In a single sitting, I recently read (reread? I’m not sure, I might’ve read it years ago, but have no memory of it, so it might as well be a first read) Muriel Sparks’s The Prime Of Miss Jean Brodie, Sparks’s satiric take on the cult of personality. Said personality is, of course, Miss Brodie, and yet, by the end, though Sparks pokes, prods, and lampoons her eponymous anti-heroine, might there be a hint of redemption, a nod to Miss Brodie’s transformative power? I’m not sure. In many ways, Miss Brodie is detestable: arrogant, self-important, snobbish, a fascist. This final Brodie fact indicts her and is her downfall. (BTW, if you’re keen on not reading about Brodie with spoilers, I’d stop here.) Continue reading
Yes, you’re still with Miss Bates, romance-reader … but the first 2020 book I read was one that come-hithered me for weeks and it certainly wasn’t romance. Coupled with a new year’s resolution to broaden my reading horizons, given the coming election year for my southern neighbours and that Kakutani’s analysis clocks at 173 pages, I thought, this I can do. And I did, reading it with enough attention for it to resonate, in a few hours. In retrospect, I appreciated Kakutani’s connections to post-modernism and deconstructionist theory with the Trump phenomenon and our inability to navigate what is good, what is right, and what is true. I don’t think I learned anything new about Trump’s methods, or appeal that able political analysts haven’t already stated, but Kakutani’s positioning the former and latter within an interpretive model that elicits my unease made this a compelling read. Continue reading
“And our little life/Is rounded with a sleep.” Shakespeare’s The Tempest
The Bard’s wonderful reference to life and death, rest and completion went through my head reading Barbara Pym’s Excellent Women. Though Pym’s novel is no memento mori, it is about the smallness of its characters’ lives, the “excellent women” of the margins, the spinsters who decorate the church altar, run the jumble sale, brew and serve the tea, and butter the crumpets. They are the world’s unmarried, unloved, plain-Janes. Now I’m of the opinion that the spinster’s life should be lived with élan and that is definitely lacking in Pym’s spinsters, “excellent women” though they be. There is nothing celebratory in the excellent women’s lives she depicts; though, at times, to give credit where it’s due, her women are acerbic, subtly angry, and embracing of their singlehood. The narrator’s voice, Mildred Lathbury’s, the main excellent woman, was too self-deprecating to satisfy this feral spinster. There were some wonderful moments when Mildred kicks against the pricks (pun intended) that were worth the mild annoyance with which I read much of Pym’s novel. Continue reading
While I gallopped through Massey’s Widows and Griffiths’s Galloway #2 and 3, I trotted through Sayers’s Strong Poison, savouring her wit and stopping to chuckle and admire what Sayers did with a sentence. While the Bellona Club had me thinking about Sayers, the Great War, and the memento mori theme, A Strong Poison elicited a more emotional response (with memento mori lurking), fitting for a novel introducing the great love of Peter Wimsey’s life, Harriet Vane. To return to a comment I made in my previous post, about the interweaving of the detecting with the detective’s personal life, Strong Poison perfectly exemplifies this. As a matter of fact, I would say the mystery’s rational aspect, the working out of the crime thanks to the detective’s mind and abilities (except for the post-mo detective story, which I don’t read, which probably owes the crime’s solution/resolution to randomness, or “dumb luck”) is balanced by their personal lives. In Strong Poison, Lord Peter Wimsey falls in love, at first sight, with the accused (of her lover’s murder no less). Wimsey’s detecting powers are at the service and mercy of his heart. A detective, amateur or otherwise, may be a person of honour, integrity, with a thirst for justice, but when these qualities are coupled with a personal, desirable love, then we have as perfect a mystery novel as Sayers’s Strong Poison.
