January Superlatives, 2023

I originally borrowed this post format from Elle; I enjoyed writing these posts so much last year that I’ve decided to bring them back for 2023!

I have to say that January has been a bit of a slow reading month, although I did read a decent number of books despite quite a few DNFs. I haven’t read anything that I either really loved or really hated (though I did feel strongly about Geraldine Brooks’ March, as you can see from my rant). Last January, I read two books that went on to feature in my Top Ten Books of the year list; this January, I’ve read nothing I’d even consider to be in the running. I’m hoping that February will see some properly superlative superlatives!

The Best Book I Read This Month Was…

… Yerba Buena by Nina LaCour. Women’s fiction often falls flat for me – especially women’s fiction where the writer has previously only written YA, as is the case with LaCour. But I was completely absorbed by this gentle story of Creole florist and house renovator, Emilie, and artistic bartender, Sara, as they fall in love despite their difficult pasts. LaCour’s prose is so perfectly simple. Adore the cover, too!

The Worst Book I Read This Month Was…

… Ghost Talkers by Mary Robinette Kowal. Argh, so disappointing! I was so sure I would love this story of a female medium working in the ‘Spirit Corps’ during the First World War, talking to the ghosts of men who have recently been killed to extract important information. I adored Kowal’s Lady Astronaut series, which put a similar speculative spin on modern history, and I’m also a fan of her short stories. This started well but moved away from its clever premise to become more of a spy story set in the trenches; I also wasn’t invested in the central romantic relationship, which is so crucial to the story that my lack of investment felt a bit like a death knell for this novel. I’ll be reading Kowal’s new stuff but avoiding her backlist in future.

My Best Re-Read This Month Was…

… Ninth House by Leigh Bardugo. Once I discovered that the sequel to this Yale-set dark academia novel was about to come out, I realised that although I’d really enjoyed Ninth House back in 2019, I remembered very little about it. Time for a re-read! Interestingly, I’d say I liked Ninth House both more and less this time round. Its complicated system of magic-using secret societies  felt much clearer to me on a re-read, and I navigated the multiple plot strands and time jumps much less painfully. However, I found myself wishing that Bardugo would give herself more time to simply explore this world and its characters and pack rather less action into the novel. (I’ve heard that the next one, Hell Bent, is even more plot-driven.) This reread also made me reflect on how much the dark academia sub-genre has moved on in the last three years, especially regarding its treatment of social justice. What felt fresh back in 2019 now seems rather tokenistic after reading the A Deadly Education trilogy, Catherine House and Babel. I had a lot of fun rereading this and I still want to read Hell Bent, but I’ve tempered my expectations.

The Novel That Felt Most Like I’d Read It Somewhere Else Before This Month Was…

… The Divines by Ellie Eaton. This novel is narrated by Josephine, who was a pupil at English boarding school St John the Divine in the 1990s and is now newly married; the narration moves between Josephine’s final year at the school and her first few years of married life. Eaton is a skilful writer, but this ultimately reminded me too strongly of other novels I’ve read about cloistered schools, teenage girls and early sexual experience, especially Bella Bathurst’s Special (also centred around a life-threatening fall!), Robin Wasserman’s Girls on Fire (shares the same uncomfortable ‘plot twist’!), and Tana French’s far superior The Secret Place. The final chapters, where Josephine is forced to reassess her own and others’ mismemories of their girlhood, are compelling, and this thread could have been introduced earlier, but it wasn’t enough to make this book stand out to me.

The Most Underwhelming Piece of Literary Fiction I Read This Month Was…

… Trespasses by Louise Kennedy. This debut’s plot treads cliched lines; Cushla, a Catholic primary school teacher in 1975 Belfast, falls in love with an older, married Protestant barrister, Michael, and they embark upon an affair. Kennedy’s prose is intelligent, accomplished, often impressive; and yet I felt like each chapter followed a sequence familiar from much literary fiction, with the accumulation of a series of beautifully observed details (and Kennedy does brilliantly evoke Belfast during the Troubles), the deliberately inconsequential dialogue, the minimal interiority. On the other hand, this probably wouldn’t have felt so rote-like to me if I’d been emotionally invested in the narrative, and I never was. Admirable, but for me it felt like a text to study rather than to love.

The Best Short Story Collection I Read This Month Was…

… The Frangipani Hotel by Violet Kupersmith. I had mixed feelings about Kupersmith’s debut novel, Build Your House Around My Body, but was impressed by its clever puzzle-box narrative and some indelible set-pieces, and loved the bonus short story that was included at the end of my edition. My hope was that I would like Kupersmith even more as a short story writer than as a novelist. This turned out not to be the case – I think whatever she writes next will be her best thing yet, as she’s clearly still developing her obvious talents – but this collection was worth reading. The first story in the collection, ‘Boat Story’, where a granddaughter wants to hear her grandmother’s dramatic tale of escaping from Vietnam in a small boat but gets an unnerving ghost story instead, tells us what we’re in for. Only a couple of stories really stood out to me in the way that Kupersmith’s other vignettes have: my favourite was ‘Little Brother’, where an elderly Vietnamese trucker takes on a disturbing passenger, and I also liked ‘The Frangipani Hotel’, which hints at a macabre family history but resists telling us too much, and ‘Turning Back’, where a teenage girl living in Houston meets an old man who keeps turning into a python. If you’ve read Build Your House…, you’ll see how certain motifs link the two books, and it’s the stories that resonated with that later novel that I found the most vivid and unnerving. Nevertheless, Kupersmith writes so fluidly that I sped through this collection.

The Most Disappointing Book I Read This Month Was…

… Night of the Living Rez by Morgan Talty. This was one of my most anticipated releases of 2022, but unfortunately my expectations were wrong: I thought it would be a collection of speculative short stories, but it’s actually a novel told in linked episodes with no speculative elements at all. David, or Dee, is a young Penobscot man growing up on ‘the rez’; he and his family experience poverty, violence and drug addiction, while he spends long, aimless days with best friend Fellis, structured only around visits to the methadone clinic. The issues faced by Native communities that Talty highlights here are undoubtedly important, but this didn’t work for me at all as fiction. Most of the chapters have been previously published as short stories, and I can see how they’d function as one-offs: I actually loved the first, very short section of this book, ‘Burn’, where Dee is trying to score some pot and comes across Fellis stuck in the swamp with his braid frozen to the ground. But when they’re put together, they feel repetitive and shapeless, and despite a few powerful paragraphs, Talty’s prose is workmanlike, often flat: ‘I pressed a Q-tip soaked in peroxide against the wound and winced. I dried the area and put Neosporin on it. Behind the mirror I found a box of assorted Band-Aids and stuck a medium-small one vertically between my eye and nose.’ Sadly, this wasn’t for me.

The Best Memoir I Read This Month Was…

… Ten Steps To Nanette by Hannah Gadsby. I very rarely read memoirs by even quasi-celebrities; ironically, I think the last one I read was Tom Allen’s No Shame, which I very much enjoyed. Gadsby, like Allen, is of course a queer comedian, known for her Netflix smash hit Nanette. However, Nanette was the product of twelve years on the comedy circuit and a lifetime’s struggles, proving the truth of the classic comedy adage that Gadsby quotes in this memoir: ‘comedy is trauma plus time‘. Like No Shame, Ten Steps to Nanette is clearly not written by somebody who writes books professionally; however, I liked the unwieldiness of it, the rambliness, and of course the humour. Even more refreshing was Gadsby’s honesty about how very hard she found it, and still finds it, to ‘fit in’. Lots of writers tell us about their awkward teen experiences but we very rarely hear from anyone who struggled for more than a few years in adolescence, or struggled to the degree that Gadsby obviously did. It was only later in life that Gadsby would be diagnosed with both autism and ADHD, which for her explained a lot about why life had always been so hard. Yet whether or not you share her diagnoses, Ten Steps to Nanette comes as a big relief for anyone whose ‘weirdness’ went beyond the socially-acceptable narrative of ‘I was bullied for a bit at school and was a geek but then pulled it together at university/in my early twenties’. Highly recommended.

