"Never Let Me Go" by Kazuo Ishiguro

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Kazuo Ishiguro’s imagination lives in a world all its own. He beguiles his readers in rich and confounding ways, with tricks too outré. In Never Let Me Go he lays out for our edification the lives of three children, Kathy, Ruth, and Tommy. Something is off fairly immediately with these young ones: they spend their days at a boarding school called Hailsham, and we learn nothing of their parents.

At first I expected to see them described, hear them speak, but no. The children age from early elementary school age up on up through their teen years, and the school is their only home. And we begin to hear about “donations,” and school guardians, whom I took to be their teachers, who behave strangely, speaking in riddles and having tearful episodes that seem full of regret. Regret and a certain amount of fear also apparently plague the guardians. So what’s all this add up to? It is well you should ask.

The children themselves appear more normal than normal. The young girls, on whom the story focuses, establish cliques, within which hierarchies rule. Kathy belongs to Ruth’s group, which Ruth rules cunningly; Ruth’s occasional openness and charity toward Kathy strings her along until the ultimate honest moment, in which Ruth finally admits to past transgressions. What she has done stuns Kathy and us, and her motivation for it only lightly touched upon.

The point of dwelling so long on childhood intrigues and teenage rivalries? Mr. Ishiguro wants to leave no doubt as to the full humanness of his subjects. For in his fictional reality these youngsters have no actual parents, other than someone on whose genetic code each of the young people was modeled. The word “clone” does not appear in the book, but these young people are genetic copies who exist only for the grisly purpose of providing healthy tissue to the rest of the population.  He wants to highlight the tragedy of human lives lived only as incubators. It’s so callous, that when a donor finally dies after going under the knife and donating organs three or four times, they call it “completing.”

So the author shows us a horrifying reality from within the victims’ viewpoint, and makes certain to imbue his unfortunates with all-too-real human nature. This book bears the unmistakable Ishiguro stamp of blinkered humanity, and the chilling consequences of single-minded pursuit of ends that never justify the means. As with other Ishiguro works, the author’s conception vies with his execution for aesthetic supremacy; I’m very happy to call it even and recommend this book without reservation. It’s haunting, elegant, cautionary, and masterful.

See New Page for New In-Depth Discussion of "The Other"

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I have published a new page, taking an in-depth look at David Guterson's "The Other."

Thanks for your interest!

"The Seventh Function of Language" by Laurent Binet

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Translated from the French by Sam Taylor

I doubt “fanciful” adequately describes Laurent Binet’s The Seventh Function of Language, although it has its fanciful features. Imagine a Paris police procedural involving international skullduggery, secret debates featuring more erudition than a graduate seminar in philosophy, crimes that cross international borders, including murder and dismemberment … all in a long chase to find a document (or maybe two) about the seventh function of language.

In case you’re wondering, Twentieth Century British philosopher John L. Austin posited six functions of language as speech acts, and his work was seconded and expanded by the renowned John R. Searle of the University of California. One key takeaway is that Austin described the functions, but did not include any instructions on how to wield language’s power. Here are the six:

  1. The referential function - providing information about something.
  2. Emotive or expressive function - information about the sender and her attitude toward the message.
  3. Conative function - directed toward the receiver.
  4. Phatic function (regarded as the most amusing) - talk for the sake of talk, where the message is not the point.
  5. Metalinguistics function - concerned that the sender and receiver understand each other.
  6. Poetic function - aesthetic in nature: the sound of the words - rhyme, alliteration, assonance, repetition, rhythm of the message.

This entire novel focuses on the purported seventh function of language, and why governments would engage in trickery and murder to possess and understand it. François Mitterrand uses it to defeat Giscard in a debate ahead of the French election in 1981. Jacques Derrida doubts its existence, or at least its performative power, and attacks it and its devotées, arguing that so much human communication is simply rote repetition, a parroting of outside influences. (I for one believe people intend to communicate with one another across a whole series of levels, depending on the urgency or the strength of the intention. This often includes attempting to influence their actions. These communications involve a subtle understanding between interlocutors, and sometimes the interests or desires of the two diverge, leading to conflict. The performative function - where language either performs an act itself, or attempts to induce another’s actions - exists in the statements and may or may not succeed.)