Today, alternating reading with work tasks and making full-use of a quiet lunch hour, I finished Dorothy Sayers’s The Unpleasantness At the Bellona Club (1928). BTW, I’m rereading Sayers’s murder mystery series. Because I never read for plot and promptly forget it when I’m done, I might as well have never read it. What I did and do retain is Lord Peter Wimsey, Sayers’s acerbic writing, and the feeling that everything is precariously tottering on the edge of tragedy. This post is by way of expressing some of my random thoughts while I read. I don’t spoil, so feel free to keep reading. I don’t summarize or review, therefore, these comments may only be of interest to someone who’s read and/or is interested in Sayers. Or not.
The Unpleasantness At the Bellona Club centres around the murder of elderly General Fentiman, found deprived of his mortal coil when he spent too long snoozing in his usual chair at the Bellona Club, a London gentleman’s club. The first thing that struck me, and I don’t remember thinking about this when I first read the Wimsey mysteries, was the noise of The Great War in the background. Though the war has been long over, most of the characters, including Wimsey, live in its shadow, are yet haunted by the mud of the Somme so to speak, and carry the bitter, cavalier and frightening knowledge of witnessing death, feeling his breath on their napes. They are marked and Sayers’s novel is in turn marked by a macabre memento mori. The War, as Wimsey refers to it, is the great dividing line of before and after, what we were and what we’ve become because of it: “Wimsey said that nothing was what it had been; he thought it must be due to the War.” Wimsey’s diffidence marks all the characters; euphemism stands in for death, horror, evil, masked, out of fear, out of not-to-be-borne. Continue reading
All this week, I thought “How the mighty are fallen” and “pride cometh before a fall” … as I struggled to finish one book, just ONE, C.S. Harris’s thirteenth Sebastian St. Cyr historical murder mystery and part of my favourite series EVER; romance, mystery, history — it has it ALL and you should read it from its glorious beginning, 2005’s What Angels Fear, to its … well, whatever volume Harris is at. (Book 14 is out, Who Slays the Wicked, but I have to await the paperback to afford it. I try not to think about it.)
As I’ve spent the last two posts waxing on and on about the freedom to read whatever I feel like, leaving the ARC TBR behind, blah blah blah … I imagined luxuriating (it would be positively sybaritic, I thought, smirking) in my reading and went on a Amazong ordering frenzy (good thing is, I now have copies of Kate Ross’s Julian Kestrel series, which I’ve wanted to read for years). Sadly, I’d forgotten how work, taking out the garbage, and making my lunch sandwich take time! Also, sleep, many a morning I woke to the alarm bells and ereader screensaver staring at me.
More time suck resulted when I revived my love of knitting (the only reason I stayed sane during grad school) and struggled with mastering the art of the fingerless glove and “the horror, the horror” of double-pointed needles. My spare half hour to catch up with the shitstorm found nightly on CNN (I really should stick to the staid CBC and our staid Canadian politics, but I can’t resist that KA-BLAM of *BREAKING NEWS*) was spent contorting fingers and flailing knitting needles to produce one awkward, misshapen Fingerless Thing with Inelegant Protuberance (aka thumb gusset) … (pictured here as I writhe in neo-knitter’s shame).
And so, my drib-drab reading of C. S. Harris’s always-magnificent St. Cyr mysteries. Continue reading
Yesterday, in a Twitter conversation about the romance community and its actual, or perceived insularity – one thing led to another, as they are wont to do on Twitter – and Miss Bates ended up posing the question: “How old were you when you read your first romance? Name it, please. She really likes lists.” Miss Bates is grateful to all respondents who shared memories of that one book, or author that/who sparked their love of the genre. What was interesting to Miss Bates wasn’t solely the titles and authors, the ages more so, the stories around them and the effect, impressions, and responses the romances elicited in their readers. These books, in the life of the reader, were threshold books, no matter how humble the category romance now dead to all except the squeal of the find at a church bazaar, books that led and guided romance readers to the genre.
What emerged, from what is only anecdotal evidence, is that these spirit-guide books are sometimes Poohs to our Christopher Robin. Many romance readers/tweeters read their first romance, though by no means all, at twelve, or thirteen, that important moment in a girl’s life when she’s tasted a bit of independence. Her body is strong; her mind, acute. But changes are on the horizon: she’s a filly nosing the spring air: something is coming, something new. A burgeoning sexual self, a budding and newer awareness of her identify. The blessings of being a reader (please read to your kids, parents, please take them to libraries and bookstores and let them explore and choose books) is that we can rehearse and muse and consider so many lives between the pages of a book.
