Posts Tagged With: books

on being tender

Posted on February 9, 2017 by Laura M Gibson

Most days, these days, I count to 5 before I read the news. While I’m counting, I ask myself if my time would be better spent reaching out to someone or engaging in joyful pursuit. Or both. Not that I’ve put my head in the sand. Far from it. But I’m interested these days in boundaries that also allow for light. There’s a long, troubling haul ahead culturally, and sustenance for the fight, for me, is going to come from remembering both my impermanence and the importance of celebrating tiny, fierce, joyful things.

I’ve been thinking all week, since my book group meeting, about Brian Doyle.

I first met writer Brian Doyle through the pages of Orion magazine, where his pieces made me giggle and want to read them aloud or memorize them or lean into my husband and whisper them. Delicious series of words that tongue-twist and whirl and leap. “21 Laws of Nature as Interpreted by My Children” reminds we humans not to get too big for our britches: “If you can’t make a new ant, don’t kill an old one,” reads #20. “The Greatest Nature Essay Ever” pokes fun at the preachy earnestness of environmental writing, which so often bludgeons readers with stridency and dire prognostication.

Here’s his last paragraph from that essay:

“And finally the last paragraph. It turns out that the perfect nature essay is quite short, it’s a lean taut thing, an arrow and not a cannon, and here at the end there’s a flash of humor, and a hint or tone or subtext of sadness, a touch of rue, you can’t quite put your finger on it but it’s there, a dark thread in the fabric, and there’s also a shot of espresso hope, hope against all odds and sense, but rivetingly there’s no call to arms, no clarion brassy trumpet blast, no website to which you are directed, no hint that you, yes you, should be ashamed of how much water you use or the car you drive or the fact that you just turned the thermostat up to seventy, or that you actually have not voted in the past two elections despite what you told the kids and the goat.”

Doyle’s writing’s often silly, unwieldy as Faulkner, and this side-door play with language works like a water mark you can see when you hold the artifact up to the light, or a flavor you can taste hours later. That kind of fun with words piques curiosity, keeps you reading.

A few years ago, a friend gave me a copy of his novel Mink River, a book I read faster than I wanted to and stayed up late to do it a few nights running, aware that such fast tour through the pages was a disrespect to the writer’s deft ability to make prose read like poetry. Mostly, when I consider Doyle’s work, I think of the word wonder. I don’t know how he does it, but he manages to infuse his characters and their perspectives with an awe about living most of us seem to miss, busy as we are with the big problems, the minutiae, the plans and goals and hiccups.

Time with Doyle always makes me realize that in this short stint of living, I’d be better served to use wonder as my lens. There’s a choice about perspective, after all, and sometimes choice takes both purpose and a bit of work.

I recommended Martin Marten as my book group’s February read. The same friend who sent me Mink River gifted me Martin Marten in early summer as my son was about to leave home for college. It was the perfect gift, and I read it in the hammock in the week before we delivered Owen to his new chapter. Doyle’s story was a reminder that sending a kid out into the world is a new chapter for parents, too; when anyone you love peels off on his own path, he’s both inextricably bound to the place from where he’s come and forever separate in a new way. Both joy and sadness can set up shop next to each other in one’s heart, and that’s the vital rub of living.

Martin Marten, about a boy called Dave, his family, and the colorful collection of characters in their small Mt. Hood town of Zig Zag, Oregon (a town below where I’ve spent some time skulking about in the woods, a magical place), is another testament to Doyle’s wondrous outlook, to his fine ear and artful craft, to his bedrock sense that the world is a brief, glorious journey, and that the people along for the ride with us are full of wonder, too, even if they are also simultaneously curmudgeonly, or afraid, or confused. The novel unspools the twin coming-of-age of Dave, the boy, and Martin, the pine marten, and their stories weave and flirt together and apart as they’re both tossed and turned in life and love.

Dave’s younger sister is as precocious as any child you’ll meet in fiction. But I didn’t mind her ability to so candidly talk about feelings or her spatially gifted genius. Her words to her brother – the same words that ring long after the story is over – are to “be tender.”

Could there be any better words to adopt as your theme song? Especially now, when most days it feels like tenderness is a fleeting impulse, with so much hateful rage and fear on the wind.

