→ June 6, 2022
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Arthur and George.

Julian Barnes’ The Sense of an Ending is one of my favorite novels of this century, and was adapted into a solid if very understated (or just very English) film a few years ago, so I’m likely to pick up any book of his I find lying around. Arthur & George precedes that book in Barnes’ bibliography, making the Booker Prize shortlist in 2005, six years before he won the honor for Sense. It’s a beautifully written fictionalization of a true story involving Sir Arthur Conan Doyle, but lacks the tension and conciseness that made his subsequent book such a standout.

The Arthur of the title is the author who created Sherlock Holmes, while George is George Edalji, a bookish, half-Indian lawyer who was wrongly accused of a series of animal murders known now as the “Great Wyrley Outrages.” Edalji’s family had been harassed for years via letters and malicious pranks – thank goodness SWATting wasn’t a thing in the 1890s, as their tormentors would certainly have done it – while the local constables did nothing to stop the harassment, often intimating that George was the culprit in his own abuse. He was convicted on circumstantial evidence, boosted by prejudice and prosecutorial misconduct, and later released from prison without explanation or pardon. He wrote to Conan Doyle, who took it upon himself to prove Edalji’s innocence and campaign for a pardon, which he achieved after eight months of “detective” work of his own.

The novel follows the lives of the two men, starting in childhood, with brief sections on their upbringings (collected as “Beginnings”), followed by a long exposition of Edalji’s story (“Beginnings with an Ending”), then one on Sir Conan Doyle’s efforts to clear George’s name (“Endings with a Beginning”), before wrapping things up in a section whose title you can probably guess. The two middle sections constitute the bulk of the book, and that’s sort of where Barnes gets into trouble, as we get way too much of Conan Doyle’s personal life. His first wife was not a great match for him, and she spent the last several years of her life with tuberculosis. While still married, he met Jean Leckie, who would become his second wife after they maintained a chaste relationship for nearly a decade while, in effect, waiting for his first wife to die. Meanwhile, he also dabbled in spiritualism, his interest in (and gullibility towards) which only increased after his son died of wounds he suffered in the Battle of the Sonne.

Barnes tries to weave Conan Doyle’s personal life into the mystery around Edalji and the Outrages, but the former simply cannot compete with the latter: The crimes, trial, and Conan Doyle’s investigations have far more narrative greed and greater tension than his love life or his weird dalliances with superstition. There’s just nothing that interesting about his platonic friendship with Jean; their meetings are fraught with whatever the opposite of tension is. They’re flaccid. I couldn’t wait for any scene involving the two of them or spiritualism to be over with, so Barnes could get back to the good stuff – anything around Edalji, whether it was the harassment campaign, the accusations, the trial, or the investigation to clear his name. Those passages are electric, and if Barnes wanted to stop writing serious fiction at age 76, he could probably crank out of a couple of good detective novels before he’s through.

Fortunately for Arthur & George, there’s enough of the mystery to make up for the weakness of the other material, and Barnes makes it work without changing any of the substance of the real-world case, even where it makes Conan Doyle look like a bit of a hypocrite – he claimed another boy committed the crimes, but his case was just as circumstantial as the one that got Edalji convicted. It’s not in the same league as The Sense of an Ending, which was taut and focused, yet landed such a massive impact with its resolution, with the same clear and evocative prose, but good enough to get over the recommended line for me.

Next up: I’m reading this year’s Pulitzer Prize for Fiction winner, The Netanyahus, by Joshua Cohen.

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→ May 9, 2022
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The Love Songs of W.E.B. Du Bois.

Honorée Fannone Jeffers’ debut novel The Love Songs of W.E.B. Du Bois is one of the best 21st century books I’ve read, an epic work of historical and contemporary fiction full of three-dimensional characters, evocative places, and an exploration of how personal and generational trauma echoes through years and family trees. Winner of this year’s National Book Critics’ Circle Award for Fiction, it’s an actual heartbreaking work of staggering genius.

The novel follows two stories in the same family line, focusing on Ailey Pearl Garfield, who is three years old when the novel opens and a graduate student by the time it closes. She’s one of three sisters born into a well-off Black family in an unnamed northern city, but whose roots are in Chicasetta, a small town in rural Georgia that, as we learn over the course of the novel, went from Creek territory to slave plantation to village, with Ailey’s ancestors there throughout. Her narrative follows the traumas of her modern family, especially those of her sister, Lydia, and herself, as we learn early in the novel that both were molested by their grandfather over a period of several years.