Miss Bates cannot speak for her fellow-tweeps: why that book? What did she get out of it? We most surely bring so many things to our reading of a narrative. Miss Bates speculates that sexual curiosity may have led us to the romance novel. But it’s not the sole reason we read romance: the need to redefine how we negotiate relationships, relationships+: not family, not friendship, but the seeds of what we’d later understand as “cleaving,” to use an old-fashioned term, the physical and emotional attachment to The Other, daunting, exciting, and necessary.
For her part, Miss Bates was twelve, or thirteen. She remembers she was heavily involved and invested in the school musical, Baum’s The Wizard of Oz. She had a behind-the-scenes role as assistant director. It was thrilling to be a part of. But changes were on the horizon: she was leaving her inner-city neighbourhood and school, rich with cultural diversity and history, and moving to a new school and neighbourhood, something more staid and suburbaney. She recalls making production posters, setting up cues, pounding away at the stage set, and rehearsing actors and singers, all the while keeping her copy of Kathleen Woodiwiss’s The Flame and the Flower in her locker and sneaking a few pages during her lunch hour. What happened when Miss Bates posed this question about when and which romance on Twitter? To follow, her list of wonderful women and their younger selves and ur-romances (links to things are provided where Miss B. can). If you were part of the Twitter convo and Miss Bates inadvertently left you off the list, please let her know in the comments, or tweet her! Continue reading
Writing her first DNF round-up post was cathartic for Miss Bates. She didn’t exactly enjoy discarding some TBR titles. But she didn’t want to “dismiss” them either. She just didn’t think she’d be back with another so soon. Articulating why a book left her cold, as she wrote in her previous DNF post, is as revealing, hopefully, and interesting, as why it did. Here are some more romance novels that didn’t work for Miss Bates and reasons why not. Every time Miss Bates writes one of these posts (and they are sorta fun to write), she feels like she should break out into an Adele song, setting fire to rain … Continue reading
Maybe This Christmas is Sarah Morgan’s third contemporary romance in the O’Neill series, preceded by Sleigh Bells In the Snow and Suddenly Last Summer, both of which are in Miss Bates’ Teetering TBR. Starting with the third in the series did not deter from Miss B’s enjoyment. The start was a tad wonky with characters from the previous books showing up in various states of blissful couple-hood, as well as sundry O’Neill family members who’d obviously been established as secondary characters in previous books. Maybe This Christmas, gloriously-set in small-town-Vermont winter wonderland, in fictional “Snow Crystal,” is a friends-to-lovers romance narrative high on humour, but no less on gravitas in two hurting friends admitting to love. The heroine, Brenna Daniels, has carried a smouldering love-torch for Tyler O’Neill since they were best buddies in high school. Single-dad, former Olympic skiing champion, and notorious womanizer, Tyler, has in Brenna the one relationship with a woman he’s yet to abandon. Continue reading
Married By Christmas … hmm, thought Miss Bates, inspie historical: low angst, a lot of baking, a little marriage-of-convenience … she liked that “by” in the title, build-up to Christmas! Hurrah! … Click went the Netgalley button back in the day. There’s nothing like Miss B. hoisted on her own petard: Kirst’s novel turned out to be more interesting, more riddled with pain and sexier, yes, sexier!, than most inspies. Miss B. is disappointed she missed out on the previous four books in the late 19th-century, Tennessee-set Smokey Mountain Matches series. Her heart dipped to see that Married By Christmas was fifth in the series: series, after the first three volumes, pretty much fizzle out and die, wane-in-quality has been Miss B.’s usual experience. She was surprised and delighted that she enjoyed Kirst’s effort as much as she did. It didn’t break any molds. You may certainly lob inspie-problematics at it any day; to Miss Bates, however, in the season’s glow and with a generous heart, she thought it was a lovely romance about redemption and second chances. Continue reading