This small but perfectly-formed book is a simple story of girl meets boy and all the usual things that follow. But it’s told in an unusual way so that I sometimes felt as if I was inside the main character.
The viewpoint changes around a bit, and the tone varies from personal to almost clinical at times. But even so, there is so much insight here, like this heart-rending evocation of the isolation of a new mother whose partner is away during the day:
This book made me happy. Gretchen Rubin did her research, found out every possible method for becoming more happy, and then spent a year trying them all out. In the end she decides it has worked — she is happier — and she evaluates which methods worked best for her. She’s read a stack of popular psychology books and self-help guides, so we won’t have to.
The thing that works best for her is a resolutions chart: for example, she’ll resolve to sing every morning, and then put a checkmark on the chart every morning when she remembers to sing. She says that was the best thing because it helped her get other things done, but mainly because it was so satisfying to award herself a checkmark and to look back on the month and see all the evidence of resolutions kept. It’s interesting that this technique, often recommended to help children remember to brush their teeth or put their clothes away, can also work well with adults. I bet Rubin had very clean teeth as a child, and probably still does.
I love reading philosophy, and I love reading novels. So this philosophical novel is right in my sweet spot. I have read some of Goldstein’s non-fiction, but after reading this fun and thoughtful book I want to search out her other work.
It’s a story about Cass Seltzer, an academic whose life changes when he publishes a book about the psychology of religion. The catalyst is the book’s appendix, which contains the titular 36 arguments along with commentary and rebuttals. That appendix makes him into a superstar — he gains fame, notoriety even, and an academic superstar girlfriend. The novel covers his career from the beginning, through his fame, and more.
This is like one of those great, wide-ranging conversations where you talk about everything, from what you did last weekend to the meaning of life, and everything in between. Each essay is on its own topic and they are apparently unrelated, but as I got into the second half of the book I found that they started to go together and give a coherent picture.
I first heard of this book when I read Ashleigh Young’s essay in Tell You What 2016, in which she describes the process of creating its distinctive cover illustration. Later, the book became big news when it won a huge literary prize. I remembered that I also enjoyed her essay in the earlier Tell You What book, and I also realised that one of the blogs I read, Eyelash Roaming, is written by Young. It appears that I am a fan of Ashleigh Young’s writing! So naturally, I bought the book.
This is a fascinating book about poetry, disguised as a wry and humorous story about a poet with writers’ block. It’s like two books in one!
The protagonist is a likeable everyman. Well not really an everyman — he’s a poet and academic rather than just a regular Joe. But he’s definitely likeable in the way that Nicholson Baker’s characters often are. (I feel that Baker’s protagonists tend to be versions of himself, even though I don’t at all know what he’s like in real life. I presume he is likeable.)
I have never read a novel like this before, but that’s obvious since it is actually not a novel. (The clue is in the name.) But it has characters (well, a character), lots of historical figures, and a (very faint) narrative arc. And it’s pretty fun to read.
Initially it seems like a very tersely worded version of one of those books of random factoids. Just a succession of one- or two-sentence paragraphs stating more or less interesting historical facts. Like this:
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.