Their ancestry traces back to the Creek people who originally lived on that land until white colonoists tricked them out of it, eventually kicking them off the land and building a brutal cotton plantation there. The primary slave owner, Samuel Princhard, was especially vile and his crimes seem to pass through subsequent generations like a genetic inheritance, although eventually some of the slaves escape the plantation and create new lives for themselves after the Civil War. Ailey’s connection to her ancestors runs through three aged relatives still living in Chicasetta, especially her great-uncle Root, a former academic and expert on Black history who loves to debate the relative merits of W.E.B. Du Bois and Booker T. Washington. When Ailey makes her meandering way to graduate school, after an abortive attempt at pre-med to follow in her father’s and her oldest sister’s footsteps, it is Uncle Root who both opens doors for her in a predominantly white world and who coaches her through the worst moments. Along the way, characters die, come in and out of Ailey’s life, and dredge up old memories, all of which collides when Ailey’s research into her own lineage as part of her dissertation runs headlong into Princhard’s story and the many people who lived, worked, and died on that plantation.

The Love Songs of W.E.B. Du Bois runs to nearly 800 pages, but Dr. Jeffers has created an immersive world – two of them, really – where, for me at least, the reader is as close to the scenes as possible. Few writers can evoke images and create characters this real and solid, let alone in a debut novel. Ailey and Uncle Root are the standouts, but they’re just the head of a wide cast, and even many of the secondary characters are still memorable and move beyond stock status. Jeffers also weaves a discussion of intersectionality throughout the book, mostly that of Black feminism and the roles of women in Black American society as well as in American society at large – and yes, the phenomenon of white women leaving Black women behind in their fight for rights appears several times, including in probably the weakest character in the book, Rebecca, who only appears briefly near the end.

The historical passages in Chicasetta, on the plantation and before the white settlers seized the land, have the same gauzy feel of some of the great works of Black American literature set in that time period, including Beloved, with elements of magical realism at play. Jeffers centers the slaves in the story, treating the brutality of their lives as a matter of fact, which I found increased the horror of it – this was just an accepted part of their reality, living under a capricious, vengeful god in human form. She still does give time to the slaveowning family, but that’s because telling their story becomes a critical part of telling Ailey’s.

Ailey herself is a beautifully flawed, realistic character, often exasperating in her choices or even words but ultimately the hero of the work – and the hero of her family, the one who doesn’t just survive her trials but steps forward to reclaim the family’s legacy and take it forward for future generations. I imagine someone will try to turn The Love Songs of W.E.B. Du Bois into a movie, but this book has the rich storytelling of the best narrative television series we’ve seen. It deserves the longer treatment, or none at all. And of the candidates I’ve read for this year’s Pulitzer Prize for Fiction – which includes the very good Hell of a Book, by Jason Mott, winner of the National Book Award – this is by far my favorite.

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→ December 17, 2021
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The Luminaries.

Eleanor Catton won the 2013 Booker Prize for her massive novel The Luminaries, becoming the youngest-ever winner of the prize, all the more remarkable for how much the novel sounds like the creation of a much older mind. It’s part mystery, part historical fiction, a dash of picaresque, and at times a bit of a mess, with one of the most untidy endings I can recall in a novel of this magnitude.

The Luminaries takes us to 1866, to New Zealand’s South Island, and walks us into a gold-rush town called Hokitika with the newly arrived prospector Walter Moody, who is there to pan for gold, and instead wanders headlong into a series of interconnected mysteries in the town involving a corrupt sea captain, a missing goldpanner, a dead hermit, an opium-addicted prostitute, a possibly-bogus will, a vendetta, Sinophobia, a M?ori miner, and more. The twelve men he meets are all caught up in the web of mysteries in some way, with their connections forming an elaborate tapestry that puts Moody (and the reader) well into the weeds before any resolution appears. The mysteries are gripping, but they’re far better because of the strength of all of the characters Catton has created; if anything, Moody is this novel’s Nick Jenkins, the observer character who is himself not all that interesting.

The central mystery revolves around that dead hermit, Crosbie Wells, and his unknown relationship to the conniving captain Francis Carver, and their shared connection to Anna Wetherell, the prostitute who was found unconscious, possibly as a result of a failed suicide attempt, on the side of a road the same night that Wells was found dead in his hovel. That question drives the plot, but the way Catton unfurls it, character by character, shows incredible plotting for such a young novelist, and allows her to give the reader a cornucopia of fascinating and often weird characters, most sympathetic, a few decidedly not so. You come for the mystery, but you stay for the weirdos.

