And question society.
Publisher: Arrow Books (Random House)
First Published: 11th July 1960
Date Reviewed: 30th March 2017
It’s the 1930s and Scout and Jem live with their father, Atticus, a lawyer in a small town in Alabama. Scout is just starting school and finding her way around things she doesn’t understand including subjects Jem seems to know a lot about. As she grows a little older she understands more about her father’s work and when Atticus is employed to defend a black man against a charge of rape, the family will have to deal with people heavily prejudiced against black people and the whites who support them, and Scout will come to learn about the variety of people in a country starting to move towards equality.
To Kill A Mockingbird is a semi-autobiographical novel inspired by Lee’s experience in a similar role to Scout, the child of a man in a similar role to Atticus. It’s a rather quiet book that makes its points with aplomb.
There are many fine elements in this book – the look at race, of course, but also the use of location in a way separate from that, the characterisation, and the general feel of it. It’s a book that if published today would likely be called literary fiction and it’s one that benefits from reading it considering a few viewpoints. How might it have been received if published in the day it was written? How would it have been received in its day? And what value does it have for us today? (That last one can be partly found in the answers to the other two questions.)
The plot meanders between strong, hard-to-put down chapters and easygoing scenes that in another book might make you wonder how much it was worth it – this is where the characterisation comes in. Lee’s strength in developing characters means that you want to keep reading and has that wonderful effect of making the characters feel real. This is of course likely due to the autobiographical element but beyond that it’s just pure talent; no matter how major or minor a character they are given what’s needed to make the book read as pure reality. Scout doesn’t understand much of what she hears, but Lee provides enough for the reader to comprehend it all. What’s lovely about Lee’s choice of narrator and narrative style is that you still get a complete picture of the other characters. There’s quite a bit of humour and a lot of love.
Lee’s look at racism and the burgeoning idea of equality is interesting. The book revolves around it but Lee never lets it take over the text itself – there’s the sense that she wants to make her point but in a way that means you get a positive experience alongside the bad, a good experience of the south of the time in both general life and the way many people supported black American rights, and in order to stay true to her narrator. The impact it may have today may not be as much as it would have been – this is where you need to consider the context in which it was written because as a look at what had been happening earlier in her life, the book is very powerful.
Lee incorporates various social circles into the story, mixing them together. Not too much – the book stays true to reality – but in ways that further support what she’s trying to do, such as Scout and brother Jem sitting with the reverend of the black church when in the court room – for Scout she’s sitting with friends, for the author it’s an extra show of support for the defence. (On that ‘not so much’ I’m thinking of the lack of time given to Tom Robinson directly – he says very little in the book, the focus there is more about how the white, privileged, people are helping him, which of course puts across the idea of tolerance in general and the way in which things had to change.) Lee’s fictional community includes people of many backgrounds and by the end a number of economic and social issues have been covered. Most of note, perhaps, is the story the children construct in regards to Boo Radley and the ultimate revelation of who he is, a well-crafted few segments that display childhood thoughts and kindness with a lot of heart.
The overall quality of the book is evident from early on, but it’s one that’s good to mull over because the more you consider it, the more you see.
I’m keeping this short – there’s only so long one can carry on in review form about a book that has been studied for years, especially when it’s their first read – but suffice to say To Kill A Mockingbird is a very good book.
Be a bit nicer.
Publisher: Apollo (Head Of Zeus)
First Published: 1964
Date Reviewed: 15th January 2017
Hagar Shipley is in her nineties and her time is coming to an end. Living with her son and daughter-in-law she has had time to reflect on life and has been able to live with a modicum of independence, but Marvin is not her favourite son, his wife Doris is too religious, and both now want her to live in a home. Hagar has other plans.
Originally published in 1964 the reprinting of The Stone Angel by Apollo now is timely as it fits the current trend of books about older people. But it has a twist – the woman here grew up in the 1800s, a bit earlier than our contemporaries.
This book is a difficult read and it takes a while to work out what’s really going on, where fault really lies and so on. (This will be aided if you’ve read more recent novels in a similar vein.) Hagar is not completely forgetful, but she forgets enough that you learn to read between the lines and base your opinion of the other characters on the dialogue they speak. (There’s a chance, of course, that Hagar reports conversations wrongly but one can only go so far as the reader.)
