleasure of praising, extolling, and celebrating ordinary wonders.
In The Book of Delights, one of today’s most original literary voices offers up a genre-defying volume of lyric essays written over one tumultuous year. The first nonfiction book from award-winning poet Ross Gay is a record of the small joys we often overlook in our busy lives. Among Gay’s funny, poetic, philosophical delights: a friend’s unabashed use of air quotes, cradling a tomato seedling aboard an airplane, the silent nod of acknowledgment between the only two black people in a room. But Gay never dismisses the complexities, even the terrors, of living in America as a black man or the ecological and psychic violence of our consumer culture or the loss of those he loves. More than anything else, though, Gay celebrates the beauty of the natural world–his garden, the flowers peeking out of the sidewalk, the hypnotic movements of a praying mantis.
The Book of Delights is about our shared bonds, and the rewards that come from a life closely observed. These remarkable pieces serve as a powerful and necessary reminder that we can, and should, stake out a space in our lives for delight.

I am finding it hard to write a review. When I recall the book, I have a sense of remembered pleasure, but moreso than anything it engenders calm and peace. I find myself relishing inactivity, breathing in and out and content to be at rest. A lassitude and quietude. Which of course ruins any hope of productivity. 

The Book of Delights is a series of short essays on the delights of daily life which may occur to you if you simply open yourself. I feel as though they are something like secular homilies, although this description does them no service. It falls short of the talent Gay displays in the transcription of his ideas, the poet's talent for wordplay, for following thoughts like twining vines, up and over and out again.

Below is an entire excerpt from one such essay, which is probably not the best in the bunch, but serves since it is so short and still amusing:

When my brother and I were little kids, maybe nine and seven, one of the big kids (this description has almost none of the gravity it once did, when kids actually went outside unsupervised and uncoached and so the small ones would on occasion be thrown by the big ones into the sticker bush or dropped into a sewer for sport) caught us in the woods and pinched us on the backs of our arms until we cursed, which we adamantly and unusually for our neighborhood did not do. (I wonder, in retrospect, if we acted a bit superior due to our linguistic chastity.)

"Asshole!" we screamed into the woods behind the apartments. "Shitbag!" The tears making our faces shine as this big twelve-year-old twisted the meat on our arms. When we went home crying to our mom (my brother more from the pinching than the cursing, which I suspect he was glad for the excuse to do), she found the kid and read him the riot act, calling him a gutter mouth, telling him that Rossy and Matty are not going to be little gutter mouths like him, before telling him he would probably grow up to be a child molester. She was fucking his ass up. I remember him listening quite calmly, almost demure, calling my mother Mrs. Gay and suggesting he would not become a child molester. I think Tim was probably right, and was just in a  sadistic phase, not unlike my own at around twelve.

But mostly I offer this story as a kind of background against which to enjoy the easy way my mother described her granddaughter's, my niece's, third-grade teacher, who evidently could sometimes not be very nice to some of the kids, as a real dickhead.

 It feels like a rope, a hand stretching out to pull us from the despair and pessimism of These Times and remind us not to sink into depression but to remember the point of life and remember to enjoy what we may while we have it. It is like a small flower, growing amidst adversity, and with love, and hope, I am fortified against the hordes once more. 

01: A Book About A POC Experiencing Joy And Not Trauma

Person of Interest

Person of Interest
By Theresa Schwegel

Leslie McHugh is married to an undercover cop. She thinks she knows what it’s like to share her life with a man who spends his days living a lie, who keeps secrets for a living, who trusts no one, not even her. She can see the pressure, the fear, the pent-up rage, and, worst of all, the distance growing between them that Craig promised he’d never allow. But what does she really know? Lonely, tired, and starting to drink too much, she knows that their marriage is on the rocks because her husband lives a second life she knows almost nothing about.

When a thousand dollars disappears from their bank account, she wants answers, but before she can even ask the questions, their seventeen-year-old daughter, a real cop’s kid already on a collision course with trouble, turns up at the center of Craig’s investigation into a snitch’s violent death. Leslie’s had enough; she’s determined to get to the truth and protect her family---no matter what the cost.

If not for the Challenge, this would not only have been a likely DNF, but, if finished, would have been forgotten quickly, blending into a mish-mash of other mediocre police thrillers.  However, in writing these reviews, I get to memorialize a book which I cannot, in good conscience, recommend to anyone.

The book is narrated in turn by married couple Craig, a police officer investigating drugs in Chinatown, and his wife, Leslie, dealing with their terrible teenage daughter, Ivy (more on Ivy later). We get off to a rousing start with a fight between the two of them wherein Craig calls Leslie a bitch, and they don't seem to like each other at all. In their separate chapters we also get a window into all the ways they're both individually fucking up: Craig by immersing himself much more deeply into the investigation than his superiors would approve, spending his own money on an underground gambling den, and Leslie by falling for her daughter's theoretical boyfriend, Niko.

The police investigation is totally confounding and I'm not sure it's intentional. Apparently in-fighting between Chinese and Vietnamese gangs is important to the plot, but it's barely explained. I guess, ultimately drugs=bad, but why or how Craig losing money at the gambling table will unlock the whole case is never explained to my satisfaction.