The Novel I Spent Longest Reading This Month Was…

… Stone’s Fall by Iain Pears. I started this 600-page brick back in mid-December but read the vast majority of it this month. It moves backwards in time – which was what attracted me to it in the first place – from London in 1909 to Paris in 1890 to Venice in 1867, unpicking the complicated history of a couple of members of the global financial elite and the women they become involved with. Stone’s Fall is an old-fashioned novel in several ways. It’s a deliberate pastiche of the kind of Victorian sensation novel that Wilkie Collins might have written, with affairs, madmen, mysterious deaths and stock market scheming. But also, although it only came out in 2009, I find it hard to imagine this being published today: it’s so indulgently long, and the female characters very much fit a certain mould of smart-but-unhinged, sexily mysterious but not quite human. Having said all that, I had a lot of fun reading the final two-thirds of this novel, where our two different narrators, both men of influence, take us through some entertaining plots and alternative, behind-the-scenes history; the majority of the month and a half it took me to read Stone’s Fall was spent on the first third, where a naive journalist narrator tried my patience and nothing seemed to happen but a slow accumulation of detail that we’ll need later. If I’d known this in advance, I’d have plowed through the first section more quickly. But this still manages to be the best book I’ve read by Pears.

The Book I Read In December But Which Didn’t Make It Into My December Round-Ups Was*…

… Life by Gwyneth Jones. And what a very strange book it was. Life had moments of brilliance but also moments that I found troubling and others that seemed redundant. The novel promises to be about the breakdown of chromosomal sex after the discovery of ‘Transferred Y’, or TY, by scientist Anna Senoz. However, TY turns out to be much more destabilising for society’s ideas about gender than for biological sex itself; as Anna explains, the ‘death’ of the Y chromosome doesn’t mean that sexually dimorphic men and women won’t continue to make up the vast majority of the population, even if men are now all technically intersex, because the masculinising SRY gene remains intact on one of men’s X chromosomes. Life, therefore, is really about the ‘sex wars’ and the tension between heterosexual sexual attraction and the more equal sexual relationships that some men and women are trying to forge. TY is such a problem because people believe there are fundamental genetic differences between men and women, and because they believe these matter for society to function. Gwyneth Jones is a bold and intelligent writer, but I felt uncomfortable with the treatment of lesbians, in particular, and the way the narrative flipped between being set in a speculative future where sex and gender are being reconstructed, and rehashing old feminist debates from the 1970s and 1980s. Ultimately, I believed in Anna as a character and she carried the book for me, even when it became baffling.

*very dubious superlative

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‘Becoming a Marmee’: March by Geraldine Brooks

My edition of March and my edition of Little Women

One of my favourite chapters in Little Women comes near the very end. After Beth’s death and her other sisters’ marriages, Jo is at home alone caring for her parents and the household, and she’s utterly miserable: ‘Jo… was learning to do her duty and to feel unhappy if she did not, but to do it cheerfully – ah, that was another thing! She had often said she wanted to do something splendid, no matter how hard, and now she had her wish, for what could be more beautiful than to devote her life to Father and Mother, trying to make home as happy to them as they had to her? And if difficulties were necessary to increase the splendour of the effort, what could be harder for a restless, ambitious girl than to give up her own hopes, plans and desires and cheerfully live for others?’ Jo’s struggles mirror her mother’s. In a more famous scene earlier in the text, which is also one of my favourites, Marmee admits to Jo: ‘I am angry nearly every day of my life, Jo, but I have learned not to show it, and I still hope to learn not to feel it.’

Like it or not, this ethos of self-sacrifice is at the heart of Little Women. To a modern reader, Jo and Marmee’s efforts towards self-abnegation may feel horrifying, demonstrating the internalised misogyny of the mid-nineteenth century (although I’d say that Mr March preaches and tries to practice the same ideas). This essay on Marmee hits the nail on the head about her role in the book: ‘The prospect of becoming a Marmee, “Little Women” tells us, is simultaneously an aspiration and a threat. Marmee is at once far more interesting than many readers may recognize and also a major narrative problem.’ Viewing Marmee as simply a cautionary tale of the fate that awaits Jo if she can’t break free, however, is just as reductive as viewing her as an ideal woman and cozy maternal figure. Jo herself recognises this, I think, though she doesn’t say it in so many words. Marmee is clearly the person she most admires in the world, and not because of traditional ideas about being a ‘good wife’ and mother but because of the moral example Marmee sets. Jo has always had scarily high standards for herself and others, and it’s Marmee who both introduced her to those standards and comforts her when she falls short.

Although we may not agree with Marmee, Jo, and Mr March about the way they see duty, Little Women loses a lot of its power if we don’t understand how emotionally important this philosophy of living is to them, and how far Marmee and Mr March have been changed by trying to live in this way. And here, we come to Geraldine Brooks’s March. Much of this novel retells the story of Little Women from Mr March’s point of view, as he works as a chaplain during the American Civil War, ending up teaching basic literacy to newly freed black men, women and children on a southern plantation that has been captured by Union forces. And during this section of the novel, Brooks beautifully inhabits the mindset and moral world of Little Women. The voice she develops for Mr March is spot-on. As he struggles with the tension between preaching the right thing to do and doing it yourself, between taking action and knowing when to stand back, his internal difficulties have the same kind of resonance for modern readers that Jo’s struggles did in Little Women, even though we ask ourselves different questions.

The first two-thirds of the novel also feature Marmee. Mr March flashes back to when he first met Marmee as a young woman and how taken aback he was by her temper. During one of her outbursts at dinner during their courtship, two other women ‘standing one on either side… half patted, half held her, as one would both soothe and restrain a lunging, growling dog.’ Although Marmee is often quite right in what she says, I really enjoyed how ugly Brooks makes her in these moments of rage. It would have been easy to present her as righteously angry from a modern perspective, but Brooks gets us to see how shocking her behaviour is in the nineteenth-century context, and to recoil slightly from her ourselves. And once Marmee and Mr March marry, we see how they work together to live their lives in the service of their principles, providing a safe house as part of the Underground Railroad (these scenes gave me pause, especially a sentimental encounter between a young, formerly enslaved woman and Beth; it feels very white-saviour, but then again, that is the point of the book, that Mr March sees himself and his family as white saviours, and so he’s obviously going to tell us these kind of stories).

It’s all the more disappointing, then, when Brooks decides to give us Marmee’s point of view in the last few chapters of the story, and all this careful work crashes down. She never wanted her husband to go to war, Marmee tells us, but ‘one is not permitted to say such a thing; it is just one more in the long list of things that a woman must not say… I only let him do to me what men have ever done to women: march off to empty glory and hollow acclaim and leave us behind to pick up the pieces.’ This Thousand Ships-style authorial intervention just feels utterly alien to everything Marmee was in Little Women, and everything that makes her such an interesting character. Brooks’ Marmee wouldn’t make efforts to govern her temper, and she certainly wouldn’t tell Jo to do so. Her whole life has been a miserable kind of pretence, so she doesn’t have any wisdom to pass on. She’s a figure to be pitied, not admired or emulated. Ironically, in ‘giving Marmee a voice’, Brooks diminishes her as a character.

