Reading has always been one of my favorite recreational activities. I read to lose and find myself in stories of people like me in situations unlike any I’ve ever–or will ever–encounter. I read to explore the world, different cultures far and near. I read to find our common humanity, our shared emotion in vastly different experiences. I read to learn new intricacies and ways of being in the world. Here’s what I’ve been reading lately:
A highly original man-and-dog love story. This book is funny and crazy and adventurous and oh so sad while also hopeful. I look forward to another book from this author.
Searingly honest, in parts painfully so. And therein lies the point: alcoholism is painful, a pain-inducing response to a painful set of inclinations based in biology, experience, and one’s personal psychological and physical response to it. This could have been fiction, and the tragedy is that it was not. And yet, thankfully, there is hope. There has to be hope. Always.
I ❤ this book! I am not Lutheran nor high-church liturgical. I do not swear like a sailor and I do not have tattoos. Nor am I brave or vulnerable enough to write as she does in this gorgeous book about God’s grace showing up in very ordinary people (though I aspire to vulnerably write of grace in the ordinary).
Nadia is simultaneously irreverent and reverent. She is refreshingly honest, mostly about her own faults and mistakes and sins and how those are the very cracks through which God shows up with His soldering iron to repair and redeem and make something new and better. Again and again and again, she points to grace.
We don’t agree on every point. Her theology may be more progressive than mine. But she loves Jesus and she loves His church. And, without force, with grace, she continually directs people–and herself–to Jesus, who loves without bounds and forgives without reservation.
I heard about this book when I heard Oprah was involved in a movie version for HBO. The movie is out this week so I rushed to finish it (sadly, while I love Oprah, I didn’t love the movie). Although I am not a scientist (or even a scientist at heart), this book contains threads from so many genres: epic multi-generational family drama, sci fi, ethics, philosophy, biology, tragedy, quest, even coming-of-age. Skloot first heard about HeLa cells–and that they came from a black woman–when she was a 16yo non-traditional high school student taking a community college biology class. She devoted much of the next ten years to seeking out the whole story: of the cells and the woman from whom they came, their significance to scientific progress, and of her family over generations. The story kept me turning pages and the science, explained in a very readable way, didn’t sink me. For so many reasons, this is an important story. Read this book, and then read more about the Lacks family.
This might be putting it on a little strong, but here it is: if Shakespeare had been a contemporary young black woman from SoCal, he might have written this book. The Mothers, the old church women who gossip and pray in turn, function as Macbeth’s witches. They narrate the interweaving story of three young people, and see into their future and past with little to say about the present. Bennett portrays with aching accuracy love’s power to create, destroy, and significantly alter the course of life.
It’s been a long time since I read Shanghai Girls and this book didn’t adequately reacquaint me with the story fast enough. I spent too many early chapters guessing at Joy’s motivation for drastic actions. It picked up after awhile and then offered a storied picture of China under Mao Tse Tung that frankly terrified me for the world in which we currently live. It holds together as a mother-daughter story, the end satisfies, but I still didn’t love the book.
A radical departure from the Rosie books, this one is a long, melancholy song to lost love, chances, and youth. “Lost love belongs in a three-minute song [or, in this case, a book], pulling back feelings from a time when they came unbidden, recalling the infatuation, the walking on sunshine that cannot last and the pain of its loss, whether through parting or the passage of time, remind us that we are emotional beings” (287).
I didn’t love it. Too much IT-talk, and too many references to songs I don’t know. Yes, I could have looked them up but then I’d be reading this book for another month. And the week in France seemed to me like a big, crazy stretch though it did lead to some–at that point in the story–surprising psychological revelations.
Maybe my favorite detail came in learning that Adam’s dad referred to him as A sharp, the less-common musical name for B flat. And perhaps that uncommonness led to Adam’s willingness to take a leap that made me uncomfortable from its first suggestion.
Four adults and a 10-year-old girl vacation together in Italy. Bound by marriage and parenthood and the past, they don’t share much love for one another. Told by each adult in turn, the story reveals deep rifts, dysfunction, pain, evil.
Ephron gives full-bodied life to her characters and uses their different voices to subtly nuance each conversation, each situation. I think I know these people, but I don’t like any of them. I can imagine them in my social circles, even imagine shared vacations, and I never want to see them again. Siracusa itself–foreign, beautiful, run-down, winding-lose-your-way streets–works as a metaphor for the twisted and twisting relationships. The story feels like the careful steps of a woman in heels walking on ancient cobblestone: slow, unbalanced, tense, lovely, painful.
“Marriage. With whom do you want to take the journey?…Do you want to take it with someone who knows you, even intuits your secrets, or from whom you can remain hidden By that last standard, which choice did I make? I’m still unsure. And why do most of us want marriage? Crave it for status or for stability that is an illusion. Marriage can’t protect you from heartbreak or the random cruelties and unfairnesses life deals out. It’s as if we’re chicks pecking our way out of our shells, growing into big birds splendid with feathers, and then piece by piece, we put the shells back together, reencasing ourselves, leaving perhaps an eyehold, minimal exposure. Having pecked our way out to live, we work our way back to survive. Deluded, of course. Shells crack easily.” (81)
“…suppose you see the corner of a building at sunset and one side is beige and the other flamingo pink when both are in fact the same drab red brick? And a second later the vision is gone because the earth has moved infinitesimally. Was what you saw reality? Is there always more than one?” (189)