A few years ago Brian and I both had stories published in the same journal, and I ginned up the courage to email him and tell him what a fan I was. I shouldn’t have been surprised that he emailed me back within a few hours with genuine enthusiasm and his signature silly swirl of language. Neither too important nor too busy to respond, despite his much more impressive publications. His swift, embracing tone of collegiality is something I’ll remember always and work to pay forward, too.

Our book group meetings always involve a writer review, and a friend came this week prepared to share Doyle’s accomplishments in fiction and essays, his background and family story, and his working life as editor of Portland Magazine. This story isn’t all about joy: I didn’t know until this week that Doyle was diagnosed with a brain tumor in November. He had surgery a few weeks ago and is recovering in the hospital after a complicated procedure that’s made post-surgery complicated, too, not to mention survival.

In Martin Marten, Dave spends a good bit of time exploring the “Daveness” of being Dave. In a note to his readers in the days before surgery, The “Doyleness” of Doyle sounds an awful lot like the character he built for us, so full of light:

“stories are holy and nutritious and crucial. Stories change lives; stories save lives. … They crack open hearts, they open minds…It’s more important than ever before to hold hands and catch and share stories of substance and grace and defiant courage and irrepressible humor…The alternative is to ‘allow nothing in our lives but sales pitches and lies.’”

“We could change the world if we told the right story,” Doyle said.

Indeed.

I hope, Brian, that you can feel me hugging you from here with defiant tenderness. That you can hear my stories rising up with the stories of so many others.

Doyle Family Support Fund.

Categories: book review, books, community, family, fiction, nature, publishing, writing | Tags: book review, books, fiction, nature, reading, writing | 4 Comments

all the birds

Posted on March 3, 2015 by Laura M Gibson

This week I stayed up too late one night to finish Evie Wyld’s novel All the Birds, Singing. After I turned out the lights, I lay awake deciphering how Wyld had stitched the thing together and how she’d managed to make every page of it wrought with terror and mystery.

Then I had a bunch of nightmares.

I don’t usually read thrillers. I’m not a great sleeper anyway – I’d hate to think what a steady diet of horror would do to my psyche. But I’m so glad I read Wyld’s novel, a delicious puzzle of a story.

About Jake Whyte, a woman who raises sheep on an island off the coast of England, Wyld’s novel toggles time: Moving forward through the present is the mystery of what’s killing Jake’s sheep – something vicious, stealthy, beastly – and the mystery of what’s chasing her from the past. Moving backward is the story of Jake’s past in Australia, also a mystery that increases in brutality as the novel careens on.

The twin haunting of Jake’s past and the current lives is flecked with leering, largely malicious characters. So much so that a reader is naturally suspicious of the mysterious stranger Lloyd, who shows up one stormy night at the ranch. Jake decides to trust him, but as we’ve seen, her life is a stew of unfortunate events and her own tragic choices. We don’t entirely trust her perspective.

Psychological and physical torment through the seen and the unseen stalk the novel’s pages. There’s the trope of gruesome scars on Jake’s back. Though we never get a really detailed bead on what, exactly, they look like, we understand them to be horrific and to appear as if she’s been ravaged by some clawed beast. More, every scene in which the scars present themselves means further menace for Jake. We come to understand the necessity of her muscular arms and legs, honed through a regimen of push-ups and sit-ups – sometimes the only aspect of her world she can control.

Plugging for Jake to occupy any kind of grace is what a reader brings to every threatening scene.

Structurally complicated and unflinching, the novel marches toward the mystery of Jake’s bleak past and what feels like her bleaker future. Along the way it’s peppered with the kindnesses of people with whom Jake attempts to heal. Greg, the boyfriend she leaves behind in Australia. Lloyd, who seems, always, to be in the right place at the right time. Don, from whom she bought the island ranch, who’s got his own set of demons to wrangle.

To all this Wyld adds the relentless rain, the wind, the isolation, and the uncertainty of what or whom is tracking her – man or supernatural force. Wyld shoves a reader along toward the inevitable intersection of past and present.

A point, this reader was certain, must be cataclysmic. And it is.