I so wanted to love this novel and for the first two-thirds or so, I did. But I wish Brooks had held back and allowed us to make up our own minds about how we feel about Marmee and Mr March. For me, the contradictions at the heart of Little Women, as with so many nineteenth-century novels, especially those about younger women (What Katy Did, The Mill on the Floss, the Emily of New Moon novels) are what gives it such power today. Answering its questions so boldly does it no favours.

If you want even more of my thoughts on Little Women, check out this post where I compare the 2017 and 2019 adaptations of the novel and pontificate about the characters.

 

The In Or Out Book Tag

The In Or Out Book Tag was created by Rick over at his BookTube channel, Rick MacDonnell, but I spotted it on Fatma’s blog.

abominations

1. Reading the Last Page First

I am so IN. I know this is book heresy, but I find that I struggle to enjoy books where I’m anxious over the fate of a particular character or who’s going to turn out to be the killer. I’d rather know in advance and be able to read the book at the speed I choose rather than skimming over it to find out the answers.

2. Enemies to Lovers

Generally I am OUT. I don’t read a lot of romance but, when I’ve encountered this in SFF novels like Naomi Novik’s Uprooted, it’s tended to bring up a lot of harmful tropes. I’m up for a modified version of it though – perhaps ‘Annoying Person I Was Indifferent To Once to Lover’?

3. Dream Sequences

OUT OUT OUT OUT. I literally always skip them. They are either cheap, cheaty psychological exposition or some annoying quasi-supernatural occurrence that could have happened in another way.

4. Love Triangles

OUT. I generally encounter these in YA and I feel like they lead to numerous other bad tropes. They’re guaranteed to make you think less of all three characters involved, especially whoever (usually the girl) is at the centre of the love triangle.

5. Cracked Spines

IN. I don’t do it on purpose but I love my books with cracked spines. I also very much enjoy finding a book in a charity shop where the spine has only been cracked to a CERTAIN POINT, so you can see exactly where the previous person gave up reading.

6. Back To My Small Town

I’m tentatively IN. I don’t like this as a romance trope, and I’m not very interested in family drama, but I do love small-town settings, so if they’re vividly evoked, I’m up for it!

7. Monsters Are Regular People

I’m not 100% sure what this means. Is it literal (Edward Cullen goes to high school) or figurative (we all have the capacity to be monstrous)? I’m IN for the latter and don’t really care either way about the former.

8. No Paragraph Breaks

OUT. Even when this is clearly a literary choice, I don’t think it adds enough given the greater effort needed from the reader. On the other hand, I cannot read books that have too many one- or two-sentence paragraphs, so I’ll take no paragraph breaks over that.

9. Multi-Generational Sagas

IN, I guess, though it’s not something I’m especially drawn to. I often find it’s an excuse for poor characterisation, as everyone is defined solely by their position in the family and nothing else. I wrote a bit about my concerns in my review of Nguyễn Phan Quế Mai’s The Mountains Sing. On the other hand, I have read some brilliant examples:  Jing-Jing Lee’s How We Disappeared, Lisa See’sThe Island of Sea Women, Min Jin Lee’s Pachinko.

10. Re-reading

Absolutely IN. I feel like I enter a calmer, more meditative space when I am re-reading (see my answer to 1.)

11. Artificial Intelligence

Hmmm, I am IN, but it’s a trope I definitely approach with caution. It can be handled brilliantly, with real thoughtfulness and wisdom (James Smythe’s I Still Dream, Ted Chiang’s ‘The Lifecycle of Software Objects’ in Exhalation) or it can devolve into either Evil Robots Taking Over The World or I Am Too Good For You Immoral Humans (like the TV series Humans, which, IIRC, managed both).

12. Drop Caps

I had to look this up, but once I did, I was OUT. They really interfere with the rhythm of opening sentences.

13. Happy Endings

I am obviously both IN and OUT – it completely depends on the book. Although, I am more likely than most to want a sad ending when other readers want a happy one. (JKR should obviously have killed Harry off that’s all I am saying)

14. Plot Points That Only Converge At The End

Definitely IN! I love this.

15. Detailed Magic Systems

Hmmmm. Sometimes absolutely necessary (the way mana works in Naomi Novik’s A Deadly Education series), sometimes an excuse for the author to pointlessly show off (Patrick Rothfuss’s The Name of the Wind), sometimes a bit of both (RF Kuang’s Babel). I am IN on the whole, but suspicious.

16. Classic Fantasy Races

OUT. The quickest way to get me to drop a SFF novel is to include the words ‘fairy’ or ‘faery’ in the blurb.

17. Unreliable Narrators

Of course I am IN. Unless you are a rubbish thriller writer who thinks you can add a twist to your novel by having your narrator not tell us things that they obviously would have mentioned. That doesn’t count.

18. Evil Protagonists

100% IN, though not if they are actually ‘evil’, because that’s poor writing, but yes if they are morally dubious. Love a good anti-hero.

19. The Chosen One

OUT. I have never seen this done well.

20. When The Protagonist Dies

Oh, I am always IN. In contrast to my previous answer, I feel like I’ve rarely seen this done badly. Definitely a risk more writers should take.

21. Really Long Chapters

IN. I like to settle in for the ride. Loved this in Donna Tartt’s The Little Friend, for example.

22. French Flaps

IN, but I don’t really care

23. Deckled Edges

IN, partly because they are a novelty for British readers, we don’t get them here. However I must express my utter hatred for sprayed edges. No no no.

24. Signed Copies By The Author

OUT. I just don’t care. Even if I meet an author I may not bother to get a signed copy.

25. Dog-Earing Pages

OUT, but it’s not a big deal to me.

26. Chapter Titles Instead Of Numbers

I was going to say IN, but then I realised that I really like chapter titles and chapter numbers, which reminds me of childhood reading. Not so much a fan of titles without numbers, but I guess it’s acceptable.

BONUS ONES THAT I ADDED

27. No Speech Marks

IN. I like this a lot, but I know it drives other readers mad. My irrational hate is things-that-aren’t-speech-marks, e.g. dashes before speech – I’d much rather have no speech marks at all.

28. The Protagonist Has No Name

IN. Though I do like there to be a good reason for it, and I am definitely against stand-in names like ‘The Writer’, ‘The Waiter’, etc. Just don’t give them a name at all.

29. Prologues

OUT. I usually skip them to be honest and I’ve never struggled to understand the rest of the book. This is highly hypocritical as I actually use them in my own novels though. I am more likely to read a prologue if it looks like a substantive bit of the novel (e.g. GRRM’s prologues in A Song of Ice and Fire) rather than the typical thriller prologue (‘I run along the road, my legs aching with the effort. He’s after me…’).

30. Literary Fiction Jobs

I am OUT. I can’t help but feel it’s so lazy to give your characters highly symbolic jobs like ‘professor of weather patterns’ or ‘person who puts lost words back in the dictionary’ unless they are actually plot-relevant.

Anyone want to try this tag? I’d love to see your answers!

