Things My Girlfriend and I Have Argued About.

Jasper Fforde was kind enough to appear as a guest on The Keith Law Show last month, and I asked him a question – of which I’d warned him in advance – about what books he would include in a class on comic novels. It was inspired by my favorite class in college, “Comedy and the Novel,” which introduced me to at least three of my all-time favorite novels: Jacques the Fatalist, If on a winter’s night a traveler…, and my favorite novel ever written, The Master & Margarita.

One of Fforde’s answers was Mil Millingham’s Things My Girlfriend and I Have Argued About, and having read it, I can see why Fforde recommended it – it shares much of his style of humor, appreciation of the absurd, and derisive attitude towards all things bureaucratic. The book alternates between two parallel threads: The narrator, Pel, arguing with his girlfriend, and losing; and Pel’s day job at the library of the local university, where all sorts of shenanigans are taking place, including open corruption, the construction of a new building over what might be a graveyard, and not very much librarying.

Pel’s arguments with his girlfriend, an attractive German blonde named Ursula with a personality that might be described as slightly vampiric, are by far the funnier half of the book. While Millingham is certainly not showing Ursula’s best side, he doesn’t paint her as a witch, or a permanently unreasonable person, or one of those, “women, am right?” women. She’s more strong-willed, occasionally unreasonable, but less unreasonable than Pel is, and if anything, he comes off worse – he’s not going to die of overexertion, and he seems to step right into it every time one of those arguments goes on for more than a line or two. She’s just right more often than he is, and his narrative attempts to make her seem the unreasonable one reflect more on him. They have two young sons, who act as boys that age do, and whose antics will probably be hilarious to those of you with kids and mildly amusing to those without.

The stuff at work is a lot less compelling, and gets to the fundamental problem with Things My Girlfriend and I Have Argued About, which is that the story here is as thin as rice paper. Pel’s former boss has left the country for parts unknown, and it appears he has absconded with Someone Else’s Money, which might itself be enough raw material for a cracking comedy of errors, but Millingham dispenses with that, mining it for some racially insensitive humor and eventually just moving along to another story. Pel also sexually harasses a colleague, falls into a giant hole, says the absolute wrong thing to some extremely annoying journalists (who would have been shot, or at least pushed into that giant hole, in the United States), and repeatedly fails to do his job – which seems to barely meet the requirements of a job, except that he gets paid for what little he is asked to do (which he doesn’t do anyway). It seems like Millingham had the idea of depicting a highly dysfunctional workplace, which has been done before but I’ll allow it, and then populating it with idiots and loonies, which has also been done before but will often make me laugh anyway, but it never adds up to anything here. Even when he catches one of his antagonists doing something he shouldn’t be doing, it’s nowhere near as funny as it should be, because those various colleagues of his are not that well-drawn, so when they fail or flop, it’s less funny than he might have planned.

The Ursula stuff, however, is the goods. I could have read a whole book just about the two of them arguing over matters large (they move to another house, and it goes as well as you’d expect) and small (Ursula scares off the gutter cleaners by speaking German to them, which culminates in a riotous high-speed car chase). That’s the sort of book that doesn’t need much plot, and the ending Millingham gives this novel would have worked better if the entire thing had been just about the two of them. So I’d still recommend Things My Girlfriend and I Have Argued About if you’re in the mood for a laugh, as long as you keep your expectations for plot on the lower side.

Next up: Daniel Kahneman’s new book Noise: A Flaw in Human Judgment.

Crudo.

Olivia Laing’s debut novel Crudo is a waif of a novel, barely 135 pages long, and drops you right into the middle of an inner monologue of someone who may or may not be the writer Kathy Acker. The book won the 2019 James Tait Black Memorial Prize, a British literary prize that often picks winners from outside the mainstream, resulting in some brilliant choices (Zia Haider Rahman’s In the Light of What We Know; Zadie Smith’s White Teeth) and some maddening ones (this year’s winner, Ducks, Newburyport, is 1000 pages long and comprises one sentence).

