Betty Smith – A Tree Grows In Brooklyn

Oh, where do I begin? Remember Cassandra from I Capture The Castle? She is one of my favourite narrators and I believe you'd be hard pressed to find a character as charming as her. Betty Smith's Francie comes close. She doesn't have the pleasure of living in a dilapidated-yet-romantic castle as Cassandra did – instead, she's over the sea and far away in the Williamsburg slums of Brooklyn from 1912-1919. At the outset, Francie is eleven years old and she's a reader. That's all I need to get that instant connection to a protagonist.

Francie thought that all the books in the world were in that library and she had a plan about reading all the books in the world. She was reading a book a day in alphabetical order and not skipping the dry ones.

She lives with her parents and her younger brother, and despite being a family of slender means, they are cheerful and grateful. Her mother, Katie, desperately wants a better future for her children, and she leans heavily on the two pieces of advice her own mother gives her: ensure that her children are educated ("Everyday you must read one page of some good book to your child.") and save every penny possible in order to purchase land which can be handed down to the children. In addition, this piece of advice from Katie's mother – a first generation immigrant –  is priceless as she insists that the children must believe in ghosts, fairies, and Santa:

"[T]he child must have a valuable thing called imagination. The child must have a secret world in which live things that never were. It is necessary that she believe. She must start out by believing things not of this  world. Then when the world becomes too ugly for living in, the child can reach back and live in her imagination." 

However, while Katie tries her level best to ensure a better life for her kids, her husband – a happy-go-lucky drunk – is a singing waiter whose priorities differ from Katie's. He's the good cop to Katie's bad cop, as he looks out for their feelings and tries to ensure they're happy. For example, while Katie's focused on ensuring her children get educated at the local school where they're treated like second class citizens, he acknowledges Francie's desire to go to a school slightly further away where the quality of education is superior and makes it happen much to Francie's delight.

It's such incidents that make the book a treat. There's heartbreak, grief, and loss, but still, there's always a light shining at the end of the tunnel – a glimmer of hope, if you will. No matter how dire circumstances get, Francie and Katie do their level best to not get completely down and out. It's almost like Pope addresses them in his poem:

Hope springs eternal in the human breast, Man never is but always to be blessed. 

However, there are parts of the book that are bleak and  reflective of the times. One of their neighbours – a young, attractive woman with a child, sans a husband – is mocked relentlessly by her neighbours for having the gall to take her child out during the day. Yes, it's rage-inducing, but then one has to remember that this was a century ago – and, sadly, there are parts of the world today where this is still the case.

Or, how Francie is the one who has to temporarily drop out of school to earn money while her younger brother carries on studying, despite she being the one more academically inclined and he being more than willing to take up a job.

But – I digress.

You'll be hard pressed to find a more likeable child in fiction, and you'll be glad that you embarked on her journey with her as she finds her feet in the world and figures out the best course of action no matter what the situation.

Donna Tartt - The Goldfinch

880 pages. All consumed on the beaches of Ko Samui, greedily, and when the book ended, I was sad. After all, wasn't it Jane Austen who said, "If a book is well written, I always find it too short." So, I guess that makes Donna Tartt's Pulitzer winning novel "too short."

The book is titled after the famous Dutch painting by Carel Fabritius – which exists – and yet, the tale is fictional. If you're curious, the painting is displayed at Mauritshuis in The Hague, Netherlands. However, it takes a fictitious life of its own here – a journey so action-packed and unbelievable that it's almost plausible.

The opening line of the book draws you in, reminiscent of Daphne Du Maurier's Rebecca. 

“While I was still in Amsterdam, I dreamed about my mother for the first time in years.”

An adult Theo Decker reflects on the series of unfortunate, coincidental events that have led him to the hotel room in Amsterdam. Early in his reminiscences, he concedes that "Things would have turned out better if she had lived," and then the raconteur tells us about how his mother died: a terrorist attack at the Metropolitan Museum of Art in New York when he was thirteen. The pair had entered the museum together to take shelter from the inclement weather, and had split up in the museum. Theo was captivated by a young girl who was visiting the museum with her grandfather, and decided to follow them while his mother wanted one final look at one of her favourite paintings which she hadn't managed to see up close.

When the explosives hit, the grandfather lay bleeding but encouraged Theo to take The Goldfinch and run. He also handed over his heavy gold ring to the teenager, who, in all his naiveté, took both home not considering the ramifications. As he drifted through his adolescence, the painting became his cross to bear – a cross he bore alone. After all, there was no one he could turn to – he did consider his options but disregarded each for different reasons.

