Tag Archives: fiction

‘I You We Them’ by Dan Gretton

2021, 1120 p.

Has anyone ever complained so much about reading a book? At 1.6kg, I found it too heavy to hold up while reading it in bed and having recently sprained my knee, I was not keen on ‘tenting’ my knees to lean the book against. At over 1000 pages long, it took two renewals at the library to complete, and even now as I write this review, it is overdue.

So why did I so willingly heft it off the floor each night, to keep reading? Quite simply, because I enjoyed the company of the author and once I gave up any idea of following an argument, I just floated along on his observations – a little bit like reading Proust, really.

The lengthy subtitle of the book is “Journeys Beyond Evil: The Desk Killers in History and Today” and this is the overall theme of the book, but it is intermingled with reminiscence, nostalgia, regret and curiosity as he travels around Europe researching his topic. It could just as easily be a travel book. Attracted to maps from childhood, he maps out the sites of concentration camps of Europe and their accompanying industrial infrastructure, he follows forced marches and places himself in massacre sites, forming his own mental and physical maps. And it could just as easily be an ecological/environmental diary of landscape. For him, the environment in which he holes up to immerse himself in his writing – the Suffolk Coast for Book One in winter; Pembrokeshire in spring in Book Two- becomes part of the narrative as well, particularly when he writes about a hurricane that buffets the cottage in which he is sheltering when the power goes out in the house he has rented.

Gretton himself is an activist as well as author and teacher. In 1983 he co-founded the political arts organization Platform, which describes itself on its website as bringing together workers and communities “to create new, liberatory systems that tackle injustice and climate breakdown”. In particular, it confronts the power of transnational corporations. You can see this emphasis coming through in this book in its focus on corporations; especially that of the German manufacturing, banking and insurance companies that still exist powerfully today, which had flourished in Nazi Germany through its contacts and contracts with the government. He also targets Shell and its influence in Nigeria that looked the other way during the execution of Ken Saro-Wiwa, the activist who died trying to save his land and people from the destruction of Shell’s oil conglomerate. The “desk killers’ that he focuses on here are the managing directors of wealthy, multinational corporations, many of whom he interviewed after they have retired, and the often invisible bureaucrats and office workers who followed the procedures and timetables and the accountants in charge of the financial accounts that made genocide an anonymized, abstraction. There are no innocents here.

Although his focus is on corporations, he also hones in on individuals – most particularly Albert Speer, Hitler’s architect, whose own biography and the work of Gitta Sereny has thrown up so many questions about culpability and redemption. He also spends quite a bit of time on the Wannsee Conference of 20th January 1942, which pulled together as many agencies as possible to discuss the implementation of ‘the Final Solution of the Jewish question’. Of the 15 attendees (there were actually 16, counting the unnamed stenographer), seven held PhDs in law. We only know this because just one copy survived of the thirty copies made at the time. He parallels this with a discussion of the two Washington lawyers, who prepared memos for the Bush administration discussing the legalities and grey areas of torture and ‘enhanced interrogation techniques’.

Then there are the individuals who survived: Primo Levi, Jan Karski, Elie Wiesel. Some of the testimony in these books kept me awake at night, after turning off the light.

He concentrates predominantly on Nazi Germany, and on Nigeria to a lesser degree. But he also turns back to history to take up Gunther Grass’ question about how young people grow up in Britain and know so little about the long history of crimes during the colonial period. He looks at the East India Company and the Opium Wars, the slave trade, the Irish Famine, and what he claims as “the genocide” and the “extermination” of the Tasmanian Aboriginals (a contested question here in Australia, where there is a continuing Tasmanian First Peoples community today)[As an aside, if you’re looking a desk killers, I would have focused more on later bureaucrats and Protectors in the late 19th-early 20th century Australia whose arbitrary and desk-bound decisions did just as much as outright massacres to distort indigenous families and expunge language and culture]. He spends quite a bit of time on Namibia (former German South West Africa) where the systematic killing, detention and forced labour of the Nama and Herero people was a forerunner to actions undertaken by the Nazi government. He looks at the French massacre of between 120 and 200 Algerian demonstrators by the French government on 17 October 1961.

All of which would be pretty grim, continuing for over 1000 pages, if this were all that this book contains. But it’s not. There’s beautiful writing about his father and a wistful recounting of his own torrid, passionate affair with a younger man. There’s information dumps at time, as if you’re reading someone’s research notes. Interwoven are his own childhood memories, his political stances, travel-journey type entries.

