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Posted in Personal on December 31, 2021
How can I even begin to write about this year? As it began, we were still grieving the loss of my younger brother in 2020, still in lockdown, still despairing over the state of our present government, still unable to think very far ahead or make firm plans. The world continued on its headlong rush to hell in a handcart. I blogged only occasionally, about Passing Time, and for Holocaust Memorial Day, and about my reading during the year (all my writing energy was going into the PhD). All the usual sort of things happened, and some less usual ones – I had a fall, which reduced my mobility significantly for the rest of the year, we went to a family wedding, our son moved into his new house, I submitted the PhD, to general rejoicing.
And then, on 9 October, a week after I’d submitted the thesis, I woke in the early hours to realise that my husband was having a cardiac arrest, and in the blur and muddle of a sudden awakening to realise that I was losing him. The paramedics did everything there was to be done, and kept on doing it until they knew there was nothing more that could be done. Our kids were summoned and arrived, and we sat, shell-shocked, trying to understand what had happened. In the space of an hour our world had utterly changed, for ever.
Since that day, everything I’ve done, everything I’ve written, everything I’ve watched or listened to, has been about that loss. The mountain of bereavement admin, of course, and the planning of the funeral. The decisions about how to manage here on my own, especially as I’m not very mobile at present. Every conversation, even when we’re not explicitly talking about ‘it’. I was determined to do my usual summaries of what I’ve read and what I’ve watched during the year, but I had to acknowledge and address the huge gulf between Before and After. And I still find I cannot listen to music in the focused way we used to.
It’s too early for me to have any profound reflections on grief. I’m just at the beginning of that journey. I’ve encountered it before, of course – the loss of my mother 26 years ago, the loss of my mother-in-law gradually to dementia and then finally to a stroke three Christmases ago, the loss of my younger brother to cancer in 2020. The difference here is that, as much as all of them were loved, however important they were to me, none of them was woven into the fabric of my daily life. And so I could go for hours, even days, feeling normal until I bumped into something or was ambushed by something that brought it back. Nothing is normal for me now and yet everything around me is familiar.
I know that the old Kubler-Ross ‘stages of grief’ hypothesis has been re-thought, to describe ‘states’ rather than stages, getting away from any notion of a linear process. If I have learned anything about grieving it is that it is not linear. The description of the five states also clearly encompasses a wide range of situations, including coming to terms with one’s own illness and mortality, and other life crises, and some of them seem alien to at least my experience of bereavement.
I have not in any of my grieving so far felt anger. Perhaps, as I do not believe in God, I have nothing/no one to rail and rage against, and the people I’ve lost have been lost to illnesses that, however cruel and brutal, are common, rather than to tragedies with a human cause. I haven’t ever asked, why him? why her? why me? The question makes no sense. Why? Because cancer invaded their body, because their heart had a genetic weakness, because dementia took away not only cognitive but other physical functions too. The same goes for bargaining: who would I be bargaining with, and for what? The people I’ve loved and lost aren’t coming back, however virtuous my life from this point on.
Denial? Only in the sense that in those early hours, as we prepared to make phone calls, we all had this sense of unreality, that we were perhaps about to waken family members and close friends with bad news that we had somehow hallucinated. But we knew. We knew there was no alternative reality to cling to, that the sense of unreality was a product of shock at something utterly unexpected, and of the only possible human response to death, that it makes no sense.
It makes no more sense now, over two months later, than it did in those awful first hours. How can a person be there, fully there, and then not, and so completely not that their absence from their own body is unmistakable and irrevocable? There’s an episode of Buffy that I will never, I suspect, be able to watch again, which confronts this, using a non-human to express what we all feel but don’t usually say:
I don’t understand how this all happens. How we go through this. I mean, I knew her, and then she’s – There’s just a body, and I don’t understand why she just can’t get back in it and not be dead anymore. It’s stupid. It’s mortal and stupid. And – and Xander’s crying and not talking, and – and I was having fruit punch, and I thought, well, Joyce will never have any more fruit punch ever, and she’ll never have eggs, or yawn or brush her hair, not ever, and no one will explain to me why. (‘The Body’, Buffy the Vampire Slayer, season 5)
Faced with this incomprehensible reality, it is little wonder that human beings feel the need to believe in something after life, whether it is heaven, or reincarnation. Unfortunately those ideas seem as incomprehensible to me as death does. What lives on, I believe, is not the person, in some other sphere or inhabiting some other form, it is the memory of the person, the shape of them in the lives that they’ve left behind, the echo of their voice, the physical objects that they touched, the music that they loved. I do like this, however, which our son quoted in his tribute to his father at the funeral:
Picture a wave in the ocean. You can see it, measure it – its height, the way the sunlight refracts when it passes through – and it’s there, and you can see it, and you know what it is: it’s a wave. And then it crashes on the shore and it’s gone. But the water is still there. The wave was just a different way for the water to be for a little while. That’s one conception of death for a Buddhist: the wave returns to the ocean, where it came from, where it’s supposed to be.Michael Schur, The Good Place
I was very moved by the way death was shown in The Good Place, the origin of this quote, a comedy about what happens after you die. Various versions of heaven and hell (the Good Place, the Bad Place) are encountered, but in the end, our protagonists choose, instead of going on forever, to become part of the ocean, part of the universe. And I can find more comfort in the idea that the people I have loved and lost are part of the ocean now than in the idea that they exist in some other plane, where I could theoretically be reunited with them in due course.
I know that this process of grieving will be lifelong. Each loss has altered me, and this one most profoundly. There is nothing in my life that is the same as it was on 8 October. And so I have to learn how to be myself, how to order my life, how to enjoy the things we used to share. It’s not that he defined me, rather that our partnership helped me to figure out who I am, to define myself.
I’ve learned some things so far.
I need to accept offers of help, whether I could manage without them or not, where they are prompted by the desire to support me and be useful. If I turn that away, I am in some way rejecting that person’s love. I’d rather swallow my stubborn independence in some small measure and say yes, thank you. And I need to ask for help clearly and directly when I really do need it. That’s not easy but it’s going to be vital.
Life is short, and one may get no notice that it’s about to end. After he died, we found so many things bought for him with love, that he was delighted to get, but so delighted that he saved them ‘for special’. That ‘special’ bottle of wine or whisky was untouched, the new rucksack still had its labels on, the book’s pages had not been opened, the cellophane was still on the CD or DVD. That’s not going to be the way I live, not now. If I have something lovely, especially something lovely that someone has given me, I will use and enjoy it now. Now may be the special time, for all we know.
The kindness of strangers has helped me more than I could have imagined. I have been overwhelmed with messages from my friends and family, and their support has been what has kept us from going under in these last two months. Practical and emotional support. Hugs and flowers and scones and lasagne and shared tears. But since I spoke about this on social media, I’ve also had support from people I’ve never met in real life. People may hesitate before expressing sympathy with someone they only know from a few tweets, because they fear intruding, or because they don’t feel they can express themselves articulately enough. The thing is, I’ve been public about what’s happened, so an expression of sympathy and support is not an intrusion. And I don’t expect anyone to have anything mind-blowingly profound to say – clichés have their place, in allowing us to reach out to someone we don’t know. And all of the ‘you’re in my thoughts’, ‘I’m so sorry’, ‘sending love’, and just ‘Oh, Cath’ have comforted and strengthened me, made me feel less alone. So, if you feel moved by someone’s situation, tell them. (Please, though, don’t give advice unless asked for, and don’t tell them they’ll feel better soon, and don’t say that everything happens for a reason…)
This is going to be a long haul. I will learn to live on my own, but to ask for help when I need it. I will learn to live in our home in a way that suits my needs and circumstances, and to celebrate the good things and the good times, and to enjoy the music and the TV and films that we used to enjoy together, as well as the new things I find, and the things that I always had to cajole him into watching or listening to. I’ll adapt, and I’ll cope, and I’ll be OK.
But we had 47 years of companionship, 44 years of marriage, and in all those years we were never apart for more than a week or so. We’ve now been apart for nearly twelve weeks, and I don’t understand where he’s got to. Our conversation hadn’t ended; there are so many things I want to tell him or discuss with him, things I want to ask him (the name of that neighbour who was so kind the other day, where on earth he put the locking wheel nuts for the car, that sort of thing), plans I want to make with him. Maybe the strength of that sensation, that he’s just popped out somewhere and been inexplicably delayed, will fade. But for the last 47 years, our lives were woven together and that can’t be unravelled. The pattern of my life will be different, but I will still see the threads of our companionship running through it.
What is grief, if not love, persevering? I took that line from the Marvel TV series, Wandavision. It took us a while to understand what was happening in the show, but I can see now that it was all about grief. And grief is all about love. The shape and power of that grief and that love will change, but I don’t believe they’ll fade into nothingness. And I don’t want them to.
At the funeral, I talked about the ordinariness of the last day we had together, a day which is only memorable because it was the last one.
In 44 years of marriage, there are more days like that than there are portentous or memorable ones. Days like that are what a lifetime of companionship is all about. A lifetime (all our adult lives, anyway) of affection, laughter, sharing out tasks and sharing worries, bickering (about things that mattered and about things that absolutely didn’t), watching detective dramas and Marvel movies and Doctor Who, and listening to music. Lots and lots of listening to music.
I don’t know what the shape of my days will be, without him. I’ll learn to listen to music and to watch the programmes and films we both loved, without him. I’ll go to concerts and the cinema and the theatre with other people, and I’ll spend time with our kids and our families and with friends. It will be strange, and difficult. But I’m thankful for those 44 years of everyday days, as well as the momentous and challenging and glorious and awful days, every kind of day. So, as Ray Davies put it (and as Kirsty MacColl sang it):
Thank you for the days,
Those endless days, those sacred days you gave me.
I’m thinking of the days,
I won’t forget a single day, believe me.
I bless the light,
I bless the light that lights on you believe me
And though you’re gone,
You’re with me every single day, believe me.(R. Davies)
My love goes out to our children, who in their own profound grief, have given me so much strength, comfort and practical support. He was so very proud of them both, as am I.
So, 2022? I hope it will bring the completion of the PhD, weddings and babies, maybe a new knee for me. I can’t think much more widely than that at the moment, I’m afraid. I’m deliberately trying not to grasp the enormity of living alone as a permanent state not just (as it sometimes feels at present) as an anomaly, or an experiment, because when I do for a moment I feel so weary and so daunted. If I think a day or a week at a time, I can do this. Because I’m not doing it alone, but with people I love and who love me. And if I hold on tight to that, I’ll find the strength I need to keep on keeping on.
I will hold on to my hat and hang on my hope, and wind the clock, for tomorrow is another day. And this poem, Sheenagh Pugh’s ‘Sometimes’, which you can hear read by my dear friend Ruth Arnold, is for all of us: ‘The sun will sometimes melt a field of sorrow that seemed hard frozen: may it happen for you.’
I only saw two films at the cinema in 2021. It took me a while to feel confident in going back, but I’m glad I did, for the delight that was Celine Sciamma’s Petite Maman. (I subsequently saw West Side Story, see below) It seemed fitting, as well, given that the last films I saw at the cinema, in March 2020, were her Girlhood, and Portrait of a Lady on Fire. The second of those was the last film I saw at the cinema with my late husband.
There are plenty of films here, viewed on Netflix, Amazon Prime, Disney Plus and regular TV channels. It’s a different experience, certainly, less immersive (I wouldn’t check my phone during a film at the cinema whereas, I’m afraid, I can’t always help myself when at home). But it’s been invaluable, during the various phases of lockdown, and during the weeks immediately after my husband’s death when some already familiar films provided comfort and distraction.
Anyone who has read my reviews of previous years will expect, and will get, a lot of detective, crime and thriller series, a fair bit of scifi/fantasy, and some serious drama. They might not expect a flurry of reality shows – indeed, neither did I. If anyone had told me that in October/November 2021, I would be binging Married at First Sight Australia, The Bachelor (Australia), and Selling Sunset, I would have scoffed. But there, indeed, I was. They served a very useful purpose – they were ludicrous, and despite featuring ‘real’ people, seemed to have no connection to any reality that I recognised, and that was fine, because (for the most part) nothing that happened on these shows was going to break my heart into little pieces. Rather, I spent a lot of time shaking my head in disbelief…
The following list of TV programmes and films (some with commentary, some not) includes things I watched with him, things we’d watched together but which I continued on my own, things I watched with the kids in the strange weeks following his death, and programmes/films to which they introduced me.
The A Word (series 3) – excellent performances, and very touching. Not the last word on autism (it’s far too complex to be that – as they say, if you’ve met one autistic person you’ve met one autistic person) but a portrait of one autistic child and his family.
It’s A Sin – this was stunning, and devastating. Superbly played by all of the leads (special mention to Keeley Hawes, who was horrifying as Ritchie’s mother).
Elizabeth R – I rewatched this to see how something that at the time seemed like landmark television held up 50 years later. It was slow by contemporary standards, and the budget constraints were pretty obvious in the crowd scenes, processions, battles, etc, but Glenda Jackson’s performance was as powerful as I remembered it.
Peaky Blinders – My husband never fancied watching this, despite so many people saying how good it was. I started watching it, with my son, after his death – whilst it’s not what you might call comfort watching, it was something that was good in its own right and had no associations with him that might have ambushed me. It’s brilliantly done, the script, the performances, the pacing, the sets are all marvellous, even if the accents are a bit wonky…
Small Axe – What struck me most forcibly was how different each film is from the others in the series. Mangrove is, of necessity, talky, with a fair bit of declaiming in the courtroom scenes, but Lovers’ Rock has only minimal dialogue, with long sequences where we are just watching people dance and sing along to the music. Music is at the heart of all the episodes except the final one, Education where the appalling travesty of education that was all too often SEN schooling was illustrated by a teacher inflicting his rendition of ‘House of the Rising Sun’ on his class (and compounding the crime by claiming that the Animals wrote it…). These films were, individually and as a group, powerful and moving, and vital. It was hard to watch and listen to at times, but well worth doing so, whether one was generally familiar with the events and situations described or not.
Passing – Rebecca Hall’s adaptation of Nella Larson’s 1929 novel is understated, beautifully shot and full of tension. Wonderful performances from Ruth Negga and Tessa Thompson.
Petite Maman – a beautiful, magical exploration of loss. The trigger warning referred to ‘mild bereavement references’, and thankfully they were mild, poignant rather than heart wrenching.
The Dig – understated account of the excavation of the Sutton Hoo treasure, during the uneasy days just before the Second World War. Along the way it deals with class and gender prejudices, but with a very gentle touch.
The Harder They Fall – gripping and violent account of black outlaws in the wild west. Not only are most of the characters black, but women play key roles too (Regina King in particular is magnificent). The soundtrack is brilliant – gospel, rap, afrobeat…
1917 – a super-tense account of two young soldiers’ attempt to get an urgent message through to another batallion, across no-man’s land and behind enemy lines. The tension is heightened by the filming which is, for much of the film, a long continuous take
Good Vibrations – warm and funny account of the eponymous record shop in Belfast, and its role in the success of the Undertones.
The Trial of the Chicago 7 – fascinating, flawed depiction of the trial of activists for incitement of violence at the Chicago Democratic Convention in 1968. I wanted more, a lot more, about Bobby Seale, originally the eighth man, without legal representation, and at one point bound and gagged in the courtroom, but it wasn’t that film. Very talky (but how could a courtroom drama be otherwise?), and I suspect somewhat romanticised (did that final scene – the reading of the names of soldiers killed in Vietnam during the course of the trial – take place, and did junior prosecutor Richard Schultz stand, out of respect to the fallen?). The word that crops up most often in reviews is ‘portentous’ and I guess that’s fair.
Battlestar Galactica – the 2004 series, and very different to the original 1970s show. This is gritty and hard-hitting – blood, sweat and tears all in copious supply. The plot was complex and intelligent, and rarely predictable (even when one is very familiar with the genre). The political/religious threads were fascinating, and the ending didn’t tie them all up neatly, leaving viewers to decide, or to wonder.
His Dark Materials – series 2 of the Philip Pullman adaptation was even better than the first. I knew the plot, but still got goosebumps
The Last Wave – ludicrous French fantasy which failed to make any sense at all. We’d watched in hope of something more like The Returned, but it wasn’t even close.
The Mandalorian – very engaging Star Wars spin-off which I managed to comprehend despite not being entirely au fait with that world.
Agents of Shield – the last ever series, and it went out with impeccable style, lots of heart, and a final episode that eschewed high drama and tragedy for a poignant glimpse of something resembling real life.
Loki – wonderfully entertaining, and the double act between Hiddleston and Owen Wilson was a joy to watch.
Wandavision – this was outstanding television. We had no idea what was going on, for quite a while, and the darkness crept up on us. Ultimately, it’s about grief. ‘What is grief, if not love, persevering?’.
The Falcon and the Winter Soldier – more like the Avengers films than the previous two spin-offs, this marked out new territory with its recognition of race, a tough look at the realities rather than just cheering the notion of a black Captain America.
Hawkeye pairs the supposedly low-key Avenger with an Avenger wannabe, played by Hailee Steinfeld. This works extremely well – she’s desperate to be a super hero, and to be the partner of a super hero, he just wants to get home for Christmas with his kids. There are also obviously bad guys and conspiracies and some jolly good archery.
Black Widow – about bloody time. But also a bit late, in that Natasha died in Endgame. But it fills in her story very satisfyingly, with a good dash of humour and lots of fighting and exploding. Loved Florence Pugh as Yelena.
Shang Chi & the Legend of the Ten Rings – a cracking addition to the MCU, with a predominantly Asian cast, this is visually stunning, and I love the cast, particularly Awkwafina and Michelle Yeoh.