There's so many bad decisions made by Craig and Leslie in the early chapters that you never really get on their side. They never become sympathetic, a critical failure of the book. Aside from Craig's stealing marital funds for an unsanctioned job (while calling his wife a bitch) Leslie decides that her drug dealing daughter's activities should be kept from Craig at all costs. So Ivy gets picked up from a rave, high and carrying ecstasy and Leslie's reaction is to cover for her, to the extent that she won't even mention to Craig that Ivy is grounded, in case he asks why (and she's incapable of lying about THAT, I guess).  Great parenting! When she's not doing that, she's flirting with her daughter's boyfriend, going to his jazz shows, and assuming Craig is having an affair (he's not).

Nevertheless, the book offers no real points of interest until Leslie is drugged, followed home, and violently raped. It's gruesome and comes out of nowhere and completely changes the tone of the book. Now Craig and Leslie are united against the rapist, whose identity takes up the plot of most of the last section of the book. Then, Craig kills him off-screen.  It's like Schwegel wanted the emotional payoff of a revenge sequence but because both of these characters are so unsympathetic for so long, mostly you're just appalled.  

In retrospect, I realized that while I checked the general ratings on Choi's A Person of Interest, I'd just read the blurb on Schwegel's book and assumed it would be a typical run of the mill procedural. I did not expect (more fool me) how... unpleasant it would be. You feel grimy and unhappy reading it.

And a minor quibble, after all that, but the title makes no sense. There's never really a "person of interest" in the book. At point Craig and Leslie call someone that, but (a) it's a lie and (b) this is like 90% through the book. Nor is there ever really an investigation into a snitch's violent death, as the blurb suggests. There is a death, about halfway through, but I'm not sure he's a snitch. 

And finally, *spoiler alert* I guess but did they ever explain how the bad guy (completely forgot his name since it's introduced at the very end) knows that Leslie is the wife of this undercover cop? It sounds like he and Leslie were both somewhat coincidentally in the club together and he took a chance to sow more discord and frame Silk, but how did he know Craig was an undercover cop when none of the people Craig was gambling with seemed to know? For awhile we think the rapist is Juan/Yuan, which makes sense that he knows Craig is a cop, but how does this other guy know Leslie is related to the case? Is it a plot hole, or do I just not care enough to pay attention? We'll never know.

38: Two Books With The Same Title

A Person of Interest

A Person of Interest
By Susan Choi

Professor Lee, an Asian-born mathematician nearing retirement age, would seem the last person likely to attract the attention of FBI agents. Yet after a popular young colleague becomes the latest victim of a serial bomber, Lee’s detached response and maladroit behavior lead the FBI, the national news media, and even his own neighbors to regard him with damning suspicion.

Amid campus-wide grief over the murder, Lee receives a cryptic letter from a figure out of his past. The letter unearths a lifetime of shortcomings – toward his dead wife, his estranged only daughter, and a long-denied son. Caught between his guilty recollections and the scrutiny of the murder investigation, determined to face his tormentor and exonerate himself, Lee sets off on a journey that will bring him face-to-face with his past – and that might even win him redemption.

Once again, complete ignorance strikes. I had no idea this book was broadly set around the Unabomber, so the references to the newfangled computer geniuses took me aback. I also had no idea that Choi almost won the Pulitzer, and had somehow not connected that she'd written Trust Exercise - a book which has been in my To Be Read list for years, but never attempted due to some reviews hinting at unhappy stylistic flair. If I had known, or remembered that, maybe I would have been better prepared for this. Ostensibly yes, about a mathematics professor who finds himself unfortunately entangled in an FBI investigation into the bombing of his neighboring office, it's much more a character study into someone  alienated from almost everyone in their life. It's not a thriller, it's LITERARY.

The problem you see, is while it's well written, we spend the beginning third of the book wallowing in professor Lee's painful reminiscence of the past, wherein he met and fell in love with his first wife Aileen (who happened to be married to a friend of his, and pregnant to boot), and she separated from her husband and then lost custody of the baby due to some immoral, if not strictly illegal, machinations by her ex-husband.

What should be a quickening pace is instead bogged down again and again by the intermittent forays into the past. And the author's writing style doesn't help. There's page long paragraphs composed of only one or two sentences, meandering but important, and frequently I would be finish a paragraph only to find I had read none of it, and have to return, unhappily, to follow more closely.  I'm sure no author is boo-hooing that their readers have to *gasp* actually focus on reading their books, but again, it makes the reading experience slow, repetitive, and unpleasant, which shouldn't be the case for a book as well written as this one.