Catton did make two significant structural choices in the novel that didn’t quite work for me. She used the signs of the western zodiac and other astrology tidbits to title the chapters, and the twelve men are supposed to correspond to those signs. Astrology is woo, and if there’s a real connection between the zodiac signs and anything in the book, I missed it, and I’m not terribly sorry about it. She also concludes the novel’s main narrative somewhat abruptly, and then jumps back in time to provide a mostly linear narrative of what actually happened before Moody arrived, an answer key of sorts at the back of the book. Doing so is not an inherently bad choice – every mystery needs its solution – but the switch was sudden, and after the climax of the main story, which has an unexpected event that triggers the end, we get very little resolution or explanation of what happened or how the main characters react to it.

I’ve read plenty of 800+ page novels, but few are actual page-turners. The Luminaries flew by, with prose that evokes the 19th century without sounding like it was written in the 19th century – there’s some formality, some nods to colloquial English of the time, but the majority of the prose reads like it was written more recently. That central narrative gripped me from fairly early on in the story, and Catton increases its complexity (and thus the reader’s confusion) quite well before the gradual revelations of different characters’ parts in the overall drama. The Booker Prize winners’ list is a real mixed bag, but this is one of the better ones I’ve read – and one of the most readable, too.

Next up: I’m partway through this year’s Booker Prize winner, The Promise, by Damon Galgut.

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→ February 14, 2021
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The Shadow King.

Maaza Mengiste’s 2020 novel The Shadow King was nominated for the Booker Prize last year, making the shortlist before losing to the Scottish novel Shuggie Bain. An epic war novel that also comes across as deeply personal – which, it turns out, it is – The Shadow King also tells a forgotten story of the roles women play in wartime, roles that are not limited to staying home waiting for the men.

Set in Ethiopia in 1935, the main narrative revolves around Hirut, an orphaned girl taken in as a servant by a neighboring couple, Kidane and his wife Aster, as well as the nameless cook who also works for them. Kidane was friendly with Hirut’s parents and agreed to care for her, but Aster sees her as a romantic rival, and becomes increasingly abusive to Hirut through the novel’s first section. The cook has her own complicated, longtime relationship with Aster, and now tries to protect Hirut, as the two share cramped quarters while the vain Aster appears to live in relative luxury, demanding material rewards from Kidane and clutching them like heirlooms.

Then war arrives, in the person of the Italian fascisti, as the Italian tyrant Benito Mussolini attempted to annex the kingdom of Ethiopia, which they had tried previously to control via two prior wars and a disputed treaty. Their arrival leads Kidane to head off to war, but rather than waiting behind, Aster also grabs a gun and departs separately, also intending to fight, bringing Hirut and the cook with her. While at the front, they meet Minim, a poor man who happens to bear a strong resemblance to the Emperor, Haile Selassie, who ruled from 1930 to 1974 and was the last in a dynasty of rules that dated back to the 13th century. Selassie had fled to England, where he was ruling in exile (and comfort), so the leaders of the Ethiopians’ untrained army, with simple weapons and no armored vehicles (compared to the Italians’ modern weapons and tanks and highly trained soldiers), realize that seeing their king would help motivate the soldiers, so they use Minim as a stand-in so the fighters would believe Selassie had come to join them at the front.

Mengiste sets you up to think Hirut will be the downtrodden heroine with whom you should sympathize, with Aster the antagonist, but the novel isn’t that linear in plot or purpose. Aster takes on a new role when the war begins, while Hirut also just becomes less central, and Kidane turns out to be less a protector than Hirut originally thought. Mengiste also introduces a second subplot around the Italian photographer Ettore, a Jewish man who is serving a government he knows may choose to end his liberty or his life at any time, and that he learns has likely killed his parents, even as he continues to document the war and the army’s killings by photographing every Ethiopian they execute in their final moments. His story and that of the women will, of course, intersect before Ethiopia falls and the novel ends.

This is a war novel, and a feminist one too, but in no way does Mengiste let the latter mitigate or soften any part of the former – her women are strong, and unwilling to be limited by any social customs that keep women from fighting when the country’s existence is at stake. The Shadow King is brutal and violent. Her descriptions invoke the dry, hot, dusty climate where the soldiers gathered to plan guerrilla attacks and futile defenses – the Ethiopians fought for about 16 months, but succumbed in 1937 – and where Minim takes on the role of body double. They also add to the sense of desperation around Ettore, a noncombatant in the service of a country that views him as less than human and that will, soon enough, be willing to send him to his death, but who is every bit the stranger in a strange land in Ethiopia and visibly an intruder and enemy to the native population. The juxtaposition of the stories can be jarring, certainly incongruous, but their intersection is one of the novel’s most powerful moments, combined with the return of Haile Selassie from exile and the aftermath of the Italian occupation. I haven’t read Shuggie Bain and can’t comment on whether this is better, but I easily understand its nomination.