The novel at any rate follows thinkers who are famous in today’s philosophical circles: Derrida, Michel Foucault, Philippe Sollers, Umberto Eco, Julia Kristeva, who all have an interest in either finding or suppressing the seventh function. They speak endlessly (and depending on your familiarity or interest, do it fairly entertainingly), they chase across Europe and the United States, and much of what is said has topical importance in today’s thought. I don’t profess to have caught all the references and implications, but I caught enough to follow at a distance from which my cultural knowledge kept everything a little indistinct.

Binet has written a novel that deals with the refined points of current linguistics, psychology, and philosophy. He takes up the question of the performative function of language - the seventh function in this framework - and by making a somewhat comic romp out of it, very faintly takes the side that the function does not exist as Austin and Searle posit it.

I’m not sure I would recommend this book to readers who are not versed in today’s cutting edge philosophies. The author makes current historical characters the actors in his farce/thriller, and the level of discourse is the highest you will see in current fiction.  But if you don’t know why Derrida and Searle are having a dispute, or why in this story Roland Barthes was attacked, robbed, and murdered, this book won’t make much sense, or hold your interest. The author manages to point out along the way that language has real power in today’s world. It’s a power wielded by the wealthy to keep minorities and the poorer classes in “their place.” It’s not the only power wielded to that end, but it is the most important.

"A House Among the Trees" by Julia Glass

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A highly honored and beloved children’s author dies just before the outset of Julia Glass’s wonderful A House Among the Trees, and plunges his associates into a temporary chaos. This book features intimate views on acting, museum curation, the pressures of celebrity, loneliness, art, literature, and grief. It’s packaged up in typical Julia Glass fashion: characters with gratifying depth, lots of humor, and lots of striving for the best outcome.

Tomasina (Tommy) Daulair, for three decades the indispensable assistant to world-famous children’s author and illustrator Morty Lear, inherits a whirlwind at the time of his sudden death. Not only does Morty leave her the stately Connecticut house, property, furnishings - the whole physical kit and caboodle - he also makes her the executor of his will. And it’s a will with some very unpleasant surprises for a children’s museum curator in New York. Tommy is nowhere near ready for the responsibilities.

Into this fraught moment steps a young British actor, fresh off an Oscar win for a film from the prior year, and a truly fetching young man he is, with a posh accent to match. He’s visiting because he’s going to portray the author in a film. There’s Meredith (Merry), the spurned museum director and Dani, Tommy’s put-upon younger brother. As Tommy struggles to cope with her postmortem duties, all descend unexpectedly on Tommy, and the house, at a kind of impromptu summit meeting.

The author meticulously prepares the reader for this gathering, so that the way it plays out and its effect on the participants ring perfectly true. All the novel’s notes of selfishness, betrayal, of love, professionalism, and devotion come together to sound a lovely carillon arpeggio. The reader comes away with further devotion to Ms. Glass.

This novel mixes its lighter threads (the actor’s apprenticeship to a brilliant older actress in his Oscar performance, and his later relationship with Tommy, and the dead author’s oeuvre and his creative process, described sumptuously with depth and color) with its more discouraging story lines (Merry devastated by the snub in the author’s will, and Dani’s imagined slights, nurtured over the decades). Like the other Julia Glass  pieces I’ve read, this one shows a deep love for New York. I recommend this book - it’s vivid, gratifying, paced beautifully, and has Ms. Glass’s signature big heart.

"Chant of a Million Woman" by Shirani Rajapakse

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"Chant of a Million Woman" by Shirani Rajapakse
Toward the end of Shirani Rajapakse’s plaintive and eloquent book of poetry, she has a piece called “The Poetess.” In its final lines she writes:

She walked with a spring in her step.
Her expression serious. They turned around
as they saw her pass.
She felt such pride. At last to be known.
Even if to just a few.
They did not know she had
nothing to show.

The last line surprised me, and moved me to immediate disagreement. Chant of a Million Women is certainly a notable achievement: it chronicles so many moods, in so many stories, from ancient Indian epic legends to the insurmountable challenges of every day. It consolidates and focuses our attention on the myriad ways men subjugate and objectify women, and the paltry few effective means women have to fight back. This applies particularly to cultures bound by tradition, such as one finds in India and the Middle East.

And women’s situations are so hopeless in this collection that fighting back isn’t really what it’s about. It’s about maintaining something so basic as one’s identity. So often used as a simple ornament, a status symbol, or property to be hidden away, the women in these poems lose their onetime promising selves to a male society, be it as some idealized - but definitely owned - prize, or a simple, reviled piece of furniture, or worse, a victim of violent crime.

