Good Grief, What's Happened?

Yes, I KNOW.

It's been ages since I've put a word in edgewise in this space.

Yes, I KNOW.

I've gotten captivated by shiny new objects (iPad) and delightful 140-character bursts.

Yes, I KNOW.

Here's the good news. My life has actually calmed down. I've only got one job to do at work now, with a fancy new title (just call me Ms. Associate Director, Digital Product Development), and that means I can actually leave on time and be home in time to do some blogging.

Here's the bad news. The weather's been too nice to spend it inside blogging.

And the even worse news. We're spending just about every weekend up at the cottage so I can't even get caught up there.

But here's some other good news: I've been reading like crazy. I've probably finished about 10 books since I posted about the newest Larsson (including the first Larsson, which I hadn't read yet) and then some.

So, when I have a moment, and I promise, I will have a moment. I'll get back on the wagon.

#23 - The Lacuna

While I didn't make the Orange Prize deadline, I'm still reading the short-list nominated books over the summer. I am glad, however, that weeks ago I managed to finish Kingsolver's magnificent (and winning!) novel before the announcement took over the world that the prize belonged to her. I'm still going to read the other short-listed books (I've got them all now and might take them up to the cottage with me this weekend) but I've already made up my mind that this novel truly deserved the win.

The book opens with a fairly typical "memoir"-type first section. A young boy, terrorized by howler monkeys on an island just off the coast of Mexico, lives with his mother in a tumble down estate with a sort of stepfather. It's here that Harrison, born to a Mexican mother and an American father, finds his first lacuna, a hidden pool, which becomes significant later in life. The lacuna -- literally and metaphorically -- figures heavily in the novel, and not just because of the title. Harrison himself is a lacuna, keeping his inner life, his feelings, his sexuality, hidden except for the prime few who know the right times to dive in and avoid the tides.

The novel changes in tone after the first section, written by Harrison as memoir (he becomes a fiction writer as a career) and then we're invited into reading about the rest of his life through private journals he left in the care of his secretary, Violet Brown. Interspersed with the journals are newspaper articles, transcripts and all kinds of other ephemera, which encourage you to scavenge, in a way, for the story. Harrison remains a mystery until the end, and the ending of this novel is magical -- it's totally worth the little bit of time it takes to get into the story, and Kingsolver's masterly way of incorporating real characters into her fiction never suffers from what I like to call The Forrest Gump Affliction. It's inherent and real in terms of the story, which comes from excellent research (one would imagine) and a keen sense of how a novel should work.

It's one of my favourite books for the year, hands down.

#22 - The Girl Who Kicked The Hornet's Nest

I was sitting with an author yesterday speaking with them about the web, how to use it, what's important, how and why to blog, etc., when she asked what my blog addy was, I replied, "But I'm a terrible example of a good blogger these days." It's a "do as I say and not as I do" kind of situation. There's just too much going on these days and I can't seem to get it together to sit down, ass on chair, and get writing.

Maybe I've lost my words.

Or maybe I'm just far too comfortable on the couch.

Regardless, things should quiet down by July and then I'll feel more in control.

Annnywaaaay.

At long last I finished the galley I had of The Girl Who Kicked the Hornet's Nest about three weeks ago. A friend had sent it over to me when she saw my exuberant post about Larsson's previous book, The Girl Who Played with Fire, and I started and stopped a few times before actually getting through to the end.

If we're being completely honest, as much as I am sucked in by Larsson's rambling narrative style, I find the excess of information, the journalistic tone of his writing, sometimes a bit frustrating. Does the book really need those chapter openers about the Amazons, the female warriors, etc. Do we really need to know every single detail of the founding of the secret government society (the so-called Hornet's Nest that Lisbeth kicks?). Probably not. But once you wade through all of that stuff, it's almost impossible to put the book down -- once the mechanics of the conspiracy are unraveled, which would be difficult to explain if he didn't go into painful detail about how it all got started, the book roars to its conclusion.

As the book picks up right where Fire left off (SPOILER), with Lisbeth in the hospital and her abhorrent father just down the hallway, it doesn't contain as much pure action as I would have liked. But, again, this novel isn't about action, it's about conspiracy, cover-ups, the responsibility of governments and the underhanded way Lisbeth has been dealt with over the course of her entire life. The machinations of the cover up and the reasons behind it remain so utterly despicable that it's easy to see Blomkvist as hero as he unravels and brings it all to light. Yet, he, like Lisbeth, is not without flaws -- and, as a reader, you appreciate this. These two characters, Lisbeth and Blomkvist, stop this novel from becoming a poor Bourne knock-off (often, in my head, I saw Treadstone in the place of the Swedish "secret" government agency). They're refreshingly different from the norm (although "downtrodden" seems to be the characteristic du jour for so many thriller-type protagonists).

What's more, I appreciate how Larsson's own writing never flushes into the Hollywood/movie-style of prose that so often plagues novels within the genre (like what Black Water Rising ultimately suffers from). He never relies on tropes or tricks when describing action and maybe that's his journalistic background, or maybe it's just his own particular gift. Regardless, the story hums because of Larsson's inherent capability to drive the action forward, despite how irrelevant some of it actually is when it comes to the end of the book.

The Girl that Kicked the Hornet's Nest isn't a perfect book but it absolutely won't disappoint fans (like myself) and truly feels like a fitting conclusion to the trilogy.

Stalled

Between books. Supposedly on vacation. Spent hours gardening yesterday, which was great, but there's still so much to be done. Photographs to follow this afternoon while the sun's still shining and amazing.

#21 - Black Water Rising

I finished Attica Locke's debut novel last week. It was a quick, enjoyable read, but I'm not 100% convinced that it's the best of the best of women's writing for the year (as judging from its Orange Prize shortlisted status). Yet, that said, there's something about commercial fiction writing that I admire. The way the plots drive forward ceaselessly, the way the action never seems to stop, and the muddled way the somewhat damaged protagonists always seem to figure it out in the end. Locke's narrative reminds me a little of a Dennis Lehane novel -- she's got the same strong characters, the same driving storylines, and the same gift with both prose, and I really enjoyed her main character, Jay Porter.

The gist of the book is as follows: Jay Porter's a black lawyer in Houston. It's 1981, and he just can't get his practice off the ground. He's not a bad lawyer -- he's just attracting the wrong kind of clients. Making it on your own isn't easy and money is beyond tight. Also, Jay and his wife Bernie are about six weeks away from having a baby. The timing couldn't be worse for him to get wrapped up in a case that he, literally, saves from drowning.

