Concrete jungle where dreams are made of.
Publisher: Myriad Editions
First Published: 21st September 2016
Date Reviewed: 24th February 2017
Finn hops on a plane from London to New York City with girlfriend Dilly, looking forward to seeing the sights but most importantly to maybe finding his older brother, Jack, who looked after him as a child. When he meets Jack, the man is coming down with the flu and Dilly decides she doesn’t want to stay in what she feels is an underwhelming place, so they move on. In due course, Finn will find himself employed at a swanky art gallery after stealing money from a location in front of it – Leo, the owner, will be impressed by his guts and the idea of having someone so unsuited to the art world in their sphere. And the man Leo used to meet for breakfast everyday, brother-in-law William, will continue being content, nay, happy, with his simple routine.
Men Like Air is a book that uses stereotypes unashamedly in order to do what it wants to do. It’s all about character and is a whole lot of fun.
The book has everything you’d expect of a good novel that’s all about characters rather than plot. Even the plot, which is mostly day-to-day (in Jack’s case, for example, for a long time this book is mostly about trying to live through the flu, a level of detailing and time provided to routine illness that Connolly is obviously adamant needs to be realistic and is a welcome change from the very brief moments of illness or just being told someone is sick that happens in other books) will disappoint if you’re expecting a good one. There is a plot but the ending is quick, sudden, and not particularly satisfying outside of its prognosis for the characters. Go into this book for plot rather than characterisation and you’ll likely not enjoy it. (You can also go into it looking for patches of bookish discussion.)
In many ways, then, the book is a parody. The quick ending sports a brief forward-flash of what will happen in a way that mimics the ending of Mansfield Park – yes, two very different books that nevertheless share something specific. The time spent on the characters, making them real, is matched by the time having a laugh and doing things that reminds you they are fictional. Connolly uses a lot of devices to good effect – the extreme personalities, the use of female characters as supporting roles, the use of a past year when the present would have been fine, scenes that don’t do much to push the narrative forward. One could say it’s literary fiction that bridges the gap – literary fiction that those who don’t like literary fiction will enjoy just as much as those who do, even more so, perhaps.
New York is shown as both a tourist destination and in its day-to-day life. Finn looks forward to seeing it and there is a brief sudden trip up the Empire State Building but other than that the tourism happens in bog standard restaurants and lesser internationally well-known places. And the tourism mainly consists of Finn walking around. It is in some ways a character itself, especially when it comes to William’s ruminations on the mornings and beauty of it, but more than that it’s Connolly’s admiration that shows through. Evie Wyld’s blurb on the front cover says it perfectly: “An epic love letter to New York City.”
Coming to the narration, then, it’s third person past tense and moves back and forth between the characters with often a mere single linked sentence – if you’re not on the ball you may have to backtrack when you realise the point of view has changed. It’s the sort of narrative choice that can come under fire but with all the comedy and intentional extremes it’s easy to view it as another carefully considered device. Connolly often details, briefly, the situation of strangers who pass by the characters, adding to the comedy, but ‘briefly’ is the word – it’s quick, stopping before the time you’d get bored of the idea of a detour.
This is, as the summary says, a book about male relationships, but for all the comedy, parody, and simple delight of the work, it can seem a subtle one. In many ways it’s a book about the self. Is it very ‘manly’? Yes, but as said above, whilst the woman support, supporting is a device. There is often a female aspect at work, for example standing up to sexism, even whilst in the first chapters the worrier know-it-all whirlwind that is Dilly may make you want to stop reading (another feeling Connolly has created and knows when to stop – he’s quite the master of this sort of storytelling).
It is difficult to say exactly why this book is so good. It moves slowly through the days (if you ever forget that there is Jack’s continuing flu to remind you), slowly through everyday routine. You feel you’re learning something or being told something without being able to pinpoint exactly what. Things that suggest it would be boring. But it’s not. It takes time but it makes you smile, it steeps you in New York without really exploring it or detailing much about it (one assumes many of the locations – restaurants, galleries – are fictional), it allows you to laugh at it as well as with it. Throughout you can see the author considering his reader and, much like he has his characters, he’s considered many different types of reader rather than the idea of a whole.
As Wyld’s blurb continues, “…bold, absorbing and very funny.” Men Like Air is a super book that needs to be read – reviews will only ever be able to go so far in explaining it. It’s a book for mornings, for lunchtimes, for evenings. A book for weekdays and weekends. There is so much to it and whilst you may wish you could have spent longer seeing where the characters went, you won’t feel at a loss.
I received this book for review.
Soleil, piscines, et fils.
Age: Young Adult
First Published: 1st July 2015
Date Reviewed: 11th August 2015
Molly is spending her summer holidays in France with her penpal’s family. It’s lovely but Lea is a little too interested in boys so whereas Molly would rather do a variety of things, they end up at the pool almost every day. Slowly, however, Molly begins to come out of Lea’s shadow and finds friends amongst Lea’s acquaintances. And even though Lea’s got a hold on most of the boys, there may be one for Molly, too.