The Walking Dead – on to the final stretch now (disregarding any future spinoffs). Since the Whisperers storyline it has been back to full strength, with inventive approaches to storytelling forced on them by the pandemic.
Doctor Who – a New Year’s special and the final series for Jodie Whitaker’s Doctor.The Special was OK, the series was much better – it threw any number of elements into the mix and then stirred them up furiously, and it was genuinely exhilarating. The ‘Village of the Angels’ ep was also genuinely chilling. A couple more specials and then a new (old) showrunner and a new Doc…
Deadpool 2 – very funny, very rude
Fantastic Beasts 2 – completely baffling. Did I nod off partway through? What was all that about? And why?
Happy Deathday – a Halloween choice, and a good one. I do love a time loop.
28 Weeks Later – I saw 28 Days later years ago, but had never got round to the sequel. It may not live up to that, and there were some dodgy elements of the plot that were never explained (e.g., given that the zombies are driven by mindless rage, how does the zombified father have the mental control to stalk and pursue his children?), but it was thoroughly entertaining.
Justice League – this was long. Entertaining enough (once we’d worked out that the reason we seemed to have been pitched right into the middle of the action without any explanation as to what was going on was that we’d mistakenly selected the recording of part 2, thus pitching us right into the middle of the action). I can’t get along with this Batman though – the dark broodiness seems comical.
Kingsman – very silly, very violent, quite rude, very diverting.
Lucy – started off brilliantly, got dafter, if more visually exciting, as it went along.
The Shape of Water – beautiful, magical, strange and moving. It will also always be to me the last thing that I watched with my husband, the night before he died.
Shazam – post-bereavement fun watch
Starship Troopers – violent political satire on militaristic nationalism, based on a Heinlein novel which celebrated militaristic nationalism (and which director Verhoeven described as ‘a very bad book’ and so right wing he could not bear to read it all).
Zombieland Double Tap – not as good as the first film, but entertaining
NB – the adjective ‘grim’ crops up a number of times below. This is not necessarily a criticism, more of a warning that in this particular drama we are a long way from Midsomer, Mallorca or Paradise.
All the Sins (Finland, series 1 & 2) – grim. Lots of religious repression.
Darkness (Those That Kill) (Denmark, series 2) – serial killer series focusing on a profiler, who is so bad at her job that she sleeps with the perp (sorry if I’ve spoilered it, but actually I’ve saved you some time…)
Deutschland 89 (Germany, series 3) – a fine finale to the series, as we’ve followed Martin through the last six years of the GDR. Whereas much of the history invoked in ’83 and ’86 wasn’t too familiar to us, this one of course was, and it was fascinating to see if from such a different perspective.
DNA (Denmark) – entertaining, but plot holes aplenty
Ice Cold Murders – Rocco Schiavone (Italy) – the plots are ok, and the maverick detective is ok if a bit of a cliché, but the ‘comedic’ elements haven’t travelled very well and sit poorly with the darker elements of the plot
Monster (Norway) – grim. Lots of religious repression.
Nordic Murders (Germany) – not really Nordic, as we understand it. Set on an island that is part Polish, part German. Series 1 (I haven’t followed up subsequent series) started off well enough with the release of a former prosecutor after serving a prison sentence for murder, but then every episode seemed to feature said former prosecutor somehow getting involved in, and miraculously solving, the crimes.
Paris Police 1900 (France) – fascinating, set in the days when the Dreyfus affair was tearing France apart, and antisemitic conspiracy theories were rife.
Rebecka Martinsson (Sweden) – we watched series 1 some time ago so were slightly thrown when the eponymous detective looked entirely different in series 2 thanks to a change of actor. Having got used to that, it was entertaining, even if the lead characters were quite annoying.
Spiral (France) – our final encounter with Laure, Gilou and Josephine. They will be sorely missed.
The Twelve (Belgium) – a courtroom drama with two strands, a murder trial, and the personal lives of some of the jurors. There were some holes in the former plot line, and the second was a bit soapy, but overall it was enjoyable enough.
21 Bridges – v. enjoyable cop thriller with Chadwick Boseman in the lead.
The Valhalla Murders (Iceland) – Grim.
Bloodlands – convoluted plot, not entirely convincing. A second series is apparently in the works but I may not bother.
Inspector George Gently – I do love a period detective drama, if it’s done well and thoughtfully uses the period setting rather than just tapping into some vague nostalgia for the old days when there were bobbies on the beat. Gently is an excellent example of the genre – the 60s setting brings out, in early episodes, the fact that murderers faced the death penalty, the way in which the war was still so present in the minds of those who fought in it, and a barrier to understanding between the generations, the racism, sexism, homophobia and so on that were taken for granted…
WPC 56 – the tone of this is all over the place. Quite serious stuff about racism and sexism and heavy-handed policing, mingled with rather heavy-handed comedy/slapstick involving a bumbling spiv, or a clumsy copper. The lead character (in series 1 and 2) is also an unconvincing mixture of forthright and gutsy, with naïve and romantic (not an impossible combination, I do realise, but neither the script nor the performance is good enough to make it work).
Endeavour (season 6) – yes, this is period detective drama. But it’s so much more. The quality of the writing is consistently high, and the performances, particularly from the core team of Evans, Allam and Lesser, are subtle and convincing – and often very moving. And of course, whilst we are enjoying the 60s/70s setting, we are always conscious that this is the ‘origin story’ of Morse and there’s a fascination in seeing Evans’ portrayal, and the scripts, gradually connecting with the original series.
Grace – didn’t quite work, despite John Simm, who I really like. It’s quite a cracker of a plot (based on, though its ending departs from, Peter James’ Dead Simple) but the eponymous DI’s dabbling in the supernatural (he consults a medium, despite having nearly lost his job over doing so in a previous case) was odd – I think we were meant to believe that the medium was the real deal and his input valuable to the case, but it wasn’t very convincing.
Innocent – series 2, but with an entirely different cast and plot from series 1. The link is that both feature people who have done time but then had their convictions overturned, and focus both on the difficulty of reintegrating with their previous lives, and their desire to expose the real murderer.
Killing Eve – season 3. OK, I know it’s not quite as brilliant as the first two, but even slightly less good Killing Eve is a cut above the average.
Line of Duty – I did not share the disappointment that some felt about the big reveal which turned out not to be such a big reveal. Yes, our household did let out an incredulous shout as we realised who was being led into the interrogation suite, but it was obvious immediately that this was no criminal mastermind but someone obeying orders from much higher up, so we are still waiting for the actual Big Reveal (series 7?)
Mystery Road – gritty Australian crime series (series 2). Excellent, and featuring a significant number of indigenous Australian actors, including the lead, Aaron Pederson. He’s incredibly dour – the character was described by the Guardian’s reviewer as ‘caught between traditions, between worldviews, between laws and lores’. The history and racial politics of Australia are always present here, whether as a troubling undercurrent or in the foreground of the plot.
Shetland – the series has long since parted company with Ann Cleeves’ novels, but stands on its own two feet very well.
Too Close – a psychological drama with a number of glaring plot holes, but great performances from Emily Watson and Denise Gough.
Traces – excellent crime drama written by Val McDermid, set in Dundee, and featuring Martin Compston (Line of Duty).
Unforgotten (Season 4) – this series is always emotionally hard-hitting. The ‘reveal’ scene at the end of Season 3 still haunts me, and the focus on the way in which the impact of the crime continues to devastate long afterwards is powerfully done. This series was no exception. Apparently some viewers were cross about the ending, which I don’t really understand – I thought it was, yes, heartbreaking but handled with subtlety and humanity.
Vera (Season 10) – we do love Vera. And I have a very soft spot for her DS, especially (I may have mentioned this in previous years’ reviews) the way he kneels down to put her crime scene shoe covers on.
Tinker Tailor Soldier Spy – the 1979 series, with Alec Guinness as (surely) the definitive Smiley. I remember watching it at the time and being enthralled. The opening sequence was slow, and almost dialogue-free, but told us an awful lot regardless – subtle atmosphere building and character development. Everything was slightly sepia, as if nicotine stained. The 2011 film was excellent, but I was surprised how closely they followed the series.
Gosford Park – easy to get distracted by the star cast, but one did have to concentrate to follow the plot. Thoroughly entertaining, great script, splendid performances, no depth or nuance but that didn’t stop it being most enjoyable.
Death in Paradise/The Mallorca Files/McDonald & Dodds/Midsomer Murders – murder in a beautiful setting and/or with a slightly tongue in cheek approach, nothing too heavy or emotionally engaging. There are times when that’s just what one needs.
Brooklyn 99 – having been urged for several years to watch this by my son, I finally started to watch it, with him, in the days following Martyn’s death. Very funny, very well written.
Community (Season 6) – They got six seasons, but no sign of a movie… Continued to be super-meta and bonkers to the very end.
Good Girls – this one was my daughter’s contribution to post-bereavement watching. Whilst some (many) plot developments could be seen coming, the script and the performances make it immensely enjoyable.
Modern Family (Season 9) – it tends to re-tread the same ground repeatedly, but Phil makes me laugh such a lot that all is forgiven.
Parks & Recreation (Season 1) – I gather that Season 1 is simply an intro to when it gets really good, from Season 2 onwards. I intend to check that out soon. Meantime, we rather enjoyed Season 1.
What We Do in the Shadows – mad, silly, rude and gory
This Way Up – Aisling Bea’s comedy has so much heart. It’s full of people who aren’t horrible, just human and who make mistakes and hurt people without particularly intending to, and people who are trying really hard to cope with life. It made me laugh and cry.
Ted Lasso (Season 1) – a warm hug of a show. But not as cosy as that suggests, it doesn’t shy away from unhappiness and unkindness, and Ted isn’t a Forrest Gump, as I feared, but a very intelligent person who’s found a way of living and relating to people that merely seems simple. I loved it. And it’s about football.
Films we watched, huddled together on the sofa, in the aftermath: Bridesmaids, Hitch, Lovebirds, Murder Mystery. All enjoyable and silly, and just what we needed.
Strictly Come Dancing – I had never watched this before. I can’t imagine how I could have sold it to Martyn, TBH. But I am now so invested, having wept my way through Rose’s silent dance, and John and Johannes talking about coming out, and Rhys’s Dad and AJ’s Mum… The dancing is so joyous and life affirming, and for all the clichés about ‘journeys’ we are watching people grow and flourish in a most extraordinary way. I’m hooked.
The Great British Bake-off – another bit of joyful telly. These people are competing against one another, but they seem to care about each other too. As the final three waited for the announcement of the winner, they were all holding hands, which was rather sweet. Baking, like dancing, is something I cannot comprehend or imagine ever doing, even incompetently, so it does all feel rather like magic.
Taskmaster – it does depend a bit on who the competitors are, but generally it’s engaging, funny, and bonkers.
Get Back – this was glorious. I remember watching the Let it Be documentary, way way back, with Martyn, and the selection of material made everything seem sour, and sad. Seeing all these hours of footage, what comes across is the joy that they still found in making music, the laughter, the sweet moments, the magical process where we hear the song we know emerging from what seemed to be an aimless jam. There’s friction, sure, but ‘you know, lads, the band!’ as Paul says. And I’ve always loved that rooftop performance. Favourite moments – the ‘Get Back’ moment, John and Yoko waltzing to ‘I Me Mine’, Heather mimicking Yoko’s primal screamy vocals, Paul saying, very early on, that it would be really cool if the gig were to be interrupted by the cops. Paul mocking the idea that future generations might think the band broke up because Yoko sat on an amp. Mal. And Glyn. Everyone trying to stall the cops as they head for the roof. I know some people (probably quite a few) found its running time too long. All I can say is that it never outstayed its welcome for me. My apprenticeship was 47 years of listening to musicians jamming, trying things out, allowing tunes to emerge. Listening as it happened, and then listening to recordings of it happening… So every minute of this was tinged with sadness, that Martyn wasn’t there to watch it with me, and memories of listening to this music with him, and listening to him making his own music.
Summer of Soul (or – when the revolution could not be televised) – 2021 documentary, mixing footage from the 1969 Harlem Cultural Festival with commentary from some of the artists, and some members of the audience. It features performances from (amongst others), Mahalia Jackson, Staple Singers, Sly & the Family Stone, Nina Simone, Gladys Knight & the Pips, Stevie Wonder… An extraordinary record of an extraordinary event.
Hamilton – a real treat. The conceit (rapping about 18th century American history) is audacious, and carried off with such flair and style. As the Guardian reviewer put it, it offers us ‘history de-wigged’, it captures ‘the fervour and excitement of revolution’, and celebrates the ways in which immigrants shaped America by casting almost entirely non-white performers. Stunning, and I will be re-watching this soon.
Aretha Franklin – Amazing Grace – wonderful footage from the recording of the Amazing Grace album, Aretha paying her gospel dues. That voice, oh lord. And she sang her mash-up of ‘You’ve got a friend’ with ‘Precious Lord’.
Miles Davis: Birth of the Cool – brilliant doc on one of my absolute favourite musicians, a most remarkable and fascinating man with an extraordinary life.
Once were Brothers – another excellent doc, this one on The Band, largely through Robbie Robertson’s reminiscences, which are very articulate and thoughtful.
Delia Derbyshire: The Myths and the Legendary Tapes – a labour of love from writer/director and actor Caroline Catz, exploring the life and work of this innovator in electronic music, someone who undoubtedly should be better known.
West Side Story – Spielberg was never going to diss the original movie, so my fear was that it might be just a bit too reverential, rather than that he would ditch any of the things that are most vital about it. The music, the lyrics, the choreography, are all there, and any changes are contextual – the setting for some of the big dance numbers, who some of the songs are given to, for example. There’s additional dialogue which allows for a fleshing out of the social issues touched upon in ‘Gee Officer Krupke’, and the context of a neighbourhood that’s not only disputed territory between the rival gangs, but scheduled for demolition and future gentrification. Lovely as Natalie Wood was, I much prefer Rachel Zegler, and whilst Ariana Debose can’t eclipse Rita Moreno (who could), she matches the vibrancy of that performance and, of course, we get Moreno anyway, in an added role as Doc’s widow. She gets to sing ‘Somewhere’, which broke me, that song, in her still lovely but more fragile voice, reflecting her own attempts to find a place for her and the man she loved. I loved it, and I cried, quite a lot, as I always do, but I also smiled in sheer delight, as I always do.
Carousel/South Pacific – first time for the former, the second (my Mum’s favourite musical) I have watched many, many times. I really disliked Carousel. Most of the music didn’t really move me (apart from it’s one really big wonderful tune), and I loathed Billy Bigelow, at best a charmless yob, at worst a violent bully, and so I hated him being given another chance to show Julie that he loved her (by hitting their daughter, apparently – but it’s OK because it felt like a kiss…). This stuff is seriously toxic and that one really big wonderful tune cannot redeem it. South Pacific, on the other hand, only a couple of years later from the same team, is wonderful. Now I know they dodge the issue of racial prejudice by having lovely Joe Cable die before he can keep his promise to Liat, but that song, ‘You Have to be Carefully Taught’ is brilliant, and pretty radical. Just to have Nellie and Joe acknowledging the irrationality of their prejudices, and their feeling of helplessness in the face of those irrational responses, is pretty radical. The tunes are great, the performances are great, and the use of coloured filters (a lot more extreme than the director had intended) is still startling and strange.
A mixed bag of musical biogs on Billie, Ella, Fela Kuti and Betty Davis (this last one rather undermined by the dearth of performance footage)
It’s impossible to think back over this year without constantly labelling the memories as ‘before’ or ‘after’. There are things I’d never have watched if he’d still been here, and things it seems awful that he missed because he would have loved them (Get Back, the latest series of Endeavour, to name but two). I don’t want to get maudlin but melancholy is inevitable. We had 44 years of watching telly on the sofa together, and we shared a love for Doctor Who for the last 47 years (starting with Pertwee, ending with Whitaker – I go on alone to the next regeneration). This time next year that before/after feeling will be less acute. I will have a whole 12 months of watching on my own, with family, with friends. I’ll still wish he was here though.
Posted in Literature on December 11, 2021
This is a second half of two halves. In the first three months, my reading patterns were as normal, two or three books on the go at any one time, a mix of fiction and non-fiction, of high, low and middle brow, of different genres. On 9 October everything changed, for ever. My husband’s sudden death left me shell-shocked, devastated. I could not concentrate enough to read anything demanding – indeed, for a week or so I read nothing at all, a completely unprecedented state. When I felt able to read again I had to pick very carefully, and I started and discarded any number of books that I would normally relish. The variation in length and depth of the reviews which follow largely depends on whether I had completed and made some notes on the book before, or after.
As always, I aim to avoid spoilers but read on at your own risk. As always, my aim is to share my enthusiasms, so I’ve missed out one or two books about which I could only have said negative things. That doesn’t mean an unqualified recommendation for everything I read this year but I think it will be clear where I have major caveats…
James Baldwin – Going to Meet the Man/Tell Me How Long the Train’s Been Gone
I read the former, a collection of short stories, a very long time ago, so they seem only faintly familiar (and some of the themes and ideas obviously are in the novels too) but the joy in reading Baldwin’s prose, and dialogue, is something I will never tire of. ‘Sonny’s Blues’ is probably my favourite story – it taps into the church and musical environments which stimulated some of Baldwin’s most beautiful writing. But there is no beauty in the brilliant title story – just horror, plainly told. Tell Me… is classic Baldwin, exploring race and sexuality with candour and courage. It is, as he so often is, deeply moving.
Laurent Binet – HHhH
This was fascinating. I can’t imagine how one could make the story of the Anthropoid mission to assassinate Heydrich boring, even if one just recounted the facts. But what Binet does is to interrogate his own processes as a writer, to tell us a story and then cast doubt on it, to question his own motives in writing about Heydrich himself (is he becoming unhealthily fascinated with this man?). I find fiction about the Holocaust and Nazi atrocities inherently problematic – why tell fictionalised stories when the real stories still need telling, and re-telling – but this confronts the problem head on, acknowledges the invention as such, but in so doing gives us a powerful and vivid account of extraordinary, tragic events.
