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On Morrison by Namwali Serpell review – a landmark appraisal of the great novelist’s work

Serpell leaves no stone unturned in her deep and enriching portrait of the Nobel laureate’s oeuvre

I have waited years for this book. But before I tell you what it is, I had better tell you what it is not. On Morrison is not a biography. Except for scattered references, there is little here about Chloe Anthony Wofford’s birth and early life in Lorain, Ohio; her education at Howard and Cornell universities; her editorial work at Random House; or her phenomenal success as a novelist. Nor is this book for fans who turn to Toni Morrison for inspirational quotes or to score political points.

Instead, On Morrison offers readers who can tell their Soaphead Church from their Schoolteacher something they have long hoped for: a rigorous appraisal of the work. Despite her enormous contribution to American letters, Morrison’s novels are still too often read for what they have to say about black life, rather than how they say it. Song of Solomon and Jazz are more likely to be found on African American studies syllabi than creative writing ones. In her introduction to On Morrison, Namwali Serpell identifies the reason: “She is difficult to read. She is difficult to teach.”

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Our Better Natures by Sophie Ward review – reimagining Andrea Dworkin

Three women, two real and one fictional, seek social justice in an ambitious novel that explores power in 1970s America

What kind of justice can we have in a world driven by power? The actor turned writer Sophie Ward likes to fuel her novels with philosophical conundrums and set herself complex writerly challenges. Her ingenious, Booker-longlisted Love and Other Thought Experiments was structured around philosophical thought experiments, from Pascal’s Wager to Descartes’ Demon, with a chapter narrated by an ant living inside a character’s brain. The Schoolhouse explored the ethics of self-directed schooling and of policing in a complicated cross-period procedural. Now she turns her attention to questions of justice, freedom and power in the 1970s United States, with a tripartite structure bringing together three women – two real and one imagined.

It’s 1971: the Manson Family have just been found guilty and hundreds of thousands are marching against the Vietnam war. In the Netherlands, 25-year-old Andrea Dworkin escapes her abusive husband and attends a debate between Chomsky and Foucault on justice and power. Back in the US, the poet Muriel Rukeyser throws herself into protesting once again, though her lover, the literary agent Monica McCall, tells her rightly that her health won’t stand it. The third character is loosely based on the family history of Ward’s own Korean-American wife. Phyllis Patterson welcomes her son home to rural Illinois from the army base in South Korea, and attempts to build a relationship with her new Korean daughter-in-law and grandchildren. All three women are testing their own capacity for justice in an unjust world.

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A Hymn to Life by Gisèle Pelicot review – a unique memoir by a figure of astonishing power

Pelicot’s riveting account of her ordeal refuses to conform to any agenda but her own

It is a mark of the power and honesty of Gisèle Pelicot’s memoir, A Hymn to Life – a seemingly impossible writing project in which the author must reconcile herself with horrors of which she has no recollection – that in the first 40 pages, the person I felt most angry towards was Pelicot herself. Her ex-husband, Dominique, who will almost certainly be in jail for the rest of his life for drugging and raping his wife and recruiting 50 men over the internet to do likewise, takes his place among the monsters of our age. In his absence, the reader may experience a version of what happened in Gisèle Pelicot’s own family – namely, the misdirection of anger towards her.

I have read enough books by female survivors of male sexual violence to say with confidence that Hymn to Life is unique. Pelicot – she decided to keep her married name in the interests of giving those of her grandchildren who share it a way to be proud rather than ashamed – was 67 when her husband of almost 50 years was arrested in 2020 for upskirting women in a supermarket in Carpentras, a small town in the south-east of France near the couple’s retirement home in the village of Mazan. When the police investigation uncovered a cache of videos and photos in which an unconscious Pelicot was shown being sexually assaulted by scores of men, she entered a nightmare.

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More heartache than Hamnet?: Maggie O’Farrell’s best books – ranked!

As her Women’s prize-winning novel heads to the Oscars, we rate the author’s best work – from tales of new motherhood to a life-affirming memoir of mortality

The ghost of a previous lover is always a challenge, particularly if you (mistakenly) believe that she’s actually dead. This is the unenviable situation for Lily, the protagonist of O’Farrell’s second novel, who is swept off her feet by dashing architect Marcus and in short order moves in with him. Lily takes his assurances that her predecessor Sinead is “no longer with us” to mark a more permanent absence; in fact, Sinead has simply been thrown over, and it is in the details of the collapse of her relationship with Marcus that the novel most engages. Hints of the gothic ghost story deepen one of the main takeaways, which is that Marcus consists almost entirely of red flags.

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Poem of the week – from plastic: A Poem by Matthew Rice

Two time-stamped poems are taken from a book-length sequence tracking the human moments of a factory night shift

01.29

When we look up at stars on break
we see only stars behind
the exhaled Milky Way
of Bobby’s Golden Virginia,
ways to navigate shift patterns,
nothing seismic or anything approaching
truth; for us stars mean only night shift,
insanity of depth,
the slow individual seconds
during which the dotted starlight
doesn’t burn fast enough.