Kathy Acker was a real author, a novelist, playwright, and essayist who wrote experimental, transgressive works dealing with topics like suicide, trauma, and sexual abuse, but she died of breast cancer after a double mastectomy in 1997, at the age of 50. She worked well outside the mainstream and had a hard time finding publishers; her best-known novel, Blood and Guts in High School, took almost a decade to see print, and that came via alternative publisher Grove Books. Wikipedia mentions that her friends included Neil Gaiman and Alan Moore, and her literary reputation has grown since her death.

Laing has brought her back to life, in a way, reimagining Acker as a breast cancer survivor, in the present day, but only around the age she was shortly before her death. This Acker uses social media and tracks the news, especially news of Trump and Brexit, almost obsessively, while also navigating her emotions as she approaches marriage to a man many years her senior. Both marriage, even though it will the “openish,” and the endless catastrophe of Trump’s reign of error terrify her. She views matrimony as an end to her freedom, perhaps to her autonomy, both of which could just as easily apply to her fears about the rising tide of nationalism, racism, and xenophobia that swept Trump into office and led British voters to twice choose economic self-immolation via Brexit.

Crudo walks us through the last few days before Acker’s marriage, through the circuitous thoughts in her mind as well as the extraordinary and mundane events that fill up the calendar. This Kathy Acker has lived as she pleased, and dreads the potential for that to change for any reason, more than she appears to fear death itself. The juxtaposition of the intensely personal and the publicly political works in Crudo‘s favor, by connecting something many readers (I’d wager most readers of this novel) themselves have felt with the less universal sense of marriage as a loss of something, which isn’t how everybody approaches the institution, at least.

The plot of Crudo, however, is as thin as the novel itself – a novella, really, if we want to be pedantic about the category, as there is very little to this book at all. It’s something you read for the prose, which is by turns lyrical and comically profane, or for the mood, but nothing really happens in the typical sense of a plot. There’s less than no action, conflicts are observed rather than experienced, and no character other than Kathy gets much page time, let alone development. I read it, I sort of enjoyed it, and I carried on living my life. It’s different, and perhaps that’s why it won the Tait Black Prize, but it’s not the sort of groundbreaking work the prize ostensibly seeks to honor.

Next up: I’m nearly through David Mitchell’s number9dream.

Piranesi.

Has any novel been as long-awaited as Susanna Clarke’s sophomore work Piranesi? Her first novel, 2004’s Jonathan Strange and Mr. Norrell, is one of the best books I’ve ever read, perhaps the best written this century so far, a brilliantly rendered epic about rival magicians in the 1800s, complete with the funniest footnotes I’ve ever seen. Clarke fell ill after writing it, and other than one book of short stories, published nothing until this year, when Piranesi appeared, as if from another world, in September. While it’s quite unlike her first novel, Piranesi is remarkable – brilliantly rendered, again, but in a completely new way, with a new voice and an atmosphere of mystery and dread throughout.

Piranesi is the name of the narrator, although we come to learn that his story, and his name, are more complicated than they first appear to be. He lives alone in a gigantic castle of hundreds of rooms, some sort of labyrinth, and the only person he ever sees is one he calls the Other, who seems to be conducting some sort of research on Piranesi and the house. As the story progresses, though, it becomes clear that there’s far more to Piranesi than even he realizes, as his memories start to come back to him in dribs and drabs, and he realizes there are other people in the world besides himself and the Other.

The less said about the story, though, the better. This is book about memory and loss, and it’s best to recover Piranesi’s memories, and learn the truth about him and the House that he treats as a sort of god, along with him. Clarke has, once again, created an immersive, dreamlike otherworld that will pull you in, even though this one is as nebulous as the world of Jonathan Strange was clear and familiar. It was easy to look at her first novel and see her influences in 19th century British literature and to understand where she was gently parodying the books she obviously loved from that era. Piranesi, however, is unlike any novel I’ve ever read. The closest comparisons I can think of – David Mitchell’s Slade House came to mind – aren’t really that close.