Yet, when on a romantic boat ride with his wife to celebrate her birthday, they hear shots in the distance. Then, a splash in the water, and screams for help. Soon, Jay's jumped overboard, swimming, diving, then rescuing a white woman who looks to have obviously been attacked. When they drop her off in front of the police station, Jay and Bernie think that's the end of it -- only it's just the beginning and this one incident will soon change his life in ways he never expected.

Jay finds himself embroiled in a case that involves a lot of crooked people. It digs up his past, makes him face certain demons, and even puts his life in danger. And here's where the novel kind of broke down for me -- there were a lot of cliched, "car on the railway tracks against a running train" moments in the novel. Locke's a screenwriter, and so you can see why she'd fall back into certain cinematic touch points, but I didn't find those aspects of the story believable. To me, car chases and railroad crossings are the stuff of films, not real life, and I found it hard to swallow when Jay was in these precarious situations.

Interspersed with this case that just won't let him out of its clutches, Jay becomes involved with a situation with his father (a Reverend) and some of his constituents. There's a labour dispute that has its heart in the desegregation of the stevedore unions, and when a young boy is violently attacked for no reason, the situation heats up. So, now, Jay has two unsolvable situations on his hands: an ever-increasing case with the almost-drowned woman; and the union dispute that could lead to a lawsuit.

How Locke wrote with the difficult parts of the story that had to do with race relations, the south, and the complex issues of labour surrounding integrating the unions that deal with the docks was incredible. Those part of the novel sang for me -- the setting, the politics, the very nature of Jay's own troubles with the law before he set himself to rights -- the writing was sharp, the relationships taut, and the book felt wholly original. It's a shame that there couldn't have been more of that and less of the played-out gunshots and car chases.

Regardless, once I picked this novel up, I didn't put it down -- I wasn't sidetracked by other books (read The Lacuna and the new Stieg Larsson). Locke's a real talent and I hope she continues to publish in this vein. I'd be happy to see what Jay Porter gets himself mixed up in next. I'll just keep my fingers crossed he stays away from the railroad tracks in any future books.

#20 - Wolf Hall

As a part of the "The Orange Prize is Definitely the New Black" challenge that we started over at the work blog, I finished reading Hilary Mantel's Booker Prize-winning novel, Wolf Hall, last weekend. And then couldn't put it down. For days. On end. Now, that's saying something for a giant hulking 650-page tome about Thomas Cromwell, of all people. Mantel's certainly not the first, nor the last, to dramatize the Tudor period in literature. The lives and wives of Henry VIII have been immortalized, studied, fictionalized and melo-dramatized for our modern age -- movies, TV series, novels abound about Katherine, Anne, Jane, etc., to the point of overkill. I reached my Henry VIII peak after seeing about three episodes of the current series The Tudors on the Ceeb a couple of years ago, and it all felt wrong, wrong, wrong. First off, and I know it's me being far too literal, but as attractive as Jonathan Rhys Meyers might be, he's just not Henry VIII material -- and neither, for that matter, is Eric Bana -- not in looks, countenance or bearing. I mean, can't Hollywood even get the hair colour right?

Annnywaaay, like most history, pop culture weeds out the most salacious aspects and runs with them, and it's not like the Tudors were lacking in dramatic moments that would work well in terms of adaptations, but it all started to feel a bit tired. I mean really tired. Like The Other Boleyn Girl might just be one of the worst films I've ever seen kind of tired. So when Mantel's novel won the Booker, I kind of thought to myself, "Really, another novelization of the Tudors? Really?"

How wrong I was.

While this is a novel very much about the Tudors, it's from the perspective of an outsider. Someone who came from nothing to make something of himself, who used his very sharp mind to control people and situations to his benefit, and not necessarily with the ulterior motives that tend to drive most characters in historical fiction (sex, greed, lust). But what I really, really enjoyed is that this novel didn't focus entirely on the melodrama, it's actually devoid almost completely of it, and instead turns its focus to relationships of all kinds and how life functioned for these characters at this epic moment in time. It's not about the romance between Henry and Anne and what it means for love and betrayal; it's about how the romance between Henry and Anne changed everything -- and the man who not only made most of these changes possible, but who also participated in creating the whole background of the time period, was Thomas Cromwell.

The novel starts off with a young Thomas getting the stuffing knocked out of him by his brute of a father Walter. Soon, he takes off into the great big world to make a name for himself, and when the story picks up again, he's done just that -- found himself a position working for / serving Cardinal Wolsey, and when that turns sour, for the king himself. Politics, or political machinations rather, take centre stage in this novel. It's about maneuvering situations more than anything, about how to be a man, and how to teach his children to be good in life, but it's also about power -- finding it, taking it, destroying it -- and all the ways it contributes to the ups and downs of the Tudor court.

It's hard to describe the novel as anything other than engrossing. I found myself totally sucked in and read the first 300 pages in just over a day -- sometimes the narrative's a bit muddled (Mantel uses a lot of pronouns and the "he's" get all mixed up sometimes. I just decided that if I was remotely confused that the "he" in question was Cromwell and that seemed to work for me) and the book's unquestionably dense -- but I couldn't put it down. When I gave my copy away mid-read to a friend (I had another at work; we'd save on mail that way), and decided to finish the McEwan novel that I'd started, I found myself longing to know what was going to happen next to Cromwell. Would he convince More to change his mind? Would he ever find a second wife? Would these ghosts ever stop appearing in front of him? Who would he marry his son off to (we didn't get that far; it must be in the second book).

ALL of these questions are answered in history, yet I longed for Mantel's perspective. I loved how she would add rich description to scenes, sum everything up with a brilliant sentence, and keep my interest in her novel far passed my bed time. This book? Definitely better than TV.

WHAT'S NEXT. I've started Attica Locke's Black Water Rising. That's #2 of the Orange Prize nominated books. Will I make the June 9th deadline, probably not. But maybe...

#19 - Solar

There's little doubt in my mind that Ian McEwan is one of the English language's greatest working novelists. If I'm not mistaken, almost every single one of his novels is on the 1001 Books to Read Before You Die list (perhaps not all deservedly), and Atonement still stands in my memory as a near-perfect book. Maybe that's why I'm willing to forgive the missteps in Solar. No, rather, maybe that's why I expected so much more out of Solar, his latest novel. I enjoyed the last two McEwan novels, especially On Chesil Beach, which I liked maybe even more than Saturday, but I found Solar hard slogging. It's a relatively short novel at just under 300 pages, yet it felt dense, convoluted in places, and even somewhat implausible.