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→ February 6, 2020
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The Nickel Boys.

Colson Whitehead won both the Pulitzer Prize and the National Book Award for his last novel, The Underground Railroad, which re-imagined that escape network as an actual subterranean train system that helped slaves leave the South before the Civil War. His follow-up, The Nickel Boys, stays in the world of the mundane, drawing on the true story of a violent ‘reform school’ in the South to tell yet another dazzling, compelling story about race and the experience of people of color in the United States, and how white elites have continued to suppress the black populations in the South long after the Civil War was over.

The Nickel Boys takes place largely in the panhandle of Florida, near Tallahassee, at a fictional reform school for juveniles called the Nickel Academy, where white and black boys are separated into different houses, and the treatment is brutal and dehumanizing. It’s based on the Arthur G. Dozier School for Boys, which operated for over 100 years and at one point was the largest institution of its type in the country. The school closed in 2011 after a massive state investigation into charges of abuse, and a year later Erin Kimmerle, a forensic anthropologist from the University of South Florida, used ground-penetrating radar to find mass graves of on the site. They’ve found an estimated 80 corpses already, with exhumations ongoing. (The State of Florida officially apologized to the surviving boys in 2017, and as of September of 2019, after two-plus years of delays, work finally began on building memorials to the boys who died at Dozier and its satellite campus.)

Whitehead draws on survivors’ accounts to create the Nickel Academy, building his narrative around a boy named Elwood, arrested for being a passenger in a car that may have been stolen, ruining his hopes of bettering himself by continuing his education. Elwood has a strong moral compass, one that sometimes works against him because he speaks up when the world thinks he shouldn’t. Once imprisoned at Nickel, he meets Turner, another young African-American inmate who matches Elwood’s idealistic view of the world with an equally powerful cynicism, and a sense of self-preservation that he tries to impart to Elwood to keep the latter boy from meeting the fate of others who’ve ‘disappeared’ in the middle of the night.

Life at Nickel is about what you’d expect for black boys at a reform school run by whites in the 1950s and 1960s. They’re barely fed, because the administrators skim off the food sent for the black kids (less so when it’s for the white boys across the property) and sell it to local restaurants; they do the same with other supplies, like those for the boys’ education. They’re beaten in a building called the White House – the same as the name of the actual building that still stands on the Dozier property where illicit beatings took place – and many are sexually assaulted by guards. Boys who try to escape or otherwise draw the ire of the administration are taken from their beds in the middle of the night and tortured to death, after which their families – if they have any – are told that the boys ran away. There’s a nominal system for earning your way to release if you follow the rules and don’t push back, although in Whitehead’s depiction it’s hard to see many boys running this gauntlet successfully, given the venality of the administrators and bloodthirst of the guards.

The narrative itself revolves around Elwood and Turner, and Elwood’s own hopes that he’ll earn his way out – although the guards take him to the White House once – and tell the world about what’s going on at Nickel. Whitehead could have made this story even more brutal than it was, but instead he gives the reader just enough to depict the inhumanity of the school without dwelling on lurid details. This is a story of two boys, of two different ways of facing their incarceration and subjugation, and of a society that didn’t care at all about a few more dead black boys. Nothing Whitehead can write here is as damning to Florida, and to the American South, as what actually happened at Dozier and how long it has taken the state to even acknowledge the crimes committed against children of color at the school, but the way he depicts these two boys, especially the depth of Elwood’s character and the tragedy of his backstory, make The Nickel Boys an immersive and compelling read even though you know that any page could bring a scene of unbearable violence. I have no means or justification for predicting the Pulitzer winners, but if Whitehead wins for the second time in four years I won’t be the least bit surprised.

Next up: Julia Phillips’ Disappearing Earth.

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→ September 2, 2019
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Wolf Hall.

Hilary Mantel’s Wolf Hall won the British author her first Booker Prize, and the sequel, Bring Up the Bodies, earned her her second a few years later, with the two novels also becoming a six-part BBC miniseries under the former’s title. Wolf Hall is an achievement, an incredibly immersive, precise work of historical fiction that, unlike so many reimaginations that feel untrue to their times, puts the reader completely into the mode and culture of its time period. It’s a long go, at 600 pages and somewhat dense with scenes that set mood rather than advancing the plot, and Mantel has some stylistic quirks that made reading it more difficult than it needed to be, but on balance the journey was worth the effort.