After his mother's passing, he ended up living with one of his friends who had rich parents and lived in a rococo apartment in Park Lane. He found what can only be termed "the old curiosity shop" – the antique store run by the old man who gave him the ring and his business partner, Hobie. There, he discovered that the young girl that had captured his attention lay recovering and that her grandfather hadn't survived the attack. He befriended both, and gradually dealt with his grief, almost forgetting the painting that still lay at his old apartment.

However, when his father and the father's girlfriend finally make an appearance to whisk Theo to Las Vegas just as he's settled into life in New York without his mother, he grapples with the dilemma of the oil painting – which makes the trip with him, wrapped in newspapers. I just sensed an entire group or artists, curators, and art restorers cringe at the thought. His existence in Vegas veers towards surreal – even by Vegas standards. In school, he's an outsider and as outsiders are prone to do, he befriends the one other outsider: the worldly Boris.

It occurred to me that despite his faults, which were numerous and spectacular, the reason I’d liked Boris and felt happy around him from almost the moment I’d met him was that he was never afraid. You didn’t meet many people who moved freely through the world with such a vigorous contempt for it and at the same time such oddball and unthwartable faith in what, in childhood, he had liked to call “the Planet of Earth.”

As his father racks up gambling debts and the girlfriend indulges her junkie habits of snorting coke and popping pills, Theo is left to his own devices, which results in Boris and him drinking, experimenting with drugs, eating copious amounts of pizza, and talking about anything and everything – as drunken, neglected, philosophising teenagers who don't know better do.

Well - think about this. What if all your actions and choices, good or bad, made no difference to God? What if the pattern is pre-set? No no - hang on - this is a question worth struggling with. What if our badness and mistakes are the very thing that set our fate and bring us round to good? What if, for some of us, we can't get there any other way?

It is this friendship and the stolen painting that sets the tone of the rest of the narrative, and eventually leads Theo to Fabritius's country – all for the sake of the goldfinch; the painting almost being allegorical to Theo's situation: a bird that's chained and can't fly away, can't be free. And, one can hardly blame the bird. Likewise, one can hardly blame Theo.

That said, as an adult reading this book, I audibly protested as some events took place, urging Theo not to make the choices he did; there was no way some of those choices would end well. To be fair, Theo probably made a lot of those choices against his better judgement, but by that point, it's too late.

So what makes this novel remarkable? Theo, I think. Yes, he's flawed, but the candidness of the narrative makes him extremely likeable. Without making lame excuses, one can sympathise with his situation – how do you expect a child, orphaned for all practical purposes, do the right thing while he remains unsure as to the consequences? And, who's trying to figure out who he is.

A great sorrow, and one that I am only beginning to understand: we don't get to choose our own hearts. We can't make ourselves want what's good for us or what's good for other people. We don't get to choose the people we are.

Because--isn't it drilled into us constantly, from childhood on, an unquestioned platitude in the culture--? From William Blake to Lady Gaga, from Rousseau to Rumi to Tosca to Mister Rogers, it's a curiously uniform message, accepted from high to low: when in doubt, what to do? How do we know what's right for us? Every shrink, every career counselor, every Disney princess knows the answer: "Be yourself." "Follow your heart."

Only here's what I really, really want someone to explain to me. What if one happens to be possessed of a heart that can't be trusted--? What if the heart, for its own unfathomable reasons, leads one willfully and in a cloud of unspeakable radiance away from health, domesticity, civic responsibility and strong social connections and all the blandly-held common virtues and instead straight toward a beautiful flare of ruin, self-immolation, disaster?...If your deepest self is singing and coaxing you straight toward the bonfire, is it better to turn away? Stop your ears with wax? Ignore all the perverse glory your heart is screaming at you? Set yourself on the course that will lead you dutifully towards the norm, reasonable hours and regular medical check-ups, stable relationships and steady career advancement the New York Times and brunch on Sunday, all with the promise of being somehow a better person? Or...is it better to throw yourself head first and laughing into the holy rage calling your name?” 