The protagonist, Nobel Prize-winning physicist Michael Beard, bumbles his way through complete and utter moral corruption without any true sense of himself. As a man, he's short, corpulent, and slovenly, but his apparent brilliance means he's led a charmed life. Well, hard work and a sharp mind began a charmed life, and since winning the prize, Beard has essentially coasted off its fumes. From one marriage to the next, from one high-paying job to the next, from one meal to the next, Beard shows no remorse or even any kind of sustained thought over his actions. He's a womanizer who has five failed marriages behind him; yet, at five-foot-three somehow remains ridiculously attractive to smart, accomplished women. Thus begins a number of somewhat implausible characteristics -- that women would fall, nay, fight over such a man remains a little, well, unbelievable. A great mind only takes you so far, success only takes you so far -- mushrooms growing out of your rotting apartment? That's a sign you're not fit for life amidst other humans.

Anyway, when the novel opens, Michael's latest wife, Patrice, has just discovered he's cheated, again. And yet, when she dares to step out on him, Beard can't bear it. He wants his wife back. He loves her, he even goes so far as to confront her boorish lover (their contractor) who smacks him right across the face. It's not as if Beard doesn't have a cause to dislike the man (beyond the whole sleeping with his wife sitch), he did give her a black eye. And to get back at him for ruining his marriage, Beard does something so morally bankrupt it's hard to believe the character could possibly ever redeem himself.

Yet, the novel isn't about redemption. In fact, I'd argue that Michael never considers redemption. Even more so, he never really even considers he's wrong. His mind functions on a level where he can convince himself in any manner that his actions were good and true to himself. He justifies anything if it sits in his mind long enough: lies become truth, outcomes absolve actions, and another woman inevitably lands in his bed. Even if, by the end of the novel, Beard seems to have finally gotten his just desserts, the fact remains that his moral core is unchanged. The man takes absolutely no responsibility for any of his actions and still he's rewarded. The complete and utter collapse of his life, the no less than three times that happens throughout the book, has almost no lasting impact on him. In short, Michael Beard does not change, evolve or become even slightly more informed about himself by the end of this book. He's simply not that kind of person. And maybe that's the point.

Even so, McEwan keeps the narrative tight to his point of view. We learn little about him, snippets of his home life, of his failed relationships, of his childhood, but mainly what we follow is his career, of sorts. As the book opens, Beard is part of a collection of scientists working on climate change, specifically funding wind turbines that will become alternative sources of energy. The solar from the book's title comes from the secondary science-related plot, the ideas of a young post-doc, Tom Aldous, who works with Beard who firmly believes they can harness the sun's power to use as energy. Beard's skeptical at first, and abjectly refuses to listen to the younger man's theories, but as the novel progresses, he comes around to Aldous's science. But what he does with it is despicable and ultimately leads to his downfall, if you can call it that.

The force of the novel felt weak to me, there's not enough plot to drive the narrative along, which is why I felt the book was kind of sluggish to get through. The science is fascinating, relevant and so interesting. And Beard does interesting things, he's invited to amazing parts of the earth, but nothing seems to have any impact on how he lives or what he feels about life. That was the most disappointing aspect of the novel. It's hard to get behind a character that turns your stomach. I know that's the point -- an exploration of someone who gives to society for no reason other than personal gain (it's the Heidegger was a Nazi argument: does someone's personal philosophy, personal beliefs matter given the ultimate overarching contribution they've made to public thought). McEwan takes it further -- is a man's mind enough to redeem him for being utterly repugnant as a human being, and does one great act give you license to coast on said act for the rest of your life? It makes for an interesting moral debate and discussion but not a terrific plot for a novel.

All in all, I kind of feel as though even McEwan's brilliant writing couldn't save Solar from itself. I wanted so much more out of the novel, a different perspective, a reason for any of these women to actually fall in love with him, a realization that using your big old brain for manipulative purposes isn't always the best use of your talents, something, anything that signified change in Beard. But, alas, nothing happens in the end. I suppose, the fact that Beard made any positive change in the world, contributed a measure of science (slipped by as an appendix) that fundamentally altered the way our world is perceived, remains his single best quality. Most people don't even do that. Still, you hope that the people with the power to change the world, the ones who are working hard to protect our dying planet, are doing so from a position of good. What McEwan tirelessly points out with Michael Beard that's just not a realistic view of the world.

However, some of the reviews that I've been reading have been noticing how, for the very first time, parts of this book have the reader in stitches. And there's one scene in particular that involved a bag of crisps that did have me laughing, but the few laughs and light touches, the mocking nature the author has with his main character in the way he describes him, writes about him, suggests a bit of an ironic perspective. In some ways, just feeling that way while I was reading made it even worse.

Also, there's my reader's bias -- I'm tired of reading books by middle-aged men who create middle-aged characters who are nothing more than a mid-life crisis on the page. McEwan hasn't gotten to the stage of say a Rushdie or an Irving, other novelists in his class who have fallen into the same narrative pitfalls, because there's still an acerbic nature to this book that's missing from say Rushdie's last few novels, but I guess I was really looking for a female character to appear as something other than a foil in this book. I was looking for an actual storyline that wasn't tethered to a despicable man who fails every single person around him, except himself. I was tired of hearing about his Nobel Prize and seeing his bumbling ways. I was offended by his politics, his obsession with terrible food, his tepid alcohol abuse -- in short, I just didn't care for him, despite the bloody excellent writing that surrounded him.

Like I Need Another Reading Challenge

But I can't resist. I'm going to try to read all of the six Orange Prize-nominated books before the June 9th deadline. I figure, if the jury can do it, so can I. Right? And, plus, we publish three of the books through work, so that makes it easy to at least procure the first three on the list. Like I said, I've started with Hilary Mantel's Wolf Hall, and it's a massive, massive book (645 pages) but it reads so well that I'm already three-quarters of the way through. Thankfully, the other novels aren't as daunting (one would hope).

#18 - Lost River

The blurb on my copy of Stephen Booth's latest thriller, a Ben Cooper / Diane Fry mystery, says, "[a] modern master of rural noir," The Guardian. For once, I readily agree with the blurb on the cover of a book. Set in the Peak District and in Birmingham ("Brum") the book moves back and forth between the case that Cooper feels he should be working on (an accidental or so it's been determined) drowning and Diane Fry's own assault case.

Ben Cooper was off-duty when he noticed the body in the river. He raced into the water and tried to save the little girl, whose body was already blue with cold. All eyewitness accounts said the same thing, that the little girl, Emily Nield, slipped and hit her head on a rock. But Ben Cooper's gut feels differently about the crime -- he knows something else happened and he won't stop until he figures it out.

In the other thread of the novel, Diane Fry's dedicates the same kind of attention to her instinct. When the powers that be in Birmingham, where she was stationed before Derbyshire (doesn't it make you think of Pride and Prejudice? All I kept seeing was the walking tour Lizzie takes with her aunt and uncle the whole time I was reading. Those huge trees. That lovely landscape.), tell her that her assault case (she was raped a few years back one night by more than one assailant) won't be prosecuted, Diane sets out on her own to figure out exactly what happened. And what she uncovers tells her more about herself than she ever expected or wanted to know.