I will say that after the heart-drumming-up-at-night-reading-nightmare-having-hope-for-grace journey with Jake, I was surprised (and disappointed) at the ending. I spent quite a bit of time thumbing back through the pages, trying to trace the road map to the place where Wyld leaves us. It’s a purposefully mysterious place, that much is clear. After spending so much time in the good hands of a really accomplished storyteller, I had to reconcile the ending as artfully open and remember that sometimes landing the plane of a story is the most difficult part.

In an interview with Courtney Collins, Wyld talks about resisting neat closures. I don’t disagree with her; endings that solve every conflict make the journey to get there much less interesting. Equally dissatisfying, though, is a kind of vague falling away – two characters staring off into the distance might be real life, but it doesn’t much work for fiction, especially fiction that for two hundred excruciating pages is a punch in the gut.

I don’t think Wyld’s ending works, but I take her point: tidy endings stink; the world is full of mystery we can hardly imagine; our own hearts are sometimes cloaked in darkness. Ultimately, I recognize in the final scene a reconciliation for Jake, and for that, I’ll be able to sleep easier at night.

She won some impressive awards for All the Birds, Singing, her second novel: the Miles Franklin Award, the Encore Award, and the Jerwood Fiction Uncovered prize. She was short and long listed for a heap of others, and among The New York Times 100 Notable Books of 2014.

I can’t wait to see what dark tales Evie Wyld’s got waiting in the wings.

Categories: book review, writing | Tags: book review, books, writing | 8 Comments

warrior

Posted on January 1, 2015 by Laura M Gibson

http://www.lauramgibson.com

Every year, standing at the threshold between years feels bittersweet. The year in rear view a tangle of experiences powerful and ordinary, some regrettable. The year ahead brimming with possibility.

The new year will deliver another birthday, hopefully, and an age I’ll be surprised about. I don’t feel nearly as old as the data indicates. I’m beginning to understand how my ninety-three-year-old grandmother, even at the end when she insisted she was only sixty-four, couldn’t reconcile how fast her life had gone by.

In 2014 some dear friends spent the better part of the year ill, others navigated divorce, joblessness, financial ruin. Deaths of loved ones meant wrangling fresh grief. I hope wherever those souls are they are at peace. Raising kids continues to be hard work, so often a befuddling puzzle difficult to decode with any sort of clarity. Looking back, I spent too much of the year wishing I had better tools for living, wishing I was braver.

In 2014 one of my favorite writers, Kent Haruf, passed away. I considered him a friend, though I never met him. More, I considered him a mentor. Reading Haruf’s novels helped me understand the fierce tenderness a person ought to strive for and inspired me to take my writing seriously. His Plainsong – that spare, gentle tale of regular folk who learn to rely on and love each other like family – is the kind of story I hope to write someday. Until his death at the end of November, he wrote, talked about writing and also about getting ready to pass over to another place. Six days before he died, he even gave one final interview.

I miss his presence in the world. Though he left his readers with one last book, Our Souls at Night, due out in May, I miss already whatever future stories he might’ve created that won’t be told. Wherever he is, I wish peace for him, too.

I’m hopeful a new year means my loved ones and I will be healthy and wise, kind and forgiving, productive and successful. But I know a new year will have its share of struggles, ones I’ll hope to meet with grace and dignity.

In line for bagels this morning I listened to folks chatting over coffee, reflecting, planning how they would celebrate the end of this year. On the magnetic board above the deli counter, some words by Pema Chodron reminded me to rejoice in the ordinary:

“Rejoicing in ordinary things is not sentimental or trite. It actually takes guts. Each time we drop our complaints and allow everyday good fortune to inspire us, we enter the warrior’s world.”

I didn’t know who she was, so back at home I asked Uncle Google about her – the first American woman to become a fully ordained Buddhist nun, an author, a teacher, a spiritual leader, a mother. She has her own foundation. She’s a bit of a rockstar. These words are from her work titled The Places That Scare You: A Guide to Fearlessness in Difficult Times, a title that made me chuckle for its timeliness. A little barb to prod me in the direction of courage.