That feeling you get when reading The Enchanted April? Not the plot, and not the characters, but that beautiful, relaxing, peacefulness and overall atmosphere, the serenity of it? That is exactly what it feels like to read Watts’ book. How Do You Say Gooseberry In French? is the same as von Arnim’s book in spirit. It’s like a modern-day young-adult spin on the classic. It’s just gorgeous. There is a plot but it lingers in the background, humming in the flowers. There are characters and they’re important, but it’s the whole that you will take away from you. To say this is the perfect summer read isn’t an understatement. (Excuse my wintertime posting!)
Moving on to characterisation, the way Watts writes Molly is intriguing. For much of the book Molly, our narrator, talks about everyone else, it’s as though she’s peeking through the window. This is effectively correct – Molly likes being part of the group but she doesn’t really do much, she just goes along with what the somewhat selfish Lea wants to do, but she isn’t boring. The running commentary of the nuances between French and English, the use of French itself and Molly’s thoughts, carry the book along as much as Lea’s constant switching of affection. Molly’s differences to her penpal and the differences in culture enable Watts to explore various themes, which she writes as smoothly as she does everything else. Molly stays in the background without being in the background. She tells her tale, but unlike many narrators of books wherein they themselves aren’t important, she makes her own mark – passive at times, headstrong when required.
And she comes into her own. It’s a nice transformation to witness as our heroine, who might as well have been nameless at the start, takes the reigns, changing from telling the story of others to telling her own.
Days are spent lying by the pool and wandering around hill-top castles. Markets and towns and tourist spots are visited and detailed so that you can picture them yourself. Food is prepared, bakeries are visited, continental breakfast on the terrace is taken. The writing fits it all perfectly. Molly writes well for her age – it’s this rather than the feeling that the author is writing – and many readers no longer in their teens may find they relate to her well as will, I don’t doubt, many teenagers nowadays; the book is up-to-date but low on slang.
So you’re not going to rush through this book on a wave of adrenaline. It’s not like that at all. But you will keep turning the pages; it’s easy to lose track of time reading it as you tell yourself ‘just one more chapter’. You may find you finish it quickly, just as Molly’s holiday is over all too soon. There are few books like this one, especially nowadays, but that’s a good thing.
How Do You Say Gooseberry In French? is simply wonderful. It’s got everything a YA book ‘requires’ and everything for anyone else. And, well, southern France – how could you resist?
I’ve met the author.
Tale as old as time.
Publisher: Abacus (Little, Brown)
First Published: 2nd February 2017
Date Reviewed: 1st February 2017
When Will discovers his aunt has been killed in their flat, he runs away from those who did it. Leaving his estate behind he finds sanctuary in the middle of a residential square, climbing over a fence into a a garden that’s running wild. Dirty, scarred, worried and self-conscious, he begins to learn about gardening and stays hidden, pruning back the plants to bring the place to its former glory. But although he has food enough he lacks the money for other things and so he starts to venture outside the fence.
The Other Side Of You is a novella written for the charity Quick Reads. In keeping with the context and mission, the book sports simple language; it also has bigger print and a hundred pages. The idea is to produce a book that is accessible as well as good for those who want to read but may not have much time.
As you will expect, Craig’s book satisfies these well. The book fits the current recurrence in literature of fairytale retellings; the story is set in present day London with all the realities, hardships, rich spots. It leans on the basic traditional tale for its names – making it easy to see where Craig has chosen to stick as well as deviate in her retelling – as well as the message, but beyond that crafts a different story.
You have to suspend belief to read this book. Craig unapologetically nods to dreams and the almost impossible, blending difficult and achievement in interesting ways, with Will gaining something incredible at the end that in hindsight you see Craig’s workings towards it. It’s the awesome lucky happenstance she seems to say, ‘work at it and things will come’ even if your own is more realistic. Secondly, in terms of realism there is a lovely magical realism/paranormal aspect to the book where Will hears a voice that carries him on, helps him get over impossible fences and so forth that looks to a phenomenon called Third Man Syndrome.
Due to the book’s shortness character development is understandably swift but it’s good, Will beginning with a major lack of knowledge of many things and quickly picking up meanings and concepts. The other characters are devices and this works well. All focus on Will.
The Other Side Of You is a great little book. This slow reader loved it.
I received this book for review.
Farming during the Depression.
Publisher: Apollo (Head Of Zeus)
First Published: 1934
Date Reviewed: 31st January 2017
Marget and her family travel to their mortgaged land, becoming farmers. It’s a difficult time and beyond the stress of growing and selling the crops for less than hoped, Marget’s sister Kerrin is becoming more and more difficult to live with. Things start looking up when Grant arrives to help out but the worst is yet to come.
Now In November is a short novel focused on the land and a family’s relationship to it. It’s a gracefully written novel, tragedy detailed in beautiful language, that whilst often painful has a stunning atmosphere not unlike the Brontës and their moors, or Laura Ingalls Wilder.