J.D. Salinger - Catcher In The Rye

As some of you might already know, The Catcher In The Rye is one of my favourite books of all times. I've read it, and re-read it, and then read it again. At the age of fourteen, the first time I read it, I fell in love with Holden Caulfield. A decade later, I still love Holden Caulfield, and all his quirks, but I sympathise with him, and my heart goes out to him. At one point, I was reading this book every year - sometimes, even more often. When I started working, my ancient edition found a permanent spot on my desk, and it was just there for me to flip through, on days when things didn't make sense. Eventually, the book found its way back to my bookshelf, and I picked it out the other day, to find some solidarity, and to fall in love with the book and the author all over again.

What really knocks me out is a book that, when you're all done reading it, you wish the author that wrote it was a terrific friend of yours and you could call him up on the phone whenever you felt like it. That doesn't happen much, though.

That's the kind of author Mr. Salinger is to me - I wish he was a terrific friend of mine, for, despite the hypocrisy and despite the narcissism, I can just relate to his protagonist... and, despite popular opinion, that fans of the book are likely to be homicidal maniacs (John Lennon's assassin and Reagan's sniper were both obsessed with the book), well... I've never really felt the need to load up a shot gun, and go around shooting people who annoy me.

The thing about Holden Caulfield is, he's just trying to find his place in the world, where he's surrounded by phonies and pretentious folks. He's been expelled from school, for failing everything but English, and he doesn't really regret his expulsion. Instead, he leaves his school before his last date, and heads to New York, to spend a couple of days on his own, before he goes home to face the music, i.e. his parents. He rambles about life at the school, and then, the book continues with his adventures in New York, as he meets old friends and girlfriends, and reflects and introspects on his life.

He's surrounded by people who talk for the sake of talking, and who have the whole holier-than-thou attitude, which infuriates the living daylights out of him. God knows, I can relate.

He started telling us how he was never ashamed, when he was in some kind of trouble or something, to get right down on his knees and pray to God. He told us we should always pray to God - talk to Him and all - whenever we were. He told us we ought to think of Jesus as our buddy and all. He said he talked to Jesus all the time. Even when he was driving in his car. That killed me. I can just see the big phony bastard shifting into first gear and asking Jesus to send him a few more stiffs.

While reading the book this time 'round, Caulfield came across as someone struggling to deal with the real world, and he seemed to be quite bipolar - with his emotions wildly swinging from ecstasy to despondence in seconds.

Almost every time somebody gives me a present, it ends up making me sad.

I felt like jumping out the window. I probably would've, too, if I'd been sure somebody'd cover me up as soon as I landed. I didn't want a bunch of stupid rubbernecks looking at me when I was all gory.

There's an element of hypocrisy, as he rambles on and digresses excessively, but there's so much innocence and idealism and impulsiveness, that he still comes across as someone you'd want to know in real life. He seems to have no regard social protocol, and finds it tiresome, to the extent that he's compelled to make things up, as and when he feels like... some of which is quite politically incorrect.

Anyway, I'm sort of glad they've got the atomic bomb invented. If there's ever another war, I'm going to sit right the hell on top of it. I'll volunteer for it, I swear to God I will.

I'm always saying "Glad to've met you" to somebody I'm not at all glad I met. If you want to stay alive, you have to say that stuff, though.

I'm the most terrific liar you ever saw in your life. It's awful. If I'm on my way to the store to buy a magazine, even, and somebody asks me where I'm going, I'm liable to say I'm going to the opera. It's terrible.

But what really gets me - like, really gets me - about this book is his relationship with his sister, Phoebe; and of course, his sentiments about Allie, his dead brother. When he's asked by his roommate to write a descriptive essay for him on any subject, he chooses to write about Allie's baseball mitt, which has poems scribbled all over.

So what I did, I wrote about my brother Allie's baseball mitt. It was a very descriptive subject. It really was. My brother Allie had this left-handed fielder's mitt. He was left-handed. The thing that was descriptive about it, though, was that he had poems written all over the fingers and the pocket and everywhere. In green ink. He wrote them on it so that he'd have something to read when he was in the field and nobody was up at bat. He's dead now. He got leukemia and died when we were up in Maine, on July 18, 1946. You'd have liked him. He was two years younger than I was, but he was about fifty times as intelligent. He was terrifically intelligent. His teachers were always writing letters to my mother, telling her what a pleasure it was having a boy like Allie in their class. And they weren't just shooting the crap. They really meant it. But it wasn't just that he was the most intelligent member in the family. He was also the nicest, in lots of ways. He never got mad at anybody. […] God, he was a nice kid, though. He used to laugh so hard at something he thought of at the dinner table that he just about fell off his chair.

