best of 2017: year’s end

Note: I’m out of pocket during my residency period at school. I love your comments! But it may take me several days or a week or more to respond.


My year-in-review post will be up next week, as usual. But first, also as usual, I want to share the list of my favorite things I read this year.

Not as usual: none were audiobooks, because I read no audiobooks this year. Few of these are new releases (they are marked with an asterisk*).

I gave a single rating of 10, late in the game, to an essay I’ve read over and over, and it keeps getting better every time. I still have not written about this essay. I still think you should go into it blind.

  • “The Fourth State of Matter,” Jo Ann Beard – nonfiction

I’ve refrained from going back and changing any ratings that I gave at the time; but I have split the books that I rated 9 into two groups, as I judge them now. This list is overwhelmingly nonfiction, since that is most of what I’ve been reading this year.

So. The top three which received ratings of 9, are:

The rest of my 9-ratings, all wonderful reads:

I gave plenty of 8s–too many, perhaps–and I’ve gone through and compiled you a slightly shorter list of my favorites from those books.

I hope this lengthy list gives you some good ideas for your own reading! What are some of the best books you’ve read this year?

Come back next week to see a further breakdown of my reading habits in 2017, what’s changed and what’s a surprise. Happy holidays and happy reading, friends.

movie: The Wild and Wonderful Whites of West Virginia (2009)

Note: I’m out of pocket during my residency period, beginning today with travel. I love your comments! But it may take me several days or a week or more to respond.


Sorry to follow last week’s negative review with another.

I’ve heard about The Wild and Wonderful Whites for years now, and I know a lot of people who appreciate it. When I started school in West Virginia, folks from other places mention this movie as a way to know the place. As I was watching all those other Appalachia/Southern movies for school, a friend borrowed it for me, as an optional add-on to my education, I guess.

I think it’s a shame that this movie represents the state. This documentary of the apparently legendary White family records their lifestyle: petty crime and violence, drug and alcohol abuse, no great contribution to society–excepting of course the cultural value of the tap dancing. I don’t know. The film itself presents (we assume) reality, with little or no editorializing. But the response to the film feels to me like glorifying or celebrating a lifestyle that includes a certain amount of tragedy. I’m not a prude; I appreciate partying, and I don’t judge making babies out of wedlock, or anything like that. But the matriarch crying at the drug use at her birthday party, and the pillhead whose baby is taken from her in the maternity ward, are sad stories. Why are we laughing and joking about this? Also, West Virginia doesn’t deserve this as its theme song.


Rating: 4 Xan-bars for filmography, I guess.

movie: Sherman’s March (1986)

Sherman’s March is the third movie assigned for that one seminar (see also The True Meaning of Pictures and Deliverance).

I don’t know. Perhaps it will be illuminated for me in seminar; but this movie didn’t hold much value for me. Ross gets a grant to make a documentary about the lasting impact of General Sherman’s march across the South during the Civil War. He sets out with camera in hand to visit his family and meet women, traveling the Carolinas and Georgia. His love life is suffering, and everyone he meets is either a potential partner or a matchmaker. He lolls about, bemoaning his single fate and feeling sorry for himself. He occasionally opines about General Sherman or visits a monument. Look for lines like, “Why aren’t you in love with me?” and “It doesn’t matter if you don’t know her, Ross.” (Two and a half hours of this.)

Woe is Ross. The end.


Rating: 3 hours of my day lost.

movie: The True Meaning of Pictures: Shelby Lee Adams’ Appalachia (2002)

This movie was assigned viewing for school, for the same seminar on “the documentary imaginary” that assigned Deliverance. It won’t surprise you to know then that I was comparing them as I watched this one.

The True Meaning of Pictures is a documentary, examining the work of photographer Shelby Lee Adams, and examining his portrayal of his home region of Appalachia. In a major departure from Deliverance, then, this movie explicitly questions how Appalachia is seen and viewed artistically, and asks if its portrayal is fair, or stereotypical, or exploitative. This is a nice answer to that other movie, and I’m so glad I watched them in this order.

Shelby Lee Adams is from Appalachia, so he “owns” it, it is his place. But the argument goes that he has chosen to photograph the stereotyped version of that place, a place he’s mostly left behind in his own day-to-day; and he has to some extent staged those images. Can you exploit the place you’re from? Or is what you see what you picture, and that’s that? The people whose lives he photographs (many of whom are close friends, who he stays with and visits for extended periods) generally appear (at least in this film) unbothered by the pictures he makes. The one woman interviewed here who was really offended by his work was the relative of one of his subjects. She had left her roots behind and didn’t like how he’d portrayed then. It makes an interesting juxtaposition, for me.