Brit Bennett – The Vanishing Half
Not so long back I read Nella Larson’s Passing, which was my first (fictional) encounter with the phenomenon of passing for white. This powerful novel brings that to life through the portrayal of two twins, both of whom could pass, and the decisions they both make. I had absorbed from Larson’s account the constant agony of those who decided to pass, the hyperconsciousness of everything they say and do, the fear of exposure. What this account gave me, in addition, was the way in which the person passing for white is forced to identify more strongly with their white neighbours, and avoid all contact with black people for fear that they, somehow, would sense the pretence and expose them. It’s a brilliant, complex picture of racial politics at the personal level, through two generations, and it will stay with me for a long time.
Susannah Clarke – Jonathan Strange and Mr Norrell/Piranesi
I’d seen the TV dramatization of JS & Mr N – which was very good – but the book was even better. And then Piranesi was on a whole other level. I don’t really know how to talk about the book before going back and re-reading it again. It is beautiful, mysterious and moving, without losing the dry humour that was so much a part of its predecessor. And I’m a sucker for labyrinths, so there’s that. Nods to Narnia, echoes of Le Guin. One of my books of the year, without a doubt. Just read it, OK?
Harlan Coben – Win
Jonathan Coe – Mr Wilder and Me
What a delight. For anyone who enjoys Coe’s writing, for anyone fascinated by cinema, or who’s ever seen a Billy Wilder movie. I knew a bit about Wilder’s life and have seen several of his films, including Fedora, which is at the heart of the narrative, and this casts a fascinating light on him and his sidekick Iz Diamond. A warm, humorous and touching novel.
Abigail Dean – Girl A
I was afraid this was going to be a harrowing account of abusive parenting and I guess it is but it is far more the account of the aftermath, of how one learns – tries to learn – to live again, to love oneself and other people, to trust, through the account of ‘Girl A’. Reminders of Room, though it’s structured very differently, going back to the awful past, and then to the aftermath of escape, and then to the present.
Len Deighton – Berlin Game
Having nearly run out of unread Le Carrés, I thought I’d revisit Deighton, by whom I’ve read a fair few over the years, but not this series. Thoroughly enjoyable, will read more.
Philip K Dick – The Man in the High Castle
I do love a bit of alt. history, especially WWII related. I’m surprised therefore that I never read this, during my sci-fi phase in my late teens/early 20s, but I think I only ever read Do Androids…. This was excellent – the depiction of the alt. US is thoroughly thought through and convincing and the ending turns everything inside out. I haven’t seen the TV adaptation, but I suspect it’s very different. Might give it a watch at some point.
Eva Dolan – After You Die
The fourth in the gripping, Peterborough set Zigic & Ferreira series, set in a Hate Crimes unit.
Avni Doshi – Burnt Sugar
A powerful, uncomfortable read. None of the characters are exactly likeable, but they are convincingly drawn and the narrative plays with, if not our sympathies, at least our willingness to be convinced by them.
Margaret Drabble – Pure Gold Baby
I hadn’t read any Drabble for about 30 years. That was a re-read of The Millstone, and I recall it vividly, sitting in our garden, and reading about the protagonist’s experience of having a sick child in hospital and being excluded from being by her side. I’d just been through that, the first part of that, but I’d been cared for by the hospital, and had been able to be with my son throughout (I also had a partner, unlike Rosamund). This new book shouts out to The Millstone – its central character is a single parent, with a child who has some learning/developmental disability, never clearly defined. At one point, she recalls the way in which she was expected to think about her child, as a ‘millstone’. She doesn’t, the child is her pure gold baby. We follow Jess and her daughter through the decades as the narrator, a close friend, shares not only what happened, but the debates and discussions that the group of friends had about mental health and women’s lives and love and parenthood. I loved it.
Helen Fields – Perfect Prey
I’ve been reading these in entirely the wrong order, but this is the second in the DI Callanach series.
Jo Furniss – The Last to Know
I’ve read the previous two of Furniss’ books, the post-apocalypse All the Little Children, the psychological thriller The Trailing Spouse, and now this one, which has a very strong Gothic flavour about it. The set up is familiar – a married couple return to his family home, and the wife feels immediately an atmosphere of threat which leads her to doubt everything she thinks she knows about her husband. It’s nicely, and not too predictably, worked out, and Furniss builds up the tension very effectively.
Amitav Ghosh – Flood of Fire
Final volume in the Ibis trilogy which was just fantastic, exhilarating, teeming with characters and landscapes and plot and historical detail, and sweeping the reader along with the narrative.
Lesley Glaister – Blasted Things
Glaister never lets me down. Most of her novels have a contemporary setting but this one pitches us right into the horrors of a WWI field hospital, and then the conventionality of a 1920s middle-class marriage. The brutality of the first and the claustrophobia of the second are skilfully conveyed, and the characters are vivid and multi-dimensional. At times I thought I could see where the plot was leading but I was invariably wrong. I’d like to re-read this to savour the writing, as my concentration is still shot and I have a tendency to race through books to get the plot.
Winston Graham – Ross Poldark/Demelza/Jeremy Poldark/Warleggan/Black Moon
Post-bereavement binge reading. I’d never read the Poldark series, but was content to revisit the plot familiar to me from the recent TV series, and to conjure up mental images of the Cornish coastline.
Elly Griffiths – The Midnight Hour
The latest Brighton mystery, with police and private detectives working together to solve a crime. As always, Griffiths’ novels are a delight.
Susan Hill – A Change of Circumstance
The latest Simon Serrailer novel.
Nick Hornby – Juliet Naked
I did feel ‘seen’, as they say, whilst reading this. Musical obsessions, the kind that make one track down an alternative mix or a rare bootleg live recording because it has an extra few notes from the object of one’s obsession, yes, thank you, we know about that. Very funny, and rather touching too.
Katherine Ryan Howard – 56 Days
Writing about the pandemic is tricky, given where we are now. I’ve seen TV programmes take various tacks – ignore, nod to it with the occasional shot of masked shoppers or whatever, or set something in the build up to ‘all this’ (see Series 2 of This Way Up). This one goes for it – the narrative starts in mid-pandemic but darts back to the days when we were talking about it but with no idea of what was to come – and really uses the ideas of lockdown and isolation to drive the plot forward. Very intriguing and tense and took me by surprise at a number of points.
Stephen King – Billy Summers
King, it would be pretty uncontroversial to say, is on a roll. His recent books are amongst his very best, and his embrace of the crime genre (even when he turns it to his own purposes) has helped to overcome the one problem with his fiction, the endings. This one is completely gripping throughout.
John Lanchester – The Wall
I had no idea what to expect of this, having downloaded it on the strength of Capital. We’re in a future Britain, changed irrevocably because of climate change (the past events which have created this new version of the world are only touched upon lightly, we have to accept this world as it is, with its rules and structures).
John le Carré – The Tailor of Panama
This was the book I was reading at the point when my life changed completely. I bear it no particular grudge, but would need to re-read before reviewing its place in the Le Carré oeuvre.
Laura Lippman – Dream Girl
Lippman possibly channelling King here (I won’t say which King, because that might be slightly spoilery). As always, superbly written.
Megha Majumdar – A Burning
This one is a heartbreaker. Majumdar gives the reader hope and then snatches it away, over and over. Beautifully done, and the three voices that we hear are clear and convincing, however flawed their characters and perspectives.
Jennifer Makumbi – Manchester Happened
A fascinating collection of short stories about migration, specifically between Uganda and Manchester, that illuminate many different perspectives. I was particularly taken with the first story, set in the early 50s, as I’ve been doing a PhD on a novel written at that time, and set in Manchester (Passing Time – I may have mentioned it once or twice)
Klaus Mann – Mephisto
This isn’t a fun read – it’s bitter, cynical, despairing. How could it be other, written as it was by an exile from Nazi Germany, in 1936? It is based very much on real people (Goering, Goebbels and their wives, future Hollywood star Elisabeth Bergner, and many others), and got Mann into difficulties when the model for central character Hendrik Hofgens objected vigorously to Mann’s portrayal of him as someone who made a pact with the devil, in exchange for fame and success…
Denise Mina – The End of the Wasp Season
Mina’s crime novels are always unsettling and this is no exception. She wrongfooted me several times during this narrative, but not just for the sake of it.
Erich Maria Remarque – Arch of Triumph
I read a lot of Remarque during my teens (starting in the obvious place with All Quiet, but particularly enjoying his novels set between the wars, Three Comrades, A Time to Love and a Time to Die, A Night in Lisbon. This one powerfully conveys the life of people who’ve ended up in Paris in those precarious days, without documents. Coincidentally, it reminded me that I had the remnants of a bottle of Calvados at the back of a pantry shelf. I no longer have those remnants.
C J Sansom – Heartstone/Lamentation
Two Shardlake historical detective novels. I enjoy these, although sometimes the style grates (too much ‘he said sadly/she said quietly/he said grimly’ and a bit too much of people telling each other the history)
Elif Shafak – 10 Minutes, 38 Seconds in this Strange World
A strange one, this. The narratives of our protagonist, who is dead when we first meet her, but whose memories take 10 minutes, 38 seconds to fade, and she shares them with us, as she passes from one world to another, and of her loyal friends, all of them people who for one reason or another are on the margins, are powerful and moving. The tone changes in the final act, becomes almost comedic, which is strange.
Ali Smith – How to be Both
It took me a while to get into the rhythm of this, with the shifting tenses and then the shifting timeframes and perspectives, but as with all of Ali Smith’s work, it’s worth the effort, and will be worth re-reading.
Zadie Smith – Swingtime
I still haven’t quite come to terms with Zadie Smith, but I enjoyed this one more than NW. There was something troubling about the portrayal of Tracey and her mum though, a hint of snobbery?
Cath Staincliffe – Running out of Road
Not for the first time, Staincliffe made me hold my breath for long stretches of narrative.
Stuart Turton – The Devil and the Dark Water
A vividly written historical thriller, set on the high seas, with a supernatural (is it or isn’t it?) thread. Very vividly written
Nicola Upson – Sorry for the Dead/An Expert in Murder/Angel with Two Faces/Two for Sorrow/Fear in the Sunlight/The Death of Lucy Kyte
Post-bereavement binge reading of a series in which the real-life crime writer/dramatist Josephine Tey is the protagonist in various fictional murders.
Sylvia Townsend Warner – Lolly Willowes
Dorothy Whipple – High Wages
I loved this, my second Whipple. A resourceful young woman as our hero, and the crushing weight of social conventions at the time (written in 1930).
Chris Whitaker – We Begin at the End
An absolutely gripping and moving crime thriller, with a compelling young female hero.
Enjeela Ahmadi-Miller – The Broken Circle: A Memoir of Escaping Afghanistan
Carole Angier – Speak Silence: In Search of W G Sebald
The first biography of W G Sebald, hampered somewhat by its author not having the cooperation of Sebald’s wife or daughter. This does mean that a lot of it is very speculative and dependent on sources whose reliability we might reasonably question. There’s lots of new information here, however, and some useful insights.
James Baldwin – The Last Interview
Anthony Burgess – Obscenity & the Arts
Ciaran Carson – Belfast Confetti
I discovered this poet accidentally through my PhD researches, which brought up a remarkable poem, ‘Turn Around’, about maps and labyrinths.
Kate Clanchy – Some Kids I Taught and What they Taught Me
Oh boy, where to start. I read this having already seen some of the negative comments on Twitter, but also having read many of the poems that Clanchy has posted from the young poets she’s worked with, and found them very striking, and moving. She is trying, I think, in Some Kids, to let us see the diversity of these young people in all its glory, but there’s something very off-key about the way she describes them, and ultimately it was a very uncomfortable read.
Teju Cole – Known & Strange Things: Essays
Dan Davies – In Plain Sight: The Life and Lies of Jimmy Savile
If I say that this is the one book I’ve read so far this year that made me feel physically sick, it is no reflection on the author or the writing. It’s a response to his subject. I felt a sense of hopelessness in reading it, at the opportunities to stop him that were missed, through bad luck or deliberate blindness, or corruption. It’s a shocking read, rightly so.
Grant Graff – The Only Plane in the Sky: An Oral History of 9/11
An extraordinary account of 9/11, built from the words of those who experienced it, directly or vicariously as they waited to hear from people they loved, including the transcripts of phone calls from the planes and other emergency calls. It’s fascinating, often heartbreaking, and sheds new light on an event that we might all feel we know, because those images are so ubiquitous and burned into our memories.
Naoki Higashida – The Reason I Jump
Leo Marks – Between Silk and Cyanide: A Codemaker’s War, 1941-1945
The memoir of a man who was key to the code-setting and code-breaking activities during the war, and who knew most of the SOE operatives who were sent into France. It’s self-deprecating, with a wry humour, but Marks speaks movingly and powerfully of the tragedy of what happened to those young men and women.
Ben MacIntyre – Operation Mincemeat: The True Spy Story that Changed the Course of World War II
An account of one of the more improbable seeming exploits of British intelligence during the war – a corpse, bearing apparent secrets that were meant to deceive the enemy.
Caitlin Moran – More than a Woman
Ridiculously funny, but also very moving when Moran talks about her daughter’s eating disorder. It doesn’t always resonate with me – for starters, I’m much further ahead on that journey than Moran or probably much of her intended readership – but when it does, it really does.
Mary Oliver – American Primitive
I chose ‘In Blackwater Woods’ for my husband’s funeral ceremony. ‘To live in this world / you must be able / to do three things: / to love what is mortal; / to hold it / against your bones knowing / your own life depends on it; / and, when the time comes to let it go, / to let it go’.
Kavita Puri – Partition Voices: Untold British Stories
First hand accounts from the Partition of India and Pakistan. Harrowing and haunting.
Philippe Sands – The Ratline: Love, Lies and Justice on the Trail of a Nazi Fugitive
Reads like a thriller, the account of a senior Nazi who escaped arrest after the war, but it never loses sight of what Otto Wachter was responsible for, and Sands draws out the connections between Wachter and the fate of his own family.
Kate Vigurs – Mission France: The True History of the Women of SOE
SOE again. I’ve been fascinated by these stories since I was a teenager, watching old black & white films – Odette, and Carve her Name with Pride. This is a much less romanticised account than those films gave, and doesn’t shy away from the extent to which naivety or over-confidence led to some of the tragedies which befell the agents.
Isobel Wilkerson – The Warmth of Other Sons: The Epic Story of America’s Great Migration
I thought I knew nothing about the Great Migration, but reading this gripping account, I realised that everything I’ve read about the African-American experience in the 20th century, fictional and non-fictional, has had this at the core. Fascinating.
Reading has always been my solace as well as my inspiration. It will be again, even if for now I’m reluctant to tackle anything too challenging, or anything which might come too close to my own grief and loss.
My two novels of the year are Jon McGregor’s Lean, Fall, Stand, and Susannah Clarke’s Piranesi. In non-fiction, I’ll pick Rachel Clarke’s Breathtaking, an account of the early months of the pandemic, and Rebecca Clifford’s Survivors, about child survivors of the Holocaust. (Both are reviewed in my half-time report.)
Thank you to all of the writers whose work has entertained, comforted, amazed, intrigued and in whatever other ways enriched me in 2021.
Posted in Literature on June 30, 2021
I do appear to have read quite a lot of books in the first half of 2021… And this isn’t quite everything – I’ve left out one or two re-reads, one or two very academic books that I read solely for purposes of my thesis, and one or two that were just such a waste of time to read that I couldn’t be bothered to waste further time saying how rubbish they were. Not that everything I list here was marvellous, but there is a difference, I would say, between noting my issues with, e.g., Ian McEwan’s Solar, and slating a random thriller that I got for 99p off Amazon. I’m reasonably discriminating in my acquisitions, so it’s rare that there are more than a couple of utter duds. And ultimately, the reason I write about what I read is to share the good stuff, to infect other people with my own enthusiasms, and big up the writers who’ve given me pleasure and enlightenment.
I’ve split fiction and non-fiction. Fiction is in strictly alphabetical author order, not grouped by genre. Non-fiction is grouped, very roughly, by topic. I’ve included links to reviews where they’re not too spoilery but as always, caveat lector.
Eric Ambler – The Mask of Dimitrios. A cracking thriller, set in the tense period before the outbreak of WWII, and pitting a writer of detective novels against an international network of crime, from Istanbul to Paris. Ambler was hugely influential, particularly on Graham Greene, and his perspective is politically informed and leftist.
James Baldwin – Another Country/Just Above my Head. I read the former as a teenager, and it is just as bleakly powerful half a century later. The latter is new to me, and I gather is not regarded as one of his best but I loved it, loving the rhythms of the prose and the dialogue, the elegiac tone, the immersion in the church and in music. I’ve been absorbed in Baldwin’s life and work over the last couple of years, his essays and novels, an excellent biography (see below), and Raoul Peck’s remarkable film, I Am Not Your Negro. Plus he cropped up in a Radio 4 programme hosted by Clarke Peters, about the 1987 performance of his play, The Amen Corner. Everything I read, hear, watch makes me admire and love Baldwin more.
Belinda Bauer – Exit. I’ve been a fan of Bauer’s sharp, off-beat crime novels for several years now, and this is terrific. It’s very funny, in a dark way, and it keeps on surprising the reader without resorting to the kind of twists for twists’ sake that too many thriller writers employ in lieu of convincing characterisation and intelligent plotting…
Mark Billingham – Cry Baby – another excellent crime writer. This is a Tom Thorne novel, but a prequel, going back to the time before the start of the series (Sleepyhead). Thorne is a not a rookie here though, he’s already got ten years (and associated traumas) under his belt, and this case is a brute.