If you don't understand what I mean, here's a sample:

But now that she was pregnant, the little dumb show, Gaither's penning of his letters in the kitchen where she would observe him and his cheerful reading of the paltry responses, had come to an end. It was true that she had mostly been in bed, and that Gaither had gotten the mail from the box when he came home from school and heated chicken broth in the kitchen, and washed and dried the bowls afterward. But she could easily see him relocating his correspondence from the kitchen to the lamp table next to their bed, perhaps directing a superfluous inquiry to her prone form: "Aileen, what was the name of those beautiful flowers you planted? I'd like to tell Mother." She could easily see him having added the most recent card from his mother to the tray that he brought her each evening and expressively reading his mother's few words while she struggled to eat. But Gaither had done neither. She knew that for him estrangement from his parents was painful, both for how unwanted a condition it was for himself and for the distress he assumed it caused her. She couldn't disabuse him of this latter notion without insulting him further, but the truth was that his estrangement from his parents did not upset her at all. It was easier for her than she imagined the opposite would have been: their pious embrace of her as a daughter, correspondence duties of her own, treks to their sterile home on Christian holidays. All of it intensifying unimaginably after a child was born. Gaither had once compared her, with what seemed to be uneasy admiration, to Athena sprung unsentimentally from Zeus' thigh, or maybe out of his head: neither of them could exactly remember the story. But Gaither's meaning had been clear, that even as a child Aileen was essentially parentless. Aileen's parents had been learned, mildly crusading, moderately well-off and extremely late-breeding; though when they finally had children, they somehow had six, of which Aileen was the last. Aileen's childhood had taken place in the time after her parents had acquired housekeepers and assumed an emeritus status, so that passionate attachment to that primal relation of parents to child and measuring of all subsequent relations against it were foreign to her. What she had were her siblings, numerous enough that they composed more a loose federation than a snug family. Some she had always shared an easy sympathy with, and others were so much older she'd hardly known them at all. With no one did she have an exceptional bond, as she might have if there had been fewer of them overall.

That is a single paragraph.

The book presents some interesting questions, which I believe are also used in her Trust Exercise book: when we inhabit a character's head, how can we trust what they're telling us?  You see it here, when, at the very end of the book, Aileen's sister tells Lee that his terrible temper is the reason Aileen was scared of him. We see some other characters allude to fights he had about various work issues - granting tenure, etc, but because Lee doesn't think he has a temper, these are all presented as harmless disagreements with colleagues. And there's certainly space for that to be believable, even as we see how little responsibility Lee takes for his other cantankerous activity.

I mean, any man who watches his wife lose her infant child and takes not a single step to prevent it or console her (because he doesn't want to raise another man's child) is certainly trash, and I am glad that he acknowledges in the end, that he is responsible for the destruction of his marriage, not his wife's ex-husband or anybody else, but it does feel unsatisfactory that there's no real follow up from this. Aileen's dead, so there's no resolution there. Their daughter, Esther, appears only at the close, and we don't get any conversation or resolution with her. And while we might assume that Lee has undergone real change, since he accepts and isn't an asshole when Aileen's long lost son appears on his doorstep, again, we get a single introductory conversation and not much more, between the two of them.

While the primary focus is on Lee's relationships and emotional withering, there's also the Unabomber plot in the background! Choi makes the interesting choice to fictionalize a different bomber who (it turns out) knows Lee personally. I suppose it would have to be plotted this way, since otherwise Lee wouldn't become "A Person of Interest" and wouldn't have his life so disrupted that he effects real change - well, except that I do think that this could have been done without actually making him instrumental in catching the bomber, which begins to tread into that thriller territory we've been kept so assiduously away from.  It seemed to me that the great upheaval for Lee was the realization that his former friend, and wife's ex-husband, Gaither, was not the architect of all his sorrows, as he'd been so used to presuming, for the last thirty years or so. And so the idea that the bomber could have been someone else, someone who, again, from Lee's biased perspective, had everything, this idea could have affected Lee without the whole going-to-Idaho-at-the-bomber's-invitation-and-getting-inserted-into-an-FBI-operation-while-a-tangential-civilian.

37: Two Books With The Same Title

The Light Pirate

The Light Pirate

By Lily Brooks-Dalton

Set in the near future, this hopeful story of survival and resilience follows Wanda—a luminous child born out of a devastating hurricane—as she navigates a rapidly changing world.

Florida is slipping away. As devastating weather patterns and rising sea levels wreak gradual havoc on the state’s infrastructure, a powerful hurricane approaches a small town on the southeastern coast. Kirby Lowe, an electrical line worker, his pregnant wife, Frida, and their two sons, Flip and Lucas, prepare for the worst. When the boys go missing just before the hurricane hits, Kirby heads out into the high winds in search of his children. Left alone, Frida goes into premature labor and gives birth to an unusual child, Wanda, whom she names after the catastrophic storm that ushers her into a society closer to collapse than ever before.

As Florida continues to unravel, Wanda grows. Moving from childhood to adulthood, adapting not only to the changing landscape, but also to the people who stayed behind in a place abandoned by civilization, Wanda loses family, gains community, and ultimately, seeks adventure, love, and purpose in a place remade by nature.

Told in four parts—power, water, light, and time— The Light Pirate mirrors the rhythms of the elements and the sometimes quick, sometimes slow dissolution of the world as we know it. It is a meditation on the changes we would rather not see, the future we would rather not greet, and a call back to the beauty and violence of an untamable wilderness.