It’s big; it’s untidy; it’s completely indulgent but it’s also thought-provoking and very easy to read. My complaints about weight and heft not withstanding, I missed hearing Dan Gretton’s voice when I finished. But perhaps there’s more: apparently this 1000+ pager is just Volume 1 of a two-volume publication. Hopefully the next volume will have an index, which I really missed in a book of this size. Will I read Volume II when it comes out: most probably, if I still have the strength to hold a 1.6 kg book!

My rating: Hard to say. 9?

Read because: I read or heard someone raving about it- can’t remember who.

‘The Last Painting of Sara de Vos’ by Dominic Smith

2016, 372 p.

I guess that you could say that if a historical fiction book sends you off to internet-land to find out which bits are true, then it has worked. I should have taken more notice of the author’s note which explains that Sara de Vos is a fictional, composite character. But I didn’t and so, yes, there I was half-way through the book, searching high and low for the paintings that are described in the text, trying to find out more about Sara de Vos, only to find myself directed back to publicity for Dominic Smith’s book. So, to save you the search, Sara de Vos is a 17th century fictional character and the paintings described don’t exist, although there are similarities with the few details known about Sara van Baalbergen. Like the Sara de Vos of this book, she was admitted to the the Haarlem Guild of St. Luke and married a fellow painter. None of her works have survived.

SPOILER ALERT

But in Dominic Smith’s book, three of Sara de Vos’ paintings still exist- but which ones? The book opens in New York in November 1957, as a painting by Sara de Vos is stolen from the luxurious apartment of wealthy Marty de Groot, plucked from the wall above the marital bed. It ends up in the lands of Australian art historian, Ellie who is studying de Vos, freelancing in art restoration as a sideline activity. Her rather dodgy associate, Gabriel, asks her to make a copy of it. She asks no questions about where it comes from or to whom it belongs: she doesn’t want to know. It’s an opportunity to really study a de Vos painting close-up but it’s a decision that she regrets for the rest of her life, especially as her career blossoms and she becomes a noted academic and curator of Dutch Golden Age paintings. After assuming that the copy (i.e. forgery) has been resolved through her own contact- and more- with de Groot, it seems that her indiscretion of some forty years earlier is about to bring her undone as what she fears is two copies of the same painting are heading towards Australia, for an exhibition that she is curating at the Art Gallery of New South Wales.

So what was this painting, source of both desire, possession and trepidation? It was At the Edge of the Wood, thought to be painted by Sara de Vos in 1636, depicting a young girl standing against a silver birch, watching skaters on a frozen river as the sun sets. Through the flashbacks to the 1630s that are interwoven through the book, we learn that it was painted surreptitiously by Sara de Vos, who although admitted to the Guild of St Luke- something almost unheard of for a woman- was expected to paint still life pictures within a domestic setting. She and her husband Barent had been expelled from the Guild for painting unsigned landscapes outside of the Guild strictures and her life is falling apart. She is still grieving the loss of her seven year old daughter, and deeply in debt, Barent has deserted her, leaving her to make her own way.

The book, then, has three intersecting strands: Sara’s story in 17th century Netherlands; Ellie’s life in 1950s Europe and ill-advised venture into forgery and later interaction with the rightful owner Marty de Groot, and 2000 in Sydney when three de Vos paintings are heading to upend Ellie’s career. In places it reads like a mystery, and historical fiction, in other places a critique of the art scene and collecting practices, and an exploration of grief and regret. He writes exceptionally well of Ellie as an awkward, young and inexperienced girl far from home, embarrassed by her virginity and alternately attracted to and repelled by an older man who is interested in her for his own purposes. He does conversation well, and his descriptions of paintings are so crisp that you think that you might have seen them once- even though, of course, you couldn’t have. At times his description of painting and forgery techniques drag a little, but they do pay testament to the research that he has undertaken as part of writing this book.

And what was Sara de Vos’ last painting? Ah well, you’ll have to read the book…

My rating:8/10

Read because: Book Group selection, sourced from Yarra Plenty Library Book Groups collection.

‘The Other Americans’ by Laila Lalami

2019, 301 p.