Wolf Hall is the story of Thomas Cromwell, with a brief prologue on his youth but primarily focused on his time in the royal court, advising King Henry VIII during the period when Hank was trying to divorce his wife Katherine so he could marry Anne Boleyn. The hitch, of course, is that in the 1500s the Catholic Church did not recognize divorce – oh, wait, they don’t recognize it now, good job fellas – yet they were still the quasi-official faith of England until the King broke with them in 1533 over this very issue. These were fraught times politically; the price of exclusion or expulsion from the King’s circle could be imprisonment in the Tower of London or execution, often after torture. Cromwell was successful at navigating these waters, both in terms of saving his own hide (during the time covered by this novel, at least) and pushing his personal agendas, often involving personal enmities against the likes of Thomas More or Stephen Gardiner.

Mantel is operating in tricky territory because these are all real historical figures and there’s a fair amount of existing material on their actions, but she manages to create compelling, credible characters out of many of them, notably Cromwell and the King. Even secondary characters like More, who is insufferable in his own idiosyncratic way, become interesting in Mantel’s depiction because she gives them enough depth to make them more than stock figures. It’s really the Cromwell and Henry show, though, with Cromwell the clear lead for multiple reasons, not least is how Mantel takes his own personal sorrows – the death of his wife and several of his children in the still unknown epidemic of the “sweating sickness” that hit England in many summers over a 60-plus year period. (Wikipedia cites one hypothesis that it was a type of hantavirus, a form of infection largely unknown until an outbreak in the American Southwest 1993.) Mantel manages to incorporate that thoroughly into Cromwell’s character and inner monologues without relying on it too overtly or allowing it to become his dominant feature.

The book is long, by which I mean it’s long even for 600 pages – it’s wordy and Mantel tends towards Dickensian descriptions. There are scenes here that are entertaining enough to read but don’t need to be in the book; they’re superfluous to the plot, even though they fit with the rest of the material. Mantel also rarely refers to her protagonist by name; Cromwell is usually just “he,” or is quoted without any pronouns attached for attribution. If you see a “he” without a nearby name to which it might connect, then that’s Cromwell. It’s a clear stylistic choice on Mantel’s part, and I found it incredibly annoying, because no matter how often she did it I could not get to a point where I would read an unattached “he” and assume, by default, it was Cromwell. In scenes with multiple speakers – which occurs frequently – reading the dialogue without Cromwell’s quotes tagged with his name was like listening to an old vinyl record with a small scratch on it. I often had to re-read a few lines once I realized Cromwell was in the conversation and hadn’t put his quotes into his ‘voice’ in my imagination.

There’s also too much mention of various couplings and proposed marriages among tertiary characters, exacerbated by the similarities in so many of their names. Mantel’s hands were tied on the latter point, but I’m also not sure if we needed details on the various schemes and affairs among non-core characters – even Cromwell’s children and wards, whose acts may have affected him but didn’t matter to the plot of this particular book.

I’ll certainly continue to Bring Up the Bodies, especially since it’s shorter, since I enjoyed Mantel’s storytelling and her prose isn’t actually a problem even though it’s not the style I prefer. (The third book, which I assume will move directly on to the shortlist for the Booker Prize, is due out in March.) I’m curious if any of you have seen the miniseries, which boasted a very impressive cast and earned great reviews and multiple awards.

Next up: Elizabeth McCracken’s novel Bowlaway.

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→ August 16, 2018
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The English Patient.

I’d never read Michael Ondaatje’s 1992 novel The English Patient until late May of this year, despite recommendations from multiple people, its status as a Booker Prize winner, and its adaptation into an Oscar-winning film (that I still have not seen). This past week, a public poll voted it the best Booker winner of all time (the so-called “Golden Booker”), choosing it from five candidates, one from each decade of the award’s history, but I tweeted that I wouldn’t even put it top five among the 14 Booker winners I’ve read; my favorite is Kazuo Ishiguro’s The Remains of the Day, which wasn’t on the shortlist. While I do like Ondaatje’s writing, I couldn’t possibly have felt less connected to a story than I did to this one, about four people holed up in a damaged Italian villa in the wake of World War II.

The patient of the title might be English, and is certainly modeled after the Hungarian count Count László de Almásy, although the Count didn’t crash and burn in the Sahara as this patient did. The fictional version is burned over nearly his entire body and has no hope of recovery. He’s cared for by the shell-shocked nurse Hana, and they’re joined by the Sikh sapper Kip and the Canadian thief Caravaggio, with their four stories told in intertwined narratives, with the patient’s recollections of his affair with a friend’s wife and eventual betrayal forming the book’s foundation.

