Are You My Mother? by Alison Bechdel

motherI am deeply impressed by Alison Bechdel: her self-awareness, her fraught journey through her life and her relationship with her mother, her psychoanalysis and her work in this book (and, I’ll wager, her earlier Fun Home, which I haven’t read but have heard lots of good things about. I’ve put it on the list). This is a memoir of her mother, at first glance; but it’s more self-involved than that, although I don’t mean that in a bad way. That’s just what this book is. It’s the story of her writing a book about her mother, and it’s that book; it’s really a book about herself, then.

It is also a graphic memoir, which is not a format I’ve spent much time on, as I find it a little exhausting to follow; I guess I’m a traditionalist when it comes to my reading matter! I prefer traditional fonts, and certainly hard-copy rather than electronic (well, there are the audiobooks…). I’ve read very few graphic works, and although I’ve enjoyed them all, I tend to find them a little more effortful. On the other hand, though, I sped through these 289 pages easily in an afternoon. Seeing Bechdel’s visual version of herself, her mother, and her other characters (a father, two brothers, two psychoanalysts, a few girlfriends) added to the experience; so, props on the format as well, as it turns out. (This is where I’ll note that Alison Bechdel is also the author of the esteemed comic strip, Dykes to Watch Out For, and a whole pile of books of said comic.)

I feel the need to address a personal element of my reading this book. I have aspired for a handful of years now to write a book about my own mother. And it was my mother who gave me this book – I believe after she went to an author reading at a bookstore? – with a nudge toward writing my own version. This is funny to me now that I’ve read Are You My Mother?, because for one thing, Bechdel’s mom was less than pleased with her efforts (is there a joke in there, Mom?); also, the book I envision, hope, one day to write is not very much like this one. No criticism there, of course. I dream of something a little more like Haven Kimmel’s mother-book, She Got Up Off the Couch. That is, I want to tell my mother’s story (unavoidably mediated through the lens of being her daughter), because I think her life story needs telling. Bechdel’s need was admittedly a little more self-focused. She quotes Virginia Woolf more than once: about To the Lighthouse, “I suppose that I did for myself who psycho-analysts do for their patients. I expressed some very long felt and deeply felt emotion. And in expressing it I explained it and then laid it to rest.” And that is what Bechdel is working on doing through this memoir: psychoanalyze herself, and put her emotions to rest. At the end, it feels like she does, at least a little.

She is quite involved in the idea of psychoanalysis, and does quite a bit of her own research; in addition to relationships with two different analysts, she reads Freud and some lesser-knowns; her personal favorite is one Winnicott. She opens each chapter with a dream, then sets it in the timeline of her life and discusses what it might mean. It’s an interesting lens, and not one I’m familiar with. I’m not ready to go get analyzed, myself, but I came away respecting Bechdel’s process. Some of the papers she studies and quotes from are overly academic for what I was looking to get out of this book, but that’s okay; I let them flow over me and stayed on track with what Bechdel was up to, which was what I was looking for.

I found Bechdel funny, personable, sympathetic, and authentic. I’m glad for her in what she gained through this process. I expect to come back to this book for some thoughts on my own work, if/when I ever get that far; for now, it was a rewarding read. And I’ll be looking for Fun Home. For feminists, lesbians, mothers, daughters, or people with relationships to solve – I recommend this deftly drawn work of emotion and searching. Thank you, Alison.


Rating: 7 sessions.

did not finish: Shadows in the Vineyard by Maximillian Potter

shadowsFull title, Shadows in the Vineyard: The True Story of the Plot to Poison the World’s Greatest Wine. Briefly: I was excited about the concept of this book. History; true crime; alcohol!; and a strangely-spooky-but-real tale of apparent insanity, set in a vineyard, of all places. I recognized in this book the spirit of The Inheritor’s Powder and The Remedy, among others. (I may also have a burgeoning interest in amateur botany, based upon A Garden of Marvels, The Drunken Botanist, and Pilgrim at Tinker Creek.) Additionally, the author is an accomplished journalist, which I thought promising.