The front cover of this book shows a stylized drone-view type drawing of a suburb in America, with gabled houses surrounded by lush green lawn and trees. It looks just the way I imagine American suburbia to look, full of Leave-it-to-Beaver and Brady Bunch types. The ‘Other America’ in this book live in a rural town on the edge of the desert and the “other Americans” who live there are very different to this white, sanitized image.

Late at night in a small town in the Mojave Desert, California, middle-aged Driss Guerraoui, a cafe owner who originally emigrated from Morocco, is killed in a hit-and-run accident. It is assumed that it is accidental, but his daughter, Nora, believes that it was a deliberate ‘accident’ even though her grieving mother Maryam and sister Salma do not follow her in her obsession with finding the perpetrator. The local police are brought in, including Coleman, a female officer that we later learn is of African-American descent, and deputy sheriff Jeremy Gorecki, an ex-Iraq veteran who had grown up in the town and had long had a school-boy crush on Nora. Before the accident Nora had been living in Chicago, trying to carve out a career as a musician, and involved with a married man who had not followed through on his pledges to leave his wife. But when her father is killed, she returns to her home town and again becomes involved with the boys she went to school with, including Jeremy and A. J. and his father Anderson, who owned the bowling alley beside her father’s cafe. However, the accident did not go completely unseen. Efrain, an undocumented immigrant, saw the collision but fear of the authorities stopped him going to the police. He only came forward when Nora offered a generous reward, possible because of a bequest left to her by her father (a bequest resented deeply by her sister).

The story is told in a chorus of nine voices, including that of the dead man Driss. Because they are all telling the story from their own perspective, we learn much more than about just the accident and the investigation, which is rather an anti-climax as far as a police procedural goes. We see parallels between Driss and Efrain, both making a life in a new country; we learn of infidelities in Nora’s own family; we see racism and resentment being played out at multiple levels. Because they are told from each character’s point of view, we gain multiple perspectives on the same event but I feel that, as a writing technique, it’s a bit of a cop-out. The voices were not sufficiently different from each other and the author is relieved of the responsibility of tying them together. It has been done before, and it just felt a bit tired as a style.

My rating: 7/10

Sourced from: Yarra Plenty Regional Library

Read because: I have Leila Lelani’s new book reserved, and I thought I’d read one of her earlier works first.

‘We Come With This Place’ by Debra Dank

2022, 249 p.

As a local historian and having lived all my life within a 10 km radius, I have a strong sense of place, but I acknowledge that it is not the same as the First People’s sense of Country. That’s Country with a capital C, and there’s no ‘the’. It’s just Country, and I respect First People’s embeddedness in it, but deep down I know that don’t really understand it in the same way. Debra Dank’s We Come With This Place is probably the best explanation and expression of it that I have read.

Dank is a Gudanji/Wakaja woman: teacher, wife, mother and grandmother. She grew up in Camooweal in Queensland but her family, are from the south-western Gulf of Carpentaria and their dreaming is the three travelling Water-women, birthed from the salt water, who became the first tellers of stories and grew the country as they moved through it. The Water-women, and the knowledge of water runs through this book, opening and closing the narrative. This is probably the only conventional part of the telling, as different generations’ stories are interwoven without clear signposting, and as pain and abuse occur over and over again.

The introduction to the Yoorook ‘Truth be Told’ report spoke of putting First Peoples’ Stories against the written, European histories. A number of years ago, historian Ann McGrath wrote a history Born in the Cattle (1989), which used oral histories to tell the stories of Indigenous people living on pastoral stations in the Northern Territory, a ‘no-shame’ job which enabled the cattle workers and their families to live on Country, maintain traditional obligations, and earn a living. It seemed a rather rose-tinted analysis even at the time, and seems even more so thirty years later with our later knowledge of the Stolen Wages, and the Massacre Map. Dank herself gives a different view of the pastoral workers’ life through her father’s story, and through her own as well, as she spent several living on stations with her family, where they were treated with varying degrees of acceptance.

Her father, Soda, was born on the banks of the birthing creek on Wakaja Country, on what became known as Alexandria Station. After witnessing his mother being raped, and accused of poddy (calf) stealing and pursued by white co-workers on the path of vengeance, he escaped the Station and crossed the Queensland border into Camooweal, where he met Dank’s mother and married her and established a family. The indigenous community is not necessarily supportive of marriage between indigenous partners: Soda’s mother-in-law, an Indigenous woman who was protective of her status in a small, tightly-knit Methodist community, reported Debra’s birth to the Aboriginal Protector, who at that time had the power to take lighter-skinned children from their families. It didn’t happen in this case. Debra’s mother, who had benefited from Westernized schooling, put a heavy emphasis on education, and indeed she oversaw not only her children’s education when the family was living on a pastoral station, but that of the station-master’s children as well. Her father could neither read nor write. Her love for both parents is unmistakable, but she is clear-eyed about domestic violence within her family, and the recurrent injustice, racism and pain that recurs across the generations.