Although the patient’s story sits at the center of the book, Kip’s narrative is both more interesting and more insightful, and I think a book about him would have held my attention and my empathy much more than the distant plot about Almásy did. Kip is Indian-born and goes against the nationalist leanings of his brother when he volunteers to become a sapper in the British army, joining an all-white unit that keeps him at arm’s length even when he proves skilled at his job. He is effectively drafted into a more elite group headed by Lord Suffolk (also based on a real person), who trains the best sappers in disposing of new types of bombs, but this brief honeymoon of belonging ends abruptly and cuts Kip adrift, landing him eventually into an abortive affair with Hana. The way that ends is one of the novel’s strongest moments, as an external event bursts the bubble in which Kip has been hiding for some time – the same one that Hana refuses to leave even though the war in Europe has ended.

I suppose part of the popular appeal of both the book and the film is that the patient’s recollections of his affair with Katherine Clifton, portrayed in the film by Kristin Scott-Thomas, depict some sort of great romance – especially founded as it was on a deep intellectual connection – but that scarcely comes across in the pages of the book, between Ondaatje’s fuzzy descriptions, probably to emphasize that we are reading the muddled memories of a gravely injured man, and the absence of any depth to Katherine’s character.

Perhaps the movie develops her character more, or fleshes out other parts of the story, but while I respect Ondaatje’s dedication to historical accuracy in borrowing these personages and his deft writing, I felt utterly detached from this story from start to finish.

Next up: Min Jin Lee’s 2017 novel Pachinko.

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→ April 10, 2018
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Lincoln in the Bardo.

George Saunders is best known for his short stories, including the award-winning collection Tenth of December, so there was tremendous anticipation for his first full-length novel, Lincoln at the Bardo, when it was released last year; the transition from short form fiction to long is not a simple one, given how few writers (F. Scott Fitzgerald comes to mind) excelled at both. Lincoln at the Bardo is short, experimental, comprising entirely quotes from real and fictional sources, set in a sort of purgatory on earth, where Saunders gives us a grieving Abraham Lincoln among a multitude of shades who have yet to cross over, including that of his eleven-year-old son, Willie. (In Tibetan Buddhism, the bardo is the period of existence between one’s death and next rebirth.)

The novel, which won the prestigious Man Booker Prize last year, opens with Willie dying of fever in an upstairs bedroom even as a White House party takes a place below, while we are also introduced to the three shades who will be our guides to this mysterious netherworld Saunders has constructed in the graveyard where Willie will be laid to rest. These spirits can interact with each other, but can’t be seen or heard by any living characters in the novel (a cheat I’m glad Saunders avoided); they can ‘enter’ a living body, and see his thoughts or feel his feelings, but the living are unaware of the shades’ presence or existence. The spirits appear incorporate to each other, and most carry some manifestation from their lives, often delivering substantial comic relief to a novel that by its very subject is weighty and tenebrous.

The three guides – Reverend Everly Thomas, who is unsure why he appears to have been condemned to hell; Roger Bevins III, a gay man who killed himself when his lover left him; and Hans Vollman, whose story is too funny to be spoiled here – try to convince Willie’s shade to cross over to the afterlife, which the shades we meet in the graveyard by and large have declined to do. Willie’s reluctance comes about because his father visited him in the graveyard and has promised to return, so Willie decides to stay, unaware of the significant consequences that can arise from this refusal. His father does return, leading to the climactic sequence where the shades all work together to try to convince Willie to cross, or to get his father to say something to accomplish the same, with unintended, tragicomic results.

The story unfurls entirely through quotes, many of which are drawn from contemporary newspaper accounts or later anthologies of letters or remembrances of the period, often showing how inconsistent descriptions of the same event can be – or how diverse sources can still agree on something like the sadness of President Lincoln’s visage even before his son’s death. Most of the quotes in the book are fabrications, either narrated by the three shades or attributed directly to the spirits who spoke them, and they run the gamut from the loquacious to the sentimental to the ridiculous, especially the Barons, a deceased husband and wife who seem locked in an eternal competition over who can swear the most, and have little shame about any peccadilloes from their previous lives. Some of these chapters are so tangential that they lead you well away from the main story around Willie and his father, and thus from what appears to be the ostensible point of the book: How do we love when those we love must die, and how do we move on with our lives when they’re gone?

Historical records of the time describe Lincoln as consumed by grief, visiting his son’s grave many times and talking aloud to his deceased son, providing Saunders with an ample starting point for this story, which gives us a President who knows he must persevere for his remaining family and for his country, but who is constantly drawn back to the graveyard and to his memories. (His wife, Mary Todd Lincoln, appears but briefly in the novel.) Saunders has also given us Willie and his comrades in the land of shade as grief incarnate; none of them can cross over until they acknowledge that they’re dead, as survivors can’t move on with their lives until they grieve and accept their losses.