While the mystery of who exactly Piranesi is and what he’s doing in this house – which floods often, and doesn’t appear to have any exits – unravels, Clarke gives the reader ample time and fodder to consider his plight. He’s alone most of the time, yet oddly at peace with his situation, even though he’s in frequent peril from everything from the rising waters to lack of food. (The Other brings him gifts, including food, although Piranesi largely seems to live off dried seaweed and fish he catches.) There are the bones of 14 other people in the House, and Piranesi seems to think they speak to him, somehow, as do the various statues. Was he always mad? Did solitude drive him to madness? Why isn’t the Other trying harder to help him? And who is 16, the person whom the Other warns Piranesi to avoid at all costs?

The House is a character of its own in the book, especially given how Piranesi interacts with it, and could stand as a symbol for any of several real-world analogues. It’s a dream world, in the sense of the endless structure of dreams, but even more resembles the human imagination – a fractalized rendition of the world of our minds in a series of rooms that might be changing each time Piranesi visits them, in a total space that might have an end that Piranesi hasn’t actually found. There’s a sense of incompleteness within the House that feels like the sort of dream you get when you’re not completely asleep, but where impossible things creep into your mind enough that you know after that you weren’t completely awake, and how within those semi-dreams you can also feel trapped by your own confusion. I’ve had more of these experiences during the pandemic, for some unknown reason, and while Piranesi was in progress long before COVID-19 existed as a pathogen in humans, it takes on a different meaning eight months into the ongoing plague.

There might be a bit too much exposition in the middle of Piranesi, where Clarke has to break the spell a little bit to explain to the reader just how Piranesi got to the House and what might be coming next, but the resolution is gripping and veers from the expected in multiple ways, not least in the timing of events towards the novel’s end. It isn’t Jonathan Strange & Mr. Norrell because nothing could be, and perhaps it’s for the best that Clarke’s follow-up isn’t in that same universe, as she’d once promised. This new creation of hers is just as magical as the first, but in its own, memorable way.

Lanny.

Max Porter’s second novel, Lanny, has a more conventional structure than that of his first, the brilliant Grief is the Thing with Feathers, but has the same ethereal feel and prose that’s entirely dialogue, inner and spoken. This story is bigger, but still short, with a sense of closeness about it that matches his first book and makes it another powerful, compelling read.

Lanny is an 8-year-old boy, an only child, different from the other kids – highly imaginative, prone to statements that sound like they should come from an adult, and possibly communicating with some sort of spirits in his small English town. His parents’ marriage is strained, but they do love him, and his mother is both incredibly attached to him and constantly anxious about his well-being, including his social life. Things look up a bit when the eccentric local artist, Pete, offers to give Lanny painting lessons for free, just because he enjoys Lanny’s company so much. Everything implodes when Lanny fails to arrive home from school one day, setting off a series of events, most of which you’d probably expect from this setup, but with the one complication that we knew from the start: one spirit with whom Lanny is probably communicating, a shapeshifter named Dead Papa Toothwort, exists, a legend among the village who has been there for centuries (at least) and who might be menacing Lanny from the start.

The bucolic town turns very dark when Lanny goes missing, like a shade going down on the story, with Pete coming in for obvious suspicion. He’s a bachelor! Why would he have such an interest in a little boy like Lanny! He’s devastated, and wants nothing more than to help find his missing friend, but the town devolves into gossip and recriminations against Pete and against Lanny’s parents, looking for anyone to blame for the unspeakable horror of a child gone missing and possibly dead. Once the search for Lanny starts, the attributions by character disappear, giving us as little as a sentence at a time from unnamed speakers, adding to the sense of disorder amidst a frenetic search.

Dead Papa Toothwort ‘speaks’ in a rambling stream of consciousness that also incorporates snippets of other, unnamed characters’ speech, presented on the page in a nonlinear and often overlapping fashion that looks like someone put an e.e. cummings poem through a Zalgo text generator. His intentions are unclear, but he seems to stand as a metaphor for nature and our environment, which we ignore at our own peril, and Toothwort’s goal turns out to be less evil than simply self-serving, as he feeds off the speech of humans while inhabiting the very soil beneath the village. (Toothworts are part of a broad genus of plants, Cardamine, that tend to grow on forest floors, especially where the soil is damp.) His connection with Lanny relies on the boy’s fairylike character, as Lanny often speaks in riddles or makes observations beyond his years, wandering off to places he finds to be magical, and gives the sense of being barely there even before he goes missing. His mother isn’t immediately alarmed on the day he fails to return home from school because it’s so in character for him to not be where she expects to find him.