The most interesting aspect of both these characters and their stories is that they take place outside the usual police house. They're not basic cases -- a crime's committed and the detectives (and the complex DS, DC, Acting DS, C, etc.) figure out what happened and make arrests. Both Diane and Ben go off the grid to an extent, look for truths they need to move their lives forward relating to both of these cases, and don't necessarily escape unscathed. Booth's a solid writer, one I'd be happy to read more from, and Lost River kept my interest (even if I figured out a twist or two early on) throughout. The pastoral setting of Ben's crime balanced by the more urban, politicized setting of modern-day Birmingham worked well together to create a nice sense of tension.

WHAT'S UP NEXT: I got caught up in Hilary Mantel's ridiculously addictive Wolf Hall, which I'm about three-quarters of the way through. I want to finish in and a number of other books this week, a few of those I've already started...

My Arrested Development

My life these days is an embarrassment of riches. I have about a dozen books on the go, all of them exceptional in their own ways, and no less than another dozen on the rails dying to jump into my TBR pile.

Here's what I'm reading right now (as in have a bookmark in the middle of or have read the first few pages to wet my whistle):

Solar by Ian McEwan
I'm three-quarters of the way through McEwan's latest novel, and it's predictably excellent. His prose is dense but accessible; his character obtuse, irresponsible but brilliant; the story remains intriguing but there's something I needed to read first...

Lost River by Stephen Booth
...for work. They're [meaning elements of our marketing department] doing a B2B promotion this summer that involves a lot of in-house peeps reading and "championing" certain books. Booth was "assigned" to me. So far, I'm really enjoying it. It reminds me both of Mo Hayder and Law and Order UK. However, I had already started...

The Girl Who Kicked The Hornet's Nest by Stieg Larsson
...a friend @Penguin had read how much I enjoyed the second book that she kindly sent me her hot-in-demand ARC of the third book. I'm about 100 pages into it and LOVING ever minute of it, but also need to move on to...

The Dead Republic by Roddy Doyle
Because A Star Called Henry is one of my top 10 all-time favourite books. I couldn't get through the second book in the series (I'm convinced it just wasn't the right time to read it) but when it landed on my desk, I couldn't help but read the first 15 pages. Right now, Henry's lungs are soaking up the air as he returns to Ireland after being away for years. Doyle's writing is just so captivating. But speaking of reading first pages...

Secrets of Eden by Chris Bohjalian
...when this book landed on my desk I read the first 5 or so pages and it also caught my attention. Bohjalian is one of my favourite "weekend" authors. Every single one of his books I've devoured in one fell swoop from start to finish, taking few breaks in between, and preferably at the cottage being surrounded by warm sunshine and a cool lake. However, before I get to summer reading I need to finish...

Wolf Hall, Black Water Rising and The Lacuna
...before June 9th when the Orange Prize is announced. I'm going to try to read the shortlist, which means tracking down the other two books. Until I do that, though, I need to be sure and finish...

A Tree Grows in Brooklyn by Betty Smith
...which I started at a doctor's appointment about two weeks ago and thought was just charming.

As you can see, I'm all full of starts and not quite up to scratch with my finishes this week. This list doesn't include the pile of books I have beside my bed that includes a New Face of Fiction, a few books of poetry for April's Poetry Month, and Beatrice and Virgil, whose first chapter turned me so off the rest of the book that I'm not sure if I'll be charmed by the remaining pages.

Now, the bets are in. What will I actually finish this week. I've got to get at least ONE book read to completion so I don't feel like a complete reading failure.

#17 - So Much For That

Amanda (my intern) and I will be co-reviewing the book over at Savvy Reader, just like we did for Cool Water, but I still wanted to write my own thoughts down about this exceptional novel. No, that's not hyperbole -- I truly think Lionel Shriver's So Much For That is exceptional from start to finish. And when I did finish the book on my way home yesterday, I ended up bawling like a baby on the subway with all kinds of commuters looking at me oddly. Yes, it's a good thing I had the physical book and not a gadget, or else they would have really thought me strange.

Shep Knacker has always been a self-starter. Despite his lack of a university education (his pastor father still holds the fact that he never went to college against him), he managed to build up a million-dollar handyman business before selling it to a bohunk (one that keeps him employed, more to humiliate Shep than anything else). On the eve of Shep finally taking the plunge into his ultimate dream of The Afterlife, escaping to foreign soils where he and his family would live off of the proceeds of his company's sale, tragic news stops him in his tracks. Shep's wife, Glynis, has never been all that supportive of The Afterlife. She resents the idea that he wants to get away from everything (modern life, her) and spend his dying days on Pemba, an island off the coast of Tanzania. So when Glynis announces that she has a very rare and very virulent form of cancer (mesothelioma) that requires immediate and expensive treatment, it's almost a passive aggressive attack on her husband and his dreams. Upon hearing he's about to up and leave for Pemba, has even bought the tickets, she announces almost blithely, "I do wish you wouldn't... I'm afraid I will need your health insurance."

The other set of main characters in the novel are Jackson, Shep's coworker and best friend, and his family. His eldest daughter, Flicka, is a teenager who suffers from Familial Dysautonomia (FD), yet another rare and difficult disease. Carol, Jackson's wife, is Flicka's primary health care provider, and the family's other daughter, Heather, often feels excluded because her sister demands so much attention. They are a typical New York family -- they own a house in Brooklyn with a hefty mortgage and the couple works night and day to afford the care for their daughter, much of which isn't covered by their combined insurance policies.

Regardless of how you might feel about the debates raging south of the border -- the ridiculous "Tea Party," the sensational news coverage by the right, the objections by the right, all of it -- the idea that health care and the fundamental lack of affordable ways of getting it, form a central thesis in the novel. It's topical and timely, but not preachy. Oh, it passes judgement but more in the sense that it allows the reader to draw her own conclusions by presenting facts and an honest, if fictional, situation.

Annnnwaaay.

In the face of their diseases, both Glynis and Flicka find comfort in one another -- that's not to say that they are "happy" by any means to be sick. The opposite, in fact, is often true, and Shriver's uncanny ability to write characters who are at once complex and yet so unbearably human comes into sharp focus in this novel, just as it did with We Need to Talk About Kevin. The impact of the two unhealthy individuals shatters each family in different ways. The patients are angry, upset, and unflinchingly honest when they need to be about their diseases. But the road to acceptance, to leading a life where disease is always present and can never be escaped (and here's something I know better than most), is never easy. Glynis fights to live. Sometimes, Flicka fights to die.