Despite her maternal grandmother’s hostility, Dank had a close relationship with her grandparents and from them she learned about Country. Her descriptions of camping, of tramping through desert scrub looking for water, and the vast landscape are beautiful. Through a series of short chapters, she tells of the lives of her grandparents (and further back) and parents but she does not necessarily help the reader by giving a straight-forward chronological account. At times, I found myself flipping back to see whose story it was – her father’s? Her grandfather’s?- but I’m sure that this is intentional. Violence and dispossession seeped through the generations, as did the love and knowledge of Country. It’s a love and knowledge that she is giving to her children, and to us too as readers. The cyclical story pattern reflects First People’s story-telling and its sense of time and patterns. She uses language as well, without the support of a glossary at the back, and so you need to deduce the meanings of words which, ever the teacher herself, she uses several times within a few paragraphs so that you can work out the context.

I was particular struck by one passage where she describes looking for food in desert country with her father, on land that was not their country. I realized that our Acknowledgements of Country embody similar sentiments, but without the promises of benign intention.

We had been cautious when we approached. Dad had been extra careful to talk to that place and to assure the old people there that we were coming to gather some food, and to let them known who we were and where we had come from. He went on to tell them we meant no harm and we would take only enough to feed us on that day, that our country and our people, like us, were grateful to be given food there. We would leave enough to share with the turkeys that would arrive soon, he assured those that dwelt there. And they were kind to us. We had enough to satisfy our needs, but it was always like that. Talk to the country, talk to old people, talk, talk, talk. Talk your story into this place to sit there with the ancestors. (p. 104)

If only we were able to acknowledge country so honestly.

This book was shortlisted for several awards in 2023, and it won four categories in the NSW Literary awards, the Australian Literary Society Gold Medal and the University of Queensland Non-Fiction award that year. It deserved such recognition. It is very, very good.

My rating: 9/10

Sourced from: Yarra Plenty Regional Library

Read because: I borrowed her most recent book about her family story, and I realized that I should read the original book first.

‘Frostquake’ by Juliet Nicolson

2021, 384 p.

Well, it only took five years between hearing a podcast about this book and being inspired to purchase it, and actually reading it. And even then, I was spurred to read it because I’d like to read Andrew Miller’s The Land in Winter, set in the winter of 1962-3, which was short-listed for last year’s Booker Prize. Interestingly, Miller’s book also won the Walter Scott Prize for Historical Fiction, with the events of sixty years ago now considered history.

Frostquake, on the other hand, positions itself very clearly as ‘history’, telegraphed with the subtitle ‘The frozen winter of 1962 and how Britain emerged a different country’. In it, Nicolson argues that the winter of 62-63, the coldest since 1814, crystallised a tension between the old and the new. The old: Winston Churchill, Harold Macmillan, the continuations of the poverty of the Industrial Revolution, with 15 million people still lacking a plumbed-in bathroom. The new: JFK, Harold Wilson, the Beatles, consumer goods like televisions and refrigerators, glass office-blocks.

There are moments when society, however embedded, shifts on its axis. The long and lingering hardships of the paralysing winter of 1962-3 encouraged, even enabled, change: the very effect of shutting down empowered a thawing. Forces of social change that had been building over many years now found their moment of release as they broke through the icy surface. As the country froze it melted. (not sure about the page number because I read this as an e-book)

So what is a frostquake? One of the epigraphs to her book is a definition from an unnamed source:

Frostquake (n) A seismic event caused by a sudden cracking action in frozen soil. As water drains into the ground, it may freeze and expand, putting stress on its surroundings. This stress builds up until relieved explosively in the form of a frostquake (p. vii)

However, this book is not about weather or geology, although the snow and ice that started falling and forming for 10 weeks from Boxing Day 1962 through until to spring give the book its narrative parameters. Instead, this book is far more about people and their overlap with events on a national and world stage, drawn from conversations, memoirs and interviews. Some of these people are unknown: 19 year old Pauline Stone, driving through the mustard-like fog in her Mini Minor; Terri Quaye a 22-year old black jazz singer, Corporal Dennis Osbourne, travelling with his family on the Liverpool-to-Birmingham Express, which collided with the Glasgow-London express because of poor visibility. They each have a small story, of which the weather is just background.