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Frogs for Watchdogs by Seán Farrell review – about a boy

A charming child’s-eye view of rural Ireland

There’s a particular energy to novels written from the point of view of small children. Humour, of course, in the things the child misinterprets; pathos in the things they feel they must keep hidden; jeopardy in the dangers we can see, and they cannot. As any relative or babysitter can attest, even the sweetest child can become mind-numbingly dull when they’re all the company one has, so there’s a skill to charm without boring. The other skill is to find ways of enabling the reader to read over the child’s shoulder, as it were, to piece together for themselves the adult dramas to which a child’s natural egotism, or simple innocence, blinds them.

In 1988, the longsuffering mother in Seán Farrell’s first novel, Frogs for Watchdogs, is stranded. This Englishwoman has had a boy and a girl with a handsome rogue of an Irish actor, but he has walked out on them. Asked to leave a commune unsuited to children, skint, too proud, perhaps, to return to the protection of well-heeled parents in England, she rents a farmhouse on the cheap in the deep countryside of County Meath, where she can grow vegetables, raise hens and a few sheep, and attempt to scrabble a living as a healer. (From the multiple dilutions her boy witnesses her perform, her fairly batty practice would seem to be some form of homeopathy with new age elements thrown in.) While her doubtless appalled parents insist on sending the oldest child, a forthright girl called B, to an English boarding school, B’s younger brother spends months running happily feral. Once he is eight, he will be old enough to follow her and be tamed and anglicised.

Frogs for Watchdogs by Seán Farrell is published by John Murray (£14.99). To support the Guardian, order your copy at guardianbookshop.com. Delivery charges may apply.

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A World Appears by Michael Pollan review – a kaleidoscopic exploration of consciousness

The journalist and polymath probes the mysteries of the mind in this unsettling yet life-affirming investigation

The brain, wrote Charles Scott Sherrington, is an “enchanted loom where millions of flashing shuttles weave a dissolving pattern”. The British neuroscientist created this striking image more than 80 years ago, a time when mechanised looms, not computers, embodied the idea of technology. Even so, the symbolism feels relevant. We struggle to talk of our brains or minds without recourse to the machine metaphor: once it was clocks, then looms, and now computers. We say that our brains are hardwired; we talk of our ability to process information.

The quote appears as merely a footnote in Michael Pollan’s new book, A World Appears, a fabulous and mind-expanding exploration of consciousness: how and why we are self-aware. But the whole thing can be read as a lucid and impassioned riposte to Sherrington’s conception of the mind as a machine. In Pollan’s view, we have become imprisoned by such narratives, which have obscured the richness and complexity of human and non-human consciousness. Bridging both science and the humanities, Pollan mines neuroscientific research, philosophy, literature and his own mind, searching for different ways to think about being, and what it feels like.

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Are we hard-wired for infidelity?

Monogamy may be held up as an ideal, but evolution has other ideas

Most of us know people in committed relationships, even lifelong marriages. And we also know stories about relationship transgressions, of partnerships tested or broken by infidelity.

As an evolutionary biologist who studies sex and relationships, I’m fascinated by these two truths. We humans make romantic commitments to each other – and some also break those commitments by cheating.

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‘She dared to be difficult’: How Toni Morrison shaped the way we think

The Beloved author’s refusal to conform made her a hero to many – and the only black female writer to have won a Nobel prize in literature

There are many ways to be difficult in this world. You can be demanding, inconvenient, stubborn, complicated, troublesome, baffling, illegible. Black womanhood is one place where all these forms of difficulty overlap. I feel like I have always known this; I have been called difficult more times in my life than I can count. But I only began to understand – to discover the meanings and uses of – my own difficulty because of Toni Morrison.

Morrison has shaped the way we think about everything from literature to politics, criticism to ethics, to the responsibilities of making art. In 1993 she became the only black woman ever to win the Nobel prize in literature. But the facts remain: she is difficult to read. She is difficult to teach. Notwithstanding the voluminous train of profiles, reviews and scholarly analysis that she drags behind her, she is difficult to write about. More to the point, she is our only truly canonical black female writer – and her work is highly complex.

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‘There’s only one bed’, ‘fake dating’ and ‘opposites attract’: how tropes took over romance

They’re all over blurbs and social media, but do these bite-size labels lead to formulaic fiction? Plus the classics reimagined for a modern reader

Opposites attract. He falls first. Coffee shop. Forced proximity. Sports romance. University sports romance. Ivy League university sports romance! Best friend’s brother. Brother’s best friend. Slow burn. Age gap. Amnesia. Wounded hero. Single father. Single mother. Language barrier. The bodyguard. Fake dating. Marriage of convenience.

If this list means nothing to you, you’re not a romance reader. Tropes, as these bullet-point ideas have come to be known, have taken over romance. Those who write, market and read romantic fiction use them to pinpoint exactly what to expect before the first page is turned. On Instagram, Amazon and bookshop posters you’ll find covers annotated with arrows and faux-handwritten labels reading “slow-burn” or “home-town boy/new girl in town”. Turn over any romance title and they’ll be there listed in the blurb.

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