The moral issues Shriver explores, the sheer expense of health care in the States, the value of a human life (the millions of dollars spent on treatment), becomes so much more than a moral question -- it's the entry point for examining American society in general. From Jackson's anti-establishment rants to Glynis's fervent need to blame someone for her cancer (in this case, it's the company who produced artistic supplies for her metalwork training when she was a student -- they contained asbestos, the cause of her cancer). And because Shep has always paid for everything, that's just his role in his family, he pays and pays and pays -- for Glynis's treatment, for his father's old age home, for his sister's heating bills (and is she ever a piece of work). No matter how hard he works, no matter how much he cares about his family, his life seems to crumble down upon him as penny by penny disappears from his Afterlife account.

At any point in this novel, there are moments when you simply don't like the characters. You can't believe they're acting so selfishly, are so obtuse. And then, something happens and you see them in a different light. I'd argue that few living novelists do this as well as Shriver. She has a talent for pulling out extraordinary details in ordinary lives and writing them in a way that's original and provocative.

As a girl who has dealt with a serious illness for all of her adult life, I couldn't help but associate with the two characters dealing with disease. And while my Wegener's is nowhere near as aggressive as Glynis's cancer (because it's moderated with medicine, unchecked it'll kill me in terrible ways) or as impactful as Flicka's FD (primarily because you can't tell I'm sick by looking at me; at least I hope you can't), the psychological warfare that disease plagues one with remains ridiculously effective throughout this entire novel. Shriver's research reads impeccably -- she writes the side effects, the symptoms, the treatments, the physical implications of each disease in such rich detail -- and it's the main reason the reader becomes so emotionally involved with this story. And the ending, well, I'm not going to spoil it -- I'm only going to say it's absolutely perfect and calls to mind the absolutely perfect ending of another exceptional novel, Barbara Kingsolver's The Poisonwood Bible.

Highly, highly recommended. This is not a novel that will disappoint even the most cynical of readers.

WHAT'S NEXT: Ian McEwan's Solar. I'm 30 pages in and loving the Salman Rushdie "man in midlife crisis" of it all.

#16 - Sylvanus Now

Rachel loaned me Donna Morrisey's Sylvanus Now when we went to see (shhh! keep your thoughts to yourself) this in the theatre back when there was still snow on the ground. She gushed. I tucked the book away and meant to get to it sooner. But once I started reading it, not even the exhaustion of sales conference could stop me from finishing. It's addictive, sad, aching in parts and absolutely worth forcing yourself to muddle through the somewhat gross mass market edition (why this format; a TP could be so lovely!).

The novel takes place in Newfoundland in the mid-to-late 1950s when the government all but ruined the fishing industry and forced inhabitants from their outports into communities. The novel very much relates a society in flux: from fishing by hand in a little boat to giant trawlers with destructive nets; from an industry built up around drying salt cod to fish factories; from community built around family, neighbour and self-made lives to roads, towns, and government subsidies. Parts of the novel are achingly tragic, and Morrisey's descriptions of the havoc "new" "industrial" fishing has on the lives of her characters broke my heart into pieces.

The story centres around Sylvanus Now, the youngest son of Eva, a widow who had already raised many, many children by the time he came along. He's a fisherman, of the old-school variety, who prefers to go out with line in hand and fish the coastal waters near his outpost. The apple of his eye, Adelaide (Addie) sets herself apart from the rest of her kin almost immediately. She loves to be alone (almost impossible in a house full of so many kids) and wants to stay in school. When they marry, their relationship is all heat and tragedy, happiness and sorrow, but it's also about the essence of marriage -- the coming together in so many different aspects of life, how your lives become so entwined and in ways you never expect, and what it means to love someone over years and years instead of months and months.

The driving force of Sylvanus's life seems to be resisting a certain kind of change. I'm sure, we can all relate. The way of life, salted cod and all, has sustained his family for generations, and his obstinance to evolution seems level-headed in a way, knowing what we know now about the depleted state of our oceans and how we're fishing ourselves into extinction. Those were the most poignant moments in the novel -- how Morrisey describes the differences between how Sylvanus fishes and how it's done industrially. Like anything, progress comes at a cost: smaller fish in coastal waters; mothers harvested before they've had a chance to spawn; the decimation from trawling nets, all parts of what we sacrifice to have fresh fish on our plates.

It's an unbearably human novel, somewhat like Kevin Patterson's excellent, excellent Consumption. Morrisey does for Newfoundland what Patterson does for the Arctic, describe in indelible detail the destruction of a way of life, and while we're richer for her work, I'm not sure if our country's richer for the loss of Syllie's sustainable fishing industry. Maybe I'm making terrible generalizations, but this felt like a very fitting book to read one month away from celebrating the 40th anniversary of Earth Day, where we need, more than ever, to think about where we've come from and how we want to leave this earth for the next generations. Like Addie, I'd never leave the outpost either -- its beauty seemed breathtaking, regenerative and part of her, just like my cottage is part of me.

All in all, I'm so pleased I found time to read this book in between conferences, pet peeves, rain, sun, antiques, plane rides, train rides and uncomfortable hotel rooms.

READING CHALLENGES: Yet another for the Canadian Book Challenge. I wish I had a better idea of how many Canadian books I've actually read since last July.

Playing Catch Up

It's been a busy few weeks. I've been to 4 conferences in as many weeks and am quite sick of the inside of really large rooms with bottled air. That's not to say that I'm not thankful to have gone to all of them, but I feel so disconnected with my online life at the moment, and it seems like I'll never get back on track. Blogging once per day, what's that? Finding time to upload photos to Flickr, wha? Posting more than a couple silly Twitter tweets, impossible.

Where did it all go so wrong?

Right now I'm so filled up with pet peeves that every sentence coming out of my mouth is filled up with anger and frustration about things I can't control.

For once, I'm glad it's raining. Pathetic fallacy at its best. I know all I need is a proper, lying around on the beach vacation, but it's not feasible these days. I'm also not getting enough exercise -- that too is easily rectified.

We had a great, fun weekend, a long weekend, and it was really nice to get out of town in new and adventurous ways. The weather encouraged us to do some antique shopping in Guelph and Mennonite country. And while we didn't buy anything, we did have a nice day of just driving around looking at junk. How do so many knickknacks exist in this day and age? Why did people buy so much stuff?

Okay. Moaning finished. I've got two great books to review, and that's surely better than moping around in my digital life, isn't it?

#15 - The Wig My Father Wore

I had wanted to finish either The Wig My Father Wore or The Third Policeman by St. Patrick's Day as my monthly "themed" reading. Oddly, both books are truly absurd, which is why I only finished one of them. I'm not sure if absurdist fiction is necessarily for me -- in a way, I don't like to be confused or feel like a story is convoluted just for the sake of making a point. Sure, I read Beckett in university and enjoyed it at the time but these days I just don't have the concentration it requires to read something that deems the absurd a necessary plot point. Hence my abandonment of The Third Policeman.