William Boyd – Ordinary Thunderstorms. One never knows what to expect with Boyd. This starts off in seemingly very familiar territory – in fact, we’re in The 39 Steps territory. From there on we go all over the shop really, big pharma conspiracies, London’s marginalised communities of illegal migrants, sex workers and the homeless, hit-men and a good man on the run. It doesn’t entirely hold together, but it’s a great read and – being Boyd – beautifully written.
Geraldine Brooks – Year of Wonders. Historical fiction this time, and the setting is a village in Derbyshire, in the year of the Great Plague. It’s based (at least in the set-up) on the true story of Eyam, familiar to anyone who grew up in Notts/Derbyshire/South Yorkshire, the story of the vicar who persuaded his parishioners to quarantine themselves after a case of plague in the village. This is dramatic and remarkable enough but Brooks then takes the plot in even more dramatic and unexpected directions… Oddly, one of the reviews seemed to be saying that the Eyam story was itself melodramatic and improbable. Clearly didn’t go to school in our neck of the woods…
Anthony Burgess – Nothing Like the Sun. Fascinating to read this so soon after reading Orlando (see below), as it connects so powerfully with the Elizabethan section of the latter. The language is exuberantly, extravagantly Shakespearian, but it subtly evolves over the life of the writer, who as a boy plays with language that goes beyond his understanding, but learns its power, and the limits of that power.
James Lee Burke – A Private Cathedral. I’ve really enjoyed the Dave Robicheaux series but this one was odd. It all got a bit supernatural, and whilst there’s always been that undercurrent, with Robicheaux having dream-like visions of the past, this takes it to another level and I’m not sure I’m convinced…
Jessie Burton – The Miniaturist. Another one that didn’t quite convince me. The historical setting and detail were great, but, as with the Burke, there was a supernatural element that didn’t quite work (for me) and the way the feminist/gay/racial strands of the plot were handled felt anachronistic and a bit artificial.
Michel Butor – Passing Time. Of course I’ve read this book this year, as I have every year for the last 15. I’m including it this time because I’ve unusually spent a lot of time immersed in the English translation, which I’ve been helping to revise for a new edition, out now…
Peter Carey – True History of the Kelly Gang. I’ve read most of Carey’s novels, and I love them. The language of this one took a bit of getting into (though no more than Illywhacker, say) because it is all in Ned Kelly’s voice, but once I was comfortable with that, it was a riot. It’s ‘true history’ but one should note that there is no definite or indefinite article in the title, which alerts us that Carey, as always, tells stories that are ‘playful, shape-changing’. The story is remarkable enough, as is Ned himself, who as we are constantly reminded in the narrative, is just a boy, and Carey makes it vivid and viscerally immediate.
M R Carey – The Girl with All the Gifts. Excellent – whenever you think the ‘zombie’ idea has been done, as it were, to death, there’s a new take on it that creates new possibilities not just for drama but for emotional heft.
Candice Carty-Williams – Queenie. Funny, perceptive, heartbreaking. My daughter is Queenie’s age, and that undoubtedly made my emotional response more intense – I wanted to hold that girl and keep her from harm, keep her from harming herself.
Jane Casey – The Killing Kind. A stand-alone thriller by one of my favourite contemporary crime writers, it had me gripped from the start, and kind of scared too, that prickling feeling at the back of the neck, that sense of unease was pervasive, and not entirely resolved at the end of the novel…
Harlan Coben – The Boy from the Woods/The Stranger. Coben’s thrillers are reliably slick page turners, even if one doesn’t look to them for in-depth characterisation (and it does sometimes grate that all of his protagonists are both rich AND gorgeous…). I do like to have one or two on my Kindle to turn to between more demanding reads.
Jonathan Coe – The Rain before it Falls. Beautiful and moving. I’ve read several of Coe’s including his trilogy (The Rotters’ Club/The Closed Circle/Middle England) and he writes with warmth, understanding and compassion about even the less sympathetic of his characters, as well as incisively and with humour about the world we live in. Here we are taken back into the past life of an elderly woman through the series of cassette tapes she leaves for the benefit of an elusive legatee, a story told through a series of photographs. This is clever stuff, but it’s never merely clever. It is, as the Guardian reviewer said, ‘a brief, sad, often very moving story of mothers and daughters, of pain passed on through generations, and of deep and abiding loneliness’.
Suzanne Collins – The Ballad of Songbirds and Snakes. I knew this was linked to the Hunger Games trilogy, but hadn’t twigged that it was a prequel so was mightily confused for a while… Once I’d grasped that it was the origin story of Coriolanus Snow, that obviously coloured the way I understood the protagonist, but not so much that it destroyed any suspense, and not so much that one didn’t occasionally sympathise with him (to a point). The book wasn’t necessary in any way, but enjoyable nonetheless.
Jeanine Cummins – American Dirt. This attracted some controversy, which I don’t think was entirely fair. OK, Cummins relied on research rather than shared experience or background to create the world of the refugees, but isn’t that what novelists do? Should they only write what they know? And Cummins is very aware of this issue, and it is clear that her migrants are not presented as being representative, that this is one story, albeit one that touches on a lot of other stories. I found it a totally compelling read, had to keep reminding myself to breathe…
Tsitsi Dangarembga – Nervous Conditions/The Book of Not/This Mournable Body. I read these in the wrong order by mistake (1, 3, 2…)! Nervous Conditions was the first novel by a Zimbabwean woman to be published in English, and This Mournable Body was shortlisted for the Booker. The novels explore the intersections between race, colonialism and gender in a way that’s engaging and moving.
A A Dhand – Streets of Darkness. Bradford set crime novel, the first in a series. I loved the setting, but found the plot a tad melodramatic, and the over-use of ‘dark secrets from the past’ a bit wearisome. Will give it another go, this had a lot to recommend it even with those caveats.
Charles Dickens – Mugby Junction. I thought I’d read all Dickens but I’d missed this short story, part of a collection, featuring a few by Dickens and then stories by other contributors. I haven’t yet tracked down an edition with all of the stories, so read this primarily for Mugby Junction itself. The opening sequence, a man arriving at a railway station late at night, got me hooked, though the plot subsequently veered towards Dickens’ more sentimental side.
Louise Doughty – Black Water. The setting is Indonesia, in 1965 and 1998, and it is a tense political thriller, rooted in character and tackling head-on the complex moral dilemmas of those times. Doughty may be best known for Apple Tree Yard, which is excellent, but her work is incredibly varied – I would always put Fires in the Dark, a harrowing and important novel that addresses the Romani Holocaust, as my top Doughty but I also loved the recent Platform 7 which was different again.
Sebastian Faulks – Engleby. We’re not left in any doubt that our eponymous protagonist is odd, an outsider, but as we see things through his eyes (until late in the novel), we don’t entirely realise who he is and what he is capable of. Our sympathies gradually detach from him as we see him more clearly, and Faulks lets us hear what others say about Engleby through diary entries etc. I doubt that any reader would be shocked and amazed by the major plot development, of which I will say nothing, however, in case I am mistaken.
Helen Fields – Perfect Silence. Book 4 in her DI Luc Callanach series, tense and well plotted.
Nicci French – Frieda Klein series. I binged these over Christmas/New Year. Eight books, starting with Blue Monday and ending with Day of the Dead. Proper edge of the seat stuff, though I had some plot issues, about which I can say no more without spoilers.
Tana French – The Searcher. A stand-alone from the author of the superb Dublin Murders series. Rural Irish noir with an ex-Chicago cop as protagonist, and a host of references to the Western genre. Very enjoyable, if not quite French’s best.
Amitav Ghosh – Sea of Poppies/River of Smoke. Books 1 and 2 of the Ibis Trilogy, and book 3 will feature in my end of year list, as I am looking forward to it enormously. Ghosh’s canvas here is vast – the setting is early 19th century, and the story ranges across India, Mauritius, Canton and Hong Kong, as a cast of diverse and fascinating individuals are drawn together directly or indirectly by the opium trade, and the ship, the Ibis, on which they all find themselves at some point. There is a Babel of different languages, not just the native languages of the Bihari, Bengali, Parsi, Cantonese, English and Americans, but the nautical languages, the ‘pidgin’ languages developed to enable trade between these diverse peoples. It’s glorious and exhilarating.
Isabelle Grey – Out of Sight. This is a stand-alone novel from the author of the DI Grace Fisher series, and it was actually her fictional debut. It’s a psychological thriller, which builds the emotional tension with great skill.
Elly Griffiths – The Night Hawks. The latest Ruth Galloway and another highly enjoyable read. Griffiths is great at creating atmosphere and tension, and her characters (both the familiar ones, who are old friends now, and the new characters) are fully real.
Sophie Hannah – Haven’t They Grown. Psychological thriller that presents us right at the start with something impossible, even crazy, that the protagonist – and the reader – have to try to figure out. It’s very twisty, and I couldn’t see how on earth Hannah was going to resolve it all, but she does, and it’s all hugely enjoyable.
Jane Harper – The Survivors. Harper’s four crime novels are all exceptionally strong on landscape and location. Here the setting is a coastal community in Tasmania, far from the scorching heat of The Lost Man, where storms at sea are part of the local history whilst resonating in the present. There’s real tragedy here, coming from human frailty and fear rather than from evil.
Sarah Hilary – Fragile. A stand-alone thriller from the author of the Marnie Rome series. This is not just about secrets and lies (without secrets and lies there would be very little fiction of any genre, after all), it’s about responsibility and guilt and how even when everything is known, there is no absolute truth, and no complete absolution. The sense of place is potent, and the characters subtly drawn, with compassion and understanding.
Joe Hill – NOS4A2. Son of King. And this is very King, which is not a criticism, because I love King, though on the strength of this I would say that ‘son of’ shares not only the best qualities but also some of the flaws of his father. No matter, this was a cracking read, with real terror, and an excellent protagonist, a teenage girl whose life becomes entangled with evil.
Dorothy Hughes – In A Lonely Place. This is noir, very noir. (There’s a 1950 Nicholas Ray film based on the book, which, however, changes the central premise.) It’s brilliant, and I’m baffled as to why Hughes is not better known. (Well, perhaps not entirely baffled, but it’s a grave injustice in any case.)
Kazuo Ishiguro – The Buried Giant. Ishiguro wrongfoots his readers once again, with this venture into the historical/mythical Dark Ages, with giants and dragons and Arthurian knights, through which he explores old age, memory, loss, love and war, and a huge ethical question about forgetting and healing.
Peter James – Dead Simple. The first in the DI Roy Grace series, recently televised with John Simm in the lead role. A great plot, though I was less taken with DI Grace himself – I will persevere and hope to warm to him a little more (I might watch the TV one – if John Simm doesn’t win me over it’s probably a lost cause).
Stephen King – Later. The latest in his Hard Case Crime series. There is crime, but as King reminds us from time to time, this is horror. Sometimes King loses his grasp of plot and things get a bit baggy and muddled but not here – it’s taut and tense and gripping. As the Washington Post reviewer said, ‘The next time you see a dog look twice at a bench, or watch a baby cry for no obvious reason, this novel will be right there behind you, its hand on your shoulder, its whisper so close to your ear you might cringe a little, and then smile, because you’re in the hands of a master storyteller’.
John le Carré – A Most Wanted Man. Only a few more unread le Carrés, sadly. Hari Kunzru in The Guardian called it ‘one of the most sophisticated fictional responses to the war on terror yet published, a humane novel which takes on the world’s latest binarism and exposes troubling shades of grey’.
Jennifer Nansubuga Makumbi – The First Woman. A coming-of-age story from Idi Amin’s Uganda, which moves back in time to explore the lives of earlier generations of women, with diversions into feminist origin myths, as the protagonist tries to navigate a complicated and feud-ridden family life. There’s lots of humour and warmth here, and it is ultimately celebratory, with a final scene that gave me goose-bumps and a huge lump in my throat.
Val McDermid – Killing the Shadows/The Grave Tattoo/Still Life. Three very different McDermids. Killing the Shadows is a highly ingenious serial killer story, with a twist, that the killer is targeting crime writers. It’s done very cleverly, and with self-aware dark humour. The Grave Tattoo gives us a crime that connects with 18th century history and literature. These two are both stand-alones, and in neither case is the protagonist a detective. The third, Still Life, published in 2020, is book 6 in the excellent Karen Pirie series
Ian McEwan – Solar. Hmm. Sometimes acerbically funny, sometimes merely farcical. None of the characters was particularly convincing, and I found it wearying to see yet again the trope of a male protagonist who is made as unappealing (physically and morally) as possible and yet still pulls attractive, younger women. Yaawwwnn. I also was a bit gobsmacked by the reviewer who claimed that McEwan had ‘swotted up to PhD level in Physics’ for the purposes of this book. Even if he had started off with a strong scientific background, I cannot see how he could have done this on any plausible time frame. So, it had its moments, but overall it was too annoying to be enjoyable.
Jon McGregor – Lean Fall Stand. Fiction book of the year (so far, but it will take quite something to dislodge it). McGregor is possibly my favourite contemporary novelist – each of his books has had quite an extraordinary impact on me, subtle and delicate and brutal and compelling. Reviewers tended to all praise the first section but then to favour one or other of the other two sections. I can see why – I felt a sense of regret as each section ended and I realised that the perspective, and the style, had shifted, but then was quickly won over by the brilliance and beauty of the writing. I read it, as I read most things, in too much of a rush and immediately started again at the beginning, taking it slow, savouring it.
Dervla McTiernan – The Scholar. Sequel to The Ruin and featuring the same detective, Cormac O’Reilly. It’s even better than its predecessor, I would say, and I very much enjoyed The Ruin – well-drawn characters, a very clever and thoroughly worked out plot with a lot of tension.
Maaza Mengiste – The Shadow King. Set in Ethiopia in 1935, during the Italian invasion. It’s a very intense read, violent and dark, absolutely fascinating, with a focus on the women soldiers who fought to defend their homeland against the invaders.
Denise Mina – The Less Dead is a crime novel which wants to challenge the way we tell the stories of the victims of crime, particularly those whose chaotic lives make them both more vulnerable to violence and more likely to be blamed for their own demise, marginalised in both life and death. The story in itself was powerful and of course it chimed with one of last year’s reads, Hallie Rubenhold’s The Five, and with The Thirteen too…
Sarah Moss – Summerwater. I love Sarah Moss’s books and this one will repay an early re-read to appreciate its subtleties (see my remarks re Jon McGregor). There is, throughout, a sense of unease, something not quite right, that the occupants of these loch-side cabins are not as they appear through the eyes of their neighbours or even to their closest family.
Thomas Mullen – Midnight Atlanta. The third in a superb series along with Darktown and The Lightning Men, set in Atlanta in the 1950s with racial politics absolutely at the heart of the action.
Andrew O’Hagan – Mayflies. The invulnerability of youth, friendship, aging and mortality. The first half was gloriously funny, the second broke me.
Caryl Phillips – Crossing the River. Fragments of the history of the African diaspora, linked by a (not literal) familial connection. We start on a West African shore as a man acknowledges his guilt and grief over his children, sold into slavery. We join those lost children in Liberia, as a freed slave endeavours to take the gospel and ‘civilisation’ back to Africa, in Colorado as a slave, freed after the Civil War, dreams of finding her own lost child, and some kind of real freedom, and in Yorkshire where a black GI and a local woman recognise each other’s lostness. And we have the journal of the man to whom those lost children were sold. The chronologies do not make sense, historical plausibility is not the priority here. They are powerful narratives, different voices persuasively rendered, moments that stay with you.
John Preston – The Dig. Lightly fictionalised version of the Sutton Hoo dig. It’s the people that interest Preston, rather than their discoveries, and not those who are most prominent in the official narrative but those who were overshadowed, due to their own natural reticence or the prejudices of others. A lovely, poignant read.
Ian Rankin – A Song for the Dark Times. The latest Rebus. Rebus is still splendidly Rebus and has not allowed his retirement to in any way constrain his mission to annoy the hell out of the establishment.
C J Sansom – Tombland. I was slightly disappointed with the last one I read in the Shardlake series due to some clunky writing but thoroughly enjoyed this, partly because the setting was very different – we’re in Norfolk, at the time of Kett’s Rebellion, and it’s a gripping story (there’s a murder mystery here, but the context is just as compelling as the crime).
Francis Spufford – Light Perpetual. A wonderful book. The opening is a tour de force, and that force propels us through the lives of five children, lives that might not have been. The Guardian calls it ‘both a requiem and a giving of life’. And it’s profoundly musical too, whether in its subject matter or in the way that these five lives interweave in harmony or dissonance.
Elizabeth Strout – Olive Again. Olive Kitteridge is, I think, Strout’s finest creation. She’s not a comfortable person, she’s abrasive and clumsy. But she’s utterly convincing, and fascinating. As is Strout’s usual approach, she gives us a series of short stories, with recurring characters, so that we see some of the same events from different perspectives. Olive Again is unflinching in its portrayal of ageing, its indignities and regrets, but it is somehow hopeful, that we can still change, still love.
Graham Swift – Here We Are. This is kind of magical. The Guardian said: ‘This is a beautiful, gentle, intricate novella, the kind of book that stays with you despite not appearing to do anything particularly new or special. In fact, perhaps that’s what makes it so very good: Here We Are smuggles within the pages of a seemingly commonplace tale depths of emotion and narrative complexity that take the breath away.’
Antal Szerb – Journey by Moonlight. This is the great Hungarian novel, and it’s quite something. Written in 1937, its author was murdered by the Nazis during the last months of the war. The book is hard to describe – it reminded me at times of Sebald and at others of Ishiguro. This fascinating article describes it as ‘a brief reprieve from the logic according to which happiness and sadness are opposed to one another’. What that quote doesn’t convey perhaps is that it’s often very funny.