There’s a film adapation of Lanny in the works, with Rachel Weisz attached, but I have a hard time seeing this translate to any screen given how much of the book’s value derives from Porter’s poetic prose. There isn’t even that much plot to go around, which makes me fear some screenwriter will invent something to fill in the gaps, rather than letting the search for Lanny play out in something like real time, emphasizing the agony faced by Lanny’s parents and Pete as days pass without any trace. Porter is such a gifted wordsmith that I doubt any filmed version can capture what he puts on the page.

Next up: I’ve been burying myself in genre fiction during these stressful last few weeks, but I’ve got David Mitchell’s Ghostwritten next up on the shelf.

Grief is the Thing with Feathers.

I recently included a link to a podcast that featured authors David Mitchell and Jasper Fforde where, at the end of the program(me), they each had to recommend one book and make the case for it in some brief period of time – I think it was three minutes – after which the host would choose the winner. Fforde didn’t take it very seriously, naming the owner’s manual for his car, but Mitchell recommended a book by Max Porter called Grief is the Thing with Feathers, reading a passage from it as part of his allotted time. The prose was so unlike anything I’d heard before that I felt like I had to read it immediately – easy enough to do since the book is a scant 114 pages – to see how Porter could stretch that lyrical yet dark language into something the length of a novella.

The novel is certainly about grief, telling the story of a young father of two boys whose wife has just died unexpectedly, and who is understandably consumed by his grief. He is assisted, in a way, in his grieving process by the Crow, a probably-imaginary being who speaks to the Dad and protects the three of them, but isn’t always as helpful as he thinks he is, and brings his own stories of woe and insecurity. The narrative rotates from the Dad to the Crow to the Boys and back again as it traces the path of their grief from shortly after the wife and mother has died to the point where the Crow decides to leave because his work is done.

Porter’s technique here means that the book is all dialogue and internal monologue, yet he infuses so much of it – notably Crow’s, but the Dad’s as well – with imagery and a sort of curious wordplay, where Crow seems to be trying words out for the sounds of them, that it comes off a lot like poetry. Prose doesn’t look or sound or feel like this, at least not in the sorts of literature I inhabit, and it enhanced the sense of magical realism throughout the book in a way that made Crow seem far less ridiculous, even when Dad explicitly refers to him to the Boys as imaginary.

The grief of the father in Grief is the Thing with Feathers comes through intensely on these pages, with no efforts by Porter to soften or deflect the blows. The fact that the wife died without warning – it is explained how later in the book – gives the Dad’s grief an acute edge to it, combining the emotional abyss with the realization that he is now a single father of two boys who will now look to him for the emotional and physical support they had received from their mother. Porter tries to take us inside his suffering, and then gives us Crow as the foil who challenges the father in a way that helps the father towards healing without obviously (or mawkishly) doing so.

The Crow’s passages are the most memorable, and the most poetic. He’s part fabulist, part black humorist, part wordsmith: “He flew a genuflection … Ley lines flung him cross-country with no time for grief, power cables catapulted loose bouquets of tar-black bone and feather and other crows rained down from the sky.” Perhaps my favorite of Crow’s words are a bit of apparent doggerel, starting with “Gormin’ere, worrying horrid. Hello elair, krip krap krip krap who’s that lazurusting beans of my cut-out?” but ending with the revelation that “I do this, perform some unbound crow stuff, for him.”

Mitchell is himself a brilliant writer, and his recommendation was good enough for me to read Grief is the Thing with Feathers, especially when I saw how short it was. It’s one of the most remarkable novellas – not a novel, certainly, not when it’s probably less than 30,000 words – I’ve read in years, like little else I’ve ever seen, for its prose, and for its unflinching look inside the grief of losing one’s partner at the peak of love and life.

