Time to do a run-down of the reading I’ve done for the past month (!) since I can’t use jetlag as an excuse anymore (it’s been almost 2 weeks since I got back from N. America!).
I finished two books quickly before I left so I could get them back to the library – P.D. James’s The Lighthouse and Willa Cather’s Shadows on the Rock. Both were fairly absorbing in their own ways. Cather reads like an adult Laura Ingalls Wilder; she makes me want to visit Quebec. James manages to evoke a dark atmosphere, as always, suitable for murder, complete with cliffs, crashing waves and old edifices.
In Canada, I made good progress with Alan Hollinghurst’s The Line of Beauty, which has an unsympathetic, narcissistic, self-centred yet intriguing and sensitive protagonist. Much of the novel’s weight seems to come from the budding consciousness of homosexuals in Margaret Thatcher’s Britain. (In a strange coincidence, I switched screens to this entry in the middle of drafting of this paragraph – I was checking out Jenny Davidson’s archives.)
I didn’t finish The Line of Beauty, in fact, till long after I got to the US (was it in New York City that I finally flipped to the last page on my air mattress before going to bed?) because I was too busy seeing people and fooding on my vacation. Even on the numerous plane rides I took, I mostly slept or zoned out.
But the first book I started on proper, during my trip, was Ursula LeGuin’s The Wind’s Twelve Quarters, a collection of her early works. CP lent this to me, since I had begged for it in view of my limited library book stash. There are some truly beautiful works in here, I think – “Semley’s Necklace” is one, and so is “Nine Lives”, the latter about nine clones who help two resolute individuals on a mission on a mystery planet. “The Ones Who Walk Away from Omelas” is chilling, though I wish I hadn’t read the author’s note before the story, and found out that she had drawn the inspiration from a certain William James. Ursula LeGuin is truly a genius nonetheless, and I come away from some of her best works feeling privileged to have been in the presence of great Art.
Peter Temple’s The Iron Rose is fun, though I am starting to find his male protagonists repetitive – they always have some esoteric occupation, be it cabinet-making or welding, and they are always world-weary lady-killers!
Back in Singapore, I finish off two almost brand-new books I’ve bought from The Strand in New York City – the latter two installments of Paul Auster’s New York Trilogy – “Ghosts” and “The Locked Room” (I had read “City of Glass” before and always failed to find the full trilogy in the National Library) – and Haruki Murakami’s Blind Willow, Sleeping Woman. I was pretty disappointed by the latter (which I finished first) – a lot of the short stories read like ideas scribbled on napkins; they fizzled out quickly. “Ghosts”, which is about two detectives spying on each other and driving each other bonkers, is pretty good, but “The Locked Room” involves more (very Austerian) unexplained behaviour – leaving a beautiful wife for no particular reason; writing without wanting to publish; suddenly desiring to kill one’s childhood best friend. Still, The New York Trilogy is fascinating as a whole and I would like to reread “City of Glass”.
Finishing Anne Tyler’s Digging to America was an acknowledgment of the fact that I am now back and ready to settle down to my usual train-reading habits again. Digging to America is a rather slight effort by Tyler, whose Accidental Tourist and Breathing Lessons I remember liking very much. As the novel begins with an adoption scene – of two Korean babies by an American Caucasian family and an American Iranian family – you’d think that it would revolve around the struggles of these children as they grow up in Baltimore, Maryland, but Tyler is not quite as predictable as that, even if her novels focus on ordinary people. Instead, we witness, surprisingly, the Iranian grandmother’s romance with the American grandfather as the two families meet regularly for birthday and “arrival” parties. Still, although Maryam Yazdan and Dave Dickinson (Donaldson?) are extremely believable and likeable, their relationship takes place against the backdrop of some monochromatic displays of culture that ultimately feel rather flat.