But many of the people that Nicolson writes about are well known: Joanna Lumley talks about the cold at her boarding school; the Beatles are being transformed from scruffy, rather smelly hack musicians playing the clubs and careering from gig to gig into suited songsters who appear on the television; Mick Jagger and the Rolling Stones are London fixtures- Mick and Brian Jones sharing an Edith Grove flat, and with Mick taking on board the advice of Andrew Oldham, 19 year old window dresser at Mary Quant’s shop and music promoter “If you pretend to be wicked, you’ll get rich”. There’s the eruption of satire on the television, with comedians Peter Cook, Dudley Moore, Barry Humphries and Alan Bennett thriving into the 1970s and later. Author Antonia Fraser floats in and out, as does fellow author Penelope Fitzgerald. There’s a lengthy section on Sylvia Plath, who committed suicide in February 1963, in the depth of this cold winter.

Not only do other people, both famous and unknown, appear, so too does Nicolson’s own family. When she talks about spending Christmas of 1962 at her grandfather’s house at Sissinghurst, the penny dropped- Ah! She’s the daughter of Nigel Nicolson, who wrote Portrait of a Marriage, and the ‘Nicolson’ in the publishing company Weidenfeld & Nicolson. And so, she’s the granddaughter of Harold Nicolson, many-partied politician, who supported the decriminalization of homosexuality and the abolition of hanging, opposed the Munich Agreement with Hitler, published Lolita and disagreed with Anthony Eden’s Suez policy. And the granddaughter of Vita Sackville-West, who had died the previous summer.

Her upbringing in a political milieu is reflected in her attention to the Profumo Affair in particular, and the entanglement of the various characters who appear throughout the book. Nicolson herself received a pinch on the bottom from John Profumo, a one-time parliamentary colleague of her father, when he came to see the garden at Sissinghurst some thirty-years later. The glamour of JFK is here too, a contrast to the dowdiness of the Edwardian-figure of conservative Prime Minister Harold Macmillan whose career was derailed by the Profumo Affair. The anxiety of the Cuban Missile Crisis pervades the book, and Britain is being rebuffed from the European Economic Community by Charles de Gaulle.

The writing is quite beautiful. Here she is waking up on the day after Boxing Day 1962 as the snow begins to fall, the most snow they had ever seen in their lives:

The following morning we woke to the peculiar blue-bright light of reflected now filtering through the closed curtains. Instead of disappearing during the night as we had feared it would, the snow was still there, turning the landmarks of the garden- the walls, lawns, statues, urns- into something unrecognizable but unified. The sight was beautiful, its very transience on this familiar landscape making it even more precious. Snow muffled all sound and the silence felt dream-deep. Outside freezing snowballs melted the second they hit the napes of our necks and we tipped backwards on to the lawn, arms outstretched like acrobats, trusting that the mattress of snow would break our fall. Unlike a sandcastle on a beach, absorbed so soon by the waves, our imprints remained, hollows into which we could flop again and again. (Ch 7)

She returns to the silence of the snow-bound world at the end of the book, writing in the midst of COVID which brought its own silence to us. Writing in the winter of 2019-20, the daffodils and forsythia had just begun to blossom, and suddenly the earth felt lit up by yellow flowers.

Sixty years before the winter of 1962-3 the century had just turned and with it the old Victorian regime was dying. Sixty years after the winter of 1962-3 the world turned again, a little more sharply than it should have, unbalancing the stability we take for granted and throwing everyone into a state of profound shock….In December 2019, on a world map shown on every single news channel, a tiny red dot indicated a town in the heart of China, a million, million miles away from England, as the place where a brand new strain of a deadly virus had emerged, one that targeted the lungs, the enabler of breath, of oxygen and of life itself. Eight weeks later the dots had spread, and much of the world map was coloured red. In the autumn of 1962 many felt we were teetering of the edge of absolute destruction with nuclear weapons capable of wiping out mankind. And now, in the spring of 2020, the coronavirus, constantly visualized on screens as a spiky globe, an exotic species of underwater coral, a logo of frightening change, made us feel we were once again staring into the abyss, looking over the rim…. The country lanes were silent not this time because of the muffling of snow but by the absence of traffic. The world was in lockdown. The skies were blue, blue, blue, devoid of aeroplanes, not through mankind’s choice but for its survival. And the birds were going crazy in the sunshine. Nature seemed to have forgiven us not for doubting but for threatening its resilience and had returned once again with an astonishing beauty….Perhaps every half-century or so we need an intervention that is outside our control, an uninvited pause in order for resurrection to take place.