Waiting for my turn in the bagel line, I read her words again and again, comforted by the notion of being a warrior fierce and insistent in celebrating the fact of existence and the daily-ness of it. It occurs to me that Kent Haruf would’ve agreed with Chodron, that his stories are about opening oneself to the grace of fully, purposefully inhabiting life with all its imperfections. He seemed to do that himself until the end.

Onward to 2015, then, a year during which I’ll take experiences as they come, and work to be a warrior for gratitude.

http://www.lauramgibson.com

Categories: books, family, fiction, writing | Tags: books, fiction, reading, writing | 2 Comments

light

Posted on September 11, 2014 by Laura M Gibson

Early this summer I packed up my bookshelves, preparing to move again, though only a few miles away this time. Each move, I designate a special box of books I unpack first where I’m going. My old friends. Rick Bass and Kent Haruf, Barbara Kingsolver and Jane Austen, Zola and Hurston, Steinbeck, Ron Carlson, Elizabeth Gilbert, Annie Proulx.

This move, before I closed the box lid and taped it shut, I added one more friend: Anthony Doerr’s newest novel, All The Light We Cannot See.

It’s important to note before I say anything else that I’ve been a Doerr fan for years. His short stories are the sort, like Faulkner’s, that stun and sting, surprising and sharp. Visceral. You cannot shake the watermark of them. This latest Doerr work is a complicated arc of character and time, swooping between years before and during WWII and among characters on both sides of that conflict.

At the heart of the novel is the pulse of radio, a tool that comes to mean emotional and intellectual desire, and how and whether one pursues and uses it. Radio in Doerr’s pages means yearning for innocence and family. Radio is a tool used for savage murder. Each sentence crafted, a surprise, the language exquisite and rich, Doerr’s prose reads like poetry.

The story is complicated, full of characters working to survive. Marie-Laure’s father, the principal locksmith at the Museum of Natural History in Paris, teaches her how to survive blindness. She learns to navigate in their flat with the aid of twine and bells. She learns to navigate the streets by first memorizing a scale model her father builds out of wood. She learns Braille, and thereby learns to navigate the world of fiction and the human thrum of yearning, adventuring with Nemo Twenty Thousand Leagues Under the Sea. Despite these skills, and though she is raised up intellectually by her father and Dr. G. at the museum, Marie-Laure is sheltered and must ultimately navigate a war-ravaged terrain alone.

Werner, an orphan in a coal mining town, has early survival built into his existence. A proclivity for math and electronics leads him to be chosen to attend an elite Nazi school just before the war begins, a boon and a curse, although he does not yet know it. He will not have to work in the mines like all men before him, like his father who died far below the ground; he will do something much worse. Early on, we see that Frau Elena and Werner’s sister Jutta guide his heart, act as his moral compass, present in Jutta’s refrain, later echoed by Werner’s friend Frederick: Is it right to do something because everyone else is doing it?

The way we use and harness light and energy, and the miracle of what we can do for and against each other, is present on every page of the novel. Blind Marie-Laure cannot see light, and yet she can: people, events, and sound have color for her—the world is sensorially rich, fully tactile, layered with meanings. From within her emanates an energy vibrant enough that Werner, when he sees her on the street, cannot help but mark her gait and her aura, and also remember it. And Werner, too, possesses a special vitality– his shock of white hair, tiny stature and early ability to solve complicated triangulated problems are an engine within him.

Marie-Laure and Werner are not the only ones compelled by fierce energy. There’s an insistence of self-preservation in every character Doerr unspools, the desires of each glinting like so many facets of the Sea of Flames diamond Marie-Laure’s father tries to protect and the Nazi Von Rumpel risks everything to obtain. Von Rumpel is Nero here, racing against the clock of war and the sentence of his own terminal illness, and yet his maniacal pursuit is one a reader recognizes. For who hasn’t been terrified of death and wished to live forever? To find the Holy Grail? To shout over the rooftops of the world, even if it is crumbling?

By the time these three lives collide in Saint-Malo, for of course they must, the race to save what each cherishes most puts a reader at the top of the narrative scaffolding Doerr has so intricately assembled. It’s a delicious tableau: A gem seeker who’s abandoned all sense of humanity, a girl with nothing left but her hope that humanity still exists, a boy who understands, finally, that he’s forsaken his heart for his mind.