But where the concept hooked me, the text failed. I found a profusion of sentence fragments. And sometimes this works, for dramatic effect – although I think it still works best in limited dosages, because for gosh sake, sentence fragments are the breaking of a grammatical rule and should be used sparingly and with respect for the rule being broken. (I still recall Mrs. Smith, my sophomore and junior year English teacher, and her lecture about Hemingway’s use of the passive tense, wherein Cohn “was married by the first girl who was nice to him.” She taught us that you have to be a Hemingway-caliber writer before you get to go messing about with the passive tense like that.) And Potter has a tendency to tell his reader what character thought, felt, did or said in rather distant history, which I found off-putting and untrustworthy in a journalist. As intriguing as his story looked from afar, I found it insufficient to keep me on board through these difficulties. Oh, and there were rather too many references to God in the opening pages for my personal taste; if these were going to be drawn together and made relevant to the story, it didn’t happen in time for this reader.

Better luck next time.

Mr. Mercedes by Stephen King

A detective novel by the horror master in which a mass murderer torments a retired cop who fights back.

mr. mercedes

Stephen King’s Mr. Mercedes opens in a present-day depressed Midwestern metropolis, where retired detective Bill Hodges is haunted by the one who got away. It has been several years now, but he can still see the job fair, the long lines of unemployed people who’d waited overnight in the cold, the ghostly gray Mercedes accelerating through the crowd, the gristle and gore dripping from its fender as it drove off. Hodges is considering suicide when he receives a letter from someone claiming to be the Mercedes Killer.

Hodges is reinvigorated by a second chance at solving the cold case, with a few unlikely allies. The neighbor kid who mows Hodges’s lawn contributes computer skills and a surprisingly strong sounding board for new theories. The sister of the car’s original owner is both a delightful foil to the former cop’s depression and a potential love interest. Her niece brings the challenge of dealing with mental illness, but also a steely resolve, to this dubious crime-fighting team. While tracking Hodges’s efforts, Mr. Mercedes simultaneously follows the Mercedes Killer himself. He’s a loner who works two jobs, lives with his mother and attracts no attention, but harbors creepy inclinations worthy of Stephen King.

King’s fans will recognize his talents with suspense, finely drawn Americana and the horror of pure evil lurking in the everyday. His characters are as true-to-life and likeable as ever. As the improbable heroes and the Mercedes Killer rush toward a crashing finish, Mr. Mercedes is proof yet again that King can still terrify his readers without invoking the supernatural.


This review originally ran as a *starred review* in the June 3, 2014 issue of Shelf Awareness for Readers. To subscribe, click here, and you’ll receive two issues per week of book reviews and other bookish fun!


Rating: 8 ice creams.

“Tawny Grammar” by Gary Snyder

And with this post Gary Snyder gets his own tag.


wildEssays from The Practice of the Wild:

  1. The Etiquette of Freedom
  2. The Place, the Region, and the Commons
  3. Tawny Grammar

I am struck, again, at how we encounter the same phrases over and over in this world and in our reading… just days ago I read Land of Love and Drowning, in which certain scenes are set to the song, “Rum and Coca Cola” – generally credited to the Andrews Sisters but originally by Lord Invader. Here it is in the opening pages of Snyder’s essay “Tawny Grammar,” in which he makes the point that music and dance belong to time and place. One time-and-place’s song or dance may be popular in other times and places, but will never belong to them the way – for example – Snyder has formed a memory of dancing with a girl for the first time to this song in 1943. His next point is that, as we established in “The Place, the Region, and the Commons” that we no longer belong to place, “we are not quite sure what our home music is.”

He then takes his reader on a trip to a remote Alaskan village, where he muses with local teacher friends on the question of what it is reasonable, realistic, helpful to teach the children there.