And while Anne Enright's The Wig My Father Wore dips its toes into the same kind of storytelling, there's at least somewhat of a plot to keep you motivated. Grace, the novel's protagonist, opens her door one evening after work (she's a producer for a Dating Game-style show in Ireland) to discover an angel on her stoop. Stephen lives with her for a time. They have cryptic conversations and an even stranger love affair all the while he's changing her body -- literally.

There are parts to Enright's writing that are almost unbearably beautiful. Grace finds herself in a difficult time in her life -- her job's in peril and her father's dying -- and it seems the angel has come along at just the right time. He helps her to come to terms with her life, but he also comes with a bit of havoc (imagine your body disappearing before your eyes, imagine!), and as Grace looks back at her childhood, at her father's strange, inappropriate wig, the story makes sense.

But often, aspects of this book just don't come together in the same way, and its far too convoluted for my tastes. Imagine a chicklit scenario (young woman trying to find herself working for a dating television show), with a bit of Legion (except he's not a wicked angel, but someone in between trying to earn his wings), and BBC Drama (the dying father) thrown in -- the book simply doesn't make sense.

It's a shame because I adored, adored The Gathering. I felt like all of Enright's formidable talents, her sharp perception, her angst with family life, was put to good use. In The Wig My Father Wore any good will I had about the former book is lost the moment I reread sections where Stephen the angel attempts to become a contestant on her dating game show. I mean, really? That said, I marked more than one passage as I was reading, especially the more domestic sections with her mother.

But in this one sentence, squeezed my heart as well: "I woke up grateful and sick with grief, as if I could not carry my heart anymore; it had burst and spread, like an old yolk."

Keep those sentences and toss back the rest.

WHAT'S UPCOMING: Still going to trudge to the end of The Third Policeman, if only because it's on the 1001 Books list and I hate not finishing books. There's always something good in them, even if it's just one sentence that sticks with me. Then I'm going to read for work, and maybe finish the third Stieg Larsson galley that a friend sent over. It's awesome. I think the charges he's anti-feminist are bollocks, BTW.

Whew, that's enough rambling for today.

READING CHALLENGES: Enright's Irish, so that's one for Around the World in 52 Books.

TRH Movie - Shutter Island

Oh, how it disappointed me. I actually fell asleep in places and found it all kind of tedious. Don't get me wrong, I love Scorsese, DiCaprio and Lehane in equal measures, but the combination here didn't quite work. The movie wasn't scary enough -- sure it looked beautiful, the storm scenes were particularly awesome -- and there were way, way, way too many flashbacks. The whole picture could have been shorter, tighter and creepier.

As Teddy Daniels (Leonardo DiCaprio) pukes down below a ferry taking him and his partner, Chuck (Mark Ruffalo), across the harbour from Boston to Shutter Island, an infamous institution for the criminally insane, the film sets up the premise: what is exactly going on over there? As US Marshals, Teddy and Chuck are there to investigate the disappearance of one of the patients/inmates, a young woman who drowned her three children. As the weather gets worse, so does the state of the case, and soon Teddy and Chuck are embroiled in a "is it all as it seems" plot that plods forward.

The film never picked up steam. Sure, the performances were fantastic, the assembled cast quite amazing, but there was just something missing -- ahem, action -- that would keep the film from stalling left, right and centre. I kept asking my RRHB if he recognized the twist, and he picked it up sooner than I did when I was reading the book (read: not until the end when I gasped and said, "NO!" and then had to reread the last few pages again). But a good twist does not a good movie make if you can't build it up properly for the first 1.45 hours in. The world needed to be better established, we needed to feel less in on the joke, the clues needed to be far less apparent.

Annnywaaay, I had taken the day off to go to the doctor's (excellent visit BTW) and finished my other work (Classic Starts) earlier than expected, so I was glad to be able to squeeze in a matinee. There's just something delightful about going to the movies in the afternoon in the middle of the week. If I were unemployed, I'd do it all the time.

But Shutter Island? It gets a 6 out of 10. However, it's great the film's grossed so much already, at least it means Scorsese and DiCaprio are free to live another day and make more films together. The Departed is still my favorite picture of the last few years.

#14 - Cool Water

Dianne Warren's new novel, Cool Water, tells the story of good people, a whole town full of them. That's not to say their lives are easy or to be taken for granted, sure her characters have strife, but they also have substance and decency. Set in Juliet, Saskatchewan, the multi-perspective novel takes place over the course of about thirty-six hours. When I first started reading, and especially because the book opens with a horse race between ranch hands, I thought the book definitely had tones of Annie Proulx, all windswept, sand, and sorrow. But while the introductory vignette introduces us to the setting, the small town (population 1,100 or thereabouts), none of the characters reappear, except in story, during the rest of the book.

The intertwining stories of Norval, the bank manager; Blaine and his wife Vicki, a couple losing everything; Lee, a young man who just inherited everything; Marian and Willard, wife and brother of the deceased Ed; and Hank, an ex-rodeo cowboy-slash-farmer, unfold slowly, in delicate increments. Many have trouble sleeping and the whole book rolls out like those long hours in the night when one feels as though they're the only person on earth awake. Warren has a delicate touch, but that doesn't mean her writing reads overtly flowery or painfully self-aware (like so many Canadian novelists sometimes come across). In no way is this novel overwritten, either.

In fact, there's a patience to these stories, and the truth of the lives of these characters comes out in the details of the day-by-day. There's a beautiful line midway through the book that goes something like this -- that the nature of the day can change easily over night, day separate from night, like how one breath separates life from death -- I didn't mark it so I can't find the exact phrasing, but it struck me as unbearably true.

Lee's story resonated especially with me. Both of his quasi-adoptive parents have passed away and he's left behind on the farm; it's where he wants to be, but he's finding life alone in the house a difficult transition, dust collects, clothes go without being mended. When a grey Arab horse magically arrives in his front yard, he sets off for a marathon ride that echoes the book's first chapter. It's not even that the journey is epic -- 100 miles -- it's more what it signifies for Lee, a final transition from boy to adult, a man on his own farm, a man with his own horse. Lee's not the only one making a transition to a new chapter in his life throughout the book.

Cool Water remains full of characters whose lives are changing, sometimes irrevocably, but the novel's also about the small decisions that make up a day: whether to go to town or do your chores, whether to finally finish your to-do list, whether to round up the cattle immediately or get back together with a nincompoop ex-boyfriend. When you put them all together, the picture that unfolds isn't epic but human, and there's something utterly familiar throughout the pages -- but at the same time, interest in the story never wanes. It's a hard balance to strike.