Sylvia Townsend Warner – The Corner that Held Them. Warner is a most intriguing writer. About this novel, published in 1948 and set in a convent at the time of the Black Death (I know…), she apparently said, ‘I am still inclined to call it People Growing Old. It has no conversations and no pictures, it has no plot, and the characters are innumerable and insignificant’. This curiously compelling, and often drily humorous novel is about history as ‘a tangle of events’; about a community, rather than about the individuals who comprise that community.
Dorothy Whipple – Greenbanks. I’d not even heard of Whipple until the last year or so (I do apologise to her) but during the plague times I think many people turned back to some of the literature of the interwar period (this is from 1932), and Whipple’s name just kept coming up in recommendations from friends and acquaintances. So, I have now Whippled and I will assuredly do so again, because Greenbanks was lovely. And by that I don’t mean it was all cosy comfort, far from it. It leaves the younger of the two main protagonists with much about her life and future happiness unresolved, and its male characters are portrayed incisively, their ‘pretensions and presumptions’ exposed and punctured. The writing is absolutely delicious.
Christa Wolf – Cassandra. Published in 1983, this is a retelling of the story of the Trojan War from the perspective of the woman cursed to prophesy and not be believed. There are many resonances with life in the GDR, and the book was censored when first published. It’s also got a strong theme of the marginalisation of women’s lives, the lack of choice and agency (even for the daughter of a King).
Virginia Woolf – Orlando. I’d been meaning to read this for years, having tried and failed to read other Woolf novels. This was the one to break that pattern, it’s quite extraordinary, a wild ride through the centuries, through English literary history, with a male protagonist who quite suddenly becomes a female protagonist, albeit one who presents as male when it suits her purposes, and who takes male and female lovers. Glorious.
Peter Jones – Little Piece of Harm. I read poetry a lot less often than I intend to. What tempts me to go there is usually a new publication from Longbarrow Press, and this one was a gem. It’s ‘a narrative sequence that focuses on 24 hours in the life of a city that has been shut down in the aftermath of a shooting. As this act of violence ramifies outwards, the sequence explores the geographical reach of Sheffield – its urban settings and its rural landmarks – and eavesdrops on the city’s conversations.’
David Leeming – James Baldwin. A wonderful biography, from someone who knew Baldwin well. I was immersed in this, so much so that I felt quite overwhelmed at his death, as if he was someone I’d known. This isn’t a hagiography – Baldwin was a complicated and often difficult man, who fell out with a lot of people over the years, a man who never worked out how to love himself, who saw himself as ugly, who never found the true love that he wanted. But he’s a towering figure, his vision and passion are so powerfully articulated in his fiction and essays as well as in interviews. Charisma and intellect in such abundance.
W E B Dubois – The Souls of Black Folk. Dubois’ work obviously influenced Baldwin, as it did all of the writers who’ve talked about race in the twentieth century, and into our own. Dubois’ style seems a bit florid (it is of its time, 1903) but nonetheless it is clear and lucid and passionate. He talks about the veil between the black and white worlds, he talks about how it feels to ‘be a problem’. He says it so well that it is no wonder that by the time Baldwin is saying similar things, in a very different style, 60-70 years later, he is angry and weary that they still need saying. They still do.
David Baddiel – Jews Don’t Count. Baddiel follows his powerful documentary on Holocaust denial with this passionate, funny, angry account of how Jews are somehow omitted from consideration so often when racial prejudice is under discussion. It’s quite shattering – so many things that I had seen out of the corner of my eye, in a way, but not confronted, in my own thinking about race and in the way it is written and spoken about. Groundbreaking.
Alexandra Wilson – In Black and White Wilson came to attention with a piece in the Guardian, recounting a day in which she, a barrister, on three separate occasions had to persuade court officials that she was not, in fact, the defendant… This sets those incidents in the context of her career in the law, and of the way in which race and class affect the way in which people fare in the legal system.
Susi Bechhofer – Rosa’s Child. The account of a child of the Kindertransport, who came to England with her sister, was fostered with a couple who tried to erase all memory and knowledge of their previous life, and who only discovered the fate of her mother in middle age. W G Sebald used (without her permission) many elements of her story in Austerlitz.
Rachel Clifford – Survivors. Clifford’s study of child survivors of the Holocaust (specifically, those who were in camps, or in hiding, or who otherwise lived out the war in Europe) is fascinating, particularly in its exploration of how understanding of trauma developed over the post-war period.
Miriam Darvas – Farewell to Prague. Somewhat breathlessly written (perhaps for a YA readership), it’s nonetheless a gripping and powerful story.
Hadley Freeman – The House of Glass. A meticulously researched and emotionally powerful family history, driven by the need to understand her grandmother, and to know what happened to the wider family, who survived the Holocaust and how, who didn’t and why.
Saul Friedlander – The Years of Extermination. Volume 2 of Friedlander’s history of Nazi Germany and the Jews. What can one say – it is exhaustive and relentless, and as always one is struck by the sheer mad obsession of that hatred, that led the Nazis to continue searching for, rounding up and transporting Jewish men, women and children to their deaths, even as the Allies were closing in on Berlin.
Lillian Furst – Random Destinations. A study of various fictionalised accounts of the lives of those who escaped the Holocaust, and how these narratives could face some of the darker aspects of those lives, marked by trauma, struggling with their own sense of identity, with their Jewishness, with their exile, aspects that have sometimes been neglected due to the focus on the successes of the more prominent survivors.
Anna Hajkova – The Last Ghetto. A detailed and fascinating study of Theresienstadt, the town that became a ghetto prison, and then a Potemkin village to delude the Red Cross into believing that the occupants were well looked after, a place where many died of disease and from which many more were deported to Auschwitz. Hajkova talks about the way in which the ghetto was organised, the hierarchies and power balances between the inhabitants, putting the brief episode with the Red Cross into context rather than making it the centre of the narrative.
Michael Rosen – The Missing. Like Freeman, Rosen set out to find out what happened to the ‘missing’ members of his family. This account is aimed at children/young adults, but does not pull its punches. Rosen incorporates poems and source documents to help readers understand both the facts and their emotional weight. It’s a moving read for adults who feel they know this stuff already, too.
Anne Applebaum – The Twilight of Democracy. I read a while ago Applebaum’s Iron Curtain, which was excellent. This one is different, because it is intensely personal, as well as being rigorously analytical. It’s the account of how, at the start of the millennium, she and her friends (in the US, the UK, in Poland and elsewhere in Europe) were in broad agreement about the future of democracy and how, in the years since, many of those friends have moved so far to the nationalist right that she and they no longer speak.
Adam Hothschild – King Leopold’s Ghost. The horrific story of the exploitation of the Congo Free State (which included the whole of what is now DRC) by King Leopold II of Belgium between 1885 and 1908. Leopold exploited the land and its natural resources, but most appallingly its people, who were treated as entirely expendable, and who were, in vast numbers, mutilated, tortured and killed. Those who want to defend colonialism will argue that this is an extreme case, and it is, but the mentality behind it – greed, combined with the deep rooted belief that the African people were inferior beings – can be seen in even the most benign colonial regimes.
Barrack Obama – Promised Land. Volume 1 of his presidential memoirs and it’s huge… I have to admit that some of the detail lost me – I don’t have quite sufficient grasp of the mechanics and structures of the US system to follow it all – but it was (as one would expect from Obama) beautifully and lucidly written, and critical as much of himself as of others.
Shirley Williams – Climbing the Bookshelves. A very engaging memoir that I reached for from my TBR pile when I heard of her death. I’ve always liked and admired Williams, though her politics and mine don’t entirely align – she was always a tad to the right of my natural position, though that would not preclude major areas of agreement. Most of all, she was a politician of complete integrity and that’s a rare and valuable commodity these days. We need more of her ilk.
Andrew Biswell – The Real Life of Anthony Burgess. Highly entertaining – a rambunctious literary life, and a seriously unreliable autobiographer – as Biswell sifts reality from contradictory self-mythologising and explores the work itself. It makes me want to read more Burgess (but selectively).
Richard Coles – Fathomless Riches/Bringing in the Sheaves/The Madness of Grief. The fascination of Volume 1 of this trilogy of memoirs is Coles’ involvement in the music scene, with the Communards, but it is particularly powerful on the AIDs epidemic, to which he lost many friends. He is very honest, self-deprecating and often extremely funny. Vol. 2 covers his life in the church and is very oriented around the church year – I did find this harder to enjoy, although he is a lovely writer and person, as although I was brought up as a Christian, my experiences were in Methodist and ‘charismatic’ church communities, very different to the higher end of the CofE, and it felt quite alien. My atheism remains unshaken. Vol. 3 is about the death of Coles’ husband and it is a heartbreaking and, again, brutally honest account. I loved the bit about the group of widows who saw him in a café and embraced him, physically and with comforting chat, from the perspective of those who know what it is to lose one’s other half and yet go on.
Pamela des Barres – I’m With the Band. I’d always been intrigued by this and it was quite a surprising read. Obviously, a lot of sex was had. But mostly what comes across is the breathless romanticism of des Barres: she isn’t so much adding notches to her bedpost as falling in love with one after another of the rock gods she encounters, each time of course facing disillusionment as they move on to another town and other girls. She does care a lot and know a lot about the music – it isn’t just the fame that turns her on.
Jackie Kay – Bessie Smith. Not a straight biography, more a prose poem. It’s thoroughly researched, but feels as much personal as it is scholarly. The Guardian describes it is ‘a joyous and formally daring undertaking. … an act of intimate witnessing, a biography about a black, bisexual, working-class American artist by a celebrated Scottish poet who first recognised her own blackness and queerness in Smith’s songs, her wild mythos and “beautiful black face”.
James Young – Nico: Songs They Never Play on the Radio. An account of the author’s travels with Nico on various UK and European tours in the years leading up to her death. Often grim, and often grimly funny.
Rachel Clarke – Breathtaking. Having read Dear Life, I knew Clarke could write beautifully about mortality and compassion, and here she covers the Covid pandemic and the experience of the medics called upon to take huge risks and work beyond exhaustion to try to keep people alive in those deadly days (days we hope we won’t see again). I also read Dominic Pimenta’s Duty of Care – like Clarke, Pimenta was taken out of his normal work to treat Covid patients, and to help organise resources to deal with the crisis. Both of them are at times incandescent with anger about the failure of government to recognise what needed to be done and to act quickly, to protect NHS staff with adequate PPE, to protect the vulnerable in care homes and in hospital wards.
Daniel Levitin – The Changing Mind. Levitin argues that, contrary to what we’re often told, we don’t lose the capacity to learn and change as we age. We’re likely to get worse at some things, but potentially better at others, and exercising our minds (not just by doing sudokus) has huge benefits in keeping us well into old age.
Bessel van der Kolk – The Body Keeps the Score, is a fascinating study of how trauma is realised physically, and what that means for therapeutic solutions.
I may not have travelled much in the last six months IRL, but I’ve crossed continents and centuries through the books I’ve read. As always, I am so very grateful to the writers who have taken me to all of these times and places, who have moved, entertained, enlightened and informed me.
I do this to share the good stuff, as I said at the beginning. I hope some readers will find things here that they go on to enjoy, maybe to discover a new writer or to venture into a different genre. If you do, I’d love to know. If you have recommendations for me, feel free to share them. If you hate something I love, fair enough, but I take no responsibility…
I will wait until I’ve got a full year’s reading under my belt before I pick any ‘Best of’ but Jon McGregor’s Lean Fall Stand will be a tough act to beat…
About fifteen years ago I started reading a 1950s French novel by someone I’d only just heard of, right at the start of my part-time undergraduate degree studies. Nothing remarkable there, except that I’m still reading it.
It drew me in, intrigued by the idea of a young French novelist writing about Manchester, and by the first few pages with their blend of ‘grim up north’ dry humour, poetry and dark foreboding. And then things got more confusing, and more intriguing. It’s an account of mundane events (dreadful weather and even worse food) – and of murder, betrayal and revenge. Bleston, which stands in for Manchester (specifically and as the archetypal northern industrial city) in the novel, is both recognisable and realistically described (street names and bus timetables) and also a fantastical place, a monster, a labyrinth.
People who know I’ve been studying this book for such a long time often ask me what it’s about. I still don’t have a definitive answer for that. It’s not that kind of a book – and I can’t imagine I’d have spent all these years obsessing about it, reading about it, researching it, and writing about it, if it had been. Every time I open it I see something I hadn’t seen before. It’s almost as if it’s shapeshifting, it grows and alters as I read.
Michel Butor is often labelled as part of the nouveau roman group, which was never actually a group and of which he never felt he was a part. He has a lot more in common with Proust than with any of the writers associated with the nouveau roman, and this novel in particular is a quest for lost time, as Revel, the diarist/narrator, feeling himself overwhelmed by the city and its fogs, tries to set down on paper everything that has happened since his arrival in the town eight months previously. He feels that he’s in a labyrinth, disorientating and tricksy, a trap from which he might never escape – but he ends up creating a labyrinth with his diary entries, as the time line starts to loop back on itself, the present day intruding on the attempt to chronologically record the past, and he finds he has to revisit earlier events to explain what’s happening now.
If Passing Time looks back to Proust, it also looks forward, to the work of W G Sebald. Sebald read the novel when he arrived in Manchester, fifteen years after Butor and it resonated through his writing, from the early poem, ‘Bleston: A Mancunian Cantical’, through to his final work, Austerlitz. He picked up on the dark undercurrents in Butor’s work, the hauntedness, the theme of exile and displacement, and the sense that wherever we are in Bleston, we are not just in Bleston.
I’ve been not only reading Butor but writing about Butor, and about the connections between this novel and W G Sebald, for a very long time now. The title of this blog is obviously a reference to Butor – if I’ve posted less Butor stuff over recent years its because all of that is going into my PhD thesis, but there’s still plenty here, if you search for Butor or Sebald, and on a range of themes, from music to maps to Manchester, and to the labyrinth, which is the unifying motif in my thesis, one that recurs throughout Passing Time, and Sebald’s oeuvre.
When Butor died in 2016, I posted a tribute here, and said at the end:
It is sad that Jean Stewart’s English translation is currently only available at prices that would deter all but the most dedicated readers. Perhaps, when the British press gets around to noticing Butor’s passing and commemorating it appropriately, some enterprising publisher will take a punt on reissuing it, and giving a new generation of readers the chance to explore those rainy streets and lose themselves in Bleston.https://cathannabel.blog/2016/08/29/butor-in-manchester/
And that is, pretty much, exactly what happened. Manchester-based Pariah Press are publishing a new edition of Jean Stewart’s excellent translation, in paperback, in May. It is a thing of beauty and I’d urge anyone who is interested in twentieth-century postwar fiction, in Manchester and/or the mythology of the northern city, in displacement and exile, in the detective novel, in labyrinths, in time and memory, in non-linear narratives and unreliable narrators, to order it now…
Suddenly there were a lot of lights. … I gradually struggled free of drowsiness, sitting there alone in the corner of the compartment, facing the engine, beside the dark window-pane covered on the outside with raindrops, a myriad tiny mirrors each reflecting a quivering particle of the feeble light that drizzled down from the grimy ceiling.Michel Butor, Passing Time, trans. Jean Stewart
Go on. You can thank me (and Pariah Press) later…
Be the light in the darkness is an affirmation and a call to action for everyone marking HMD. This theme asks us to consider different kinds of ‘darkness’, for example, identity-based persecution, misinformation, denial of justice; and different ways of ‘being the light’, for example, resistance, acts of solidarity, rescue and illuminating mistruths.https://www.hmd.org.uk/what-is-holocaust-memorial-day/this-years-theme/
For there is always light. If only we’re brave enough to see it. If only we’re brave enough to be it.Amanda Gorman, ‘The Hill We Climb’
The darkness that overwhelmed Europe’s Jews under Nazi persecution has engulfed so many since then, in Rwanda, in Bosnia, in Cambodia and Darfur. And today in China and in Myanmar, Uighur and Rohingya Muslims face the threat of genocide. We’ve been here before, again and again, and every time, when it’s over, we pledge that we will never again allow hatred to triumph. But at the point when the world could make that pledge real, could stop genocide in its tracks, then we hesitate, fatally. Now is that point, yet again, when we need to name what is happening, with all of the implications and responsibilities that carries, to shine a light on what is happening now, rather than afterwards.
And the darkness creeps back again too, when far right activists wear their Holocaust denial openly. We’ve seen the swastika flag flown in Charlottesville. The ‘Camp Auschwitz’ T shirt in the Capitol Building. The British Union of Fascists banner in Trafalgar Square. It’s not that we haven’t seen it in daylight before – it has never really gone away. But the murky corners of the internet have proved to be the ideal environment for conspiracy theories to grow, to be shared, to ensnare more and more people. People who start off as 9-11 truthers, anti-vaxxers, Covid-hoax activists, almost any conspiracy theory you care to mention, will find Holocaust denial thriving on the websites and forums. And it spills out, and where it isn’t opposed, it gains confidence and feels emboldened, legitimised, empowered. It is, as David Baddiel says, ‘the archetypal lie in our culture, from which all the other lies fan out’. It is so very hard to counter. Facts, evidence, personal testimony, all seem to bounce off without leaving any mark. But we have to speak the truth anyway, we have to offer the facts, the evidence, the personal testimony, the common sense to counter the fantasy, the rigour to expose the lies. We have to call it out whenever and wherever we encounter it. Baddiel’s superb documentary did just that, with passion and clarity.