So these children should prepare to be mining engineers? The company will bring its own experts with it. Heavy equipment operator? Maybe. Computers? Computers are in all the schools of the Far North, along with video cameras. There may be more computer literacy in the schools of northwest Alaska than in those of Los Angeles. Even so, there is no guarantee that any school anywhere in the whole world can give a child an education which will be of practical use in twenty yeras. So much is changing so fast – except, perhaps, caribou migrations and the berry ripening.

Good gosh, he wrote this in what year? Still true… my profession, librarianship, has been talking for decades about CHANGE and how we will adapt (the need to be more than people who stamp due dates in books), but this problem is not unique to us. The world is indeed changing so fast; and while I love the idea that caribou migrations and berry ripening may be our constants, and that’s partly true, it’s also true that mass extinctions and climate change have begun to prove him wrong.

He writes about the Inupiaq values posted in the village classroom, and the contradictions we teach our kids: in this case, tribal values vs. external Western societal ones, “one for getting what’s yours, another for being decent.” I am strongly reminded of another few lines – I can’t for the life of me remember who wrote them; was it Doug Peacock? – something to the effect that war is traumatic for our youth because we teach them from the beginning that killing is wrong, right up to the moment we send them out to kill, and then expect them to come home and readjust.

More discussion of our interrelatedness, the importance of social constructs, perspectives, and recognizing the nonhuman world too:

American society… operates under the delusion that we are each a kind of “solitary knower” – that we exist as rootless intelligences without layers of localized contexts. Just a “self” and the “world.” In this there is no real recognition that grandparents, place, grammar, pets, friends, lovers, children, tools, the poems and songs we remember, are what we think with.

He goes on to tell us what he means by grammar, and the importance of language in our interactions with the world, and muse on what language really means. Under the subheading “Nature’s Writing”:

The stratigraphy of rocks, layers of pollen in a swamp, the outward expanding circles in the trunk of a tree, can be seen as texts. The calligraphy of rivers winding back and forth over the land leaving layer upon layer of traces of previous riverbeds is texts.

While this makes for a lovely metaphor, I think he means it – and I understand it – far more literally. “A text is information stored through time.”

I was tempted to play with his Whorfian challenge:

“Is there any experience whatsoever that is not mediated by language?” I banged my heavy beer mug sharply on the table and half a dozen people jumped and looked at us. We had to give up and laugh at this point, since it always seems to come back to an ordinary mystery.

Isn’t that an example of just such a one? Or in other words, if a tree falls in the forest, etc. If we have an experience – a shared but wordless experience – have we experienced it, or shared it, any the less for not discussing it in language?

As much as I enjoyed this essay, which was intelligent, thoughtful, musing, informed, and seasoned by references to the classics and mythologies from around the world (I love this), I found myself wondering if there was a point coming down the line. Of course, there rather was, but it was typically cerebral and conceptual in nature, so I needed Snyder to help me wrap it up. He does so in his conversation with a linguist friend, about whether language is biology, and whether it follows evolutionary lines (sort of, in its own way, but not in the way biology does); and finally by quoting Thoreau and Dōgen. The end point, as I take it, is this: language should not be a weapon, considered as belonging to humans alone and used to differentiate ourselves from the world, but should be considered one of the many ways in which we live in and with rather than above.

I close by asking a question. Do we agree with Snyder in the following suspicion?

Nonhuman nature, I cannot help feeling, is well inclined toward humanity and only wishes modern people were more reciprocal, not so bloody.


Up next, essay 4: “Good, Wild, Sacred.”

The Two Gentlemen of Verona by William Shakespeare

veronaI had a pleasant reread of this early Shakespeare comedy in preparation for the Houston Shakespeare Festival this summer. Of course you saw my post the other day about what a special copy of the book this is…

The Two Gentlemen of Verona is an earlier and a lesser-known Shakespeare play, but I think it’s still excellent in all the usual ways: clever wordplay, mild bawdiness, romantic wafflings or confusions that may threaten our modern sensibilities just a touch, but overall, with the potential to be wildly entertaining in the right hands. I remember the performance I saw as a youngster being accessible (having read the play beforehand helps, of course).