The other parts of the book that I truly enjoyed were the will-they / won't they between Marian and Willard. They've been living together, without Ed, the actual person who brought Marian into the house in the first place, for nine years. She's desperate to tell him something; he's desperate for her not to leave now that her husband has passed away. Their stories are full of feelings that go unspoken and unleashed potential -- it's truly delightful.

I'm not going to lie, I was surprised by how much I enjoyed this book. My intern, Amanda, who's reading it too, said that it's Annie Proulx meets Alice Munro, and I think she's right, except much of the story lacks the latter's biting sense of humanity, if that makes any sense. When one reads Alice Munro, and I'm not for a minute suggesting she isn't the best short story writer in the history of Canadian literature, there's always an underlying toughness, a sense that life always takes a wrong turn, disappoints. In Cool Water, life's disappointing for some, but that cynical streak isn't as present. I'm rambling, I know. Let me finish by just saying that Warren's novel was a truly lovely surprise this week.

READING CHALLENGES: Well, indeed, this title would count towards this year's Canadian Book Challenge. I'm not even sure where I am with that one...maybe this weekend I'll take a moment to figure it out.

MOVING ON: I'm still trying to get through The Third Policeman and The Wig My Father Wore as my Irish reads for March. I'm also compiling poetry for April. Happy St. Patrick's Day peeps!

TRH Movie - Bright Star (And Other Rants)

Before I even start discussing Jane Campion's Bright Star, which I watched this weekend after finishing up the third round of edits on my latest Classic Start manuscript, I wanted to just take a moment to say how well-deserved the Oscar wins for The Hurt Locker were. I'm amazed at the commentary I've read over the last few weeks -- how journalists and pundits and bloggers were all shocked that it (rightfully) beat out Avatar for the top prize. Let's just set aside all the movie-making wizardry for a moment, take Avatar out of its shiny box and you're left with an awful script, a mediocre (at best) storyline that's derivative and almost insulting in places, and dialogue that made the writer in me wince almost throughout the entire picture. It's the Nickelback of movies, as I've said often and to everyone who'll listen.

Just because a picture's small doesn't mean it's not worthy of the awards. It's not the movie's fault that no one went to see it. In fact, there are fewer and fewer opportunities to watch smaller movies as multiplexes are businesses driven by the bottom line and art house cinema goes the way of the publishing industry as of late. The whole purpose of an award isn't to celebrate the movie that made the most money. Sure, there were interesting technological advances with Avatar but that got old about two minutes into the movie, and then you're stuck with the Pocahontas meets Dances with Wolves meets Every Movie Cliche meets Ridiculously Self-Indulgent Annoying Characters that Cameron "intends" we consider a "movie."

Also, I'm not sure if anyone else has reported on the irony of making the world's most EXPENSIVE film of all time, which must have used up bucket loads of energy, encouraged (nay, demands) people see the film wearing one-use glasses (sure, they're "recycled" at the end of the picture, but still), and drove piles and piles of garbage by way of concession stand sales because of the sheer number of people seeing the picture, and then having its director bang on about the ENVIRONMENTAL message in the film. Seriously, yawn.

My point? Right, that The Hurt Locker, like many small films, didn't have the marketing muscle behind it to drive huge audiences. The right people saw the film. The right people brought that picture to light, and its wins were terribly well-deserved. Money does not equal great art, if it did, men like John Keats would not have died in poverty, which brings me to the original reason I wanted to write about Bright Star, Jane Campion's equally small film that will reach an equally small audience, that so many gems of both books and films get lost when faced with competition from the big studios. I mean, I don't even know Bright Star made it to theatres in Toronto, and we're not an insignificant market.

Annnnywaaay.

Campion's films, to me, feel very literary. If they were books, I'm sure I'd sit curled up on the couch and not be able to stop reading until the very last page. Bright Star tells the story of the relationship between John Keats and Fanny Brawn, who fell in love but never got the chance to spend their lives together; after all, the poet died penniless in Italy after succumbing to tuberculosis at the age of 25. The title comes from the poem Keats wrote for Brawne, and it's a sonnet he apparently revised until his death.

Bright Star tells the story from Brawn's perspective -- it opens with a lovely shot of Fanny sitting by a window sewing in the early morning. She's hard at work on her task (and was quite well-known for both her fashion prowess and her excellent seamstress abilities) and the light coming in from the window highlights the intricate and delicate nature of the project. Because the Brawns (widowed mother, younger brother, younger sister) live in close proximity to Keats (they rent a house from his friend, George Brown), he becomes an everyday focus for Fanny. Of course, there are struggles -- money for families without an income, money for starving artists, the importance of an artistic life, the love/hate relationship between Fanny and George Brown over Keats's affections -- but in the end, Campion resists traditional embraces, and there's no Hollywood ending (read Keira Knightley in Pride and Prejudice) to her film.

Abbie Cornish plays Fanny with a fierce independence. She's proud, honourable and feels her emotions deeply. British actor Ben Whishaw plays Keats, slender, gifted, and terribly troubled, not only because of his failing health, but of the complex emotions love stirs for him. Whishaw plays "tortured" very well -- there's an incredible scene in the book where the complex triangle between Brown, Brawn and Keats comes to a head and, without spoiling anything, it was riveting. It took me forever to place him, but he played Sebastian Flyte in the terrible medicore remake of Brideshead Revisited that came out a couple years ago. I thought he was terribly miscast in that film, thankfully, he's much better here. Mainly I was surprised to see Paul Schneider playing Brown (with an odd "Scottish" accent that often slipped into I don't know what) and displaying the same magnetism that he brought to The Assassination of Jesse James by the Coward Robert Ford in Bright Star.

The costumes, the hues that seem to embrace the entire film (whites, greys) and the absurdly beautiful wildflowers that seem to abound, all contribute to the film's overtone of Romanticism. It's as if Campion set out to prove to sceptics like me that it is possible to bring the philosophy of the movement to the big screen. I felt deeply embraced by the sensibility of the film, if that makes sense, by the fact that it's impossible to rationalize emotions, as much as it's impossible to entirely scientifically deconstruct nature, and the relationship between Fanny and Keats certainly proves that theory.

All in all, I'm glad I gave up working on the novel a little early on Sunday afternoon to squeeze in this film. Highly recommended for easily persuaded romantic literary types like myself.

#13 - Then We Came To The End

Oh, I fell hard for you from the very moment I cracked open your spine. Your story, about a collective of young people who work at a Chicago advertising agency during a time when the country was facing tough economic times. You have such a way with words, with storytelling, that's unique, modern, and terribly engrossing. Sometimes, you're sentences were so lovely, my heart ached a little in turn.