I don’t have my own story to tell. So I will carry on reading and sharing both the scholarship and the personal testimonies, of those whose accounts shine light not only on what happened at those other times and in those other places but what is happening now.
My 2020/21 Reading List
- Susi Bechhofer – Rosa’s Child: One Woman’s Search for her Past
- Miriam Darvas – Farewell to Prague
- Saul Friedlander – Nazi Germany and the Jews: The Years of Extermination
- Anna Hajkova – The Last Ghetto: An Every History of Theresienstadt
- Heda Margolius Kovaly – Under a Cruel Star: A Life in Prague, 1941-1968
- Eva Noack-Mosse – Last Days of Theresienstadt
- Michael Rosen – The Missing: The True Story of My Family in World War II
Normally, as New Year’s Eve approaches, I post some reflections on the year just passed, hopes for the next one, that sort of thing. This year, there seems to be nothing I can say about the year that I haven’t already said, or that others have not said better. I wrote about the loss of my lovely brother here, I bade au revoir to the EU here, I said my piece, for what it’s worth, on #BLM here, and I’ve referred to the pandemic, directly or indirectly, in most of my posts since March.
2020 was wretched, for all of us, to different degrees (we may have all been in the same storm, but not in the same boat…). Let’s not rehash that now. And if we ever thought we could embark on a New Year blithely confident in what lay ahead, the last few years, and especially this last one, have disabused us rather brutally. So I won’t look ahead much either, except in very general terms.
I do, though, want to celebrate the people who’ve made this year a little bit better, directly or indirectly.
NHS staff – and by that I mean not only GPs, consultants, doctors, midwives and nurses, but health care assistants, the staff who clean the wards, who feed the patients, who provide the services that underpin front-line patient care. I know that many of those staff have paid a price this year, in stress and anxiety, in their own losses and grief, in sickness and, in a tragically large number of cases, with their lives.
The people who keep essential basic services going – the bin collectors, the postal workers, the supermarket staff (I know from chatting to staff at the till that they have at times been subjected to abuse from customers when supplies run short or queues are long), the bus drivers, the lorry drivers moving supplies around the country… We tend not to think about them, until something we take for granted doesn’t happen.
The international teams of scientists and researchers who’ve been battling to find out everything they can about the virus, how it spreads, how to treat it and how we can protect ourselves against it. And many have been battling too to counter the relentless tide of misinformation and conspiracy theories that flows on social media. (Shout out to Prof. Carl Smythe (Professor of Cell Biology) at the University of Sheffield, who’s been refuting arrant (and lethal) nonsense on a daily basis for the last nine months… )
The people who’ve helped out, whenever and wherever. Khalsa Aid, a Sikh charity (who also sprang into action during the Somerset floods a few years ago), one of a number of organisations who delivered provisions to lorry drivers stranded at Dover because of the border closures. And the cafés, shops, pubs and other small businesses (many struggling themselves during the pandemic) who nonetheless stepped up to offer free meals for schoolchildren during school hols when the government declined to do so.
Some people who have brightened our world, or my life in particular, in absolutely no order: The Doctor, Marcus Rashford (and his Mum), Jacinda Ardern, Pariah Press, Angela Davis, Ruth Arnold, Jackie Kay, David Olusoga, Persephone Books, The Good Place, Greg Fell, Songhoy Blues, Caroline Shaw, Michael Rosen, Hilary Mantel, Music Planet, Céline Sciamma, Lissa Evans, Inspiration for Life, Alyn Shipton, Jean-Luc Picard, Ensemble 360, John le Carré, J to Z, Stephen King, Brian Lewis’s Lockdown Walks. You’ve made me smile, given me hope, made me dance around the kitchen, informed and challenged me, brought me books and films and music to inspire and delight me. Love and gratitude to all of you.
And whatever is around the corner, we can keep our eyes on two beacons of hope.
Firstly, there are the vaccines, which will save lives and reunite us with our friends and families – oh, the hugs that will be hugged.
And then there’s the inauguration of a new US President and VP. Whatever their flaws, and whatever difficulties the GOP will place in their path, once again this major power will be led by people with intelligence, integrity, concern for the powerless at home and abroad, and a commitment to engage positively with the world.
Some stuff that gives me a glimmer of hope and optimism, that I hang on to in the bleak nights:
First off, I refer you to the project I’ve been involved with in recent weeks. Inspiration for Life is the charity I helped to set up in 2012, and then chaired until last month, which raises funds for cancer charities. Our major fundraiser has always been the 24 Hour Inspire, a 24-hour lecture marathon, which was, obviously, impossible to run in the midst of a pandemic. So instead, we offered 24 Reasons to be Cheerful, our on-line Advent Calendar. There’s some lovely stuff – music from Fay Hield, Ayusp, the Cancer Choir and the Creating Hope choir, plus comedy, art and craft, a bit of science, and contributions from our partner charities. If you feel moved to donate a few quids, that would be lovely.
One of the films is a reading of the poem ‘Sometimes’, by Sheenagh Pugh, which I usually include in my NYE post. This time I’ll let you hear Ruth Arnold reading it.
Hang on to your hat. Hang on to your hope. And wind the clock, for tomorrow is another day
Theirs is a land with a wall around it
And mine is a faith in my fellow man…
Sweet moderation, heart of this nation
Desert us not, we are between the wars
(Billy Bragg, Between the Wars)
We are building up a new world.
Do not sit idly by.
Do not remain neutral.
Do not rely on this broadcast alone.
We are only as strong as our signal.
There is a war going on for your mind.
If you are thinking, you are winning.
(Flobots – We are Winning)
The simplest and most important thing of all: the world is difficult, and we are all breakable. So just be kind.
(Caitlin Moran – How to Build a Girl)
If there’s no great glorious end to all this, if … nothing we do matters … then all that matters is what we do. ‘Cause that’s all there is. What we do. Now. Today. … All I want to do is help. I want to help because I don’t think people should suffer as they do, because if there’s no bigger meaning, then the smallest act of kindness is the greatest thing in the world.
(Joss Whedon – Angel)
Never be cruel, never be cowardly, and never, ever eat pears! Remember, hate is always foolish. and love is always wise. Always try to be nice, but never fail to be kind. … Laugh hard, run fast, be kind.
(The 12th Doctor, Twice Upon a Time)
Love is wise, hatred is foolish. In this world, which is getting more and more closely interconnected, we have to learn to tolerate each other. We have to learn to put up with the fact that some people say things that we don’t like. We can only live together in that way, and if we are to live together and not die together we must learn a kind of charity and a kind of tolerance which is absolutely vital to the continuation of human life on this planet.
(Bertrand Russell, Face to Face interview, 1959)
Last time I posted these, we had no thoughts of a pandemic, of health care workers dying, of care home occupants separated from their families, of theatres, concert halls, football grounds, churches empty of people, of pubs and restaurants with doors closed to customers, of facemasks and R numbers and shielding and bubbles.
Nonetheless, they hold true. And they’re worth holding on to.
And maybe, just maybe, there will be blue skies ahead…
Normally, there’s quite a bit about cinema in this review of the year on screen. This year was, obviously, different, and whilst I could have watched more films on screen via DVD, for a host of reasons I found refuge in telly, in short bursts of drama rather than longer forms. My concentration was shot in the first part of the year, with the loss of my brother, and the onset of the pandemic.
I got used to the latter, to the extent that those of us who weren’t directly affected got used to it (finding new routines involving lots of local walks and evenings in, as we had the luxury of no work or financial pressures, plenty of space indoors and out, and no one close to us being ill).
As for the former, grieving isn’t a linear process, one can seem to be fine and then walk into a wall that wasn’t there before, one can seem to be fine and then be ambushed by a memory, an image, a word. So there are things we’ve avoided watching because, well, why deliberately provoke it? The exception to this was Little Women, of which more below, which we saw at the cinema very early in 2020, in full knowledge of how it would foreshadow the inevitable loss that we were facing.
The Small Screen
Please note: this reflects what we have watched in 2020, and thus includes old stuff that is circling eternally on ITV 3 and Drama, stuff from 2019 that was still sitting on our BT Vision Box as the year turned, as well as this year’s TV. This is the telly that has diverted, amused, intrigued, enlightened, moved and informed us during 2020. I’ve missed out the things that we started watching and then decided life was simply too short to waste time on, but, whilst I don’t normally spend much time talking about things I haven’t liked, there are a few dishonourable mentions here, mainly for things that I expected to like and in the end was very cross with. I’ve linked to some reviews, where they are not too spoilery, but as always, caveat lector.
You know you’ve watched too many episodes of Midsomer Murders when the ITV 3 intro causes eruptions of rage every single time it invites us to go to the ‘infamous village of Midsomer where only one thing’s for certain’. As any fule no, Midsomer is not a village but a county. I mean, that body count would be just too improbable in just one village, wouldn’t it? Another clue is when you overhear someone saying ‘Oh, hello, what are you doing here?’ and turn abruptly, expecting imminent violence with a pitchfork or perhaps a giant cheese. It’s very silly, and the writing is variable but at its best, it knows exactly what it’s doing, and there are lots of little in-jokes about the bloodthirsty nature of these picturesque villages (like the incoming DS from the Met who is shocked at the carnage). We’ve re-watched all the Nettles series, which allows us to marvel every episode at how Joyce manages to get involved in every single case, because she is a member of every single committee, book club, art class, choir, am dram group, and so forth in the entire county. I have my suspicions that she is actually the mastermind behind the whole murderous business.
There were lots more weighty contenders, of course. Foreign language offerings included Nordic crime from Twin, Before We Die, Wisting, and Below the Surface, and best of all The Bridge, whose first two series we had missed when they were first shown (I know! What were we thinking?) and enjoyed very much, whilst concluding that the plot, especially perhaps in Season 2, was a little too complex for its own good and if one was being picky one might mention a couple of possible holes. But one won’t, and one is now re-watching series 3 and 4. Saga is, of course, a most wonderful creation.
Wallander is obviously Nordic but Young Wallander is in English. It’s an oddity – if we hadn’t been alerted before watching we would have been most bemused by the contemporary setting. There are nods to ‘our’ Wallander (the father who paints the same scene over and over again, the girlfriend called Mona) but clearly this is not the equivalent of Endeavour. It was enjoyable, if not unmissable. Van der Valk is a remake of a 70s series which we never watched – again it’s in English but set in Amsterdam. The setting was, I fear, the best thing about it. The plots were ludicrously baroque, the motivation of the culprits unconvincing, the script clichéd – and if anyone wonders how I dare level such criticisms when I’ve just admitted to a fondness for Midsomer Murders, MM has a lightness, a touch of humour, that VdV lacked.
The latest series of Spiral had us shouting at the telly, primarily at Laure and Gilou. Excellent stuff – our deeply flawed heroes may be infuriating but they’re convincing and won our hearts a long while back, and the plot was gripping and tense. The other French offering was The Other Mother, based on Michel Bussi’s novel Maman a tort, which was also excellent – the plot was complex but just the right side of incomprehensible. The Team was a multinational European offering – it’s series 2 but with no characters in common from series 1, just the concept of a multinational team pulled together from different EU nations to solve a crime.
We also watched the movie Goldstone, which is linked to the Australian crime series Murder Road, whose new series is awaiting our attention, and the much lighter-weight but diverting Harrow, about an Aussie pathologist, the sort of pathologist who investigates crime, not the sort that gets called in when there’s a corpse and says ‘I’ll know more when I get him on the slab’ and then eats his sandwiches whilst foraging about in someone’s insides – see MM, Vera, et al. They know their place, unlike Harrow.
We visited the frozen landscapes of Canada for another dark and dour series of Cardinal, and back to the US for The Sinner (this was series 2, with only Bill Pullman in common with series 1). A much more unusual setting for Baghdad Central – an excellent, tautly plotted thriller with powerful performances by Waleed Zuaiter and Bertie Carvel. And we visited the past – Vienna in the 1900s -for Vienna Blood. The protagonists are an ‘unlikely duo’ of a brash young medical student and disciple of Freud, and a battered older cop, the production is very Sherlockian, and altogether it was slightly daft, but enjoyable, with a darker undercurrent running through it, of the endemic antisemitism of the time and the place, whose consequences we know too well.
Back in the UK, we enjoyed the Agatha Christie dramatization of The Pale Horse, with Rufus Sewell; Guilt, a blackly comic take on murder, with the always engaging Mark Bonnar; and McDonald & Dodds, with Jason Watkins, another lighter weight crime series, with good enough performances and writing to be worth catching when it returns. We watched Judge John Deed, which turned into a montage of 90s conspiracy theories about phone masts and the like, with improbable legal scenarios, and a protagonist whose compulsion to seduce every attractive woman he meets (key witness, fellow barrister, ex-wife, his therapist) becomes tiresome and frankly a bit creepy. Actually, all of the characters are intensely annoying, and one watched it mainly to be infuriated with it. Series 2 of Bancroft was just as ludicrous as the first.
The really good stuff:
Strike, Series 4 – charismatic leads, great plots, thoroughly enjoyable series, weaving the personal narratives of Strike and Robin in with the investigations very skilfully.
Hidden, Series 2 – Welsh noir – very, very noir – with an excellent female lead. As with the first series, the ending brings a very compromised and uncomfortable resolution.
Deadwater Fell – dark psychological drama, excellent cast, very unsettling.
Elizabeth is Missing – based on the book by Emma Healey. The lead character, Maud, has dementia, so when she insists that her friend Elizabeth is missing, no one takes her very seriously. Her recent memories keep getting mixed up with much older ones, of a much older disappearance. Glenda Jackson’s performance is absolutely mesmerisingly brilliant.
Dublin Murders – based on the first two books of the Tana French series. The plots are interwoven in a way that perhaps didn’t totally work, but the quality of the writing and the performances carried the day.
Endeavour – the penultimate series, apparently. The quality of the writing continues to be an absolute joy. The interplay between Morse, Strange, Thursday and Bright is so well played, often very emotionally powerful even though (or perhaps all the more because) none of them speak easily about their feelings.
Vera – Brenda Blethyn is a fine-looking woman, and so somewhat at odds with the descriptions in the novels, but she gets the character beautifully. The way in which the relationship with Joe’s replacement as DS is developed is convincing and touching (I particularly like the way he kneels to help her put on her crime scene shoe covers. As an older woman with dodgy knees I can so identify).
The Capture – about surveillance and deep fake images and whether or not we can trust what we see… A nicely paranoid atmosphere and a gradual blurring of the lines between right and wrong
Giri/Haji – my pick of the year, without a doubt. That it didn’t get commissioned for a second season speaks to a certain cowardice amongst the decision makers, but as the Independent’s reviewer says, it is pretty much faultless as it stands, so maybe it doesn’t need a sequel. This was stylish, often audacious, bloody, darkly humorous – really striking and memorable telly. Applause to all concerned.
Homeland returned for the last time. The final series was an encapsulation of everything that we’ve seen over its whole run, very consciously a drawing together of many of the threads from all the previous series, satisfying without being oversimplified. As a jazz fan I was delighted that Carrie’s love of jazz, rather forgotten about in recent series, was foregrounded in the final scenes, as the wonderful Kamasi Washington performed live on stage.
Deutschland 86 took us to the brink, everything in place for the collapse of the GDR and the destruction of the Wall. I hope we get one more series, to take these characters, and us, through those momentous events.
We would not normally have thought of watching The New Pope. The trailer, rather bafflingly, showed Jude Law in tiny (very tiny) Speedos walking along a beach, as women gazed, and fainted away, on either side. Hmmm. However, we knew that my brother had a moment on screen as one of the Cardinals gathered at a funeral, and we had to watch – and watch with full attention – to ensure we didn’t miss him. I’m glad we did – it was bonkers but beautiful. (So we got to see both of my brothers on screen this year, strangely enough, our Aidan in purple robes in The New Pope, and our Greg in an orange trackie at a football match over 40 years ago – see below.)
Philharmonia was bonkers too – the orchestral setting was unusual, and it was enjoyable, even if one didn’t ever believe a word of it.
The Accident was grim, and some of the plotting was a little bit careless, I thought – or maybe setting up for a second series where other things come to light? No idea. I just felt that – without giving too much away – a character was introduced who played a key role in events, but that role never seemed to be properly explored, and the images at the very end seemed, almost, to suggest that the truth was something other than the established official version. I may have imagined it! There were some powerful performances, from Sarah Lancashire and Joanna Scanlan in particular.
The Plot against America, adapted by David Simon (The Wire) from Philip Roth’s alt history, in which Charles Lindbergh, running on an America First ticket, wins the 1940 US election rather than FDR. It is, of course, incredibly topical (more so than the novel, which came out in 2004, when the events of 2016 could not have been imagined). It was powerful, incredibly tense, and subtle when it needed to be. Its final moments – and this is where it differed significantly from the book – with the central characters tensely awaiting the outcome of another election, hoping and fearing the outcome, kept coming back into my mind in November.
We’re saving up Small Axe. Looking forward so much to this.
Let’s draw a veil over the awful Batwoman. Wooden acting, clunky scripts, a plot that made no sense at all.
Devs – sci fi that’s about ideas, as much as it’s about tech. There was no predicting where this one was heading, or where it ended up. Whether it entirely made sense, I’m not sure, but it was, as the Guardian reviewer put it, a ‘deep, dark, wild ride’.
Dracula – yet another take on the Stoker original, this one was about as faithful as any of the others, but it really went for it, with conviction and style. As Lucy Mangan in the Guardian put it, ‘It’s a proper job […] And that means proper scares. No spoilers, but the one in the [redacted] when the [redacted] suddenly [redacted] had me clinging to the ceiling. I advise parental supervision at all times. My dad was annoyed at having to come over, but needs must when the devil calls and starts emanating from your screen.’