I enjoyed this book. I’m old enough to recognize the things she is writing about- indeed, the author and I are nearly contemporaries, and I do wonder if someone younger would enjoy it as much. It was not at all what I expected, which was a far more journalistic, meteorologically based account, but enjoyed the political and personal approach much more.

My rating: 9/10

Sourced from: purchased e-book

Read because: I heard a podcast with the author.

‘And the Women Watch and Wait’ by Catherine Meyrick

2025, 435 p.

Especially in the wake of the centenary of WWI, there has been no shortage of books about men’s experience in war. They’re usually big fat books, often named for a battleground in large letters, with the (male) author’s name is letters much the same size. Women’s experience- especially the experience of women who didn’t go to war but instead stayed home waiting- is less often documented. And the Women Watch and Wait is based in suburban Coburg in Melbourne, and it captures well the dissonance between suburban life and battlefields far away, the agony of curtailed and delayed communication, and the emotional peril of allowing yourself to fall in love.

Kate is a young country girl who has been sent down to Coburg as company for her Aunt Mary, whose two sons have volunteered and been sent overseas as part of the first contingent of soldiers to be deployed. As well as the excitement of staying in Melbourne, Kate is excited that her boyfriend from Gippsland, Jack, has been sent to the nearby Broadmeadows Training Camp, and there are more opportunities for them to meet up before he leaves than there would have been had she still been in Gippsland. Time is rushing on, as the rumours of the trainees’ departure mount, and she is excited when Jack proposes to her. At this stage, there is still hope that ‘the boys’ will be back by Christmas, and there seems such pressure of time to commit, to get married and start up a married life. Jack leaves with his detachment, and Kate is left with her aunt, working in her aunt’s grocer shop, teetering between excitement to receive mail, and yet fearing what news the mail might bring. News does arrive, and she, along with the women among whom she is living, has to readjust her hopes for the future.

I’m probably a particularly critical audience for this book, because as it happens I’ve been writing a column for the newsletter of my local historical society for the past ten years or so that looks at events at the local Heidelberg level one hundred years previously. Just as Catherine Meyrick would have done in researching this book, I’ve followed the local newspapers closely, consciously looking for women’s experiences, reading every page and even the advertisements and classifieds. This has given me a close-up knowledge of one suburb, (albeit a few suburbs away from Coburg) and how the world-wide events of WWI impacted the social and political life of a community. I must say that she has nailed the local aspects, and I found myself nodding away to parallels that arose in her book which also occurred in Heidelberg.

The book is arranged chronologically by year, starting in 1914 and going through to 1919 with an epilogue. It has over sixty short chapters- too many, I feel- and the frequent changes of location made it feel a little like a screenplay. She integrates political events of the day, like the conscription debates, into her narrative and, again, she captures this big event playing out in small halls and conversations so well. I particularly liked that she explored the WWI experience from the Catholic viewpoint, something that is not represented well in the local newspapers that I have read.

It’s a difficult thing to undertake huge amounts of research, then to let it go in case it smothers the narrative (an advantage that historians have over novelists). At times I felt that small local details were made too explicit, but I’m also conscious that I may have read this book differently to the way that other people might read it. At an emotional level, the book rang true with love, fear, vulnerability and strength being lived out not in trenches but in suburban houses and streetscapes.

My rating: 7/10

Sourced from: purchased e-book. Check https://books2read.com/AndtheWomenWatchandWait/ for availability

Read because: I noticed that the author had linked to several of my posts.

More challenges

Well, not only have I fallen behind with my Waking Up Challenges, but I’ve fallen behind in writing about them as well.