‘Experiencing time as God experiences it’

Victoria Mackenzie’s debut novella, For Thy Great Pain Have Mercy On My Little Pain, is told in short fragments, switching between first-person narration from the significant late fourteenth-century and early fifteenth-century female religious writers, Julian of Norwich and Margery Kempe. As Mackenzie notes in her afterword, Julian’s Revelations of Divine Love is the earliest book written in English by a woman, while Margery’s dictated The Book of Margery Kempe is the first autobiography in English by anybody at all. As my knowledge of these two figures is pretty limited, it’s hard to say how For Thy Great Pain… would read to somebody who knows more about them; but I thought the clarity and simplicity with which Mackenzie conveyed the ideas these women struggled with was impressive. While both wrestle with their relationship to God, I found that this novella both evoked how serious and important these questions were in the late medieval period, and had resonance for modern readers who don’t consider themselves to be religious.

In the early sections, I found it hard to tell Julian and Margery’s voices apart, but as the novel unfolds, Mackenzie establishes their distinctive characters and their very different attitudes to their holy visions. This novella focuses on Julian’s time as an anchoress – she spent the last twenty-plus years of her life in a cell annexed to St Julian’s Church in Norwich, with no physical contact with another human being. Mackenzie beautifully handles Julian’s early difficulties in her isolation, and also the reasons why she chooses it. ‘I had wanted to prolong each moment of my life, to get closer to experiencing time as God experiences it: not the instantly dissolving moment, but something larger and more encompassing. A stillness that doesn’t pass as soon as you think yourself into it. I’d thought I would live as slowly as moss in my stone cell. But… I was myself, with all my usual racing thoughts’.

In contrast, Margery is perhaps less obviously sympathetic as she roams around, telling others of her visions and crying publicly and loudly about the sufferings of Christ. Mackenzie writes her with wry humour, letting her desire to be remembered as a saint and comfort herself by thinking how she will be adored by God, Jesus and Mary in heaven even though she is mocked on earth. However, the clever choice to juxtapose Margery’s story with Julian’s allows us to take her on her own terms rather than having to read her as a symbol of how all medieval merchant women engaged with religious faith. We can see how her ostentatious holiness serves her in a patriarchal society, allowing her to do otherwise forbidden things like neglecting her children and refusing to have sex with her husband. While Julian’s backstory is more likely to appeal to the modern reader – tragically widowed, losing her only child, unable to understand Margery’s ingratitude for her fourteen children – Margery brings us closer to the otherness of the medieval past.

Despite the theological subject-matter, this book flowed so naturally that I found it difficult to put down, and even if I was sometimes inclined to skim the Margery sections to get back to Julian, I admired Mackenzie’s intentions in telling both of these stories.

I received a free proof copy of this novella from the publisher for review. It’s out in the UK on January 19th.

Rewatching Black Mirror: Smithereens

This is part of a very occasional series where I rewatch and review Black Mirror episodes. I’ve already written about ‘San Junipero’, ‘Hang the DJ’, and ‘Arkangel’. I only review episodes where I feel like I have something to say, so don’t expect this to be comprehensive.

WARNING: This post contains major spoilers for the Black Mirror Season 5 episode ‘Smithereens’. If you haven’t seen it and don’t want to be spoiled, do not read this post.

Season 5 of Black Mirror was widely seen as a disappointment, containing only three low-concept episodes, as if the team had poured all their resources into the feature-length ‘Bandersnatch’ that came out the year before. Certainly, the only one of the three I have yet been compelled to rewatch is ‘Smithereens’. And while I’d remembered it as an engaging human drama, it delivered at a deeper level than I’d anticipated.

‘Smithereens’ is indeed straightforward, one of the few Black Mirror episodes that could be set right here, right now. Chris (Andrew Scott) is grieving after the death of his wife in a car accident which he believes he caused. He glanced away from the road for a second after he checked a Smithereen [Twitter] notification on his phone, and that second proved fatal. Now he’s determined to speak directly to Smithereen CEO Billy Bauer (Topher Grace) and hold him to account for creating an ‘addictive’ app that deliberately makes users keep checking it. To get Bauer on the line, he kidnaps a Smithereen intern and threatens to shoot him unless Bauer talks. Surprisingly, Bauer, who is on a silent retreat at the time, agrees, against others’ advice, to take Chris’s call. Alongside the viewers, he listens to Chris’s story.

Back in 2019, reviewers of ‘Smithereens’ tended to criticise it. They saw it as a re-run of Black Mirror’s critiques of technology that had little new to say. We all know we’re addicted to social media; we all know we spend too much time on our phones. Yet what struck me, on a rewatch, is that ‘Smithereens’ isn’t actually about technology at all.

The clue is in the presentation of Billy Bauer. Interrupted on his silent retreat, the visuals deliberately recall Jesus in the wilderness. Writer Charlie Brooker underlines the parallels even further when Bauer enters ‘God mode’ to get behind the scenes at Smithereen. It turns out, too, that Bauer can grant Chris one thing that he wants. Chris met a woman at a bereavement support group who was desperate to get into her student daughter’s Persona [Facebook] account as she believes it will explain why her daughter committed suicide. Bauer phones up the CEO of Persona and gets her access; it turns out the password was the name on the side of a boat in the background of a mother-daughter snap.

But what, it turns out, Bauer cannot give Chris is any sense of absolution. After Chris tells him his story, he realises there’s nothing Bauer can say. And indeed, ‘Smithereens’ makes crystal clear that neither Bauer nor Chris are to blame for his wife’s death. Chris’s car crash was caused by a drunk driver. Even if he’d had his eyes on the road, it wouldn’t have made any difference. Similarly, we know that Chris’s friend is unlikely to find anything important in her daughter’s Persona account. (Perhaps her real discovery is that her daughter used something linked to a happy family memory as her password).

Chris’s heartwrenching confession to Bauer, then – brilliantly acted by Scott – is not a new tale of technological addiction but a very old tale of a crisis of faith. Torn apart by his loss, Chris is asking God, why? Why did you take her from me? And God tells him that He has no answer.

2023 Reading Plans

In this post, I’ve picked twelve 2023 releases that I am particularly looking forward to, then, as always, added a further eighteen books that I want to read in 2023, whether they are new this year or not.

Leigh Bardugo, Hell Bent (January 2023). Back in 2019,  I loved Bardugo’s Ninth House, set in a Yale secretly run by supernatural societies. Hell Bent is the sequel, and promises a series of mysterious deaths among faculty members. Always a fan of a spooky campus novel. I may have to re-read Ninth House first though, as I’ve pretty much forgotten it!

Rebecca Makkai, I Have Some Questions For You (February 2023). I’ve not read anything by Makkai before, but I was attracted by this story of a film professor who starts looking into the death of a classmate that happened back in 1995; the school’s athletics coach was convicted of her murder, but did he really do it? This sounds like it might resonate with Becky Cooper’s non-fiction account of a murder at Harvard, We Keep The Dead Close.

Ayòbámi Adébáyò, A Spell of Good Things (February 2023). I admired Adébáyò’s debut, Stay With Me, a tremendously moving tale of one woman’s experience of marriage and infertility in Ilesa, south-west Nigeria. A Spell of Good Things is also set in Nigeria but sounds more structurally ambitious: it follows two young people whose lives become intertwined when a local politician takes an interest in one of them.

Jessica Johns, Bad Cree (February 2023). This debut novel follows a young Cree woman whose dreams continually return her to a weekend she spent at her family’s lakefront campsite before her sister Sabrina’s death. This sounds both atmospheric and thought-provoking.