I enjoyed this documentary. I found it thoughtful, and informative. It offered me a view into a handful of people I found interesting to meet. I’m a little reluctant to make conclusions as to my own opinions about Appalachia and its portrayal; I’m an outsider to that region, which is an intriguing position to be in just now, studying it with a student body (and instructors) who are mostly insiders. I thought this movie was pretty fair in its examinations. But I’ll be interested to hear what my classmates think.

Next up is Sherman’s March, a 1986 documentary offering “A Meditation on the Possibility of Romantic Love In the South During an Era of Nuclear Weapons Proliferation.” So that sounds… interesting.


Rating: 8 holes in the screen door.

movie: Deliverance (1972)

Content warning: rape. Not discussed here in detail, but rather more graphic in the movie.


Assigned for Rebecca Gayle Howell’s seminar on “The Documentary Imaginary: One Way It Means To Be an Appalachian Writer,” and I have never seen this iconic movie before, so bring it on.

I am reminded of Urban Cowboy, how I recognized the moment in time, the cultural marker the movie made, felt nostalgic for some of its imagery, felt drawn to its presumptions, at the same time that I bridled against its crimes: stereotypes, misogyny, a casual good humor towards domestic violence. I gave it some slack for its datedness and enjoyed it some but still gave it 5 rides. And in many of the same ways, I meet Deliverance.

Four city boys take a weekend canoe trip down a backwoods Georgia river about to be dammed, which in the words of one of them, will “rape this whole goddamned landscape.” They take a decidedly nasty attitude towards the local hillbillies, who are short on teeth and don’t talk like the city boys–although it’s interesting to note that from my perspective the city boys sound pretty country, too. They have some small-scale internal conflict among them, but it’s mostly an idyllic float down the fictional Cahulawassee River. Until it isn’t.

I find myself unhappy writing about what follows, and geez, this is an awfully well-known movie. If you don’t know the plot, a simple web-search will fix you right up.

The cultural markers Deliverance has left behind are the dueling banjos, and the rape scene. The movie, it’s true, is so about more than that; but I found the rape scene quite disturbing, and didn’t realize how much so til I started trying to write about it. These are interesting observations that I imagine will be relevant to the discussion we’ll have in class, of “the documentary imaginary.”

Further, I imagine that we’ll be talking about the stereotyping of the Appalachian “mountain man” hillbilly. It’s quite ugly. Also ugly is the city boys’ attitude towards the locals when they arrive on the scene; really, they weren’t setting themselves up for any kind of good relations. A good movie in many ways; iconic, yes; musically interesting. But hard to watch, and ugly, despite the beautiful scenery. I did not find it redeemed by its profundity or higher themes or teaching value in the way that perhaps Boys Don’t Cry was. Maybe it’s just the datedness again. But I struggled; and ultimately, this movie gets the same rating as Urban Cowboy, and for similar reasons.

I look forward to being educated.


Rating: 5 missing teeth.

books for children

There are no babies in the household or extended biological family of pagesofjulia, but when I considered getting rid of my own baby/children’s books years ago, upon some move, my friend Liz protested. She told me that one day I would know babies, and I would wish I had books for them. And she has been right, again. Thanks, Liz.

I’ve been visiting with a baby recently, a family friend, a sweet little brown-eyed three-year-old who mostly remains quiet when I’m around but I’m told asks about me when I’m not. For her, for a recent visit, I dug out these four books which had been mine when I was small.

Giant Treasury of Peter Rabbit by Beatrix Potter


Mog the Forgetful Cat by Judith Kerr


The Patchwork Cat by William Mayne, illus. by Nicola Bayley


The Comic Adventures of Old Mother Hubbard and Her Dog by Tomie dePaola

It sort of tickled me to observe that these were all about animals.

And for the coming holidays, I have these two in hand for the same little girl:


Claude the Dog: A Christmas Story, words and pictures by Dick Gackenbach


Madeline’s Christmas by Ludwig Bemelmans


Several years ago I passed on a few classics to a friend’s new son, who is now going on five years old.