The two gentlemen are Valentine and Proteus, and they are best friends. Valentine is prepared to leave Verona to seek his fortune in Milan; Proteus stays behind because he is in love with Julia, and determined to win her. Valentine finds his love in Sylvia, daughter to the Duke of Milan; and Proteus’s father is convinced to send his son away, separating him from Julia just as they declare their love for each other. Proteus is sent to join his friend Valentine, which should be a happy reunion; but fickle Proteus falls for his friend’s betrothed, betraying both his friend Valentine and his own love, Julia. Determined to win Sylvia away, Proteus reveals Valentine and Sylvia’s elopement plan. The Duke has Valentine banished; and the action of the play moves to the woods.

In what might be seen as a vague early shadow of A Midsummer Night’s Dream, the woods are host to a banished Valentine and his servant Speed – who are taken in by a host of bandits – and who are pursued by a grieving Sylvia and her faithful servant – who are pursued by a love-stricken Proteus, her father the Duke, and the Duke’s intended son-in-law Thurio – who are accompanied by Julia, serving as a page (in male drag of course) to Proteus, thereby in pursuit of her love. If you had trouble following that, all is as it should be.

You might recognize a few lines:

What light is light, if Sylvia be not seen?
What joy is joy, if Sylvia be not by?
Unless it be to think that she is by,
And feed upon the shadow of perfection.

Or:

It is the lesser blot, modesty finds,
Women to change their shapes than men their minds.

Speed, servant to Valentine, and Launce, servant to Proteus, have their share of buffoonery, great scenes with wordplay and witticisms that are typical of Shakespearean comedy. All ends well (although we sniff at the treatment of certain female characters, and the slurs upon Jews. Time-typical Shakespeare, again); and the play is, indeed, funny.

I look forward to seeing this summer’s live performance.


Rating: 7 gift-dogs.

The Vacationers by Emma Straub

An eccentrically fun family vacation, with far more style and spunk than your average beach read.

straub

The Vacationers by Emma Straub (Laura Lamont’s Life in Pictures) is peopled by charming, funny, expertly portrayed characters who feel very real and yet slightly fantastical.

The Post family is headed from Manhattan to Mallorca for a two-week vacation, ostensibly to celebrate: Franny and Jim are approaching their 35th anniversary, and their daughter, Sylvia, has just graduated from high school. Joining them will be their son, Bobby, with his girlfriend, Carmen, and Franny’s BFF Charles and his husband, Lawrence. However, Jim has recently left his decades-long career at Gallant magazine amidst shame and scandal, and his transgressions at work have followed him home. Sylvia’s big goal of the summer is to lose her virginity before starting college in the fall. Charles and Lawrence’s is to adopt a baby–a plan they haven’t yet shared with the Posts. Bobby and Carmen are on uneven ground; they have a secret to break to his parents, and it doesn’t help that the Posts have never liked Carmen. More secrets and scandals, new and old, will come to light under the Spanish sun.

Straub’s greatest strengths are her endearingly quirky protagonists and a plot with more twists than a European mountain road, but her secondary characters are also cleverly wrought. The Posts’ absent hostess, Gemma, is Charles’s second-best friend; Franny tries not to let that annoy her. Sylvia’s local Spanish tutor, Joan (“pronounced Joe-ahhhn”), is a delectable temptation for both Sylvia and Franny, but it’s a retired tennis pro who really turns Franny’s head. Luckily, a motorcycle-riding pediatrician becomes Jim’s ally in trying to re-win his wife’s heart. Despite the considerable dysfunction of this family, this tale about them has a surprisingly happy ending.


This review originally ran in the May 30, 2014 issue of Shelf Awareness for Readers. To subscribe, click here, and you’ll receive two issues per week of book reviews and other bookish fun!