I couldn’t help but think about the artist behind the crafting of such work. My own stories are often dark, full of doomed folk, the creative effort behind them infected with a baseline Eeyoreness I work hard to inject with any kind of hope. Yet hope is an undercurrent I look for in the work of others, because who wants to read a story about all the useless desires that elude us?

Anthony Doerr understands how to tell a story we want to read. More than that, I think his secret might be a fundamental hopefulness in human nature. How else could he have tackled the dark torment of the Holocaust and nonetheless, what rises to the surface is a world emanating with the light of kindnesses, of bravery, of love?

Doerr talks about the inspiration for his story here in a Powell’s interview.

And also here:

Categories: book review, books, fiction, Uncategorized, writing | Tags: book review, books, fiction, reading, writing | 4 Comments

famine of the heart

Posted on October 17, 2013 by Laura M Gibson

Recently I picked up a copy of Faulkner’s As I Lay Dying, a novel I somehow missed in my literature studies, though a long time ago his story “Barn Burning,” maybe one of the best short stories ever written, inspired me to become a teacher and a writer. Also, I wanted to see if I remembered correctly that Faulkner’s work might not translate that well to the big screen. James Franco is either a genius or out of his mind. When the film comes to town, I’ll be curious to see which, or if it’s some of both.

What strikes me about Faulkner’s “experimental” novel is two things: the deception in its structure, which is to say a first impression that its short chapters and multiple voices would make for a quick read; and also that the engine in the novel – the problem of how to get Addie Bundren’s body to her native Jefferson, Mississippi to be buried (her dying wish) despite a flood, and then injury, and then fire — is overshadowed by what motivates her husband Anse and her children Cash, Darl, Jewel, Dewey Dell and Vardaman to engage in this journey. The fifteen voices that tell the story, including one chapter from Addie herself, reveal what undergirds every action in the novel: The inscrutable world is a dark and hard place full of relentless futility. The best we can hope for is to survive the world or leave it on our own terms, as Addie herself seems to have done. Faulkner once said his writing was “hammering at…that man is indestructible because of his simple will to freedom.” (An interview from 1956 is here). His characters’ insistence on survival, however misguided or self-interested, is the relentless drumbeat of As I Lay Dying.

Faulkner called this novel a “tour de force,” and I suppose it is in the way it was different, an experiment that flouted conventional storytelling. I spent more time than I’d like to admit keeping track of the book in the plot way. Time loops around, for one, and I found myself rereading chapters more than a few times to make sure I was getting it. Addie shows up for just one chapter to speak her mind long after she’s already a dead and rotting corpse on her way to Jefferson, for example. Anse and the five kids all help to tell the story, and in each of their pages their mundane, repetitive conversations are interrupted by language in italics that seems to represent the lyrical, internal language each character is unable to give voice to on the surface. I’m not sure this technique really works.

But to be sure Faulkner’s intentions were grand. The title, a line from The Odyssey, is the first hint that Faulkner’s plan is epic in scale. (Thank you, Wikipedia, for teaching me that As I Lay Dying is also the name of a metalcore band, whose “lyrics and music take no direct inspiration from the novel.” Dear Faulkner, are you spinning brodies in your grave? ) But it’s a short epic, chock full of unfortunate events not unlike Odysseus’ journey. There are broken bones, a rotting corpse, a burned down barn, a bad love affair, a hoped for abortion, sexual abuse, siblings sending their brother to a mental institution, and finally, a marriage. By the time we arrive to Jefferson to bury Addie, digging the hole and putting her in it only takes a few sentences, because by this time, the story is about anything but burying Addie. What has propelled the family to this place has been eclipsed by the fractured agenda of each character, with Anse, who takes something from each of his children in order to serve himself, at the center of it all.

I had the best success as a reader when I focused on giving myself over to each character’s way of revealing the story instead of tallying up my frustrations. They’re a heartbreaking lot, some of them despicable like Anse, others tragic like Cash, the one character aside from Vardaman whose volition is not about his own needs.

Still, between the work required to be a thoughtful reader of Faulkner’s book, and what I think is the failed technique of those italics to represent what his characters wanted to say, if only they could, I’m not sure this book would be published now. Unless I’m reading it wrong, I’m not sure most people are willing to work that hard for an ending so dark, what with our penchant for endings in which all loose ends are neatly wrapped and characters leave the scene with no hard feelings.