This is a simple tale, and relatively small in scope – the years both go by and stay still (there’s a sort of time-focused dual narrative going on you’d have to see yourself) but not so many as to cover too long a time, at least it seems so from what happens. It’s also not a happy book but as said above this is where the language has a lovely effect, not glossing over the events by any means but making it so that you can continue reading, so that you want to continue reading. The shortness of the novel aids in this as well.
A great deal of the book is focused on nature. In the context of its entirety, Johnson spends paragraphs upon paragraphs detailing the weather, the colours, the flora and fauna. This boosts the book a little, sometimes, above its general sad atmosphere, and helps to ground you in the scene, though some may find it too much depending on mood – this is a book for which it pays to choose your reading time wisely. A story for a hectic day this is not; a lazy afternoon, as much as it may seem at odds with the text, is your best bet. There is action in the events but the language flows along softly, an interesting effect and choice which means the book transcends its subjects.
The family is a good one to read about because they are so mixed in temperament. Marget, her mother, and younger sister Merle, do a lot of the household work. The father does all the manual labour, most often with a single helper. Oldest sister, Kerrin, brings to the book a different subject – seeming first to be very obnoxious then, in turn, dangerous and finally mentally ill (Johnson writes the progression of Kerrin’s mental capability very well), the use of such a character shines a particularly almost-modern light on mental illness which when mixed with the lesser medical knowledge of the time becomes quite something. Whilst Now In November may well have won the Pulitzer Prize for fiction due to the the story of the Depression, and perhaps its author’s young age, it’s the characterisation and development of Kerrin that is perhaps its strongest element for us today, something that speaks very much to our present values and discussion.
Minor points are unrequited romance, the effects of industry on farming (in the event this is a major point, it’s just that it’s confined), the integration of black people. These round the story off, adding to the atmosphere and general demonstration of the time.
Now In November can be difficult to get into and the story itself is rough going, but the whole is an excellent creation with a lot to recommend it. Its themes are relevant today and it’s an interesting source for historical study and information.
I received this book for review.
The apple sometimes falls very far from the tree.
Publisher: Ballantine (Random House)
First Published: 7th February 2017
Date Reviewed: 18th December 2016
When Andrea sees a boy seemingly inside her wall whilst she plays the cello, she knows he’s real, but a resent loss in her family’s life means her explanation is not taken well. In time she starts to push the event out of her mind but one day it happens again and it’s impossible to ignore. As Andrea becomes an adult she tries to work out what’s happening and who the boy is. At the same time 400 years in the past, a young Issac Newton attempts to use science to understand the girl who he realises is from the future.
Love & Gravity is a story of time slip and travel that takes the idea of an undiscovered box of papers and crafts a bold tale from it.
Sotto has based her story on a factual person, inviting interest because her tale is fantastical and ascribes the person with a purely fictional romance. However despite the obvious implausibility of it, Sotto has surely chosen the right person for the job. Using Issac Newton works well; it’s hard to dispute the thought that Newton could have been interested in time travel, a subject of scientific interest.
And beyond the travel, as much as it may sound an oxymoron, Sotto has stuck to reality. The amount of research and the effort to get things correct is evident – though the author doesn’t info-dump. Sotto has woven all her ideas around and in between Newton’s own, always defaulting to a mathematical or scientific reason or method for what she creates. She incorporates Newton’s theories and discoveries in such a way that even a person who dislikes fantasy may be interested in the book.
The writing is at times overly descriptive. There is a lot of use of that construction wherein a reference is made to something and then the next paragraph re-describes the item in other terms – think ‘cake’ and ‘the pink sugary confection’. A few contemporary phrases have crept into the historical sections. But the writing does the job and isn’t bad at all.
The mystery surrounding the ‘postman’ could be considered predictable – there’s a good chance you’ll guess correctly immediately and there’s also a chance, no matter whether you guessed or not, that you won’t like this particular element.
But, and this is a big ‘but’, this book is very difficult to put down. The readability of it doesn’t excuse the flaws, nor will you gloss over them, but the novel is enough of a page-turner that you’ll want to keep reading regardless. Sotto has upped her time travel game – this, her second book, has a lot less going on which means that whilst a lot going on wasn’t a bad thing in the first, this new book is more refined. Suffice to say that if you like time travel novels, it’s very likely you’ll like this one.
There’s a lot of romance towards the end; at times it seems the whole atmosphere of the book might get taken over by it but this is not the case. Sotto is always aware – it’s evident as you read – that a balance must be struck between providing a satisfactory time travel experience and sticking to the concepts we as a society have come to see as important were time travel possible, namely that one shouldn’t change history, should be wary of changing themselves, should consider doing things that would have a very minor impact.
Of note is the fact that the characters may not be forever memorable – they may be, they may not be – but that it doesn’t matter. The focus here is on the fantasy, the history, the possibilities of science and the power of music, and these objectives hold the novel together and keep it going. This is a book steeped in time and cultural history and references, very aware of it, using them openly and to good effect.
It works very well.
Love & Gravity is that rare book – it may have flaws but you may well find you can forget them. Recommended? Yes!
I received this book for review.