Priya Guns, Your Driver Is Waiting (March 2023). I loved the blurb for this debut: Damani, a female taxi driver, meets Jolene, a rich white woman who claims to be an ‘ally’, and falls in love, but then Jolene does something unforgivable. Has been compared to Taxi Driver, but I haven’t seen that so I can’t comment! (Also, is orange a thing in 2023? Look at the last few covers!)

Parini Shroff, The Bandit Queens (March 2023). Another great blurb for what’s described as ‘a feminist revenge thriller’. ‘For Geeta, life as a widow is more peaceful than life as a wife… Until the other wives in her village decide they want to be widows, too’. I’m hoping this will bring the dark satire that, for me, Oyinkan Braithwaite’s My Sister, The Serial Killer failed to deliver.

Meg Clothier, The Book of Eve (March 2023). And now for something completely different. I love books about nuns so I had to request this from NetGalley: it follows Beatrice, the convent’s librarian, who discovers a bewitching and powerful book.

Cecile Pin, Wandering Souls (March 2023). A debut novel about three siblings who flee Vietnam to Hong Kong, ultimately arriving in Thatcher’s Britain. Sounds like it has the resonance of something like Sharon Bala’s brilliant The Boat People.

Liv Little, Rosewater (April 2023). LOVE the cover. This sounds like the kind of ‘rootless millennial woman’ book I usually avoid, but I’m giving this one a pass because it’s about a black lesbian rather than the usual straight white protagonist.

Erum Shazia Hasan, We Meant Well (April 2023). Another debut novel about a woman whose colleague is accused of assaulting a local girl in Likanni [a fictional African village], where they operate a charitable orphanage. I hope this will capture some of the prickly moral tensions of Nikita Lalwani’s The Village.

Curtis Sittenfeld, Romantic Comedy (April 2023). Sittenfeld is always worth reading (unless it’s her bizarre Eligible) so I’m looking forward to her latest, about a TV script writer who thinks she’s over romance, until an unlikely love interest upends all her assumptions. Love the UK cover, as well.

Emma Donoghue, Learned By Heart (August 2023). After venturing into the seventh century, Donoghue is back on her familiar historical territory with this novel about Anne Lister and her love affair with a fellow schoolgirl in York at the very beginning of the nineteenth century.

The Rest of the List

Guy Gunaratne, Mister, Mister (May 2023). I had mixed feelings about Gunaratne’s acclaimed debut, In Our Mad and Furious City, but they’re obviously a talented writer and I’m intrigued by this story set in a UK detention centre.

Ann Napolitano, Hello Beautiful (July 2023). I enjoyed Napolitano’s Dear Edward and this book promises to focus on the complex relationship between four Italian-American sisters.

Emma Törzs, Ink Blood Sister Scribe (July 2023). LOVE the blurb for this, which combines a number of my obsessions: two sisters, magical books, the woods of Vermont PLUS an Antarctic research base.

Jenn Ashworth, Notes Made While Falling. I’ve been meaning to get round to this memoir for years. It focuses on a traumatic childbirth but moves beyond that to cross genres and subjects.

Karen Russell, Orange World and Other Stories. I loved Russell’s short story collection Vampires In The Lemon Grove, so I don’t know why I haven’t read this already.

Geraldine Brooks, March. I’m intrigued by this retelling of Little Women from Mr March’s perspective after watching Jennifer’s (Insert Literary Pun Here) video on YouTube.

Albert Sanchez Pinol, Cold Skin. A horror novel in translation from Catalan set on a remote Antarctic island just after WWI. Giving me Dark Matter vibes.

Yan Ge, Strange Beasts of China. ‘In the fictional Chinese city of Yong’an, an amateur cryptozoologist is commissioned to uncover the stories of its fabled beasts.’ I was won over by ‘cryptozoologist’.

Hasanthika Sirisena, Dark Tourist. This non-fiction book examines dark tourism—visiting sites of war, violence, and other traumas experienced by others – but links this to Sirisena’s retracing of her own places of trauma. Sounds SO interesting.

Elissa Washuta, White Magic. A collection of essays by a Native woman that examines both the appropriation of Native spiritual traditions and her own work as a witch.

Angela Chen, Ace: What Asexuality Reveals About Desire, Society and the Meaning of Sex. I’m keen to learn more about asexuality this year and this exploration of the experiences of a diverse group of asexual people sounds brilliant.

Meghan O’Rourke, The Invisible Kingdom: Reimagining Chronic Illness. This investigates the history of chronic illness and considers why it has been ignored and misunderstood. I’m keen to find out more.

Robin George Andrews, Super Volcanoes: What They Reveal About Earth and The Worlds Beyond. I fancied a fun popular science book and this one sounds good!

Scholastique Mukasonga, Our Lady of the Nile. I came across this on the Big Jubilee Read list and liked the sound of it. It’s set in a Rwandan boarding school run by white nuns. Fifteen years prior to the genocide, tensions between Hutu and Tutsi students are ever-present, creating a microcosm for the country as a whole.

Ray Nayler, The Mountain in the Sea. This sounds GREAT, like a twenty-first century update of John Wyndham’s The Kraken Wakes. A species of hyperintelligent, dangerous octopus is discovered, and humans try to establish communications.

Ryan Lee Wong, Which Side Are You On. Spotted on Rebecca’s blog, this sounds so interesting on activism and generation. A young Asian-American activist is depressed and angry as he tries to fight police violence against black people; his mother, once the leader of a Korean-Black coalition, offers him a different perspective.

Erica Ferencik, Girl In Ice. Ferencik is a superior thriller writer – I loved her The River At Night – and this sounds great. ‘Set in the unforgiving landscape of the Arctic Circle… a brilliant linguist struggling to understand the apparent suicide of her twin brother ventures hundreds of miles north to try to communicate with a young girl who has thawed from the ice alive.’

James Smythe, The Ends. I was a bit disappointed by the third in Smythe’s Anomaly Quartet, The Edge, but I’m obviously going to finish out the series. In this final book, the Anomaly has enveloped Earth, bringing an end to death and forcing people to repeat their lives many times over!

Do any of these sound good to you? What books are you most looking forward to in 2023?

My Top Ten Books of 2022

It’s time for another top ten books of the year list! (You can find my 2021 post here, my 2020 post here, my 2019 post here, my 2018 post here, my 2017 post here, my 2016 post here, my 2015 post here, and my 2014, 2013, 2012 and 2011 posts on my old blog.) For clarity, these are my ten favourite books I have read this year, regardless of when they were published.

A note: If 2021 was a weak reading year, 2022 was an exceptionally strong one! Plenty of my commended books could also have appeared on this list.

In no particular order…

1. The Dispossessed: Ursula Le Guin. This classic SF novel has rightly swept many readers across the decades off their feet; it’s such an intelligent, detailed and honest exploration of what an anarchist society might look like, and how that would change the kind of people we are. I wrote briefly about it here.

2. Our Wives Under The Sea: Julia Armfield. MY OBSESSION. After Miri’s biologist wife Leah returns from a mysterious deep-sea mission, she realises that the Leah who left is not the person who’s come back. A book about grief, but also a very fine horror novel. I reviewed it here.

3. Finding The Mother Tree: Suzanne Simard. Many writers want to combine memoir and nature-writing and very few succeed. Simard does it perfectly, and she’s also the protagonist of a fascinating, revolutionary scientific investigation that would have been enough for a book on its own, as she explores how trees of different species share resources and information via an underground fungal network. I wrote briefly about it here.