But maybe James Franco’s split-screen delivery will work to unspool for audiences the existential question inherent in the gap between a heart that sings lyrically against the grim wilds of a hardscrabble life. I gotta hand it to Franco for trying anyway. When the film comes my way, I’ll be one of the first in line to see it.

Categories: books, fiction, movies, publishing, short story, writing | Tags: book review, books, fiction, publishing, reading, writing | 4 Comments

found books

Posted on September 10, 2013 by Laura M Gibson

Spring was full of reading disappointments. Either the book I chose had a stupid plot. Or characters I couldn’t access. Mystifying edits. Writing that made me feel I wasn’t in very capable authorial hands. By May I had begun to despair. I used to read every book to the bitter end, the least I felt I could do to honor a writer’s hard-won journey to publication. I don’t do that anymore – there’s too much great literature to read, too many bad books out there, and too little time. Now I give a narrative 50 pages, and if it’s not working for me, I put it down.

It’s possible my problem this spring was mostly reader error, what with packing and being distracted, but I don’t think so. Summer’s surprising, random, unexpected reading list broke several months of stories that failed to delight. One thing I love best about these reads is the way they came to me.

From the “Take Me” shelf at the coffee shop:

When the Killing's Done

While I waited for my latte at the coffee shop, I looked through the “TAKE ME” bookshelf and found a tome about two centuries of opportunists exploiting the natural resources of the Channel Islands off the coast of California. The promise of a couple generations of depletion from sheep ranching, a shipwreck that introduced rats to Anacapa, and one very passionate National Park Service conservationist Alma Takesue from the 21^st century who wants to eradicate the rats on Anacapa to save a species of shore bird, made me take the novel home. Always rich and believable, Boyle’s female characters tussle with the natural world and with their lovers. Boyle is masterful at storytelling with a wide lens on generations and place, but he’s also good at the intimate landscaping that captures the dark forest, as Willa Cather calls it, of the human heart. And while When the Killing’s Done is far from one of Boyle’s best works – even full as it is of shipwrecks, the sticky wicket of conserving species and how conservation is inextricably linked with destruction, and a very one-dimensional PETA-esque bad guy called Dave LaJoy who gets what’s coming to him on the heels of an act of revenge – in all ways that mattered most to me this summer, it was the perfect read at the right time because I was transported out of my world.

From a rusty wheelbarrow selling used books at a garden shop:

I had T.C. on the brain already. In the city on my way somewhere else, I walked by a garden shop wheelbarrow and out of the corner of my eye caught the name Boyle. For $2 (sorry, T.C.), I picked up Boyle’s San Miguel, set again in the Channel Islands. It’s another sheep island story, on a different island this time, and most of it set in the 19^th century. But in both When the Killing’s Done and San Miguel (published less than a year apart), Boyle is scratching an itch about generations of people discovering, exploiting, preserving, and resurrecting the natural resources of the Channel Islands, and the human drama behind such ambitions. Both books are gritty romances, rife with relationships built upon punishment and power, lust and willful misunderstanding. He’s fantastic at this emotional geography, map-making a world of tortured souls who often don’t know what they want, or worse, they do know, and their sometimes terrible desires become the gears of the story. I get it. An island is an interesting Petri dish for storytelling, with an ecosystem you can manipulate and experiment with, not to mention the outside world sailing over to disrupt the narrative.

I couldn’t put it down, because how could you not careen off the tracks with such characters as these?

From a pile of books a friend gave me:

Alan Bradley’s The Sweetness at the Bottom of the Pie. This book had been on my bookshelf for several months, and I’d purposefully avoided it because of the cover, spring green with a bird and stamp on it that screamed of some saccharine story about women finding epistolary love. While packing, I left out books from my collection that seemed like good summer reads. Most of them were mysteries. Another look at the synopsis of Bradley’s book piqued my interest, so it made the cut. It took me almost the whole first book to realize that though Bradley’s narrator is a precocious, naughty and very determined eleven-year-old Flavia de Luce, the book isn’t really Young Adult, though on the surface it seems to be. I liked the book so well I did a quick search to see what else Bradley has written and was gifted with the knowledge that there are FIVE Flavia de Luce books. Oh boy.