For a book about the end of the world, The Light Pirate is surprisingly peaceful. We follow the story of Wanda, from birth to death, in four sections, Power, Water, Light and Time. There is drastic upheaval, deaths, births, storms, fires, magic, murder and the loss of every marker of modern life, but the story uses a dreamy, semi-distant approach to these crises, so at no point does it feel as overwhelming as it otherwise might. 

In the first section, Power, yet another hurricane blows through a Florida that looks only a little more hard worn than the one we know today, devastating one particular family and resulting in the birth of a girl with an effervescent power. This is the most visceral and urgent section, describing a single 24 hour period, and the only one (with the exception of the epilogue) which is told linearly. With each subsequent section, we get more and more emotionally distant from the story.

In Water, ten years later, it is the last gasp of civilization, as Florida succumbs to nature, and the family is torn asunder again. 

Light, another ten or twenty years along, is the longest section, as it flits back and forth between the present, when Wanda finds potential new companionship, and fills in the gaps of the past, the final severing between Florida and the outside world, the loss of their home, and the loss of Wanda's mentor and mother figure. Time, which is a mere single chapter long, is the capstone to Wanda's arc and a look into what appears, finally, to be a stable and hopeful future. 

Although we dwell in detail on the decimation of life and property through the book, we spend no time at all on the creation of a new community which can survive the changes world. Perhaps that is why the ending appears optimistic: we don't wallow in the drudgery, the sheer effort of living, that even the best commune could offer under such circumstances. Whereas we hear in detail about the creeping encroachment of water and the sweat and pain of finding shelter in a world so blasted that it's impossible to be out in the daytime, we get to gloss over things like the return to a human existence where 50% of kids don't survive to their first birthday. (Something which was on the forefront of my mind, since Light introduces two women, one of whom must have had a kid since the loss of infrastructure, and one whom is imminently anticipating giving birth. As a reader, I'm immediately projecting the death of the mother and/or baby, which isn't, I assume, the tone the author was going for).

I don't think the epilogue is intended as trickery, I do think the author wants to offer hope. I just find myself cynical after seeing how far down the road we've already brought ourselves, with no expected reversal in sight. The last year has brought not only the inland mountain flooding in North Carolina, and the headlining wildfires of Los Angeles, but, in an eerily prescient twist, the widespread loss of electricity to the island or Puerto Rico on New Years Eve, due to deteriorating infrastructure. It's simultaneously hard to imagine a future in which the country simply abandons entire states (as tempting as the idea sounds, for other reasons), and yet hard to deny that seems overwhelmingly difficult to reverse - if we even had agreement on the whys and hows (and ifs!) it should be.

The depressing subject matter notwithstanding, it's a little treasure of a book. The descriptions of nature, the glimpses into a life which is both beyond comprehension yet all too real, the way the characters find the strength to keep going and continue making connections in spite of the odds. The primary relationship is between Wanda and Phyllis, an older neighbor, who eventually takes Wanda under her wing and gives her the tools (literally and figuratively) to survive. I mentioned this before, but aside from the first section, the entire book feels dreamlike and drifting, letting the atmosphere seep into the story at every level.

The Light Pirate seems to say both that the destruction of civilization is inevitable, and that we must adapt to the world, instead of adapting the world to us, if we wish to survive. I sure hope it's wrong. 

 

 

49: A Dystopian Book With A Happy Ending

Ballad for Sophie

Ballad for Sophie

By Filipe Melo and Juan Cavia

1933. In the small French village of Cressy-la-Valoise, a local piano contest brings together two brilliant young players: Julien Dubois, the privileged heir of a wealthy family, and François Samson, the janitor's son. One wins, one loses, and both are changed forever.

1997. In a huge mansion stained with cigarette smoke and memories, a bitter old man is shaken by the unexpected visit of an interviewer. Somewhere between reality and fantasy, Julien composes, like in a musical score, a complex and moving story about the cost of success, rivalry, redemption, and flying pianos.

When all is said and done, did anyone ever truly win? And is there any music left to play?

Had absolutely no idea this was a graphic novel when I chose it, but no regrets. It's a strikingly beautiful take of a talented pianist being interviewed as he slowly dies from cancer, and tells the story of his youth and rise to fame, including his competition with a supernaturally talented - but less fortunate - boy against whom the pianist is always measuring himself. 

The drawings are piquant and add the right touch of sharpness to a narrative which is frequently tragic although ultimately hopeful. It's extremely emotionally satisfying, as we get to review Julien's own past and actions through the interviewer's kinder, more distant lens. At one point, Julien refers to himself as the villain of his own story, but it's not nearly so straightforward as all that. The authors have done an incredible job making him multifaceted - both victim and perpetrator, winner and loser. The destruction of his childhood by forces beyond his control sets the stage for his unhappy life of fame.  Although playing is the only thing which seems to give his life purpose, it is only when he has irrevocably severed that link that we see Julien at peace.

Although Julien is obsessed with François as a literal rival, in the end, Julien's deeper struggles are against his own idealized vision of himself, and all the ways he sees his own failures and lapses. In all the book, there is never a point at which François speaks with Julien, and so we are left wondering what, in fact, François ever thought of Julien to begin with.  Would he have blamed Julien for the early derailment of his dreams? Did he know of all the ways that Julien's life intersected with his own? Is there a world in which they could have been friends? I know how I would answer those questions, but perhaps that says more about me than François.