Day 5’s challenge was to sit it somewhere for five minutes and write down exactly what I saw,—objects, movement, colors, textures, light- then to write about what emotions or expectations might be influencing what I saw, and how. Well, I sat at my desk, the same desk that I’m typing this at. I have slimline venetian blinds, and so the light was being sliced up horizontally. What I could mostly see was mess: printoffs of music, little notes to myself, piles of folders, books I’ve read and haven’t decided what to do with. Around me, more piles of books and an assortment of ukuleles. My feelings about them all? Obligation and “I should”s. The one thing that made me smile was looking at my desk calendar which I had printed off with photographs of my grandchildren. Listening to the reflection that accompanied this challenge, I must be a person who sees through a glass darkly (which is not, I must admit, how I perceive myself). Or perhaps I should just clean up this desk (another should).

I skipped Day 6 but it looks interesting, and I might come back to that one.

Day 7 was called ‘Leveraging Boredom’ and the challenge was not to use my phone FOR A WHOLE DAY. Well, I soon decided that I couldn’t possibly do that, but what I could do was to not go onto social media, no Wordle, no Google, no Solitaire, You Tube or The Guardian website for a day. It was disturbingly difficult but I’ve been hating how much time I waste each day, especially at night when I get tired. So, instead of scrolling, I finished reading a book I’ve been enjoying and felt much better for doing so. Instead of watching TV and playing Solitaire at the same time, I actually watched the Foreign Correspondent episode I was watching.

Does it matter?

Day 3 of my Real Attention Challenge. Today I had to do one task about 80% as well as I otherwise would, and let that be good enough. Huh!

This is my bed. I loathe doonas: give me blankets any day. And don’t get me started on the absence of a top sheet in hotels. Layers, people, layers.

Anyway, we make the bed every morning: sheets (bottom and top), two blankets and a doona in a doona cover more for appearance than anything else. I tuck my blankets in, but Steve doesn’t. Worse still, you can see the blankets hanging out of the side of the bed reflected in the mirror because there’s never enough doona on his side. So every morning I spend a little while walking around the bed, making sure that the doona is even on both sides and tucking in any errant blankets on Steve’s side. I smooth out the wrinkles from the doona, and all is right with the world.

Did it matter? You bet it did. Every time I walked into the bedroom, I’d see the blankets hanging out of the side of the bed and it took every bit of self-control not to run round there, tuck them in and straighten up the doona. It put me in a bad mood for the whole day.

Then just to add insult to injury, I listened to the short reflection that went with this activity, where a man with a smooth voice rationalized his failure to wake up on time on a Saturday morning and get his kid out out of bed to go to kick-boxing by saying that it didn’t REALLY matter. Yes it did! You’re the father- show some responsibility! And if that kick-boxing instructor was a volunteer, that’s a million times worse. That’s the deal: you get your kid here on time, and I’ll teach him.

Does it matter? Yes.

Grrr. I don’t think this challenge is very good for me.

‘The Man in the High Castle’ by Philip K. Dick

1965 (1962) 236 p.

It’s interesting that my copy of The Man in the High Castle should be issued under the Penguin Science Fiction impress, because it doesn’t seem particularly science-fiction-y to me. It was first published in 1962 and envisaged a world in which Germany and Japan had triumphed during WW2, with the action occurring taking place in 1962- i.e. contemporaneously. To my mind it was more an alternative history or counterfactual than science fiction.

The narrative traces through several characters who live in an America partitioned into three. Nazi Germany controls the East Coast, as well as Russia and Western Europe. The east coast itself is divided in two: the remnant United States of America up to the Canadian border, and ‘The South’, both ruled by puppet regimes under Nazi control. The West Coast had been annexed by the Japanese as the Pacific States of America. Between the two regimes is the buffer Rocky Mountain states, where American citizens continue a depressed, oppressed existence.

The novel starts in the Pacific States of America, where businessmen Robert Childan runs a business selling pre-invasion Americana, most of which is counterfeit and manufactured by the Wyndam-Matson Corporation. Childan is contacted by Japanese trade official Nobusuke Tagomi, who seeks a gift to impress a Swedish industrialist named Baynes, who is coming to visit. Baynes, however, is really a Nazi defector who is coming to warn of the incipient activation of Operation Dandelion, a plan for Germany to attack Japan and attain world domination. Meanwhile, there is a banned publication, The Grasshopper Lies Heavy which is circulating surreptitiously, which posits that in fact, the Allies did win. Ostensibly the book is written by Hawthorne Abendsen, the eponymous ‘Man in the High Castle’. Juliana, the ex-wife of secret Jew Frank Frinke, is fascinated by the book, and travels unwittingly with an under-cover Nazi to meet the author, unaware that her companion Joe Cinnadella, has been sent by the Germans to execute Abendsen. It is a repressive and violent society, which has reverted to almost-magical times, with the I-Ching, a book of Chinese divination, guiding the actions of many of the characters, both Japanese and American.