4. The First Woman: Jennifer Nansubuga Makumbi. Teenage Kirabo explores the secrets of her own family against a backdrop of Ugandan folktales during Idi Amin’s dictatorship in the 1970s. Makumbi’s writing is incredible: she lets her story speak for itself in a local vernacular that is so clever, vivid and alive. I wrote briefly about it here.

5. The Anthill: Julianne Pachico. Lina spent her early childhood in Medellín but left for England when she was eight; now she’s returned to the city as an uncomfortable outsider. This book is both a merciless, brilliantly observed critique of foreign visitors to Columbia and a haunting horror story that uses ghostly tropes to explore a character and a country’s traumatic past. In the end, we can never really come home. I wrote briefly about it here.

6. Spirits Abroad: Zen Cho. I didn’t love every story in this collection but about half of it was so wonderful that I felt it belonged on this list anyway. Cho expertly combines dry wit, Malaysian folklore, a hint of horror, and her own superb imagination. Best stories: ‘The Terra-Cotta Bride’ and ‘The House of Aunts’. I reviewed it here.

7. Tomorrow, and Tomorrow, and Tomorrow: Gabrielle Zevin. Of course I loved this gorgeous tale of work, friendship, making art, storytelling and play. Sam and Sadie design video games together, but you don’t need to like video games to like this novel, which is really about the challenges of creating. I reviewed it here.

8. To Paradise: Hanya Yanagihara. CONTROVERSIAL. This wasn’t an instant smash hit for me but I haven’t stopped thinking about it all year, especially the third section of the novel, ‘Zone Eight’. The questions Yanagihara asks about how societies that seem dystopic to us may actually have benefits for those who suffer in our society are just not questions I’ve seen being explored anywhere else. I reviewed it here.

9. The Sentence: Louise Erdrich. Should have won the Women’s Prize! This isn’t a perfect novel but I felt that Erdrich brought a whole world to life through the warm, humorous voice of her Objiwe narrator, Tookie. I reviewed it here.

10. Bloodchild and Other Stories: Octavia E. Butler. Five incredible miniature pieces of science fiction (plus a couple things that didn’t work for me, but whatever). Best stories: ‘Amnesty’ and ‘Bloodchild’. I wrote about it briefly here.

Reading Stats

I read 190 books in 2022. This is an all-time record, but I’m not sure why I read more this year than in previous years! In 2023, I’ll again set a target of 150, as I don’t like having a target that’s too ambitious. Of the 190 books I read, 25 were re-reads, a significant improvement over the 11 books I re-read in 2021.

I read 162 books by women (including 1 trans woman) and 28 books by men (including 2 trans men). I think this is the fewest number of books by men I’ve ever read in one year, totalling just 15% of my total reading. I wanted to read more books by men of colour and trans men this year, and I did up my numbers in that respect. Also notable: this is the only time that my top ten books of the year have all been written by women.

I read 72 books by writers of colour and 118 books by white writers. This means I have FINALLY achieved (and smashed) my target of reading 33% of books by writers of colour, getting it up to 38%. I have to say, I’ve really noticed how much more diverse my reading has felt this year, and I’m glad that six of my top ten books of the year were by women of colour. Once again, I will aim to read 33% books by writers of colour in 2022.

Finally, here’s what Goodreads thinks was My Year In Books: 

2022 In Books: Commendations and Disappointments

As always, I won’t be posting my Top Ten Books of 2022 until the 31st December, but here are some books that almost made my top ten – and also my biggest disappointments of the year. Links are to my reviews. All books are first read by me in 2022, not necessarily first published in 2022.

Highly Commended

2022 was a very good year for short story collections. Two have made my Top Ten, but there were many others that I loved. Kate Folk’s Out There is part of the Julia Armfield/Carmen Maria Machado/Mary South/Irenosen Okojie feminist body horror axis, but for my money, is better than the story collections by any of those writers. NK Jemisin’s How Long ‘Til Black Future Month? showcased some incredible novels-in-a-bottle SF shorts. Anthony Veasna So’s first and last collection, Afterparties, unifies beautifully around the stories of stories of second-generation Cambodian immigrants to California who live in the shadow of their Khmer parents’ experience of the Cambodian genocide of the 1970s. Finally, on the meta end, Tom Conaghan’s edited collection Reverse Engineering reprints seven exceptional modern short stories and pairs them with commentary from their authors. My favourite: Mahreen Sohail’s wonderful ‘Hair’.

I also read some brilliant speculative fiction and SFF. T. Kingfisher’s Nettle and Bone made me a confirmed fan of her work; a totally engrossing, original low fantasy that combines the darker, more serious folktale feel of a writer like Robin McKinley with the lightheartedness of Patricia C. Wrede’s Enchanted Forest Chronicles. Ellen Klages’s glittering novella Passing Strange transports the reader to the lesbian subculture of San Francisco in the 1940s, with just a hint of magic. Meanwhile, on the SF end, I just loved Everina Maxwell’s Winter’s Orbit, which had some problems but won me over with its joyful queer romance. (I’m now reading her second book set in the same universe, Ocean’s Echo, and it’s just as good so far!)

Non-fiction was also strong this year, especially memoir. Bonnie Tsui’s Why We Swim was a brilliant examination of human engagement with water throughout the world, from abalone divers to public pools. Catherine Cho’s Inferno, an account of her experience with postnatal psychosis, was emotionally resonant and beautifully written. Meanwhile, Nadia Owusu’s Aftershocks is also an exploration of trauma, as well as Owusu’s experiences of feeling rootless, her race and identity read differently wherever she goes.

I always love a good campus novel and 2022 really delivered! Julia May Jonas’s Vladimir is a sharp, amoral character study of an English professor in her late fifties whose husband John has just been accused by his students of sexual assault. Elaine Hsieh Cho’s  Disorientation wasn’t perfect, but it’s still a brilliant satire, following Taiwanese-American PhD student Ingrid as she tries to finish her dissertation while nursing her rivalry with fellow grad student Vivian, an Asian lesbian activist who writes papers called things like ‘Still Thirsty: Why Boba Liberalism Will Not Save Us’. Finally, Lee Cole’s Groundskeeping eschews literary flashiness for slow meditation as it explores the relationship between Owen, who grew up in rural Kentucky and works as a groundskeeper at the local college, and Alma, a writer-in-residence and ‘cultural Muslim’ whose parents fled Bosnia before she was born.

I read fewer good crime and thriller novels this year, although I was delighted by the revival of horror tropes and full-blown horror novels. Ellery Lloyd’s The Club was probably my thriller of the year: set in the luxurious retreat of ‘Island Home’, it handles its twists realistically rather than sacrificing realism for shock value, which has been a problem for me with a lot of recent thrillers. Nicola Griffith’s The Blue Place is a literary thriller that I’d also class as thoroughly satisfying wish-fulfilment for lesbians: its unforgettable protagonist Aud Torvingen is a former police lieutenant, six-foot tall martial arts practitioner, carpenter and social manipulator. Meanwhile, in horror, I devoured Mira Grant’s Into The Drowning Deep, a schlocky novel about killer mermaids that features an especially memorable set-piece when a Deaf character pilots a bespoke submarine into the Challenger Deep.