So you go through a brief period at the start where you’re questioning who might be the ‘bad guy’ if such a person exists, and then you start to see what’s been in the background all along. Hagar is not a pleasant character by any means. Through the pages that pass by you can see her open favouritism – her favourite son is not the one who looks after her and through the reactions of Marvin and Doris you can see plainly that they’ve had that beaten into them. Hagar nags, belittles, and is critical 90% of the time; she may well have a personality disorder. She has seen herself as above so many people that she’s had few friends; very snobbish. She’s made bad choices but remained rigid in her views. Toxicity is a big feature of this book as while you feel for Hagar’s plight, her not wanting to be put in a home, you can also see how much emotional pain she has caused those who have looked after her for years. And Marvin and Doris aren’t young themselves – whilst Doris’ relentless devotion to converting Hagar to her own religion is a bit much, it’s impossible not to feel for this couple who have looked after a woman so ungrateful.
A difficult book at times, then, but not a bad one. There are a few drawn-out sections, which means it’s a good book to read in terms of its cultural status – it’s considered a Canadian classic – as well as all the things Laurence says, but it may not ‘wow’ you. Despite its character it is an easy, comfortable read, that has a lot of value nowadays for its social context and historical content. It also demonstrates how a strict upbringing can affect a person as well as showing what is important, even if what’s important may seem obvious – Hagar doesn’t get it.
You know from the start where this story is headed but its not a sad book. Hagar’s views and personality mean that she’s very open and confident so whilst she’s not particularly nice she does break through some of the social barriers in place during her younger years. The father who sees himself highly. The husband who was different but that different proved too much. The children much too like their awful father. The people one should not associate with. And Laurence’s 1960s take on it all can be fascinating.
One to read and love in places, perhaps fiercely dislike in others, The Stone Angel is one for contemplation. Where Hagar is loud, you’ll find yourself seeking quiet. It may not be fun – the lady is not for changing – but it’s memorable, interesting, and rather important.
I received this book for review.
Making a U-turn.
Publisher: Pushkin Press
First Published: 1961; 2nd June 2016 in English
Date Reviewed: 3rd June 2016
Original language: French
Original title: Le Monte-charge (The Elevator)
Translated by: David Bellos
Albert has just returned home. His mother has died and after staying away for several years he’s returned without his girlfriend, who has also died. Coming to terms with the changes, he decides to visit the expensive restaurant he’d always wished he could visit as a child. There at a table nearby are a young girl and her mother. The mother is more than happy for him to chat to her daughter and seems interested in him, but there’s something about the woman and he just can’t put his finger on it.
Bird In A Cage is a slick novella that looks at a probable murder from the point of view of a potential conspirator. It’s a book that gets straight to the point and has no room for deviations in its storyline.
How reliable is Albert? That is a question and a half – from the start you get the feeling he can’t be trusted, but is that because of your knowledge of this genre or is it down to the character himself? For that matter how reliable is anyone here? Dard deals with few characters, a grand total of four specific ones, in fact, so there’s lots of room for suspicion. He holds your attention. Indeed due to the shortness of the tale, its pithy structure and overall atmosphere, you’re likely to finish this book within a couple of hours. Perhaps it was created this way, perhaps not, but Dard’s conciseness and detailing means you won’t feel the need to put the book down and that’s really the best way to read it.
A smidgen of mystery drips from the text – is what Albert’s seeing true? Depending on what aspect of the book is taking your fancy at any given moment you may well gain a suspicion as to what’s happening but if you do it will be only a half-formed idea. If you have spotted the clue you may well feel the age of the book more than a reader who hasn’t. This is to say the book is slightly outdated due to its atmosphere and the obvious now-historical nature of it, but it’s just so different and succinct that the age has only a minor impact. Unlike the work of Georges Simenon, who Dard has been compared to (and they knew each other), Bird In A Cage is written in such a way that it’ll likely entertain a wider age range.
The ending is deliciously ambiguous; there’s some wrapping up of the story but it’s only that which directly affects Albert – the rest is left unfinished in a literal way (it hasn’t happened yet). In saying this I’m reflecting on the way the story is told as a whole – whilst the plot is important, it’s Albert’s role in it all that is key, and the ending is one that, if you hadn’t already been doing a lot of thinking, will make you want to interact with the text. It brings a whole different flavour to the book, mixing two opposing tastes in one dish to create something that sounds unworkable but is really a triumph.
Enough with the food analogies. Bird In A Cage is a very solid, good book.
I received this book for review from the publisher.