In any case where an audio experience is described through a written medium, there's going to be some loss of translation. It's a testament to the authors here that a story ostensibly about music can be conveyed so well through the pages of Ballad for Sophie. In fact, one of the authors is a musician and composed music for the book, which though unnecessary, is a  There's no false notes (pun not intended). As I sit and recall the novel for this review, I find its impression is only improved in my memory.  I would recommend this book to any reader who appreciates art, in all its forms. 

31: A Book Where Music Plays An Integral Part Of The Storyline

Assistant to the Villain

Assistant to the Villain

By Hannah Nicole Maehrer

ASSISTANT WANTED: Notorious, high-ranking villain seeks loyal, levelheaded assistant for unspecified office duties, supporting staff for random mayhem, terror, and other Dark Things In General. Discretion a must. Excellent benefits.

With ailing family to support, Evie Sage's employment status isn't just important, it's vital. So when a mishap with Rennedawn’s most infamous Villain results in a job offer—naturally, she says yes. No job is perfect, of course, but even less so when you develop a teeny crush on your terrifying, temperamental, and undeniably hot boss. Don’t find evil so attractive, Evie.

But just when she’s getting used to severed heads suspended from the ceiling and the odd squish of an errant eyeball beneath her heel, Evie suspects this dungeon has a huge rat…and not just the literal kind. Because something rotten is growing in the kingdom of Rennedawn, and someone wants to take the Villain—and his entire nefarious empire—out.

Now Evie must not only resist drooling over her boss but also figure out exactly who is sabotaging his work…and ensure he makes them pay.

After all, a good job is hard to find.

Well, we have an early contender for least favorite read of the challenge! And what a surprise dark horse, although in theory, at least, I get to choose all of these books according to my tastes so none of them should be awful (Ernest Hemingway and 'less than three stars on goodreads' notwithstanding). But I had this one on my possible reading list even before the challenge came out, so it should have at least been palatable.  

But I was only 3% of the way in before I realized I didn't like it, and 7% when I first contemplated not even finishing it. And if not for the challenge, I definitely would have abandoned it without a second thought. But instead I struggled through it - it has the benefit of being fairly insubstantial - and finished it as fast as I could.  

Ostensibly it's some sort of arch Office meets twisted fantasy story mashup, but it's mostly an excuse for the author to attempt to be funny via anachronisms, i.e. the villain has a department of interns and a woman who runs HR, and a everyone drinks "cauldron brew" aka coffee. The thinly veiled references to modern office bureaucracy didn't amuse me though, all it did was heighten the bizarre mental gymnastics you have to do in order to accept that our heroine isn't a massive idiot. 

So the Villain is, obviously, going to be totally misunderstood and actually not a bad guy, right? I mean, a love story between psychopaths is clearly not what the author's intending here. But immediately after the prologue in which Evie gets the job offer, she finds three severed heads - actual human heads - on her desk, and she mentions a "test" when the Villain left a whole ass dead person in her desk to see how she'd react. And she's like, "It's FINE! I'm sure those people deserved it!" Like, what?? That's not fine in the context either of a fantasy world or an office job! Here's a quote that I think is meant to come across as flirty? Sexy? I have no words:

 

'I would, you know. Torture someone,' she clarified, an alarming sincerity on her face. 'If I knew it would help you-- if it was someone hurting you...I'd do it and I'd probably enjoy it just a little.' With that, she spun on her heel, her sunny dress offsetting the weight of her words.

Girl, get your head on straight. 

If you want to read a book in which the villain is actually a misunderstood hero who doesn't just murder people and leave parts around for their ostensible secretaries to find (which, let's be clear, is upsetting and gross behavior) then read Nimona instead. That's a great take on the villain/hero idea. Or if you want to read about someone who works for a villain and actually becomes villainous themself, try Hench. That's an interesting take on what being evil means. Assistant to the Villain is neither of these. In fact, it is merely a mess.  

Lest we ever get the wrong idea about the Villain, it's made clear that he's incredibly HOT and SEXY and Evie would do him in a minute. So it's okay that she also thinks he kills people for fun. Because all can be forgiven if you're hot and wear v-necks, apparently. And look, Evie can boink who she wants. But it's all treated like just another ho-hum meet cute, and it just makes you doubt her mental acuity. It's not like she's like, oh, I'm sure he's innocent! Instead her biggest hangup is that she thinks he doesn't like her that way. Which clearly he does, because he even thinks her dumb comments about finding the mole are super insightful. Here, I highlighted it because it was so obnoxiously pandering, this is after they're talking about why he doesn't just torture all his employees to find the mole:

'And you know if the traitor finds out you're looking for them, they'll inform the person they're answering to. You want to take them by surprise, too.'

He couldn't catch the drop of his jaw in time. 'You - Yes, that's exactly it.'

