I hosted the Baseball Tonight podcast today, and will do so three more times in the next week – Thursday, Friday, and Monday the 18th.
Walter Scott’s The Heart of Midlothian was the last of his Waverly novels, a series of books set in the Scottish highlands that drew on local culture and tradition (distinct from that of England), including use of the local dialect, an aspect of his books that does nothing so much as make them harder to read. Scott also liked to mine true historical events to form the backdrops for his novels, and here chose the Porteus Riot, a major event in Scottish nationalism where a vicious English military commander who was pardoned after receiving a death sentence for firing on protesters was himself kidnapped and lynched by another protest mob. That story opens the novel – of course, it’s the most satisfying passage in the entire book – so that Scott can lay the historical groundwork while also borrowing one of the perpetrators of the lynching, George Staunton, for a central character in his story.
Jeanie and Effie Deans are half-sisters, living as tenant smallholders on a larger estate with their twice-widowed father David. Jeanie is relentlessly good: honest, pious, meek, in love with her neighbor the local minister but afraid to marry him due to her father’s disapproval. Effie is the wild child, and ends up disappearing from home briefly, only to return and be arrested on suspicion of infanticide under a new, cruel English law that allowed for the conviction of a mother even if no proof of the murder (like a body) could be established. Jeanie is given the chance to exonerate her sister with a tiny lie at trial, but refuses to do so after swearing before God to tell the truth, a step that sends her daughter to death row and forces her to make the long journey to London, some of it on foot, to seek the Queen’s pardon.
Scott worked in the era of the gothic novel and the romance, before the rise of realism in the 1800s, so all of his works are blatantly melodramatic. Every character is just so good or just so bad; every conversation, especially those between fathers and daughters or sons, is wrought with emotion. It’s too easy for the modern reader to tune this out because of the unrealistic nature of the dialogue, and Scott’s overreliance on heavy, coincidental plot twists probably doubled the length of the book. It also reads much slower than a typical novel of that era, as he uses muckle Scottish words the modern reader won’t likely ken.
This leaves me with two books remaining on the Bloomsbury 100 – Thomas Mann’s The Magic Mountain, which I’ll tackle later this month, and Leo Tolstoy’s War and Peace, which seems like a fitting way to (try to) finish the list.
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Anne Enright’s The Gathering
The gathering of the book’s title refers to the many siblings of the narrator, Veronica, coming together for the funeral of their brother Liam, a cheerful, promiscuous, alcoholic ne’er-do-well who took his own life by drowning himself off the shore of Brighton. Veronica unpeels the layers of her family’s history, with unsparing candor and graphic language, to determine the cause of Liam’s depression and decision to take his own life, but also to examine her dissatisfaction with her own. She goes back to her grandparents, over her family’s comically fertile history, and eventually to the incident she witnessed as a child – the sexual abuse of Liam by a close family friend – that she blames for his lack of anchoring, his sexual rapacity and carelessness, and the inner void with which he apparently lived his entire life.
The book is absolutely dreadful. Veronica’s grief doesn’t play out as emotion beyond self-pity; she looks back at her family history and forward at her own life with incredible dispassion. Not only is she unsympathetic – she seems unreal. If she’s as broken as Liam, she never explains why. Her only moments of grief that ring true are those where she thinks Liam is there, or expects him to be so; coming to terms with the permanent loss of a family member or friend who’s “always been there” means facing the grief anew every time you think that Liam is going to call or might be standing in the room, only to have you realize he’s gone.
As for the Man Booker Prize … well, I’ve read a handful of them, and there’s a clear affinity for this type of novel, which is why I have never decided to work through that list of books as I have with several others.
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Caroline Blackwood’s novella Great Granny Webster
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My wife bought Christine Trent’s Stolen Remains
Forcing the lead character here to be female, a historically unlikely situation to be kind, requires a suspension of disbelief that I had a hard time mustering – and that suspension was further challenged by some incredibly silly behavior, too-modern dialogue, and those numerous coincidences that kept the plot going. Trent also goes too far in the direction of historical fiction by weaving in more real people than the novel can support, and she makes what I’d consider a rookie mistake with an obvious variation on Chekhov’s gun: Any time a mystery novelist tells you early in a book that someone disappeared and is presumed dead, you know the character will appear at some point and be involved in some significant fashion in the murder or its denouement.
Next up: I just finished Michael Pollan’s Cooked