Women’s fiction, romance and YA are not my favourite genres, but I had a few hits this year. Queer YA really delivered for me, and I was delighted to find novels that focused on lesbian or bi girls, having read so many about gay boys: my two favourites were Rachael Lippincott’s and Alyson Derrick’s She Gets The Girl and Adiba Jaigirdar’s The Henna Wars, which both set up a pair of girls as sworn enemies and let us watch them fall in love while navigating cultural difference. In women’s fiction, Taylor Jenkins Reid made a comeback for me with her latest, Carrie Soto Is Back: I LOVED star tennis player Carrie and how the novel unambiguously let women be successful without punishing them.

Biggest Disappointments

Even though 2022 was a great reading year, I actually had more big disappointments than usual. Maybe this makes sense: with so many books to be excited about, it was inevitable that some of them would fall short.

By ‘biggest disappointments’ I don’t mean that these were my worst books of the year, but that they were books I’d been looking forward to, that had been hyped by publishers/reviewers/friends/all of the above, and which fell well short of my expectations.

There were a few big SFF releases that disappointed me (though I didn’t always get to these as soon as they were released). I was SO excited about RF Kuang’s Babel, but although I found it a fun read, the characterisation was weak, the critique of colonialism heavy-handed and the worldbuilding hopelessly illogical. Tasha Suri’s The Jasmine Throne, on the other hand, which was also on my 2022 reading list, had three wonderful female protagonists but a slow pace plus unconvincing romance meant that I won’t be continuing with the trilogy. Finally, Aliette de Bodard’s The Red Scholar’s Wake not only had a beautiful cover but promised sapphic romance between a pirate queen and a geeky mechanic: unfortunately, this book did not work for me on any level.

I was disappointed (as ever!) by some new releases from authors I’ve loved in the past. Emily St John Mandel’s Sea of Tranquility was a quick, enjoyable read, but felt very much like a literary writer trying out bad SF than the truly good SF that I know Mandel is capable of writing. Emma Donoghue’s Haven is the first book I’ve ever read from her that I thought wasn’t worth reading: this tale of three monks founding a refuge from the world on Skellig Michael in the seventh century relied on caricatures of dogmatic faith, and also threw intersex people under the bus.

Finally, I was disappointed by Tice Cin’s Keeping The House – the blurb was so enticing but didn’t seem to relate to the actual book, and the writing was too convoluted – ditto Morowa Yejidé’s Creatures of Passage. And I hated Josie George’s A Still Life, where I was left only with the overriding impression that George and I would not get on.

I’ll be back tomorrow with my Top Ten Books of 2022!

December Superlatives

An early Superlatives post as I always post my commendations/disappointments, top ten books of the year and next year’s reading plans at the end of December. If I read anything especially superb or terrible between now and then, I’ll find a way of recognising it in one of those posts!

The Best Book I Read This Month Was…

… The Topeka School by Ben Lerner. This is the third in a loosely-linked sequence of autofiction that began with Lerner’s Leaving the Atocha Station and continued with 10:04. Plotwise, this novel follows the protagonist of Atocha Station, Adam, during his high school years, alongside tracing the stories of his psychiatrist parents and his troubled classmate Darren. However, if you’ve read anything by Lerner, you’ll know it’s not about the plot. Lerner brilliantly dissects the construction of white male supremacy in the late 1990s United States, continually returning to these young men’s cleverness with language but inability to understand the emotion beneath their words, how they connect to the body. Adam is a master of ‘the spread’, a tactic used by competing debaters to fit as many arguments as possible into their allotted time by talking at the edge of intelligibility. In this way, they can defend whatever motion they need to, never thinking about what it actually means. His classmates appropriate African-American street slang because it sounds tough, shooting it back and forth at each other without understanding. His father Jonathan reflects that using psychological language often gets therapists and their patients no closer to recognising their feelings. The Topeka School is probably the most technically experimental of Lerner’s three novels, but it also has the most emotional and political resonance. Not an easy read, but I’m glad I finally picked it off my 2022 reading list.

The Worst Book I Read This Month Was…

… To Be A Trans Man by Ezra Woodger. Many of the individual testimonies from trans men and non-binary transmasculine people collected in this book were interesting, moving and thought-provoking, but I thought Woodger did a poor editorial job: the themes became repetitive and there was too much focus on relatively young interviewees who are urban influencers, activists or artists. My full review is here. I received a free proof copy of this book from the publisher for review.

The Book That Left Me The Most Weirdly Underwhelmed This Month Was…

… The School For Good Mothers by Jessamine Chan. This has had a lot of hype, and there’s been a glut of books about motherhood and sub-Handmaid’s Tale type dystopias recently (see also: Joanne Ramos’s The Farm, Sophie Mackintosh’s Blue Ticket), so my expectations were low. Oddly, The School for Good Mothers was much better than I thought it was going to be, and yet it still felt disappointing. Our protagonist is Frida, a Chinese-American woman who’s struggling with her toddler daughter Harriet since her husband left her. When Frida snaps and leaves Harriet alone in her apartment for two hours, she loses custody and is forced to enrol in a residential government programme for ‘bad mothers’, where robotic toddler dolls record her every move.

Chan is undoubtedly a good writer. The relationship between Frida and Harriet feels real, warm and individual, rather than a sketchy stand-in for any old mother-daughter relationship, and I really cared about the possibility of their reunion. Nevertheless, I kept thinking about another feminist dystopia when I was reading this book; Louise O’Neill’s Only Ever Yours, where the protagonist, bizarrely, is called Freida (rendered freida). Only Ever Yours is a pitch-black nightmare of a book about the insane expectations placed on teenage girls, and Chan seems to be trying to do something similar for motherhood but doesn’t push it far enough. For all its creepy robots, the book often reads like a realistic prison drama – after all, poor women of colour, especially immigrant women, are routinely separated from their children right now. For me, it would have had more to say about our world if, like Only Ever Yours, it had been more obviously separate from reality, if Chan had amped everything up another notch and gone full-blown horror. As it is, I felt like The School For Good Mothers was telling me things I already knew.

The Most Disappointing Thriller I Read This Month Was…

… The Helpdesk by SA Dunphy. This started well. James is a tax lawyer who’s desperate to make partner, but his dreams hang in the balance when a vital report goes missing as he assists in a merger. Frantic, he calls the IT helpdesk, where a woman called Charlotte is able to recover the file. James is relieved and grateful, and feels a connection with Charlotte – a connection that’s renewed as things continue to go wrong with his system. I loved this premise, and the sections of the novel that dealt with James’s job were gripping. However, the book strays well away from its opening by introducing a subplot about James’s wife, Bella, a teacher at a prestigious private school, and her (highly implausible) unfinished PhD on aggressive behaviour by high-flying corporate businessmen. In the afterword, Dunphy says that he had originally intended to focus only on the helpdesk plot but found Bella’s voice so compelling that he had to work her more fully into the novel. For me, a tighter focus would have worked better, as the way the two strands are linked becomes increasingly silly, and less original than the opening of the novel. The plot also relies on what I think is a very cheap trick; first-person narrators who are not flagged as unreliable not telling the reader what they are actually doing or thinking, which sacrifices realism for the sake of a twist. I received a free proof copy of this novel from the publisher for review.

My Most Reluctant DNF This Month Was…

… The Animals in That Country by Laura Jean McKay, where I got about 100 pages in, or a third of the way through. I was reluctant to give up on this novel because I liked so much about it: principally, the narrator, Jean, an unfriendly alcoholic grandmother and unreliable wildlife park employee who’s who’s got herself ‘pretty much banned from the internet’ for posting conspiracy theories, but nevertheless has built a fiercely close relationship with granddaughter Kim. I was also interested to see what McKay, an expert on animal communication, would do with the premise of a virus that allows humans to understand animals. However, at the point where I gave up on the book, McKay didn’t seem to be doing as much with this idea as I’d hoped, other than presenting the bleak truth that humans struggle to deal with the bombardment of voices of other humans, let alone animals as well. Even so, I’m not quite sure why I found this book so unengaging; maybe I should have tried it when I was feeling less tired. Thanks very much to Rebecca for passing on her proof copy to me.