The Legend of the Bluebonnet: An Old Tale of Texas retold and illustrated by Tomie dePaola


The Legend of the Indian Paintbrush retold and illustrated by Tomie dePaola


And, I’ve just bought some board books for a baby friend for the holidays:

A Pocket for Corduroy by Don Freeman


Caldecott winner The Snowy Day by Ezra Jack Keats


Baby Touch and Feel: Animals


The Tale of Peter Rabbit by Beatrix Potter


Baby Faces


These all in board book format, because this baby with her sticking-up hair is barely nine months old. I also got her an autographed copy of Katie Fallon’s Look, See the Bird!, but I know she won’t be ready for that one for a while.

Look, See the Bird! by Bill Wilson and Katie Fallon, illus. by Leigh Anne Carter


All of this is out of my comfort zone as a book reviewer, as babies are themselves out of my comfort zone, but it feels good to make some effort to pass on what I love and to help these parents out.

I confess I’m charmed by looking for the books I myself enjoyed as a child, rather than the new stuff. But then I come across an article like this one and am excited all over again. Of course I must link here as well to Shelf Awareness’s children’s gift book issue, for those searching for more recent titles – my children’s book review colleagues at the Shelf do such a swell job. Maybe next year I’ll do a better job of taking their advice!

What have you learned, as parents or just friends of parents, about books and gift-giving outside of your own comfort zones? Have any books to recommend for babies or small people?

Glorybound by Jessie van Eerden

Disclosure: Jessie is the director of the MFA program I am enrolled in.


And it’s so hard for me to separate this book from the Jessie I know. I felt like I heard the lines read aloud in her measured, careful tones, with attention for each sound within them. Impartial I guess I am not, but I’ll tell you my opinion anyway, that this is a beautiful book.

Aimee and Crystal Lemley are holding it together, a decade after their father Cord, preacher at the Glorybound Holiness Tabernacle, predicted the end of times and then left town after times didn’t end. Their hometown of Cuzzert, West Virginia, population 335, is the kind of place where people stop over and then keep going. The girls take care of their mother Dotte and keep faith to the vows they made when Cord left: Crystal does not speak, and Aimee is celibate. They intend to be woman-prophets–by the rules of Glorybound, they will be able to prophesy but not to lead from up front.

Then a new teacher comes to town, from a volunteer program, sent from Chicago. His name is Aubrey Falls–Aimee calls him “sweet Aubrey Falls,” like an epithet. Aubrey finds the missing patriarch preacher Cord, and hopes to reunite him with his daughters. He uproots the past, which had come to feel well-buried in the drought-ridden, crusted-over, slow-moving Cuzzert; he raises questions and disrupts the Lemleys’ stasis. Unwitting, he becomes part of a swell of change.

This story, in its framing elements–setting in time and place and culture, religious backdrop and markers–is foreign to me. In fact, the Lemleys’ lives and understandings of the world are so caught up in their church that I would normally steer clear of them. In this way I’m like Aubrey. But like Aubrey, I was pulled along by the charm and charisma of Aimee and Crystal and the whole dysfunctional town. I guess in part I trusted in Jessie, whose work I knew to be luminous; but this book is luminous from its first lines, shines from within in a way that marks it as special, so I don’t think it mattered that I knew Jessie was an amazing writer beforehand, at all.

There is a magic beneath the words on the page, which glow and sing with music. These characters are all a mess and not quite decipherable, but they also feel perfectly portrayed, as in perfectly represented in all their weirdness; authentic. Think of entering a dark movie theatre and being transported, coming out with that dazed surprise at the world you live in, after all.

I realize I’m being a bit mystic and vague in my praise–perhaps the tone of this book has rubbed off on me. Here are a few of Glorybound‘s nameable strengths: exquisite detail and description, for example, of the dresses Aimee wears; lyric language, with a clear attention paid to every syllable; characterization through silences, diversions, and body language; tone and atmosphere. I would like to say that the West Virginia portrayed here is a true West Virginia, but that’s something I don’t know from personal experience so much as trust from what I know of Jessie and her background. (She made a lovely contribution to my birth/place project.) As a through-line, for those looking more closely for craft elements, I love the recurring quiet importance of clothing: Aimee’s dresses, Crystal’s worn work clothes, Aubrey’s discomfort with what to wear, Dotte’s seamstress work, the dresses worn by other women, the work of doing laundry. Every word counts.

Jessie has since had two more books published, her second novel My Radio Radio and most recently a collection of portrait essays, The Long Weeping. I will read them all.