Ms. Rajapakse places her poems in a number of milieux: traditional sexist households, dangerous, sometimes murderous, public thoroughfares, urban settings and rural. Often, no setting is specified, except the consciousness of the dispossessed woman.

A million women would indeed raise this chant. They would be fortunate were they to make it this resoundingly, with such force. The poetess distills their suffering to a specific litany, as though a bell were ringing to toll the offenses, forming a high-relief frieze of the hundreds of thousands of wives, daughters, and princesses whose stunted lives impoverish us all.

This is a distinctive, consistent collection in which the milk of human kindness has no place. Nowhere are the kind whispers of a lover or even the support of a life partner. Ms Rajapakse has consistently chosen her pieces with a eye to the plaints and sorrows of women. I salute the courage with which she lends her voice for the forgotten and uncared-for women suffering in so many places in the world. Take up Chant of a Million Women and experience its elegant phrases and its moral force.

"What Counts as Love" by Marian Crotty

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"What Counts as Love" by Marian Crotty
Readers in need of insight into the lives of young women today - challenges, fears, aspirations, consternations, could do no better than take up What Counts as Love. Marian Crotty has been awarded the 2017 John Simmons Short Fiction Award for these nine haunting stories, which testifies to their power and their topical nature. 

The protagonists here, mostly young women, struggle to cope with the duress they encounter trying to navigate and negotiate their way. They, the stories, remind us of the lasciviousness, callousness, abuse, or plain indifference the world heaps in their path. The author depicts these struggles in an honest yet plaintive way; this leads to a certain sameness in tone and diction. However, after completing this collection, I became impressed rather with the variety and fairness on display. Ms. Crotty spares no one, not the young woman with the eating disorder, nor the violent teen about to be banished to the desert, nor the poor heroine addict on the verge of death.
We trespass on these private moments, some of which hold despair, and some what passes for hope, or at least attaining of a plateau of freedom.

The girls and women here emerge with clear character: hope, motivation, delusion, misguided desire, naked aggression. They’re crystal clear. The male characters, even when they lead a story, are less clearly drawn, but that doesn’t matter here. This collection succeeds very well because of the author’s unblinking honesty and very subtle sympathy in the face of the horrifying 21st Century. Congratulations on the award, it’s well deserved.

"Dryland" by Sara Jaffe

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"Dryland" by Sara Jaffe
The strength of this novel arises from Sara Jaffe’s intimate treatment of her heroine’s painful self-questioning and doubt. Fifteen year-old Julie holds forth in Dryland; her just-awakening attractions and aversions play perfectly true. The somber, expect-the-worst tone of her monolog suits her situation perfectly. Julie is genuine and has kindness in her soul and we root for the best for her.

At story’s outset she misses her brother, nine years her senior, and purportedly living in Europe. His departure is wrapped in mystery for Julie, and at the newsstand she looks through swimming magazines for him pictures that might look like him - he was a notable athlete, a hero made of multiple school records and loads of trophies, some still displayed in the school lobby. It isn’t until she joins the swim team herself that her perspective begins to change.

This novel encompasses a passage for Julie. She tries to balance friends from different camps while still forging her own path. She grapples with her attraction to other students, and tries to make sense of her friend’s sometimes baffling crushes. This is the stuff of millions of young people’s lives, and Ms. Jaffe makes Julie’s journey special by couching it in unmistakable teen language. It’s a language built with rebellion, and an immanent maturity, but its largest ingredient is of course uncertainty. It all too clearly and accurately demonstrates that an adolescent’s life is brutally difficult.

The author keeps her descriptions to the bare minimum.
That and the young girl’s narration of her own process give the book a dream-like quality, but at the same time certain scenes have an indelibility that will stay with you. Swimming scenes are few, actually, and while I expected at least the possibility that competitive swimming would give Julie some transcendent moments, this is not the case. Julie is being born to everything. She needs to experience all the trials and triumphs first-hand, and experience these she does.

Dryland is soulful, honest work. It lives up to fiction’s highest calling: it is an accurate, sympathetic telling of a person’s progress through life. Take it up!

"The Nature of the Beast" by Louise Penny

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"The Nature of the Beast" by Louise Penny
In The Nature of the Beast, Chief Inspector Armand Gamache of the Sureté Québecois has become simply Monsieur Gamache, a retired officer. He has retreated to the remote and tiny village of Three Pines, Québec, but trouble soon follows him there. Louise Penny has worked more of her familiar magic in this entry, either the eleventh or twelfth entry in the Chief Inspector Gamache series, depending on your source.