What reads stood out for you so far in December? What have been your favourite and least favourite books?

Trans Histories, Trans Lives

I read these two books in quick succession over the past few weeks: I had a lot of Thoughts about both of them, so I’ve put together shorter (though still long) summaries here then linked to my super long Goodreads reviews!

Ezra Woodger’s To Be A Trans Man is a short collection of interviews with trans men and non-binary transmasculine people; while some of his interviewees are people of colour and/or disabled people, almost all of them identify as artists, social media influencers and/or activists, and most of them are relatively young. This uniformity, coupled with a lack of editorial control by Woodger, makes this a much less interesting book than it should have been. As Woodger makes clear, trans men’s experiences are still rarely talked about, and myths about trans men abound; it’s so important that we understand the particular kinds of oppression that trans men and transmasculine people face.

One recurring theme is the idea of ‘male femininity’; a number of Woodger’s interviewees push back against the idea that being a trans man means conforming to stereotypical masculine norms, and yet they insightfully discuss how they often tried to fit into male stereotypes earlier in their transitions, believing this was the only way to be seen as a ‘real man’. Kasper sums this up as the idea that if ‘you’re a trans man… you have to give up every single feminine thing about yourself’ but emphasises the joy he feels when wearing elaborate makeup, arguing that his masculinity has always been flamboyant and camp. He also criticises ‘passing tips’: ‘they were all things like “don’t smile and don’t move out of the way of people in the street”. Be really mean to everybody and then everyone will think you’re a man’. Ironically, he suggests, it can be harder for trans men to play with masculinity, because they still feel they have to prove themselves. Having said this, I would have loved to see this theme explored more deeply, as the same point is repeated throughout a number of the interviews without Woodger delving any further. (I’m thinking of texts such as Jack Halberstam’s Female Masculinity and Finn Mackay’s work on butch/queer masculinities – I’d love to see similar work on ‘male femininity’.)

Unsurprisingly, the interviewees often have much to say about how gender expectations pigeonhole everyone, even people who are not trans. Leo, a disabled trans man, reflects that when they use their wheelchair, they are read as more gender ambiguous: ‘The fact that I’m in a more passive physical pose is enough for them to add up what they’re seeing to way over on the side of “probably a woman”‘. Charlie reflects on the benefits and harms of being ‘invisible’ as a trans man: ‘I am still very well aware of the fact that women get hassled on the street. When I have women friends talk to me about the kind of stuff that they have to put up with on a daily basis and it’s like, well, I just exist. I walk outside my house and I exist outside my house, and that’s the way it is.’ Woodger comments: ‘‘The invisibility that we experience has led to a significant disregard for our rights and the issues we face but is also a privilege in its own way.’ This recognition, however, linked to one of my frustrations with the book; that it pushes the idea of a cis/trans dichotomy, rather than recognising how everyone struggles with performing gender and living up to gender expectations. This is not to say that trans men’s particular experiences aren’t valuable here, but that the book as a whole risked setting up a new binary while claiming to break down barriers.

I received a free proof copy of this book from the publisher for review. My even longer review is on Goodreads!

The Public Universal Friend, depicted in an 1821 biography

Kit Heyam’s Before We Were Trans is a popular history that thinks about how we can find trans lives in the past. Heyam offers a series of case studies of what Heyam terms ‘trans history’ across the globe, from seventeenth-century West African female kings to contemporary South Asian hijra to figures like Jemima Wilkinson, who rose from their deathbed as the genderless Public Universal Friend in 1776 and preached Quaker ideology throughout the northwestern United States. Heyam’s definition of ‘trans history’ is ‘deliberately expansive’: he argues that trans history must include ‘people who’ve troubled the relationship between our bodies and how we live; people who’ve taken creative, critical approaches to gender binaries; people who’ve approached gender disruptively or messily.’

Heyam’s introduction to this book is extremely useful and insightful, making a number of key methodological points. These points are followed through in a couple of especially strong chapters. Heyam is careful to show that intersex histories, for example, should not simply be appropriated by trans people, talking through the example of Roberta Cowell, a British trans woman who had gender reassignment surgery in 1948. Cowell always claimed that she was really intersex rather than trans, and had ‘developed along the wrong lines‘. However, in order to support her own story, she relied on homophobic and transphobic tropes to present herself as a ‘real woman’. Another excellent chapter concerns the experiences of men who lived and performed as women in First World War internment camps. Heyam effectively uses these histories to show how many different motives people in the past might have had for gender non-conformity, whether it was to ‘legitimise’ homosexual attraction, to participate in music-hall traditions of drag, or to seize the opportunity to express their true gender.

This book, then, is almost more about the methodology of doing trans history than it is about trans history, and I had some problems with how Heyam’s approach played out in practice. For example, he sets up a false binary between simplistic histories of homosexuality that are focused solely on who you sleep with, and the more expansive trans history that he advocates. I like Heyam’s umbrella definition of trans history but it ignores the ways in which lesbian historians, in particular, have drawn on lesbian activism to present similarly expansive definitions of lesbian history that overlap with Heyam’s trans umbrella. Judith Bennett, for example, argues that by using the term ‘lesbian-like’, ‘we might incorporate into lesbian history sexual rebels, gender rebels, marriage-resisters, cross-dressers, singlewomen’. This draws on earlier activist ideas from groups like Radicalesbians who argued that lesbians are positioned in a specific way in relation to patriarchy; being a ‘lesbian’ is to step outside the acceptable boundaries of what it means to be a woman, and therefore to face the full force of patriarchal oppression, as well as making as the choice to orientate your energies towards other women rather than men. As historians, we might sometimes find ‘trans’ or ‘lesbian’ history to be a more useful umbrella term, but it’s not true that one is inclusive and one is not: they include different people.

Heyam argues that there is an emotional case for trans history; that it is important for trans people to see themselves in the past. ‘We’re… trying to reassure ourselves that our genders are real’. While I completely agree, I thought this book did treat some histories with less care than others, especially Global South and indigenous histories, and the histories of lesbians/wlw. (Heyam does reflect on the problems of white Western trans people appropriating terms like ‘two-spirit’, but then goes on to include these kind of histories in their book on trans history; there’s something not quite right here). In short, I’m totally behind Heyam’s ideas about trans history, but they don’t always play out convincingly in practice, and the book ends up sitting uneasily between popular history and academic theory.

I received a free proof copy of this book from the publisher for review. My even longer review is on Goodreads!

I had hoped to include Kristen Schilt’s Just One Of The Guys?: Transgender Men And The Persistence of Gender Inequality in this post, one of the books on my 2022 reading list. Unfortunately, although I’ve ordered it, it won’t arrive for a while! This academic book promises to examine, via interviews and ethnographies, how trans men are still subject to systemic gender inequality in the workplace: while ‘some transmen gain acceptance—and even privileges—by becoming “just one of the guys,”… some are coerced into working as women or marginalized for being openly transgender’. I think it will be a great counterpart to these two popular/non-academic books.

Have you read any non-fiction about trans histories or trans lives recently? Any recommendations?