The scenario is fascinating, but unfortunately the characters are not. I confess to losing track of who was who, and I am still bemused by the authorship of The Grasshopper Lies Heavy, although I think that the author intended this ambiguity. The characters are rather mechanical, and it is difficult to feel any connection with any of them. The end of the book becomes bogged down with a fairly metaphysical exploration of the I-Ching.

However, the book does form the political and ‘historical’ background to the excellent Prime four-season series, which managed in its first episode to evoke more sympathy and coherence to the characters than the whole book did. Interestingly, they turned The Grasshopper Lies Heavy into a film, instead of a book, which in a way made the whole scenario more implausible- who has a film projector hanging around in their apartment? Surely a book would be more portable and thus more dangerous. To eke four seasons of the TV series out of a fairly slim volume, obviously it was taken far beyond the original book, but to my mind so far, with far more success in character development than the book. So, for me, The Man in the High Castle is a book with a really fascinating premise which didn’t quite manage to develop its characters, or integrate its metaphysical aspects.

My rating: 6/10

Sourced from: My husband’s bookshelves. I had heard about the book, but never read it or seen a copy.

‘Falling’ by Anne Provoost

1997, 285p

SPOILER ALERT

The twentieth anniversary republishing of this book has come and gone, it having first appeared in Dutch in 1995. I had heard of it, and knew that it dealt with Nazism, and assumed at first that it would be set during World War II. It came as a surprise, then, that it was set in the present day (in 1995) with themes that are probably even more resonant and urgent today than they were in 1995. My copy, collected no doubt from my local little library, had obviously been a school set-text, and the book won many Young Adult awards on its publication.

Lucas has accompanied his mother to Montourin, a small Belgian provincial town, to clean out his late grandfather’s house. The book opens with Lucas standing by the side of the road as his friend Caitlin is brought back from hospital after an accident that occurred three weeks earlier. The narrative then spirals back to explain who Lucas and Caitlin are, how she was injured, and Lucas’ part in that injury. It is written in first person, from Lucas’ viewpoint, thus aligning us as readers with his perspective of events in the weeks leading up to Caitlin’s injury.

On arriving at Montourin, he finds that there is an unspoken edge of hostility towards him and his family, exemplified by Soeur, an old nun in the nearby convent in which American-born Caitlin is staying. He does not understand why, and as he sees his mother sorting through and destroying his grandfather’s documents and belongings, he knows that something is being kept from him. He gradually learns that, after the death of one of his children during the hungry days of WW2 occupation, his grandfather denounced fifteen Jewish children and the nuns who were hiding him in the neighbouring convent, out of grief and resentment that these Jewish children were taking food rations that could have saved his daughter. Some in present-day Montourin shunned his grandfather for this action; others supported it.

Their support was generally unspoken, but outright admiration was voiced by Benoit, a young man older than Lucas, who combines menace, charisma and manipulation in his neo-Nazi outlook. Lucas is drawn into Benoit’s sphere and becomes involved, with varying degrees of culpability, in Benoit’s terrorist plans against the Moroccan refugees who have moved into the town. At the same time, he is attracted to the inscrutable Caitlin who fluctuates between flirt, friend and heartbreaker as she, too, seems to be becoming friendly with Benoit. But when Caitlin is involved in a single-car accident- the reasons for which are unclear- Lucas acts decisively, if precipitously, in a way that will change the rest of Caitlin’s life. I’m not really quite sure about the ending of the book, which is deliberately left obscure, but which struck me as a little melodramatic.

Since 1995 the presence of African refugees in Europe has only increased, as has the prominence and apparent electoral acceptability of neo-Nazi parties. This book is a warning against the slow slide towards fascism, especially for young men with no responsibilities who yearn acceptance from other young men. I can see why it would be chosen as an upper-school text, especially given its urgent relevance today. I’m not sure how it would be received by high school students though- it moves fairly slowly, and I wasn’t particularly satisfied by the ending.

My rating: 7/10

Sourced from: little library