This is a jaw-dropping revelation? Genius. No one else could have come up with some primo A to B reasoning like that. Which, again, just makes it irritating that we're supposed to pretend she's smart, but she can't even figure out that this guy likes her. The everybody-knows-we-like-each-other-except-us! trope is so middle school.

So this guy, (who again, is both supposedly a villain and also her boss) thinks the sun shines out of her ass and they run around trying to find out who the spy is on the inside ruining the Villain's plans. Except of course, it's Evie herself, accidentally using some sort of magical ink which writes everything down in duplicate, and feeding stuff to her father who secretly IS some kind of psycho, since he fakes a whole life-threatening illness, lets his daughter think they're destitute in order to keep up the facade, and then tries to sell her to the blacksmith so she stops bugging him at home. He also plants a bomb like fifteen feet from her desk, and somehow (this may have been explained, but let's be honest, I was not giving this my full attention) lets a poison-spitting monster out to terrorize a house party. 

 

Oh, and about that the aforementioned house party: Evie gets an invitation, meets up with her coworkers who all agree that it's a trap, they GO ANYWAY, Evie talks them out of letting the Villain know they've all been suckered into this stupid trap, then when Evie realizes that as a result of this decision, the Villain has to talk briefly with his father, she RUNS AWAY because THAT is worthy of the dramatic flounce, apparently. And when the Villain catches up to her instead of talking about plans to address the obvious TRAP, they... have a slow dance. Until the poison-spitting monster shows up, of course. At every possible point, our two main characters choose the option which makes the least rational sense. 

Whatever, they deserve each other. Let's cross this one of the list and thank our lucky stars we don't have to read any more about them.

****

These didn't really fit into my review, but here are some more passages I highlighted in anger:

Granted, she didn't want to become evil, but when you spend most of your life trying to see the sun, you begin to wish for rain.

What the fuck does this mean? 

 

This is when she thinks she's dying:

 A different face flashed in her mind - her boss, The Villain. Evie couldn't believe she was leaving him when he needed her most. Who would make him begrudgingly smile now?

Evie is a clown, so I guess it's fitting that her last thoughts are about making people smile. 

This is when she and the Villain head back to her house, and by the way, this is like, months after she started working for him:

The yellow tulips lining the front walk looked odd from her current position: being in a carriage...belonging to a glorified murderer.

First of all, I think we can drop the "glorified". He a for real murderer. Second, why is this suddenly weird? Did it take being in a carriage to realize you had flowers at your house?

26: A Book Where An Adult Character Changes Careers

Let It All Burn

 Let It All Burn 

By  Denise Grover Swank

Darcie Weatherby of Perry's Fall, Ohio has a preteen, sixteen-year-old twins, a wayward grandmother, a nightmare boss, a manipulative ex-husband, and hot flashes that start fires like the one that burned her boss's house down. Unless she figures out a way to get things under control, there's a chance she'll spontaneously combust at the Founder's Day Masquerade Ball.

I don't know what the heck THAT was. It started out normal enough, a woman having hot flashes accidentally starts fires, okay, okay, okay, some magical realism, sure, gotcha, and then at the like, 90% mark, we take an abrupt right turn into millennials-long guardianship over a Greek goddess who gets reincarnated every fifty years (and a somehow completely unrelated side plot about diamond smuggling). What the fuck?

The basic idea is fine, but Swank can't stop adding weirder and weirder parts that don't add anything and don't make sense, like the FBI agent who first meets Darcie while he's investigating this diamond thing, but then becomes intensely interested in her to the point of following her around and demanding answers like a crazed stalker.  And she doesn't have any answers! 

Or the part where Darcie's cousin Ella is an investigative reporter and we think there's going to be some big reveal about the Mayor or that Ella is going to find out what's going on with Darcie's firepowers but instead of any of that panning out, instead at the grand gala there's a lengthy digression about Ella acting drunk because of an allergic reaction, and she winds up spending the fateful event on a cot. 

The ending and explanation come out of nowhere and the book wraps up with all kinds of loose ends flapping in the breeze, like how Darcie will incorporate a fourth child in to her family (and what her current kids will think of that) whether it's noted that Tammy just up and disappeared, like, just... anything! Any of it! Even the parts that are explained are explained in a really baffling way. What is this stupid bargain Persephone made, and why does it reset every fifty years? Why does it make the gods mad? What happens when it ends? Why, why why?? It was like Swank couldn't figure out how to wrap it up so just added in some god stuff. It would have been better if Darcie was just becoming a fire demon, like her friend suggested.

However, prior to that point, it was a decent read. Darcie's nicely fleshed out, her friends and kids are fun and there's space there for an interesting story about her growing into herself in this new phase of her life. But we... got something else instead, so I'm just going to slowly back away. 

09: A Book That Features A Character Going Through Menopause

You Are Here

You Are Here 

By David Nicholls

Michael is coming undone. Adrift after his wife's departure, he has begun taking himself on long, solitary walks across the English countryside. Becoming ever more reclusive, he’ll do anything to avoid his empty house.

Marnie, on the other hand, is stuck. Hiding alone in her London flat, she avoids old friends and any reminders of her rotten, selfish ex-husband. Curled up with a good book, she’s battling the long afternoons of a life that feels like it’s passing her by.