His Dark Materials – As always with a screen version of a book/series that I have loved with a real passion, I was anxious that the adaptation would mess it up. I needn’t have worried. The performances are grand, the visuals stunning, and it’s powerful stuff. We loved it, and are looking forward to Series 2.
Star Trek: Discovery – we’re through the wormhole now, and it’s Trek, Jim, but not as we know it. This allows for real character development, though if I were to be picky I’d ask them to rein in the reaction shots of awe and wonderment and so forth. No idea where we’re headed but we’re now liberated from the need to be consistent with the existing series, which is pretty exciting, if you’re a long-term Trekker.
Star Trek: Picard – it’s a good time to be into Trek! Not only Discovery, but Picard too. My love for Jean-Luc is undimmed and he carried this very effectively. Some lovely shout-backs to NG, but its not pure nostalgia for the fans.
The Walking Dead – The first part of the season ended prematurely due to the pandemic – we only got the finale in October and now have to wait till next year for the second half. The series has come back strongly from quite a long slump, and whilst some of the regular gripes (apocalyptic battles which end up with only one peripheral character being killed, regular characters behaving with untypical stupidity to bring about some new peril, that sort of thing) are ever present, it’s back to being essential after a period where it was a mere duty watch.
Doctor Who – This year’s series was controversial amongst some Whovians, for seeming to change some of what we thought we knew about the Doctor’s origins. But did it? After all, our main source was the Master, who, as we know, lies… We will see. The Doctor did make a few appearances later in the year from her Judoon cell, to give us hopeful and inspiring messages about coping with lockdown isolation, which, I have to admit, brought a tear to my eye. She’ll be back on 1 January 2021, and let’s hope that the Tardis is a harbinger of hope for a better year ahead.
Some films watched on TV: Jurassic Park: Fallen Kingdom was perfect New Year’s Day fare. And the general stress of lockdown drew us to Abraham Lincoln: Vampire Hunter, and Pride and Prejudice and Zombies. The first I rather enjoyed – the script was just clever enough, with some neat historical references buried in amongst the improbable action. The second, well, once we had chuckled at the Bennett girls practising martial arts and strapping lethal weapons to their stockinged legs, it was slightly thin stuff. Last but not least in this category, the only superhero movie we watched this year, very unusually, was Deadpool, which was, to say the least, different… Very funny, very rude.
We’re saving up Agents of Shield (the last ever series) and Series 2 of His Dark Materials – some things to look forward to early in 2021.
We caught up with Modern Family, which we’d abandoned at the end of series 4, for no good reason. I found myself laughing loud and often. The characters don’t develop, not really, but when the writing and the performances are this good, there’s plenty of comic mileage to be had. We discovered Friday Night Dinner (only series 1 so far) which also made us laugh a lot.
The Good Place managed to be both very, very funny and profound. It made full use of its fantasy license, regularly wrongfooting us in ways that made us shout out something along the lines of WTF, and its final couple of episodes reduced me to real sobs, not just ‘something in my eye’ but full-on weeping. And yet, right up to the end, it was very, very funny too. A fabulous achievement.
We enjoyed the ebullient and charismatic Stuart Copeland in a couple of docs, his own Adventures in Music series, and his episode of Guitar, Drums, Bass (Lenny Kaye and Tina Weymouth represented the other instruments). We enjoyed the Lennon at 80 radio programme hosted by Sean Lennon, and a documentary about John and Yoko, Above Us Only Sky. The film Matanga/Maya/MIA was fascinating, though it left me somewhat dubious about her, not so much musically as politically. K T Tunstall presented an absolutely charming documentary about Ivor Cutler. A number of classical documentaries featured members of the remarkable Kanneh-Mason family: an Imagine programme, This House is Full of Music, Young, Gifted and Classical, focusing on cellist Sheku Kanneh-Mason, who cropped up too in the excellent Black Classical Music, fronted by Lenny Henry and Suzie Klein, which introduced us to a number of composers we had not heard of previously. This last programme tied in with Black History Month, as did Gospel According to Mica, in which the singer explored the history of the genre through six songs, taking us from slavery days through the civil rights struggle to our own time. Soul America charted some of the same history, though taking a much narrower slice of history, broadly from the transmutation of gospel into soul, through the socially conscious sounds of the late 60s, to the sexual healing of the ’70s. Music, Money & Madness was a fascinating look at the background to Rainbow Bridge, the incoherent mess of a film that features Hendrix’s excellent 1970 gig in Maui, Hawaii.
Afua Hirsch presented African Renaissance (on African art), and co-presented with Samuel L Jackson the outstanding and at times overwhelming Enslaved. David Olusoga’s Africa Turns a Page put the spotlight on African writers, some familiar, others less so (see my books blog for some contemporary African fiction).
I Am Not Your Negro is an extraordinary film. It’s a 2016 documentary directed by Raoul Peck, based on an unfinished manuscript by James Baldwin. It explores the history of racism in the US through Baldwin’s reminiscences of civil rights leaders Medgar Evers, Malcolm X and Martin Luther King. Baldwin was one of the African American writers who I discovered in my teens and who inspired and challenged me. The film left me feeling quite shaken, such is the power of the images and Baldwin’s words.
France 1939: One Last Summer – A poignant compilation of home movies from France, from the summer of 1939. Impossible to see even the most carefree moments without the foreshadowing of what was to happen.
Confronting Holocaust Denial with David Baddiel was thoughtful, intelligent and impassioned.
On a somewhat (much) lighter note, Rome Unpacked was a lovely corollary to our recent visit, reminding us of how much we had yet to see (looking forward to our next trip, in the after-times…). I also fell somewhat (quite a bit) in love with Giorgio Locatelli. One quibble however – they visited the Jewish Ghetto and talked about the history of medieval antisemitism, without mentioning that the Ghetto’s inhabitants were deported and murdered by the Nazis in 1943. It’s not that I wanted the programme to delve into that in any detail – it just needed a one sentence coda to that section of the programme, rather than leaving the impression that murderous anti-semitism was something from the distant past.
A documentary about Nottingham Forest’s 1970s European Cup successes turned out to be a much more emotional experience than I’d been anticipating, when I caught sight of my lovely kid brother, who died in February, on one of the clips. He’d been a ball-boy at the first-round match against Liverpool in our 1979 Euro cup campaign, and was caught on camera at the end, clapping the team off the pitch and then punching the air in celebration. I sobbed for quite some time after that.
The Big Screen
2020 cinema began shortly after New Year, with Little Women. I knew what was coming, of course, having known the books for most of my life, but it didn’t stop Beth’s death being devastating, as I knew how soon I would be losing my little brother. I have the DVD but will need to brace myself before rewatching, particularly the bits where… well, if you’ve seen it, or any of the previous versions or read the book, you won’t need me to spell out the parts of the film which will break me on the rewatch. In fact, I won’t even say any more now, just refer you to Rick Burin’s review. Hell, it broke him, and as he says, ‘I’m northern and into football and stuff, but I just kept crying’.
And then a two-film day in mid-March, watching Celine Sciamma’s Girlhood (second time round for me) with Liz at the Showroom, and then in the afternoon Sciamma’s newest film, Portrait of a Lady on Fire, with Martyn. I loved both films, I found Girlhood just as powerful as I had the first time, with several moments that are firmly lodged in my mind, and Portrait definitely requires a re-watch. I wrote about both films for this year’s International Women’s Day blog but I’m going to send you to read Rick Burin again, as he reviews all of Sciamma’s films and much better than I can.
Note that the films I did see in 2020 totally kicked the Bechdel test‘s ass.
And that was it. No more cinema – they did reopen, of course, for a while, but as we have been super-cautious throughout the pandemic, we did not take advantage (I renewed my Showroom membership, as a gesture of support).
Can’t talk about cinema in 2020 without noting the tragically early death of Chadwick Boseman. I only knew him as Black Panther but that role alone was enough to imprint him on my consciousness – it was a performance of grace and power, as well as huge cultural significance. Will look out for chances to see Boseman’s other movies.
Previous years’ cultural highlights have included Opera North at Leeds Grand Theatre. Obviously, since March, the pandemic has put paid to that. In fact, I’d had to drop out before that – I could not attend the three productions in January/February as my brother’s condition worsened and I knew both that I needed to be available to see him whenever I could, and that I really couldn’t commit to producing a review in a reasonable timescale, or at all. I had no idea when I made that decision that my stint as an opera reviewer would have come to an end for the foreseeable future. I loved doing the reviews, and had a marvellous time seeing superb productions of works from Monteverdi to Britten and all points in between.
The move to on-line cultural activities, devastating as it was to the future of live performance, offered some delights. The Sheffield Classical Music Festival in May gave us access to some joyous and uplifting chamber music, as members of Ensemble 360 filmed performances in their gardens and living rooms. It was fabulous, even if it made us miss Music in the Round in the Crucible Studio even more.
Other online treats were Ian Dunt talking about being a liberal, David Olusoga talking about Black and British in Black History Month, Kit de Waal talking about My Name is Leon (all three talks part of Sheffield’s annual Off the Shelf festival), Sarah Churchwell and Bonnie Greer talking about the US election outcome (part of the national Being Human festival) – and two chances to hear and see someone who was an idol during my teenage years, the awesome and inspiring Angela Davis, first in her own South Bank lecture, and then in conversation with Jackie Kay (as part of Manchester Literary Festival). I might, theoretically, have got to the Off the Shelf events in normal circs. But I wouldn’t have made it to the South Bank, or the University of London, or even across the Pennines to Manchester.
But I long to get back to live chamber music and theatre at the Crucible, live opera at Leeds Grand Theatre, arty French movies at the Showroom and blockbusters at the IMAX… We’ll get there, thanks to the vaccine(s). And it will be so very lovely when we do. I may, just possibly, weep.
Screens, in general, have been our lifeline in the plague times. Not just the entertainment and enlightenment of what our television channels offer, but the Zoom/Messenger/Facetime link ups with the people we love, who we can’t be with. It’s not the same, obviously, and in the early days at least it made me feel, briefly, sadder once we’d waved goodbye and blown kisses to the small figures on our laptop screens. But our isolation has been less stark, less absolute, and at best those virtual encounters have made us feel hope, made us feel loved, given us the chance to support each other.
Posted in Literature on December 9, 2020
Reading has taken me out of lockdown, out of Tier 3, out of my own postcode. As a quick perusal of the titles below will show, it’s hardly been six months of escapism – that’s not the point. The point is that as life closed in, books were always there to take me to different places, different times, where I could hear different voices telling fresh new stories, or old, old stories in a new voice. I’ve been in Ancient Greece, in Finland at the start of the twentieth century, and in the dustbowl of Oklahoma. My fascination with WWII has taken me to besieged Malta, to the Burma railroad, and to the home front and the Blitz. I’ve travelled to India, Indonesia, Japan, Kenya, West Africa, the Caribbean, postwar Vienna and Prague. I’ve listened to a diversity of voices and a diversity of ideas. I’ve read for pleasure and diversion, and for enlightenment, and I’ve found plenty of both (often in the same books).
As always, the few things I read that weren’t up to much I have simply ignored – I want to share the good stuff, to enthuse other people about the books that have enthused me. I’ve linked to reviews where they’re not too spoilery, but click with care! I may come back to this after I’ve published it, to add on whatever I read between publication and midnight on 31 December – there’s a fair bit of reading time between now and then. I hope that something on this list might inspire you to read and enjoy. Do tell me, if so. (If you read something on my list and hate it, I do apologise, but don’t feel you have to tell me…)
Ben Aaronovitch – I’ve continued to devour the Rivers of London novels, and have kept up with the series this autumn/winter by reading October Man (a novella), False Value, and a very tasty collection of short stories, Tales from the Folly.
Arvand Adiga – The White Tiger. Booker Prize winner from 2008. I didn’t love this, but I was gripped by it. I found it difficult to engage with the narrator – not that I always have to identify with, let alone like, the protagonist – but it was vivid and visceral and compelling.
Claire Askew – What You Pay For. A thriller in which the fact that we know or can work out early on some of the twists and turns of the plot doesn’t matter, because the strength of it lies with the two interweaving voices through whom it is told. An excellent follow-up to All The Hidden Truths, featuring the same detective but a very different story, focusing on a school shooting.
Nadeem Aslam – Maps for Lost Lovers. This is remarkable. It’s profoundly melancholy, sensual, full of colours (the fabrics, the birds and butterflies), smells of perfume and spices, sounds (jazz, and Nusrat Fateh Ali Kahn). We’re in an English town, called Dasht-e-Tanhaii, at least by the Pakistani communities who live there, and who’ve given the streets their own names too. It’s their home but they don’t feel at home there, constantly reminded that they do not belong. The book does not shy away from the brutality of the harsh orthodoxy that means everyone lives in fear of transgression, but, as Kamila Shamsie says, ‘love never steps out of the picture’.
Margaret Atwood – The Penelopiad. A funny, dark, feminist retelling of the story of Odysseus, from the point of view of the wife who waited – and the handmaids who were hanged on Odysseus’ return…
Oyinkan Braithwaite – My Sister the Serial Killer. One of my top crime books. Described as ‘a morbidly funny slashfest’ by the Guardian’s reviewer, which is fair enough. One of the best openings of anything I’ve read for a while.
Jane Casey – Silent Kill. A Maeve Kerrigan novella, from the perspective of one of the secondary characters in the main series. Nicely done – as well as standing alone from a plot point of view, for afficionados of the series it sheds light both on the main protagonist here but on many of the other characters who we’ve not seen from this angle before.
Christopher Cleave – Everyone Brave is Forgiven. I wept my way through this. It took me by surprise, firstly because the two books I’ve read (and loved) by Cleave have had contemporary settings, and this one is WWII, secondly because at first I thought the clipped and brittle dialogue might become wearing. But the setting was beautifully described and the way the characters spoke was as revealing as it was meant to be concealing. It got under my skin and the more passionately I cared about those characters, the more I longed for them to be safe and happy and the more I grieved when bad stuff happened. (Spoiler: it did)
Ann Cleeves – I had a major catch-up with her Vera and Shetland series, and binged all the ones that I’d not read yet over the course of a week or so. I’ve also discovered and binged the Inspector Ramsey books, published in the 1990s and recently revived as e-books. Ramsey rapidly grew on me – one reviewer described him as ‘quiet, puzzled, human’, which is quite right.
Kit de Waal – My Name is Leon. I read The Trick to Time last year, and loved it. This was brilliant too. The voice is that of what we would now call a ‘looked-after’ child – never sure if that is a euphemistic term, or just a naively optimistic one… It’s another book that I wept through and hardly dared to read on at some points, as I so badly wanted Leon to be OK. It’s compassionate and warm and based in real knowledge of the care sector. It’s hopeful too, although de Waal noted in a recent interview (for Sheffield’s Off the Shelf festival) that we leave him aged nine, with his most turbulent years to come and the odds are stacked against him.
Elizabeth de Waal – no relation to Kit, to the best of my knowledge. Elizabeth was part of the Ephrussi family, who lived in the eponymous palace in Vienna until the Anschluss. Their story forms part of Elizabeth’s grandson Edmund de Waal’s enthralling The Hare with the Amber Eyes. The Exiles Return is full of melancholy, and of humour. It was unpublished in Elizabeth’s lifetime, and has been brought out by Persephone Press, and is as beautiful to look at as all of their publications.
Helen Dunmore – The House of Orphans. I honestly thought I’d read all of Dunmore’s fiction, so it was a very welcome surprise to find this one. It isn’t my favourite of hers, but it was a compelling read and the setting was new to me (Finland in 1902)
Esi Edugyan – Washington Black. I read Half-Blood Blues a few years back and this is even better. The horrors of the plantation were familiar territory from other reading (Yaa Gyasi’s Homegoing and Andrea Levy’s The Long Song, to name but two recent reads, but going back to Alex Haley’s Roots), but Edugyan’s narrative takes off (literally) from there. It’s extraordinary, breathtaking and audacious.
Lissa Evans – V for Victory/Their Finest. I discovered Evans earlier this year, and had already read Spencer’s List, Old Baggage and Crooked Heart. I was waiting eagerly for V for Victory and it did not disappoint, funny and moving and beautifully written. As was Their Finest. Both, as the titles suggest, are set in WWII and paint a vivid picture of the home front, with the kind of sharp observation that is totally convincing. But most of all, the characters live and breathe and stay with you long after the book has ended.
Bernardine Evaristo – Girl, Woman, Other. Richly deserving of its awards, this is a glorious polyphony, the voices weave in and out of each other’s stories, each having its moment in the spotlight, so that we see the people we meet from different points of view, including their own.
Richard Flanagan – The Narrow Road to the Deep North. A harrowing read. The descriptions of life in the PoW camps and the building of the Burma railway are hard to cope with. But truly, where one’s heart breaks is in the lives that the survivors have afterwards, the weight they have to carry from their experiences, the impossibility of anyone actually understanding.
Aminatta Forna – Happiness. I’d previously only read Forna’s memoir, The Devil that Danced on the Water, in which she writes of her childhood and the fate of her father, a political prisoner in Sierra Leone. This is a wonderful novel, which makes us see the night time Londoners that are so often invisible to us, whether that’s the urban foxes or the migrant security staff and bin men. All of the characters are in some way exiled, displaced or nomadic (a Ghanaian specialist in PTSD and an American wildlife biologist are at the heart of it). It’s beautiful and hopeful and melancholy.
Robert Galbraith – Troubled Blood. I wish it were possible to review this without any reference to Rowling’s views on trans rights. She made it impossible, by including a character who dresses as a woman to seem unthreatening to women he intends to kill. As many reviewers have said, that is tone deaf at best, and tends to reinforce the feeling that she has become sadly obsessed with this aspect of the trans issue. For the record, I disagree profoundly with her. However. This is a gripping – albeit very long – crime thriller, which kept me on tenterhooks to the end, and continues the development both of Strike and Robin’s characters and of their relationship.