I could have done without the glib ending, where Saunders gives Lincoln a little extra nudge in the direction in which the President actually took the war and his domestic policy, which felt too much like a wink and a nod to the audience. The myriad ways in which the shades interact with each other and attempt to do so with Lincoln provide plenty of comic relief, often bawdy and frequently hitting its mark, but having that aspect of the story touch actual history at the novel’s conclusion left me with a bitter taste, as if Saunders wanted to tell the reader he was just kidding about all the serious philosophical stuff that came before.

The few reviews I’ve read of Lincoln in the Bardo focus on Lincoln’s character in the book and how Saunders explores the father’s grief at the loss of his son, but that was less compelling than the novel’s inherent exploration of the temporary nature of our lives and of all of our loves. Was Lincoln’s love of his son somehow worth less because his son died so young? How do we cope with knowing that those we love will die – die before us, leaving us heartbroken, or die after us, a grief that we can only imagine and wish to prevent at any cost? Saunders tears open the paper covering up these questions, without providing pat answers, but revealing something about the human condition that I haven’t seen before in another novel.

Next up: Joan Silber’s 2017 novel Improvement, winner of the most recent National Book Critics Circle Award.

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→ January 12, 2018
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Andersonville.

Andersonville was the nickname given to a Confederate prison in Georgia that held roughly 45,000 Union prisoners in an enclosure that had no shelter from the elements, no supply of clean water, and was designed to hold a fraction of that number. Nearly 13,000 Union soldiers died at Andersonville, mostly of scurvy, diarrhea, dysentery, starvation, and exposure. So of course there’s a monument on the site … dedicated to the prison’s commander.

Mackinlay Kantor spent nearly two decades researching the prison, reading first- and second-hand accounts of life there, before publishing his book Andersonville, which won the 1956 Pulitzer Prize for Fiction. (I think it’s the second-longest winner, behind The Executioner’s Song.) The novel opens with the construction of the prison, or the animal pen that posed as a prison, and ends at the conclusion of the Civil War, with prisoners freed, slaves emancipated, and Wirz arrested. Kantor’s attention to detail and attempts to accurately portray real people as characters in his book is a marvel, and a great example for anyone looking to write historical fiction around real events and personas. It’s also a slog to read, far too detailed both in the horrors of life in the prison and on the back stories of the fictional Union soldiers Kantor created, to the point where yet another death from scorbutic diarrhea loses its impact on the reader.

Kantor frames the book with the narrative of a local family, the Claffeys, who live very close to the prison, and whose family friend comes to stay with them while working at the prison’s makeshift hospital. The Claffeys are ridiculously idealized white southerners, the mythical kind slave owner who treats the human beings he owned as if they were voluntary employees working for housing and food. It does put Ira Claffey, the father, in direct contrast to the evils of the prison, as does the fact that he has lost three sons to the war and yet does not share the antipathy towards Union soldiers that Wirz and his boss, General John Winder (also a real person), did.

Interspersed with the Claffey story are two threads revolving around the prison itself, one from the perspective of the prisoners themselves, one from the perspective of Wirz, who comes across as somewhat helpless to ameliorate conditions at Andersonville but also has no compassion for the starving, suffering men in his charge. The stories of the prisoners appear to be here to give names and faces to the individuals; humans have an easier time understanding the suffering of one person than the suffering of thousands, so perhaps fleshing out their histories increases the reader’s appreciation of the human tragedy of the prison. Some of these back stories are interesting on their own, but very few have any bearing on the main plot around the prison beyond pointing out the utter pointlessness of war, and the irony that men who survived threats before the war and then avoided death on the battlefield would waste away in a prison or, in one case, die because one of the prison guards got trigger-happy.

The scenes in the prison vary in their potency and ability to stir the reader’s interest, with the subplot, apparently based on real events, of the prisoners policing themselves when a gang called the Raiders start to rule the camp through violence and intimidation. The Regulators, as the good guys called themselves, restored a semblance of order in the chaos of the prison, and the story Kantor crafted around the group coming together and defeating the Raiders is the best subplot in the book for the way he draws the characters themselves and how the Regulators form themselves into a functioning team. (Wikipedia has an article on the Raiders that gives more credit to Wirz in encouraging the Regulators than Kantor does.)

Although books of this length and level of detail still appear today, Andersonville feels dated even if we give him a pass for the portrayal of the slaveowner or the casual racism within the book. It’s bloated with the back stories of the prisoners, and there isn’t a through line to connect those stories, Wirz, and the Claffeys beyond the existence of the prison. The story ends because the war ends. Maybe that was Kantor’s point – that there’s no closure or resolution. Some men survived, many didn’t, and there isn’t a good reason for any of it.

As I mentioned on Instagram yesterday, this completes my reading of all 90 Pulitzer Prize for the Novel/Fiction winners.