I checked out the next three from the library, in LARGE PRINT, because those were the only versions they had. And I was desperate. In each of the books, set in the 1950s English countryside, Flavia works to solve a murder. A crackpot chemist with her own chemistry lab in the abandoned wing of their ancestral English home, Flavia comes at problem-solving through science; in fact, a reader can learn a thing or two about chemistry from her. But some of the best scenes are born out of the passages where we see Flavia acting as a child – mourning the death of her mother, plotting revenge against her two older sisters, looking for a way to talk with her father, who is wracked by grief and who deals with the imminent crisis of bankruptcy by losing himself in his stamp collecting. The cast of characters flanking Flavia is, of course, also delicious – Dogger, her father’s valet, gardener, butler, and right-hand man, and also Flavia’s closest ally; Inspector Hewitt and his wife Antigone, whom Flavia half longs to be adopted by; her bike, Gladys, which used to be her mother’s and which ferries her to crime scenes and various investigations; and in each book, the characters who come through to people the world of the crime. It’s delicious fiction – witty, smart, backlit by clever capers for which you can suspend disbelief — and the first time I’ve fallen for any books from the mystery section.

Bradley’s got another installment in the wings, Book Six, due out January 2014, and I’ll wait, mostly patiently, to continue the saga.

Also, there’s going to be a television series. Oh dear. Mixed feelings.

In the mail from a friend, because she knows I adore him:

Benediction

Kent Haruf’s Benediction. A master at impaling his characters on the prongs of their foibles and choices, Haruf’s stories teem with regret and redemption. His characters labor under the aftermath of failing to act, or emotionally sealing themselves against the world, and the reckoning that comes as a result of hiding from themselves.

His latest, Benediction, is again set in Holt, Colorado. It’s more ambitious in some ways than his previous novels, in that it braids the lives of five or six sets of characters. At the center of the narrative are Reverend Lyle, a newcomer from Denver who’s been transferred to Holt for some transgression we can only guess at, and Dad Lewis, dying of cancer, owner of the town’s hardware store, father of two children — one estranged son and one daughter who’s come back to care for him as he’s dying. Writers are generally advised not to scaffold a story around cancer, a character dying from cancer, so I was skeptical such a seasoned writer would take this plunge. But the presence of Lyle, a man of God, works to offset Dad’s life of harsh mistakes and complicates one of Haruf’s central questions about what it means to live an upright life.

Readers know, of course, that Dad Lewis is going to die from cancer. Haruf establishes this on the first page. We know his wife Mary is there to take care of him, that he’s agitated by regret. While he waits to die, we see Dad’s life in flashback, which is to say we are transported to times for which Dad feels he must make amends – the firing of an employee and that man’s ultimate suicide, the way Dad alienated his son Frank. The big question pulling a reader through the narrative is whether and how Dad’s going to see Frank again before he dies. Except through morphined hallucinations, he never does see his son again, which is inevitable and heartbreaking and earned. Dad’s absentee and sometimes harsh parenting and his tender care of others instead of his own family have brought him to this place of being alienated from his son, and it hurts like hell.

Readers also know that Reverend Lyle will do something to alter his path — he must have agency where Dad can only recollect his version of it from his deathbed, after all – but we don’t understand why Lyle doesn’t have a better relationship with his son, and what makes him fall away from the church, though it seems admirable enough after a life of passivity. Still, I’m not sure he’s working to his potential as a character.

The heart of the story, then, is the disconnect between fathers and sons, the bond between mothers and daughters (Haruf has an affinity for stoic women; Benediction is rich in pairs of two generations of women holding what crumbles together), and the way, as in all of Haruf’s work, people quilt family out of the dust of loss and need.

I’ll forgive Haruf for the left turn at the end and its half-hitched deus ex machina with Alice and her bike, since I can see he was grappling with how to deliver the point home. I was already crying my eyes out about Dad’s death, about Reverend Lyle’s inability to make a relationship with his son, even there in that dark garage.

We have to work for grace however we can, but there’s never enough time, which I guess is largely the point.