When a persistent mutual friend and some very unpredictable weather conspire to toss Michael and Marnie together on the most epic of ten-day hikes, neither of them can think of anything worse. Until, of course, they discover exactly what they’ve been looking for.

Michael and Marnie are on the precipice of a bright future . . . if they can survive the journey.

This was a charming palate cleanser after a couple of not great books, if by charming, you mean, "one of those books which talks about why marriages fail for the most depressing of reasons and it makes you worry about the state of your own union." Not that it did that... much, but reading about second chance romance always makes me feel like there's a target on my back: do the reasons the heroine's first relationship failed sound eerily similar to my life? Is my marriage happier - all the time or on average at least - than that of our hero and his first love?

I don't think I ever had that problem as a younger person, when a poor fit just meant you hadn't met the right person yet, but it bothers me now to read about marriages when both people intend and want the best, and love each other, and then gradually fall out of love. It's a scary presentiment of one potential future which terrifies in its banality and familiarity. 'It could happen to you!' goes the jingle about winning the lottery, but in an awful way, not at all desirable.

Luckily we spend more time developing Marnie and Michael's relationship than dwelling on mistakes of the past. Nicholls does a wonderful job writing conversations which feel realistic, especially for people just beginning to know each other, and possibly to feel more for each other: jokey, arch, tentative, short, building on the bases that the other lays out. Although we take their viewpoints in turn, and (which is often the case) the views are not so distinctive that you would immediately know who is narrating - again, something that only became more important to me when I saw how perfectly it could be executed in The Feast of the Goat - there's an apt comfort in the similarities, that they are compatible in their minds and feelings. You have to believe in their chemistry in order for the book to work, and you do.

It's also nice to read about a relationship which seems reasonable in its pacing: insta-love and immediate sexual attraction, as amusing as it is to picture on the page, seems shallow and fake compared to the slow unfolding of a person that happens more often in life. Ten days of constant company and you could start thinking about being in love. 

This is a romance, but it's written by a man and contains no actual sex, so it gets shelved in fiction and is taken seriously. But the heart of the story, in fact, the only part of the story, is the gradual opening up these two lonely people do so they can fall in love with each other. The ending tries too hard to distance itself from that premise: we leave off on the lovers tentatively planning to reunite, optimistic but early days yet. Just lean into it! Let's skip another year into the future and have them moved in together with a miracle baby on the way! You made us like these people, now let's see them get the happy ending they're longing for! 

Aside from anything else, I predict an increase in through hikes in the few years. I happen to like the idea of walking endlessly just to look at nature (whilst still enjoying a real bath and bed every night) but even those naturally opposed to the idea will find some inspiration here, I think. Nicholls manages to make even rainy misery sound like an adventure, and I suppose, with the right person, it is. Which is the whole point. 

42: A Book That Starts With The Letter Y

Lady Eve's Last Con

Lady Eve's Last Con

By Rebecca Fraimow

Ruth Johnson and her sister Jules have been small-time hustlers on the interstellar cruise lines for years. But then Jules fell in love with one of their targets, Esteban Mendez-Yuki, sole heir to the family insurance fortune. Esteban seemed to love her too, until she told him who she really was, at which point he fled without a word.

Now Ruth is set on disguised as provincial debutante Evelyn Ojukwu and set for the swanky satellite New Monte, she’s going to make Esteban fall in love with her, then break his heart and take half his fortune. At least, that's the plan. But Ruth hadn't accounted for his younger sister, Sol, a brilliant mind in a dashing suit... and much harder to fool.

Sol is hot on Ruth's tail, and as the two women learn each other’s tricks, Ruth must decide between going after the money and going after her heart.

Well, I had high hopes for this one: a madcap story in space about a con artist looking for revenge? Sign me up! But as other reviews state, the problem is that for a screwball comedy to work, you've got to be rushed along at a pace too fast to look around you. The minute the train slows down you're dead in the water, so to speak. And if you couldn't tell already, this story got slooooooow.

It's probably about a hundred pages longer than it needs to be. Every time we get some action, we spend another ten pages of Ruthi's internal monologue about the setting, or going over details about the back and forth machinations with Sol, or the local gang,  that just bog things down. 

I'm not dinging Fraimow (much) - this kind of storytelling is hard. But you've got to be much more streamlined about it than she is here. Connie Willis is the epitome of space screwball comedy and even she gets it wrong sometimes (let's not speak of her most recent effort, The Road to Roswell). But there needs to be a zingy tension that pulls the reader through it all, and instead, I found myself putting this down multiple times, having to force myself to finish it. 

It doesn't help that we spend more time with just Sol and Ruthi than we do in groups, and that they show their hands to each other in the first third of the book. Part of what's needed is more undercurrents, like conversations where Sol and Ruthi are trying to catch each other out but can't reveal their own cards in front of other people. Instead, after a big confrontation on the beach satellite, we... um, wander around the lower decks talking about frozen ducks and Sol's poor half-siblings, on a weird pseudo date.  