Rating: 9 olives.

book beginnings on Friday: Five Days at Memorial: Life and Death in a Storm-Ravaged Hospital by Sheri Fink

Thanks to Rose City Reader for hosting this meme. To participate, share the first line or two of the book you are currently reading and, if you feel so moved, let us know what your first impressions were based on that first line.

five days

I have been intrigued by the idea of this book for some time now. I have some perspective on Katrina, to begin with. Not that my personal life was profoundly effected, but Houston residents saw the consequences come our way. For one thing, in the form of Katrina evacuees, and for another, because when Hurricane Rita was forecast for us just a few months later, the response was quite different than it might have been if our neighbors to the east had not just been so badly beaten. And then I suppose my interest is piqued as well because I work at a hospital now. Finally, I got to see Anna Deavere Smith perform last month (at the Medical Library Association Annual Conference in Chicago), and she did a short piece on the conditions at Charity Hospital in New Orleans that was – naturally – very moving. So here we are, finally.

Five Days at Memorial begins with an Author’s Note in which Fink describes her research methods (lots of interviews & other primary & secondary materials) and notes that she wasn’t at Memorial during the storm, although she visited later. She makes it clear that this is a journalistic work, and that she has been faithful to what she learned in her research – all dialog in quotations comes from interview, etc. – and that she has made an effort to keep her own reactions (“any book reflects the interwoven interpretations and insights of its author”) clearly delineated from the facts. I appreciate this.

I’d like to share two bits for your book beginning today. First of all, “Part I: Deadly Choices” begins with a quotation:

Blindness was spreading, not like a sudden tide flooding everything and carrying all before it, but like an insidious infiltration of a thousand and one turbulent rivulets which, having slowly drenched the earth, suddenly submerge it completely. – José Saramago, Blindness

And then the Prologue:

At last through the broken windows, the pulse of helicopter rotors and airboat propellers set the summer morning air throbbing with the promise of rescue. Floodwaters unleashed by Hurricane Katrina had marooned hundreds of people at the hospital, where they had now spent four days.

And that, I think, says enough for today.

A Swiftly Tilting Planet by Madeline L’Engle (audio)

swiftly tiltingThis is book 3 in a series, following A Wrinkle in Time and A Wind in the Door.

In this episode of the Murrys’ lives, Meg is an adult, recently married to Calvin and pregnant. This makes for a change: no one is really a child any more (well, Charles Wallace is 15. But he’s an odd one, isn’t he). However, the voice of the characters is not noticeably more mature. (She uses rather big words! But simple sentences.) On the one hand, this means that L’Engle’s novels remain accessible to the youthful population she intended. On the other, it does feel like children’s or young adult lit. Just a note. I’m still enjoying.

Where A Wrinkle in Time dealt with hard science and Meg’s social awkwardness, and A Wind in the Door emphasized the importance of all the parts of the world, large and small, A Swiftly Tilting Planet expands on that concept of interconnectedness and applies it to international politics and the possibility of nuclear war. An added element of fun and fascination is provided by time travel: Charles Wallace has a unicorn friend named Gaudior this time as his guide, and they travel through time to visit Calvin O’Keefe’s forebears throughout history. The unicorn, and the different historical settings, were excellently done, in my opinion; I was almost sorry when we returned to the present. But not to worry: the Murrys’ present makes up a smallish minority of this book’s focus; we spend most of our time immersed in history, from ancient times through the early New England settlers and the US Civil War.

On Thanksgiving, Calvin’s mother and therefore Meg’s new mother-in-law, Mrs. O’Keefe, is present when the family receives word from the President (Mr. Murry is an important man) that nuclear war is imminent. The normally antisocial Mrs. O’Keefe pipes up to charge Charles Wallace with preventing it, and this is when he meets Gaudior and they travel through the centuries. L’Engle employs the classic time traveler’s hope, to change the present and future by going back and changing some detail of the past. (The butterfly effect is entirely ignored.) During these travels, Charles Wallace has to learn to deemphasize his intellect, not rely on his IQ, but go with the flow. This is an interesting lesson for our boy genius.