Rating: 9 pieces of wash on the line.

upcoming semester

It’s nearly residency time again! I’ll be flying out in a few weeks to meet a friend & classmate in Rochester, New York, to join her for the drive down to Buckhannon, West Virginia for the start of winter residency at West Virginian Wesleyan College. You can read about the program I’m enrolled in, if you haven’t already; and you can check out the schedule I’ll be following while I’m there, and read about the seminars I’ll be attending (along with a taste of reading I’m undertaking in the next few weeks – whew!). I am excited to be back in the fold again, with the people who more or less make sense to me and whose weird minds inspire.

Be patient with me during this holiday season, as I travel, read and write. Be patient with each other, always. And stay tuned for reviews of all that reading, and three moves I’m assigned to watch!

What’s new for you in reading and studying as 2017 comes to a close, and what does 2018 hold?

Bearwallow: A Personal History of a Mountain Homeland by Jeremy B. Jones

Disclosure: I read this book in preparation to meet its author at school in a few weeks, where he is guest faculty for the upcoming semester. There is some chance that he will be my advisor for this semester.


I bought Bearwallow more than a year ago, when I was researching MFA programs I might want to attend, and he came up as past guest faculty at WVWC, where I did end up going. I thought it would be good to get to know their faculty better by reading books like this one, but I didn’t get around to it until we got word that he was actually on his way back to serve as guest faculty again. I’m pleased I finally found time for this memoir, which does have something to teach me. And I’m looking forward to meeting Jeremy, not least because I learned in these pages that he is an avid cyclist! (Road, not mountain, but close enough. I remember roads.)

In the timeline of Bearwallow, its narrator is a young man recently returned to the shadow of Bearwallow Mountain where he grew up. Jeremy wanted to leave Appalachia, and he and his wife Sarah lived for a time in Honduras, where they taught young children English. But he kept feeling struck by those mountains’ familiarity, their relationship to his own mountains; and he ended up coming home to teach the children of his own old neighborhood. There, he teaches ESL (English as second language) to the children of immigrants. As he considers language, mountains, and our relationships to place, he watches developers parcel out the top of Bearwallow and plan for it to change. The book is about Jeremy’s life (still a short one in the book’s timeline), his family history, his region’s history, the significance of change and growth, and what place means to people. (You can see why I like this book.)

This is a young man’s memoir, which is a tricky undertaking. But Jones handles it well. For one thing, his story is not chiefly or firstly about him. He opens with the story of one of his forefathers, a Dutchman named Abraham who helped to settle the region where Jeremy would grow up. He always grounds his own experiences in their larger settings: the mountains of North Carolina and Honduras; a family history; the challenges of immigrants and immigration; a young person’s dual drive to leave home and to return to it. He also frequently references his own youth, acknowledging the uncertainties of anything he can know about himself as a man in his 20s. In fact, this book ends when the narrator and wife go off to graduate school, leaving again and only perhaps to return (as we, outside the book, know he did, at least to the region if not the town and neighborhood).

I found the narrator easy to like. He is humble, though not self-deprecatory. He has an open mind and questions his own decisions and impressions. I also liked the kind of musing he does. People and place, the dubious demands of family and inheritance, and the complexities of a place like Appalachia, all speak to me. I appreciated Jones’s use of scenes to transition into memory, or historic topics: scenes and scenery as smooth transitional material between more abstract subjects, and of course for their added interest and characterization.

This is an enjoyable, easy read, but it’s also got something to offer the writing student. In fact, its ease is one of those deceptive qualities: apparently effortless, so that the style fades into invisibility, but that’s some of the hardest prose to write. Again, on a personal level, I look forward to meeting Jeremy as a fellow cyclist (and I think of my mother, a fellow teacher of English as foreign language). Recommended.


Rating: 8 lots.

The Stampographer by Vincent Sardon

This iconoclastic French artist’s work with rubber stamps is for fans of fart jokes, the f-bomb and political satire.

The Stampographer is a different kind of coffee-table book. Vincent Sardon makes rubber stamps because “the stamp is never neutral”; it generally appears as a tool of bureaucracy, but here subverts authority to play with taboo. The book’s endpapers are filled with repeating middle fingers, its pages with insults, erotic and violent images, the profane and the vulgar. In an interview (the volume’s only text), Sardon denies any such political motive: “My work simply reflects the world, which seems to have been created by an absolute moron.”

These are evocative images and complex references to art and history, showcasing Sardon’s dark, satiric, antagonistic sense of humor. He considers his stamps “both tools and works of art,” and sells them only to amateurs, not artists, from a private gallery in Paris. Readers not local to Paris are lucky to get a glimpse of his work in this unrivaled art book.


This review originally ran in the November 21, 2017 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: 7 turd blossoms.