Amitav Ghosh – Gun Island is about climate change, about human and animal migration. The Guardian said that it ‘brims with implausibility; outlandish coincidences and chance meetings blend with ancient myth and folklore, tales of heroism and the supernatural.’ I wasn’t sure at first, but decided to go with the flow, and I loved it.
Isabelle Grey – The Special Girls/Wrong Way Home/Shot through the Heart. I began this excellent series, featuring DI Grace Fisher, with Good Girls Don’t Die earlier this year, and binged these later titles more recently.
Elly Griffiths – The Postscript Murders. Sequel to The Stranger Diaries, featuring DS Harbinder Kaur. This is a delight, albeit a delight with a high body count…
Mohsin Hamid – Exit West. Hamid, author of The Reluctant Fundamentalist, blends fable and realism (there are moments when I thought of The Underground Railroad) in its account of refugees – what drives them to flee, what becomes of them.
Kazuo Ishiguro – A Pale View of Hills. Ishiguro reckoned that this, his debut, didn’t quite work. ‘I do think it’s too baffling. The ending is almost like a puzzle. I see nothing artistically to be gained by puzzling people to that extent. That was just inexperience—misjudging what is too obvious and what is subtle. Even at the time the ending felt unsatisfactory.’ Nonetheless, it is compelling, and very unsettling (something Ishiguro is rather good at – I was completely discombobulated by The Unconsoled, as if I was trapped in an anxiety dream).
Tayari Jones – An American Marriage. In some ways this is a contemporary take on James Baldwin’s If Beale Street Could Talk – the young married couple, the wrongful arrest, the judicial system weighted against him, the long wait. And speaking of the waiting wife, oddly and by pure coincidence, the book I picked up after this was Margaret Atwood’s The Penelopiad… The narrative is constructed through the voices of the husband, the wife, and later on, the friend, so we see the same events from those different perspectives, which adds depth and nuance. Compelling and moving.
Meena Kandasamy – When I Hit You. This was another tough read, an autobiographical account of domestic violence, ‘a meditation on the art of writing about desire, abuse and trauma’.
Philip Kerr – Hitler’s Peace. I’ve read most of Kerr’s Bernie Gunther novels, so was interested in this slice of alt history. As always with Kerr, it’s scrupulously researched – the scenario is startling but robustly established, and there’s that same sense of impossible moral choices that pervades the Gunther series. Gripping, and troubling.
Heda Margolius Kovaly – Innocence. Kovaly is fascinating – earlier this year I read her memoir Under a Cruel Star, which records her life through the Holocaust and Stalinist repression in post-war Czechoslovakia. She later became a translator, with a particular fondness for Raymond Chandler, which feeds into this crime novel set in Prague in 1951, and drawing on her own experiences.
Nella Larsen – Passing. I’d seen her name but had never realised she was an American writer of colour. The clue is in the book’s title – it’s about those who can ‘pass’ as white, and what it does to them, the insecurity, the fear of the consequences should their identity be exposed. Will explore her work further. Passing was published in 1929, and Larsen is one of the leading writers of the Harlem Renaissance.
John le Carré – Agent Running in the Field. Le Carré never fails me. Elegantly satirical writing, taut plotting, and a dash of righteous indignation. This is his most recent novel, from 2019.
And as it turned out, it was his last. He’d said as much in a October 2019 interview, but there was no reason to suppose he might not go on for years. His recent novels were elegiac in tone, and often raging (about Brexit, Trump, the calibre of the current crop of political leaders), as sharp as ever, as funny as ever, as gripping as ever. I started reading him in my early teens, and never really stopped. I’ve five more to read, and then I think I will start again at the beginning, and our introduction to George Smiley, in Call for the Dead.
Laura Lipmann – The Power of Three. One of Lipmann’s earlier stand-alones, from 2005. Secrets, friendships, betrayals…
Attica Locke – Bluebird, Bluebird/Heaven my Home. Having read the two Jay Porter novels (Black Water Rising and Pleasantville) I turned to the two Highway 59 titles. The protagonist is a black Texas Ranger, and race is the tension that’s humming away constantly, relentlessly, in everything that happens. Brilliantly done.
Richard Mathieson – I am Legend. I’d seen the Will Smith movie, but the book is very different, both in the initial premiss and the way the plot unfolds. Mathieson’s vampires are not only unlike those in the movie, but unlike those in the Buffy universe, Stephen King’s Salem’s Lot, and the daddy of them all, Dracula. They don’t work to the same rules. His protagonist is utterly alone and utterly lonely, working out not only how to survive but how it all works, and applying a ruthlessly scientific approach to the process.
Denise Mina – Conviction Never know quite what you’re going to get with Mina. This one is a very twisty thriller, described by The Scotsman as almost Hitchcockian in its evocation of paranoia and doubt.
Abir Mukherjee – Death in the East. I dived into the Sam Wyndham series with the most recent title, but will go back and read its predecessors with great enthusiasm. This one is a classic locked room mystery, a case that began in Whitechapel in 1905 and resurfaces unexpectedly in India in 1922. The racial politics of immigrant London and colonial India are vividly and often uncomfortably conveyed.
Joyce Carol Oates – A Book of American Martyrs. Two men, two families and the fall-out from a crime, the killing of a doctor by an anti-abortion fundamentalist. The focus moves from the killer and the victim to the wives and the children, struggling to work out who they can be without the men who have defined them. There was a fascinating synergy between this and Aslam’s Maps for Lost Lovers (see above).
Yvonne Adhiambo Owuor – Dust A poetic, complex novel of contemporary Kenya. ‘At the core of Owuor’s novel … is a moral concern to forgive past wrongs. … Dust is a fine, compassionate novel that relishes the complexity of human relations. It is written in a language that is often beautifully observant, and is alert in its insight and sympathy.’
Laksmi Pamuntjak – The Birdwoman’s Palate. This is a strange one! It’s about an epidemiological investigation (avian flu), and a culinary road trip. I’m not completely convinced that it all fitted together, but even if it didn’t, both elements were interesting and attractively written (Pamuntjak is a poet and a food writer)
Sara Paretsky – Indemnity Only/Body Work. I’ve read a few V I Warshawskis over the years, in no particular order, but not these two – turns out Indemnity Only is the very first in the series. Lots more in that series for me to enjoy.
Sally Rooney – Conversations with Friends. Admired rather than loved. I preferred Normal People, I think. I found the protagonists here frustrating, opaque even whilst so much of their inner and external lives was laid out for me.
Liz Rosenberg – The Laws of Gravity. I nearly stopped reading this when I realised that cancer was going to be a major driver of the plot. That made it a tougher read, this year of all years, than it would otherwise have been – but Rosenberg’s writing is warm, compassionate, empathetic, and unsparing.
Sunjeev Sahota – The Year of the Runaways. The precariousness of a life on the margins, a life in which the most minor misfortune can be catastrophic, and in which choice is an illusion, a luxury. The ‘runaways’ have all ended up in Sheffield, which is where we first meet them, for a variety of reasons which we then discover. Some are in more desperate straits than others but the gulf between the life they live and the life they hoped for is vast and unbridgeable. ‘Sahota moves some of the most urgent political questions of the day away from rhetorical posturing and contested statistics into the realm of humanity.’
Kamila Shamsie – Home Fire/Burnt Shadows. Both excellent. But the take on Antigone in Home Fire passed me by somewhat, and Burnt Shadows is the one that stays with me, from the opening sequence in 1945 Nagasaki onwards, as it sweeps across countries, continents and decades. As Shamsie says, ‘History had blown them all off course, no one ending – or even middling, where they had begun’, and that’s turned out to be quite a theme of this year’s reading.
Ali Smith – Autumn. Whenever I read Ali Smith I remind myself I must read more Ali Smith. For some reason, I hadn’t embarked yet on her seasonal quartet and at a few pages in, already I was saying to myself that I must read everything Ali Smith has written.
Zadie Smith – NW. My first Zadie Smith, and I wasn’t quite sure about it. It seemed jumpy, fragmented, and whilst some sections or voices were convincing others weren’t quite. Adam Mars Smith’s review said that the real mystery of the book is that ‘it falls so far short of being a successful novel, though it contains the makings of three or four’. However, I will certainly read more of her work – when it works it works astoundingly well.
Cath Staincliffe – Quiet Acts of Violence. Staincliffe doesn’t deal in baroque serial killers, but in messy lives and messy crimes. Her speciality perhaps is the way in which the ripples from the crime spread out and touch other lives, and she tells these stories with humanity and compassion, whilst maintaining a powerful sense of tension. The crime is investigated by DI Donna Bell and DC Jade Bradshaw, who were introduced in Girl in the Green Dress and who I’m delighted to meet again here.
John Steinbeck – The Grapes of Wrath. Yes, I know it’s a classic and I should have read it decades ago but hey, there are a lot of books out there, and I just hadn’t got round to this one, OK? I found the dialogue took quite a lot of concentration before I could ‘hear’ it in my head, but the narrative is relentless and powerful. Maybe I should read some other Steinbeck…
Lesley Thomson – The Detective’s Secret. The third in the Detective’s Daughter series, whose protagonists are untypical, to say the least – a cleaner (the detective’s daughter herself) and a train driver, both of them drawn into the investigation of crimes through a mix of chance and compulsion. The plot is complex and skilfully constructed, and, as with the earlier volumes in the series, it’s gripping stuff. Perhaps it’s a series best read in order as the back story of the two main characters is complex in itself.
Sylvia Townsend Warner – English Climate. Stories of England in wartime – the Home Front, gossip and judgement and boredom, Mothers’ Union and knitting circles, ordinary lives made extraordinary. Another Persephone publication. ‘Funny, brilliantly written, at times utterly heart-breaking, delightfully sharp, dry, intelligent and full of memorable characters’
Jeffrey Boakye – Black, Listed: Black British Culture Explored
I’m grouping these three together because I read them in fairly quick succession, and found that they were exploring quite similar territory, albeit with very distinct voices – the experience of being black and British, the stereotypes and prejudices (explicit and implicit) they’ve faced. Hirsch and Boakye both have Ghanaian heritage, Akala Caribbean. All three reflect on gender, and how that intersects with race. All three tell their stories and make their arguments with humour, grace and passion.
Jackie Kay – Red Dust Road. Poet Jackie Kay has a somewhat different story to tell, that of an adopted child with a Nigerian father, growing up in a deeply loving and warm white family and needing, as an adult, to find her birth parents. It’s beautiful, and moving without ever being merely sentimental.
Nikesh Shukla – The Good Immigrant. Shukla brings together a collection of 21 short reflections by black, Asian and minority ethnic writers working across literature and the media on ‘what it means to be a person of colour’ in Britain today.
James Baldwin – Selected Essays. Some of these I read back in my teens when I was immersing myself in the literature of the civil rights movement, some are new to me. His writing is so compelling – having just seen the film I Am Not Your Negro I can see and hear him as I read.
Kamala Harris – The Truths we Hold: An American Journey. Read whilst waiting for news of the US election result to emerge, waiting, and hoping… That Harris will shortly become the first woman VP, the first woman of colour at the highest level of US politics, the first South Asian-American… and so on, and so on, is inspiring and wonderful. For Bonnie Greer it is even more deeply significant than Obama’s presidency.
Margot Lee Shetterley – Hidden Figures. This fascinating account gives far more depth to the remarkable Afro-American women ‘who helped win the space race’ than the film was able to do. It also gave much more weight to the science, which in the film came across as a kind of magic (inevitably, I guess).
Rachel Clarke – Dear Life: A Doctor’s Story of Love and Loss. Why on earth did I choose to read a book about death, about the end of life, in the year that my darling kid brother died of cancer? Well, perhaps there was method in my madness. It is a very honest book, tough and unsparing. But it’s also tender and loving – the love is both for the dying and for those who are close to them (and for the doctors and nurses who help them in those last days and hours). It’s not just about dying, but ‘about living, loving, learning how to say goodbye’. And thus it is supremely life-affirming.
Caroline Criado Perez – Invisible Women: Exposing Data Bias in a World Designed for Men. That’s it, the subtitle says it really. What follows is a whole series of examples, taken from all sorts of environments which show not only that women have been invisible to planners, designers and policy makers, but that designing for the ‘default male’ results not only in annoyance and frustration but puts women’s physical and mental health at risk, whether from PPE that simply doesn’t fit the female shape, or from the misdiagnosis of heart failure because it presents differently in women. Some of the examples are relatively familiar, others startling. All are enraging.
Hallie Rubenhold – The Five: The Untold Lives of the Women Killed by Jack the Ripper. Inevitably, as I read this, I thought of other women, victims of another so-called Ripper. I could not have guessed that soon after I finished this brilliant, rigorous and compassionate account, the death of that other Ripper would have triggered news reports and analyses, many of which did try at least to right the wrongs done to the murdered women, by saying their names, and telling their stories. It was about time. Rubenhold’s account gives a richly detailed account of the life and precarious times of each of the ‘canonical’ Ripper victims, showing how their lives might have been different, as well as how and why things went wrong. It’s a vital, heartbreaking piece of work. I hope, some time, for another volume that restores to ‘the thirteen’ the stories of their lives, not merely of their deaths.
Daniel Trilling – Lights in the Distance: Exile and Refuge at the Borders of Europe. So many of the novels I read this year (and in recent years) have been preoccupied with migration, with the forces that make individuals take huge risks in search of a better life (whether that is better economically or simply the chance of survival). Trilling visits the places where ‘the “fault lines” in Europe’s asylum system are clearest’ and talks to refugees and those who work with and try to help them, and his account is both thoroughly researched and compellingly human.
Rowena Edlin-White (ed.) – Exploring Nottinghamshire Writers. This goes way beyond the usual suspects (Byron, Sillitoe, Lawrence). From Walter Hilton, b. 1340, to writers still very much with us and publishing in a variety of genres. The accounts of their lives and works give us some fascinating social history of the region, and whilst some of the writers may be of historical interest only, others would seem well worth tracking down.
Rob Hindle – The Grail Roads. From my favourite poetry publisher, Longbarrow Press, whose virtues include not only an excellent and varied collection of contemporary poetry, but also books that are beautiful to behold as well as to read and a delivery system that (for those of us in the right postcodes) involves the publisher arriving at one’s front door, seemingly only hours after the order is placed, and handing over a package with the book and a handwritten thank you. This volume blends first hand accounts from WWI soldiers with Arthurian myth, and it’s a powerful piece of work, one that I know I will return to.
Owen Booth – What We’re Teaching our Sons. I don’t know how to categorise this book, so I won’t. I’ll just say that it is funny, observant, and touching. The Irish Times reviewer commented: ‘With the emotional depth of a novel mixed with the breezier form of a parenting manual, Booth has written a remarkable debut whose profound documenting of family life is achieved in less than 200 pages.’
You can find my account of the first half of 2020 here.
Postscript: Obviously, I didn’t stop reading once I’d posted this, so here’s what I read during the remainder of 2020.
Louise Penny – The Nature of the Beast and A Great Reckoning: two more from her always readable and engaging Inspector Gamache series
Maj Sjowall & Per Wahloo – Roseanna, the first in their Martin Beck series. I’ve seen the TV adaptation but hadn’t read anything by them before – I was prompted to after a friend commented on their absence from my 100 top crime novels list!
Two more John le Carrés – The Russia House and The Secret Pilgrim.
Lee Jackson – The Welfare of the Dead, a Victorian-set crime novel by a new author to me.
Val McDermid – Place of Execution. Excellent stand-alone, completely gripping and very cleverly plotted.
Arnold Bennett – These Twain. The third in the Clayhanger trilogy (though it turns out there’s a fourth). Much less interesting than its predecessor, Hilda Lessways.
Nicci French – Blue Monday and Tuesday’s Gone. The first two in the Frieda Klein series.
Posted in Feminism on November 13, 2020
- Wilma McCann (1975)
- Emily Jackson (1976)
- Irene Richardson (1977)
- Patricia “Tina” Atkinson (1977)
- Jayne MacDonald (1977)
- Jean Jordan (1977)
- Yvonne Pearson (1978)
- Helen Rytka (1978)
- Vera Millward (1978)
- Josephine Whitaker (1979)
- Barbara Leach (1979)
- Marguerite Walls (1980)
- Jacqueline Hill (1980)
All of these woman were brutally killed. All had people who loved them and whose lives could never be the same afterwards. Most were regarded with contempt by those charged with finding their killer and defamed by the newspapers who reported their deaths.
They were not the only victims. These women survived, all with physical and mental trauma. Several gave valuable information to the police – information that could have prevented further attacks – but were not taken seriously.
- unnamed woman (1969)
- Anna Rogulskyj (1975)
- Olive Smelt (1975)
- Tracy Browne (1975)
- Marcella Claxton (1976)
- Maureen Long (1977)
- Marilyn Moore (1977)
- Upadhya Bandara (1980)
- Maureen Lea (1980)
- Theresa Sykes (1980)
There may be others, whose stories have never, and almost certainly will never be told, whose names are not and never will be known.
And all of us, the girls and women who woke in terror in the night, who felt that terror on the streets of Yorkshire cities. We stopped going out, if we had the option, or made sure we were accompanied, if we had the option. We felt watched, exposed, judged if we went out, trapped if we did not.
Those were dark, dark years. The misogyny and the arrogance that derailed the investigation and delayed the identification of the killer still haunt us now. Much has changed – the West Yorkshire police force have apologised for the language used to describe the women who were murdered, and Radio 4 listed their names and made no distinction between those who were sex workers and those who were not. But not enough has changed, as Joan Smith’s article makes clear.
And so today I will not use the name of the man whose death has just been announced. The names above are the ones that matter.