A Swiftly Tilting Planet is a departure from the first two books, which concentrated on science (and science starring a young girl!); this one is more social science, you might say, or the nature and effects of relationships (familial and otherwise) and the bonds of society. Readers looking for the science might be disappointed. But I found the fantasy of time travel via flying unicorn, and the chance to meet individual characters in history (a fictional, but realistic, history), very engaging and entertaining.

I missed L’Engle’s narration of this audiobook, as I’d enjoyed the author’s own voice in the first two in this series; but I must say that Jennifer Ehle’s reading was quite similar. (She is a little less gruff.) If we have to change narrators mid-series, at least let them be like enough that I don’t feel jolted; so well done on that count. And Ehle’s narration was fine in itself. I will be listening to the final two books in turn – already have them loaded. I still recommend L’Engle’s work.


Rating: 7 letters.

The Cormorant by Chuck Wendig

cormorantThis is the third in a series, preceded by Blackbirds and Mockingbird, which I enjoyed.

Miriam Black is back, in disjointed chronology, still battling her demons and the curse of her “gift” of seeing how and when people die. She has moved on from stealing from the dead, and trying to prevent deaths through various means, to the only way she’s found that works: she can prevent deaths only when she kills the killer. She has broken with Lou, good old Lou from books 1 and 2, and has been on something of a mission. When the book opens, she’s being held in a room by two… possible FBI agents, but possibly something else. The split chronology takes us backward in time, explaining how she got there. I’ll use the present tense for this past, as the book does.

Miriam receives an offer: $5000 to tell a guy how he dies. She has tried to sell this talent before, but this is the biggest number she’s seen, and comes just as she’s evicted from a bad living situation; so Miriam buys a cheap car and heads for Florida. She carries three phone numbers with her there: that of the man hiring her, Lou’s, and her mother’s. These are the three folks she knows (so to speak) in Florida.

But when she appears at the man’s house and touches him, the death scene she sees involves her – is a message for her, in fact. A threat from her past resurfaces; and suddenly everyone she’s come in contact with is in danger, and Miriam is set on a path again.

Miriam is still a great character: foul-mouthed and tough, yet vulnerable and even, occasionally, compassionate. I love her personality; and she has another …maybe love interest is the wrong term, but she has another encounter in this book which keeps things interesting. I like the bird theme, too; look out for the powers of the gannet as well as the cormorant here.

Wendig’s unique writing style continues to amuse. He’s almost over-the-top with his odd metaphors:

Those things taste like cough syrup that’s been fermenting in the mouth of a dead goat, but shit, they work.

Eventually, her bladder is like a yippy terrier that wants to go out.

But I like it. Remember you can always get your daily fix (more or less) at his blog, too.

The nice people in Wendig’s books are a nice touch, and a realistic one. You can sense his descriptions approaching a world that is all evil – but he holds back, and I applaud him for it. The evil bits are all the more poignant when we get to see that there are good people in Miriam’s world, too. Sometimes she’s even one of them.

I continue to look out for the next Miriam Black novel, which is to be titled Thunderbird. Still recommended.


Rating: 7 gold watches.

Teaser Tuesdays: The Practice of the Wild by Gary Snyder

Teaser Tuesdays is a weekly bookish meme, hosted by MizB of Should Be Reading.

wildFrom essay #3, “Tawny Grammar.”

I always liked libraries: they were warm and stayed open late.

(Here in Houston we might point out instead that libraries are cool.)

Oh, if only this were still the case. City and county budget cuts mean that libraries are decidedly not open late any more, at least not where I come from. Do you have a local public library that stays open late? Speak up!

Keep up with my reading of this essay collection:

  1. “The Etiquette of Freedom”
  2. “The Place, the Region, and the Commons”
  3. “Tawny Grammar,” coming soon.