Next up: I’m treating myself with something a bit more fun than my other recent reads, Lois McMaster Bujold’s Falling Free, the first book (by chronological order) in her Vorkosigan saga series of novels.

The Personal History of David Copperfield.

When word came out in mid-2019 that Armando Iannucci (The Death of Stalin, VEEP) was filming an adaptation of Charles Dickens’ David Copperfield, I read the book in anticipation of its release, also rectifying a rather large gap in my own reading history. (I’d read five Dickens novels, two in high school and three by choice, but not this one, which Dickens himself called his favourite, and which the Guardian called the third “most Dickensian” of his novels.) The movie came out in the UK last year, but its arrival in the U.S. was delayed by COVID-19, and it just hit theaters earlier this month. It is marvelous, the best 2020 release I’ve seen so far this year, with a mostly faithful script, wonderful casting, and excellent use of the humor in Dickens’ rags-to-riches novel.

If you haven’t read the book, which I had not other than one of those Moby Books’ abridged, illustrated versions back in 1981 or so, it is the life story of its title character, from birth into straitened circumstances, through his widowed mother’s unfortunate choice of a misanthropic, controlling husband, to his indenture at his stepfather’s wine-selling business, and on and on in somewhat picaresque fashion. He encounters a host of eccentric characters, a few of whom, notably the venal Uriah Heep, have gained lasting reputation among the pantheon of literary creations, with several others providing comic relief among David’s series of misfortunes before he finally turns to writing as a vocation and finds success and financial security for the first time.

The first theatrical film version of Dickens’ classic novel in a half-century, The Personal History of David Copperfield might be most notable for the color-blind casting, although I’d argue that this choice is notable for how quickly you’ll stop noticing it. The casting itself is so perfect top to bottom that casting all-white actors couldn’t have produced a comparable result, notably Dev Patel as David himself, handling the pivotal role with aplomb, adapting to David’s changing views of the world and greater understanding of the people around him over the course of the story. Characters who are related by blood don’t share skin tone, and it couldn’t matter any less.

Many of the side characters are superbly cast as well, but none more so than Hugh Laurie as the befuddled Mr. Dick, which sees Laurie at his Woosterian best, and also gives that character a bit more to do than just to serve as comic relief. Mr. Dick’s host, David’s aunt Betsy Trotwood, is played by Tilda Swinton, who can certainly dominate a film in the wrong way when she gets to play a severe character; here, she gives Aunt Betsy more depth than the character has in the novel, making her more sympathetic and thus making it easier to understand why David is so generous to her as her own circumstances decline and he finds their relations reversed. Ben Whishaw delivers an unctuous, loathsome performance as Uriah Heep, complete with bowl-cut and affected speech that Patel later mimics to great comic effect. Peter Capaldi, the Twelfth Doctor, has a lot of fun with the shifty but good-hearted Mr. Micawber, making him a little less exasperating on the screen than he is on the page.

The movie is brisk at two hours, and spends far more time on the first half of the novel than on the second, with great length given to David’s childhood and early adulthood, including his relationship with Mr. Micawber and time in a boarding school where he meets James Steerforth (Aneurin Barnard). That choice gives us rather more prologue than David requires and rushes some of the resolutions, so that David’s marriage to Agnes is treated almost as an afterthought, and the unmasking of Uriah Heep plays out in a far less satisfying manner, because the audience has so much less time and reason to despise him, and also has less time to appreciate Whishaw’s deft portrayal of Heep’s scheming nature. The first half of the novel is important, but the second half is the payoff. The film gives you all of that payoff in the last thirty minutes, and it’s still fun, just condensed.

Iannucci and his co-writer Simon Blackwell play the story extremely straight until close to the very end. The compression of the last half of the book requires a large change to the arc with Dora, which the screenwriters handle in a way that also comments on Dickens’ original story, where David marries Dora, realizes it’s unsuitable because she’s dull and needy, so Dickens has her conveniently die after suffering a miscarriage so that David can marry Agnes. Dora here is even sillier than she is in the book, making her a great comic presence, but rather than kill her off, the writers give her the perspicacity to find her own way off the stage. The Ham/Emily/Steerforth subplot, itself rather tangential to David’s own narrative, also has a rather significant change that I would argue is less successful even though Dickens’ own handling of that arc relied too much on coincidence.