Sometimes, because your story was so much like events in my own life, I could recognize myself in your characters -- the close-knit working quarters, the ambitious feeling of being young, in your first or second real job, and having routines. I'd imagine it's hard to write a convincing novel about something as mundane as work, but you manage to make it feel relevant, current and interesting. I think, in a way, anyone who works in an office environment can relate to the trials and tribulations of being "walked Spanish down the hall." Of the resentment and anger you feel, of the pressure to move on maybe before you're ready, of the way life sometimes forces you in a direction you never imagined.

Your story rolls along, and you feel like you're sitting on the dock on a hot summer's day, being lulled by words instead of waves. Even when you are writing scenes, stories, thoughts that have been said so many ways before, your story still feels original. Maybe it's your voice. Your use of "we" throughout. Maybe it's how you never give in to the apparent. How you continuously surprise us with your narrative -- sure you deal with topics that can be construed as "well trodden territory" (breast cancer; angry, belligerent ex-employees pulling a Michael Douglas) -- but your book never takes the easy way out, you never write what's expected.

Thank you.

Last Week In NYC

I was in New York City all last week, both for work and for pleasure. If you follow me on Twitter, you'll have been kept abreast of the many celebrities we saw in our travels. Odd, because of the nature of the weather (holy snow batman) but fun because I always like imagining what people are like in real life. We did not, however, see Ethan Hawke, which would have made me so dizzy with excitement I don't know if I'd ever recover. As my RRHB likes to tease me, if we ever did, he'd walk right up to the man and profess MY undying love. Heh.

We saw Catherine Zeta-Jones carrying a huge umbrella and smoking as she walked near the Natural History Museum on the Upper West Side. She's teeny-tiny. That Friday afternoon we spent over four hours wandering the halls and looking at all kinds of marvelous things. The only problem being my sh*tty North Face boots that leaked and which have even started to fall apart a mere months after buying them.

The next day we went for a nice walk in Central Park (I took a great photo of what it looked like with all the snow) and then headed to the Lower East Side to wander around. While we were at Katz's deli enjoying a fantastic sandwich, Jake Gyllenhaal was there with a photographic crew who were taking photos of him wearing some really snappy clothes. He laughed a lot, and was very kind to everyone in the restaurant. My RRHB said, "How come he didn't recognize me?" When he first noticed he was there. Funny. On the way out, one of Blair's cronies from Gossip Girl was hanging outside Katz's with her friends, her name is ridiculous, and so I am not going to type it. Judge me if you will. Then, coming back up Broadway we walked right by Chloe Sevigny.

Then, we shopped. A lot.

We had dinner with a friend in the East Village, and by Sunday AM we were both exhausted. Still, we rallied and wandered through a magnificent exhibit at the International Center of Photography on Sixth at 43rd -- it was right by our hotel anyway. More walking. We spent a good chunk of time at the Library looking at their free exhibits -- Candide and maps.

Again, more shopping. Then a little stopping for a pint so we could watch a bit of the hockey game before climbing in a car and heading to Newark for the flight home. While checking in our bags, I got a little flustered, and when we passed the next person in line, she smiled kindly at me. That person? Naomi Watts. She was on our flight to Toronto, and I'm not going to judge, but she was reading In Touch magazine. That made me smile. It must be hella odd to pick up one of those rags as airport reading and find pictures of your friends. Being a mainly Canadian flight, no one bothered her, but she did do a lot of the "I'm looking at my Blackberry because I don't want to seem like I'm standing here all alone" stance that so many of us are familiar with. I'm a pro at that stance.

And now a whole week has gone by. I've got goals this weekend, both for my novel and for my latest classic start, and am taking Monday off to complete them (along with going to the dentist, ugh). I'll just be very glad to be done both. My brain is too full of all kinds of stuff these days to settle down.

The photos from the trip are up on my Flickr. The shot of the socks made me laugh -- that someone tried to die out their soppers stuffed in the stones of the public library rang quite true for me. On the Friday of the big snow storm, I took off my socks in the museum and wandered around trying to dry them out and leaving a nasty, smelly-smell behind me for anyone daring to come near us. Ah, the human body.

#12 - Invisible Man

My goal for February was to read a couple books for Black History Month. Not surprisingly, I managed one: Ralph Ellison's classic, Invisible Man. The novel is substantial, both in its scope and narrative approach. It took me ages to read--and I abandoned it at one point and picked up a different book, read magazines, anything really to escape the relentless story.

The title, metaphorical, not literal, refers to the narrator's lack of identity as a black man. He can walk down a street and no one sees him. He can stand on the street and people will pass on by as if he wasn't even there. Invisibility -- blessing and a curse -- defines his life. And what a troubled life, kicked out of school (not his fault), and settling in New York City, things go from bad to worse for the man. The novel, which was first published in 1952, and it was interesting to read it now, over fifty years later. Ellison's writing style, while imbued with the tone and tenacity of the time, doesn't feel dated. In fact, the book reminded me a lot of The Best of Everything, not in its subject matter, characterization or plot, but more because of its uncanny ability to bring the story to life and embed in a very particular time and place.

My 1001 Books You Must Read Before You Die tome suggests the novel has existential themes, and I'd agree, the narrator can't help but contemplate his existence; it's the purest form of a Manichean dialogue, race goes beyond allegory, it's essential and he's essentially being defined against it by just about everyone he comes into contact with him. There were moments when the cruelty of the world became almost too much for me to bear -- I turned away like I did when I watched Inglorious Basterds, when the violence, meant to be too much, shocked me into tears.

I was first supposed to read Ellison's masterpiece in university. At the time, I was too wrapped up in Faulkner, a writerly obsession I carried with me from high school. Since then, I've carried my same copy around with me from apartment to apartment, keeping it on that metaphorical 'to be read' someday shelf with many other books from school. Slowly but surely, I'm working my way through a lot of them. Because I read so much modern Can Lit, and let's face it, books that are published by the houses where I worked over the last five years, I've been rebelling a little. When I go to the shelf I'm inspired to pick up big, heavy books like Invisible Man and give my brain a work out. I imagine writing a paper filled with literary theory, can smell the air in the library as I do research, and think that Invisible Man does exactly what a classic piece of literature should do, it lasts.

READING CHALLENGES: 1001 Books, natch.

WHAT'S UP NEXT: I can't blog about the book I read this week, Emma Donoghue's Room (#13), because it's not out until Fall 2010. But I will say this, it's exceptional -- a literary page turner of the likes I've never read before, and it's become one of my favourite new books of the year. I can't wait to talk to people about it once it's actually published. So I'm going to try to finish the totally absurd The Third Policeman (also a 1001 Book), and a couple other Irish writers because it's March and my theme is, well, Irish writing this month.