As this story starts, a fanciful and attention-grabbing nine year-old announces to all and sundry at a local bistro that he has found a big gun, and it has a monster carved on its side. The boy Laurent is soon murdered because his observational skills are keen (though few believe him) and his big mouth cannot be subdued.

This is my first encounter with the Inspector Gamache series. He has been through the wars for his department, and the author’s fondness for her hero is evident. There are features of this story that weaken it, however. The murdered boy lacks the understanding that a responsible adult should really see the immense weapon hidden in the remote forest; that such a weapon could indeed be hidden for so long; that the Canadian intelligence service would perpetuate dangerous secrets at the expense of local citizens’ safety – all these plot factors placed a strain on my credulity, even as a fiction reader in good standing.

Be all that as it may, this mystery does contain the reasoning and deductive sequences which readers expect. And we can tell how much affection the author has for her hero, given the sympathetic portrayal. I have read a few mystery series in my time, and I can understand the attraction of Ms. Penny’s popular Inspector Gamache novels.

"The Undoing Project" by Michael Lewis

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"The Undoing Project" by Michael Lewis
The Undoing Project contains many charms, and chief among these is its full and intimate description of the friendship between Danny Kahneman and Amos Tversky. These are the two pioneering psychologists who revolutionized decision theory and demonstrated its effect on economic thought. In Mr. Kahneman’s case, it led to the Nobel Prize in economics.

Michael Lewis tells his story with the enthusiasm of a newcomer to the subject. And these two innovative thinkers, who rattled the cages of the academic establishment in both psychology and economics, deserves this bight and spritely telling. The title refers to the emotional tug a person feels in the midst of regret - often people have the impulse to change an unfortunate circumstance or fact of their lives, because of its unpleasant consequences.

We follow the joint careers of Tversky and Kahneman as they discover each other: they become inseparable friends while performing a wholesale revamp of economic behavioral theory. They eventually drift apart, professional jealousy

playing a small and perhaps misunderstood role in their separation. This book excels in its portrayal of the progress of their joint thought. It does a good job of showing just how revolutionary their thoughts were, and the consternation they generated in the economics community.

"Anything is Possible" by Elizabeth Strout

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"Anything is Possible" by Elizabeth Strout
Elizabeth Strout has blessed us again. Anything is Possible is a faultless series of observations of the family and townspeople of her recently renowned heroine, Lucy Barton. She adopts the format that served so well in Olive Kitteridge - lives become illuminated in a series of superb short stories relating to the principals. I waited in vain for one of the pieces to revert back to a main character covered earlier in the book. It didn’t happen, and it didn’t happen because it didn’t need to. I expect Anything is Possible to bring home the hardware, just like Olive Kitteridge (2009 Pulitzer Prize for Fiction) and My Name is Lucy Barton (long-listed for the 2016 Man Booker Prize, so far). It’s sublime.

A plot summary doesn’t really apply to this book, since it consists of a roundelay of short stories. In them, an older retired gentleman’s faith is tested by an unexpected response to kindness. A veteran of Viet Nam laughs at the (to him) antiquated concept of “character” when deciding to help his mistress out for the last time. A high school guidance counselor polices her own behavior, and shows kindness to a disrespectful teen (Lucy Barton’s niece) desperately in need of it. A middle-aged woman finally reaches an understanding with her mother who has fled to Europe to remarry. Children raised in abject poverty - foraging-in-Dumpsters poverty - raise themselves up to own and manage businesses.

And these bare synopses do nothing to tell how beautifully paced and painted these vignettes are. Strout again shows utter mastery of this form. We witness in distinct, utter clarity the heart-rending events in these lives; the language and heart couldn’t be more sympathetic or understanding. It inspires that awe we experience when in the presence of a master.

For instance, in “Snow Blind” we learn of the innocent and sanguine upbringing of a girl who becomes a captivating actress later in life. Farmland under a new blanket of blinding snow stands in for the young girl’s successful navigation of the threats around her. The beautiful and stark colors of the Italian coast set the scene in “Mississippi Mary”

of an elderly woman’s choice to live the last chapter of her life deeply in love. The uncertainty of his mistress’s given name corresponds to a troubled man’s confusion about the direction of his life in “The Hit-Thumb Theory.”

I could go on, but I don’t want to indicate that I followed the corners turned and characters revisited from story to story, because in fact I didn’t. I drank up these stories as they were poured out, with such clarity and such charity as can only be accomplished by Elizabeth Strout.