I had no trouble following the plot, because I’d read the novel recently, but I do wonder how well viewers could follow the plot, especially the last half hour or so, if they had no exposure to the book or previous adaptations. It’s the Tinker, Tailor, Soldier, Spy problem – a novel of 500+ pages is hard to condense into a two-hour film without losing something, and you’d rather lose details or exposition than plot or character development. Perhaps the Emily subplot could have gone instead, as essential as it is on the page, because so much time is spent on David’s childhood visit to the seaside hovel where she lives, to give us more time with Heep and David at the law firm so we better understand their rivalry and why Heep is so odious. (We do see plenty of Mr. Wickfield, played by Benedict Wong, in various stages of inebriation.) Yet The Personal History of David Copperfield is joyous because of what Iannucci and Blackwell retained – Mr. Dick, Dumb Dora, the Micawbers – and how well Dev Patel brings that title character to life.

Early Riser.

Jasper Fforde was one of my favorite authors in the first decade of the 2000s, from his Thursday Next series (starting with The Eyre Affair) to the two Nursery Crimes stories to his Shades of Grey, a brilliant, dystopian novel that ended on a still unresolved cliffhanger. I even got my daughter hooked on his young adult trilogy that began with The Last Dragonslayer, also still hanging as he decided to make it a tetralogy. All of his output screeched to a six-year halt, however, due to what he termed a “creative hiatus,” that ended with the long-awaited release in early 2019 of a new, standalone, self-contained novel, Early Riser.

Fforde started talking about this novel in the early 2010s, although I think it has undergone many changes since that point. It’s also a dystopian story, unrelated to Shades, this one in an alternate universe where the planet is exceptionally cold and humans must hibernate during winters. Set in Wales, where Fforde lives, the book follows Charlie Worthing as he’s brought into the equivalent of the night police in this world and uncovers a plot around “nightwalkers,” people whose cognitive functions have been severely impaired by interruptions to their winter sleep cycles. Such people, who kind of resemble docile zombies, take on menial labor tasks for the conglomerate HiberTech, which also produces the drug (Morphenox) that allows people to hibernate in dreamless sleep that doesn’t require the kind of calorie-loading other species must undertake before several months of slumber.

Fforde’s genius in all of his books prior to Early Riser was his humor, which played out in multiple ways, from slapstick to wordplay to more ornate situational gags. It’s almost completely absent in Early Riser, and there are a few points where it seems like he’s trying to be funny and failing – none more obviously so in his character names, which has turned from an amusing sideline from earlier books (e.g., just about all characters in the Thursday Next series have absurd names, from the title character to Braxton Hicks to Brikk Schitt-Hawse) into a tired bit here. Just one character has a clever name in this book, and I can’t mention it here because of the spoiler involved, but it’s not even a bad pun – just a smart, slightly esoteric reference that made me think, “yeah, actually, that is a pretty good name.”

The rest of the story, however, just isn’t funny in any way. So many reviews cite how hilarious the book is, but it’s not – the story itself feels serious, and most of the plot itself tends towards the serious side. I can see places where Fforde tried to add some levity, such as the occasional, bold-and-italic “Whump” lines that indicate somebody got hit by surprise, but his light touch with dialogue and story are absent here. It makes sense on some level that Fforde is trying to tell a more serious tale here, with both an unsubtle climate-change allegory and a more directly anti-corporate take than the parodic Goliath of the Thursday Next series, but it’s distracting to read Fforde’s voice as if its affect has gone flat.