I think part of the problem is that it feels like Fraimow is setting this up for more installments. The classic version requires all storylines to be wrapped up tightly, preferably with all couples reunited, all bad guys punished, and all ventures successful. We don't get that. Instead Jules is in limbo, four months pregnant and refusing to marry Esteban. We don't see the result of the ruse on Alfonso at all and presumably the gang will be after them again in subsequent books. And there's no real resolution about the frickin kosher ducks, which is the whole device on which the plot spins: what the golden girl did to get herself in so deep with the mob that she's tempted to wipe her memory and it's wrapped up off-screen.

So instead of that feeling you get when you press the button on a tape measure and it all comes whizzing back into your hand and closing with a satisfying catch, it's like we threw a yoyo out and now it's just on the ground flaccid and we gotta spool it back up ourselves.

There's a lot of promise here, a lot of good things, like the characters and the setting, and the pitter patter and well, everything else is fine. It's just the pace, the tempo, but for something like this, that's everything.

 

 03: A Book About Space Tourism

The Great Gatsby

The Great Gatsby

By F. Scott Fitzgerald 

Set in during the Roaring Twenties, this masterful story by F. Scott Fitzgerald is told through the eyes of Nick Carraway, a young man who moves to Long Island and attempts to learn the bond business in New York City after the war. There, he co-mingles on Long Island with his affluent and wealthy socialite cousin Daisy Buchanan, her brute of a husband Tom, and friend Jordan Baker.

Nick's new residence sits across the bay from Daisy and Tom's house, and right next to a mysterious mansion. He begins to hear rumors of an infamous man named Gatsby who resides there. Eventually, when Gatsby learns of Nick's ties to Daisy, he extends Nick an invitation to one of his lavish parties. Gatsby's plan to court Daisy, in an attempt to revive a previous love affair, eventually bubbles to the surface and tragedy ensues.

Brief aside: Do you know how hard it is to find a reasonable description of a so-called "classic" book? Everyone just describes the accolades rather than the plot. c.f. "Amidst extravagant parties and societal excess, Fitzgerald weaves a narrative of love, betrayal, and the dark undercurrents of the Jazz Age. Through vivid prose and complex characters, the novel explores themes of disillusionment, class divide, and the relentless pursuit of an idealized past. With its timeless exploration of human desires and the consequences of unchecked ambition, ""The Great Gatsby"" remains a literary masterpiece that resonates across generations." blah blah blah.

 

As a counterpoint though, my library had this to say about the book's description, transcribed in its entirety: 

 

"Nick Carraway meets Jay Gatsby, a young millionaire with shady business connections and who is love with Daisy Buchanan, Nick's cousin." 

 

I love that this basically says: "We all know you're going to read this book regardless of what it's about, let's not pretend we have to intrigue you with jacket copy."

***

Ah, one of those classics that was written by men about the American Dream in which everything is a symbol and life is meaningless! Women are unfathomable, men are noble, or brutes, or dogs, and we all learn a Very Important Lesson, like an afternoon tv special. 

I liked the first chapter, but as we get introduced to all the characters, none of them, or it, appealed, so that by the end, Daisy's decision to stay with Tom was as boring to me as what color dress she planned to wear, and Jay's death didn't feel tragic so much as exhausting.  

As Nick, the narrator says, they're all terrible people, and not even in interesting ways. They're terrible in terribly boring ways. I can understand why the book was a failure when it came out, and why it became popular by soldiers in WWII: it appeals to a man's sense of thinking they're deeper and more philosophical than they are. It's easy enough for most people to read and understand while giving the impression of importance and intelligence when you tell people you've read it.

It's short enough to get through quickly, a mark in its favor. I was struck by how literate it was. Just the style and vocabulary that would have commonplace in the 1920s feels ornate and antiquated now, even though it would be hard to point to any one sentence and say it couldn't have been written today. It does make you feel that people, on the whole, are becoming much stupider.

 

There's a musing cadence to the story which infuriated me. Not only the dreaded navel-gazing but the absolute mush of a main character. There's absolutely no point to Nick at all, may as well have had an omniscient narrator. For all he complains about the wealthy, careless folks he meets here, he has absolutely no curiosity about any of the non-white or non-wealthy characters.

I suppose I'm glad to have read it, as now I never will have to again.  

April 9, 2025 

edited to add:

 

Since, apparently, it is also the 100th anniversary of its publication (which I was not aware of when I chose to read it, but how serendipitous!) there's a few articles being published about it. I appreciate the other perspectives and thoughts as well.  I found the theory, newly re-circulating, that Gatsby can be read as a black man passing as white to be intriguing, adding another layer of interest and subtext to the primary story. I also saw a lot of people comparing it to The White Lotus, as today's version of the rich and careless American.  I found that interesting, since I've enjoyed The White Lotus but my watch experience bears out the same lack of patience I had for the characters in The Great Gatsby: without fail, I will watch the first several episodes with interest, then find myself getting bored halfway through the season. I hate not to know what happens though, so I'll read spoilers and become interested enough to go back and watch the last episodes for the relevant story-lines and fast-forward through everything else. So at least I'm consistent.

39: A Classic You've Never Read