New York City last century: the scarlet woman, the suspicious tragedy, the tough cop, the tenacious reporter. They’re all here, but they are put together in some unexpected ways. Right at the beginning, the “murder mystery” trope is upended by having the story start as a flashback, so we immediately know how it ends. Or do we? We meet a lot of characters on our way through the story, and despite the foreshadowing, the end of the book is quite satisfying.
The thing I liked most about this book is the writing style. Nicely-turned phrases and insightful sentences had me nodding my head all the way through. Smiling sometimes, even, though any humour in this book is definitely on the dark side. (Not The Dark Side though; it’s not that dark.)
This biography/autobiography/graphic novel is idiosyncratic, interesting and fun. It has sent me off to read and re-read both Katherine Mansfield and Sarah Laing, different writers from different centuries who still seem to have a lot in common.
Sarah Laing’s life so far has been conventional for an inquisitive Kiwi — growing up in the suburbs, university, OE working in London, returning to NZ to bring up a family, with lots of personal experimentation and discovery along the way. Presented here as a graphic novel, it’s readable and fun. It’s like a long-form expanded version of her comic strip Let Me Be Frank.
Some people think being an existentialist means spending your time brooding in cafés. Most people have no idea at all what it means. This book will explain what existentialism is, where it came from, and how to do it. You could call it “Existentialism for Fun and Profit”, except neither fun nor profit are really part of the existentialist programme.
Existentialism says, amongst other things, that there is no inherent meaning or purpose in life: it’s all completely contingent and arbitrary. Now, you might think that that’s a bad thing. But actually it’s good: since we have free will, we are therefore free to create our own meaning for our own lives.
This is just fantastic. July’s short stories are so imaginative in the way she blends mundane realism with the bizarrely surreal. It feels like a modern, shabby, seedy version of magic realism. Many of the characters are strange, but still trying to get along with life in their own broken way. They seem insane, and probably are, but they still work according to their own internal logic. They are trapped in a mind-numbing suburban existence, or growing up in an extremely dysfunctional environment. The writing seems to make the real world disappear and I find myself totally absorbed in the weird, affecting lives of July’s characters.
I have heard that July’s novel “The Last Bad Man” is a bit more conventional in style. But after reading this wonderful collection I definitely want to read more Miranda July.
This is a wonderful story of a quirky boy and his family as they go through some funny, tragic, interesting times. The premise is that Billy turns into a bird, or believes he does. But there is a lot more happening around that, and it all makes sense in the end.
Neale is a poet — I bought this book (and others) after hearing her read some of her poetry at the Going West Books and Writers Festival last year. So the book is beautifully written and Neale is really able to get into Billy’s head and make him really convincing. There’s a lot of familiar feelings and wisdom for parents of young boys (like me — I mean, I’m a parent, not a young boy, though I was once and still remember a bit about that too). The whole book made me think of Kate de Goldi’s excellent The 10PM Question, another fine story along similar lines.
This short but thought-provoking book describes a way that New Zealand’s economy could be reorganised to focus on the wellbeing of all its citizens, defined as
The ability to lead the kinds of lives that they value and have reason to value.
A meditation on belonging, place, family and more. Kirsty Gunn did what Katherine Mansfield never did: she returned from the UK to live for a time in her home town of Wellington, New Zealand. She stayed in a cottage in Thorndon, the suburb where Mansfield grew up, on a scholarship to work on her “Katherine Mansfield project”. This book is the result.
The style of Thorndon feels more like Mansfield than Gunn, in my limited experience of both writers. It feels as if Gunn, a Mansfield scholar, was deeply affected by being steeped in Mansfield’s formative environment. Even more so given that it was also Gunn’s.
In this book, Oliver Kamm attempts to explode a few myths about English usage, and set out sensible guidelines for literate writing. He gives interesting historical background notes and examples for many of his points, so the book is useful and well worth reading. But even though he chides “sticklers” for their insistence on idiosyncratic rules, his own rules and suggestions are themselves quirky and inconsistent. This makes the book a bit frustrating to read. It’s fun if you enjoy arguing with books though.
Kamm is generally very liberal in his views of language: he thinks that language should be allowed to change through usage, and that arbitrary and obsolete rules shouldn’t impede this. He’s right, of course. But he goes both too far and not far enough: he want to throw out some rules that are useful and make the language more usable; yet he wants to keep some obscure rules that make no sense despite his attempts to jusify them. I found myself shaking my head and tsking so much that I was moved to pick up a pen and note my disagreement (and, in some cases, my agreement). Here are some examples.
Life is hell, but at least there are prizes.
This is a wonderful compilation of short stories spanning Frame’s career. There is a lot of variety here: the common thread is that they are mostly set in New Zealand in the second half of last century. There are surreal magical realist pieces, impressionistic slice-of-life pieces, and coming-of-age stories. My favourites are the ones written from a child’s point of view: we all used to be children, but she actually remembers what it was like and expresses it in a way that makes me remember too.
An old man kidnaps his housekeeper’s granddaughter and takes her for a walk in the hills. He needs to write her into a piece of music he is composing. This is the start of this novel, and as it continues we learn more about the history of his family, which has lived for many generations in a remote house in the Scottish highlands. The house and family have become famous in the world of classical bagpipe music, the “big music” of the title.
I have never seen a book put together like this one before. It’s presented as a documentary, with the story built up from fragments of letters, recordings and papers found during the author’s research into the family and house. Supporting the story are many many footnotes, including frequent cross-references to other parts of the story and to the numerous appendices including plans of the house, maps of the area, family history, proceedings of musical societies, academic papers and more. At first I found the footnotes intrusive and fussy, but eventually I realised that this was all an essential part of the book.