As for the story itself … it’s fine, nothing more. I never felt all that invested in Charlie’s story, or the person he ultimately tries to save, in part because I knew the former was going to work out (and had a rough idea of how) and because the latter character isn’t well developed enough before she ends up in jeopardy. It seems like Fforde might have wanted to go to a darker, creepier place than in his other books, but pulled up a little short rather than committing fully to creating something so contrary to his prior work. The dark of the novel – there are multiple scenes set outside in blizzard conditions, so Charlie can’t see what’s happening – doesn’t quite lend itself to the sense of foreboding that Fforde seemed to want. The result undermines a bit of the allegory within the book as well: I could understand the goal of the climate-change metaphor, but it felt distant from the plot itself.

The good news, I suppose, is that the creative hiatus is over, and Fforde’s next book, The Constant Rabbit, is due out in the UK in July of 2020, to be followed by the fourth and final Dragonslayer book within twelve months. He still owes us the Shades of Grey sequel and I suppose one more (final?) Thursday Next novel, but at least now he’s back to writing regularly.

Next up: I’m almost through Manjit Kumar’s Quantum: Einstein, Bohr, and the Great Debate About the Nature of Reality as well as Alan Alda’s If I Understood You, Would I Have This Look on My Face?

Bring Up the Bodies.

Hilary Mantel was the first author to win the Booker Prize for two novels in the same series, and the first woman to win the award twice, taking the 2009 honor for Wolf Hall, then winning again three years later for the sequel Bring Up the Bodies. (The third book in the trilogy, The Mirror and the Light, is due out in March.) While Wolf Hall was long and a bit arduous to read, it was full of plot and intrigue, and ultimately rewarded the effort required to get through it. Bring Up the Bodies, however, is just as tough to get through, without the plot rewards, with really just one thread through the book, and that one not a terribly compelling one.

Thomas Cromwell remains the protagonist, and Henry VIII is still the king, but now Anne Boleyn is the queen and Katherine, her predecessor, is in exile in the country. Henry still doesn’t have a male heir, however, and his patience grows thin just as his ardor grows for Jane Seymour, Medicine Woman. It falls to Cromwell, as always, to find a solution, but this one is far bloodier than the one he cooked up to help depose Katherine from the throne. Anne was eventually accused of adultery, including sleeping with her own brother, and beheaded, although the charges are poorly substantiated in historians’ view and in Mantel’s retelling, where it seems clear that she thinks it was all cooked up by Cromwell at the king’s behest.

The fundamental problem with Bring Up the Bodies is that that is the entire plot. There’s the same backbiting from the first novel, but the development of additional characters is gone. Cromwell’s son Gregory and ward Rafe Sadler are barely here. The members of the royal retinue are all replacement level, simpering and obsequious with one face, vindictive and Machiavellian with the other. Anne’s character is also not interesting enough to work as the primary antagonist; she’s very one-dimensional, less flirtatious than in Wolf Hall and more plotting and desperate as she realizes her place is slipping. She, too, fails to provide Henry with an heir – maybe his boys can’t swim? – and miscarries more than once in the course of this novel, which would explain the deterioration of her character but also makes her far less interesting in the retelling. Cromwell himself is also less three-dimensional here now that he’s widowed and his daughters are gone, all dead of the “sweating sickness” that affected London in the 1400s and 1500s.

Mantel’s habit of referring to Cromwell merely as “he,” only clarifying that she means him when it would be impossible to discern to whom “he” referred, grated on me in Wolf Hall and here it’s just exhausting. There are still lots of men running around, many of them with similar enough names and variable jobs, so that it’s not easy to keep them straight; I know Mantel didn’t make up the names, but a Cranmer and a Cromwell who is sometimes called “Cremuel” by the Francophone characters, plus a bunch of Henrys and Harrys and Thomases, is a mental burden not justified by the story around them all.

This won the Booker Prize because, in the words of the chairman of that year’s judging panel, Mantel “has rewritten the rules of historical fiction.” That may be true – it seems like Mantel works to stay within what we do know of the era and its personalities, creating a story with plausible details and a compromise in the dialogue that makes it readable – but it doesn’t make the story gripping, and I’m not clear on whether she rewrote those rules of historical fiction in this book or the first time she won the prize.

Next up: Jasper Fforde’s Early Riser, his first novel in six years.