Next up: Roger Zelazny’s Hugo-winning novel This Immortal.

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→ June 25, 2017
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Land of Mine.

The Danish-German drama Land of Mine (Under Sandet) was one of five nominees for the Best Foreign Language film at the most recent Academy Awards ceremony and swept the Robert Awards, the Danish equivalent of the Oscars, last year. The story is fictional but is based on the real-life effort after World War II where 2000 German POWs, many of them teenagers or elderly men, were forced to come to Denmark to clear the up to two million landmines the Nazis had planted along the country’s western coast. Half the Germans either died or were maimed in the work, and the question of whether this constituted a war crime still hangs over Danish history. Land of Mine is sparse and taut, rarely sentimental until the very end, and doesn’t let the Danes off the hook one bit for the choice to force children to pay for the sins of their fathers. (It’s available to rent/buy on amazon and iTunes.)

The kids forced to clear the mines arrive at a Danish beach under the command of Captain Ebbe and Sgt. Carl Rasmussen, both of whom appear to be completely unconcerned with their charges’ welfare – they are human fodder for clearing the mines, and if they die in the effort, that’s the Germans’ fault for placing the mines there in the first place. One boy doesn’t even make it out of the initial training. The group includes Helmut Morbach, who is either the most realistic kid of the group or just an asshole, depending on your view; Sebastian Schumm, who is the de facto leader of the troop; Wilhelm Hahn, a naive kid oblivious to what’s ahead of him either in Denmark or after a return home; and the twins Werner and Ernst Lessner, who plan to go home and become bricklayers to help rebuild Germany now that the war is over. There’s no question over their volition here: the boys are barricaded in their little hut at the end of each work day and aren’t even fed for the first few days at the beach.

The kids don’t stand out much as individual characters, but are vehicles for telling the greater story, including how Sgt. Carl (Herr Feldwebel to the kids) ends up caring about their welfare in spite of his own misgivings and the commands from above to treat them like slaves. I don’t think I’m spoiling anything to mention that some of the 14 kids in the original group aren’t going to live to the end of the movie – they’re crawling on a beach looking for and defusing land mines, so of course there will be casualties. The movie’s impact comes more from how they’re injured or killed than how many, such as the effects of failing to feed the kids adequately, and in some of the cases we don’t really know the characters well enough to feel their losses as individuals.

Sgt. Carl, played by a relative novice actor in Roland Møller, is the moral center of the film, and his evolution over the course of the film becomes the movie’s conscience – he doesn’t want to think of the boys as people, comes to see them that way once the suffering and death begin, then is reminded of how they all ended up in this situation in the first place before he has to make one final decision to do the ‘right’ thing. Møller’s performance is dominant because most of it is so understated, and because his character gets the emotional complexity Ebbe’s and even the boys’ characters lack. That makes the ending of the film a little harder for me to accept – it’s the one true moment of sentiment, and the only part of the script that didn’t ring true. When he develops a little camaraderie with the boys, it seems only natural; he’s with them all day and starts to see them as real people, and struggles to transfer his hatred of the Nazis or the Germans over to them once he knows them. Whether the end works may depend on how much you buy into his personal transformation from the initial scene of abject hatred to the last day of work on the beach.

The characters of the POWs aren’t that well defined, but the young actors playing them at least give them depth in their emotional responses to the series of catastrophes that follow their assignment to the beach. They’re afraid every day, and every time the script seems like it’s giving them a few moments of calm, another mine explodes, setting off a new chain of emotional reactions in the survivors. Joel Basman delivers a strong performance as Helmut, the least likable of all of the boy soldiers, while the twins, Emil and Oskar Belton, playing Ernst and Werner get a small subplot of their own that gives Emil in particular a powerful scene in the back half of the film. The script also adds little details, like Sebastian answering a question about whether his father’s still alive with a long pause followed by a remote “I don’t know,” to flesh out the emotional states of these children even without giving us much in the way of biographical details.

Land of Mine is almost old-fashioned in its anti-nationalism; the easy thing to do in any historical drama about World War II is make any German characters the villains and move outward from there, but the protagonists of this movie are all Germans and don’t show the slightest hint of Nazi sympathies or even of German nationalism. They’re just kids, and all they want to do is survive and go home. The Danes are the nationalists, carrying forward their rage at the Nazi atrocities on to prisoners of war who had nothing to do with the mistreatment of Denmark. Sgt. Carl has to face the reality that the kids who’ve been conscripted to clear these mines are victims of the Nazi regime too, and the difficult decisions that the script gives him could apply to any conflict and any attempts at postwar reconciliation too.

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