Stick to baseball, 10/5/19.

Nothing new from me this week other than a Klawchat and a Periscope video as I try to finish off the first draft of my upcoming book The Inside Game: Bad Calls, Strange Moves, and What Baseball Behavior Teaches Us About Ourselves, now available for pre-order. My next ESPN+ column will be a dispatch from the Arizona Fall League.

And now, the links – fewer than usual, for the same reasons, but these should get back to normal by the end of the month:

The Golden Compass.

Philip Pullman’s His Dark Materials trilogy is about to get a new adaptation this fall, with the BBC and HBO distributing a television series based on the three books, starting with The Golden Compass (also known as Northern Lights). That book also appeared on the Guardian‘s list of the 100 greatest novels ever written that I’ve sort of been working my way through, which seemed to make this an apposite time to start Pullman’s work with this book, which is a cold, dispassionate counter to the very fantasy novels Pullman seems most apt to criticize. It appeared on the Guardian‘s list of the 100 greatest novels that I’ve been working my way through the last few years.

The protagonist is Lyra Belacqua, around 11 or 12 years old at the start of the book, whose somewhat idyllic life in a castle in England in a universe parallel to our own is interrupted both by the mystery of children vanishing around London and the arrival of an enigmatic woman, Mrs. Coulter, who takes a specific interest in Lyra’s future. In this universe, all humans have familiars known as “daemons” who can shapeshift while their humans are young but who eventually take on a permanent form when their persons reach adulthood. The mystery of the children, which of course eventually merges with the story of Mrs. Coulter (and more), appears connected to something known as Dust as well as to the phenomenon of aurora borealis, colloquially known as the northern lights. The quest to solve the mystery takes Lyra on a voyage north to the archipelago Svalbard, which (in our universe) hosts the northernmost permanent human settlement on earth, on board a vessel filled with “gyptians” (essentially Roma), some of whom have lost children to the kidnappers.

Everything in this book is cold, including the setting and the weather. Svalbard sits at 74 to 81 degrees latitude, so in the winter it’s dark and average temperatures are below freezing. Much of the book’s action takes place there or on the trip there, and it is perpetually dark and cold in the prose, which mirrors everything about the main characters. Lyra, the ostensible star of the book, has very little charm or character of her own; she has the drive to find her missing friend, and believes she’s on a mission to help her uncle Asriel and thwart Mrs. Coulter, but she’s surprisingly inert compared to the child heroes of other classics of YA fiction. None of the gyptian characters is memorable, and even Mrs. Coulter is on the dull side for a villain in either YA fiction or in the sort of sci-fi/fantasy genres in which Pullman is treading. Great YA genre fiction endures because of readers’ connections with the main characters as much as the plot, and The Golden Compass misses on that point entirely.

The plot, however, has much more going for it, although much of the question at its heart remains unresolved at the end of the first book. The conceit involves the many-worlds hypothesis of quantum physics, although the exact mechanism by which it works in the books isn’t revealed in the first part of the trilogy – discovering that is tied into the various mysteries of the missing children and Mrs. Coulter. Pullman abjectly despises C.S. Lewis’ Chronicles of Narnia, writing in a 1998 essay of “the misogyny, the racism, the sado-masochistic relish for violence that permeates the whole cycle” of Lewis’ books, and at the very least he’s right about the violence part. There’s some violence in The Golden Compass, but it’s secondary to most of the action and is never glorified. What Pullman doesn’t mention in his essay is his antipathy for Lewis’ specific version of Christianity; in response, his novels rely not on myth but on science, trading elements of fantasy for the grounding of science fiction, but in the process he loses some of the whimsy of better fantasy series like the Harry Potter novels or even the more mature Magicians trilogy.

The second book in the series shifts the setting to our version of earth, and the third combines the two to finish the story. I’m mixed on whether I’ll continue; I’m a completist by nature and hate dropping series without finishing, but I’m also not driven to complete Lyra’s story or see how Pullman resolves the Dust mystery.

Next up: Hilary Mantel’s first Booker-winning novel, Wolf Hall.