How can something like that not choke you up? Or make you melt? Or not make you love the protagonist unconditionally? It's so simple, yet so profound. So plain, yet so beautiful. And then - how can you blame Caulfield for treating the world with such utter disdain, when the world has really not been good to him, and taken his younger brother away from him? I think it's easy to say, "get over it" or feel like slapping him to knock him into his senses, but when one feels like the world is unjust, they need time to grieve and come to terms with things at their own pace. Everyone handles things differently. Everyone's way of rationalising things vary.

And when eventually, the title of the book is explained, it's just... perfect.

"You know that song 'If a body catch a body comin' through the rye'? I'd like — "

"It's 'If a body meet a body coming through the rye'!" old Phoebe said. "It's a poem. By Robert Burns."

"I know it's a poem by Robert Burns."

She was right, though. It is "If a body meet a body coming through the rye." I didn't know it then, though.

"I thought it was 'If a body catch a body,'" I said. "Anyway, I keep picturing all these little kids playing some game in this big field of rye and all. Thousands of little kids, and nobody's around — nobody big, I mean — except me. And I'm standing on the edge of some crazy cliff. What I have to do, I have to catch everybody if they start to go over the cliff — I mean if they're running and they don't look where they're going I have to come out from somewhere and catch them. That's all I'd do all day. I'd just be the catcher in the rye and all. I know it's crazy, but that's the only thing I'd really like to be. I know it's crazy.

There's something metaphoric about the above quote; it's not literal. It's an element of having the urge to save people before they go down the slippery slope - much like Holden's done, but there's been no one to catch him, or save him. And the vulnerability and utopian fantasy that comes to light here is just gut-wrenching really.

I can read this book over and over again, and it's one of those books I always turn to when things aren't looking up, or I'm ruing the state of affairs around me. And it always makes me feel better. And it always restores my faith in people, ironically enough. I don't think I can read this book too many times, for with each read, it just gets better and better.

Colum McCann - Let The Great World Spin

New York, 1974. The magnificent twin towers are unveiled to the world, and the consensus is that they are ugly compared to the splendid sky-scrapers that grace the New York skyline (the Empire State Building, the Chrysler Building, Rockefeller Centre etc). But, a marvelous feat from an athlete, Philippe Petit, almost changes the perception. Petit walked across a tightrope between the towers - he danced, he entertained, he wowed, and he enjoyed himself thoroughly, as the New Yorkers below looked up in awe, wondering if the man dancing with the clouds was suicidal, crazy, or if he had some perfectly legitimate reason to be doing what he was. After all, it’s not often, you see someone dancing with the clouds.

Every now and then the city shook its soul out. It assailed you with an image, or a day, or a crime, or a terror, or a beauty so difficult to wrap your mind around that you had to shake your head in disbelief.

In McCann’s award-winning Let The Great World Spin, on the day Petit takes on the skyline, lives of various New Yorkers intersect. Almost a six-degrees-of-separation kind-of premise, the chapters tell the stories - some in first person, some in third person - of these New Yorkers. Amidst other things, love and loss bring them together. Some live in South Bronx, others in Park Avenue; some are prostitutes, others judges; some have lost one son to the ‘Nam war, some three; some are escaping their drug-addled past only to confront yet another battle, and some are looking for a new future. But - the nameless figure in the sky (in McCann’s book, Petit remains an un-named person; his performance a mere backdrop.), and grief bring them together.

The simple things come back to us. They rest for a moment by our ribcages then suddenly reach in and twist our hearts a notch backward.

The book starts slowly with an introduction to two Irish brothers, who have immigrated to New York as adults - Corrigan, a radical monk living amidst the prostitutes and pimps in the Bronx, and Ciaran, aimlessly trying to find his place in life. The next chapter cuts to Claire, living in Park Avenue, mourning the loss of her son in Vietnam. A group of other mothers who lost their sons will be arriving at her penthouse apartment later in the day, so as to find comfort in each other... but, when people come from totally different walks of life, there is more that divides them than what brings them closer. And then there’s the next story: an artist in her twenties, with a history of drug abuse (now cleaned up), is in the passenger seat during a fatal hit-and-run accident - an incident that is bound to ensure that her life will change forever. And then - then we go back to the beginning, where Tillie, a thirty-eight year old prostitute recounts her life’s story, while at court: slightly hackneyed, quite unsurprising, marginally apologetic. Jazz, her daughter, is a prostitute as well, and while Tillie doesn’t make any excuses, there is a tinge of contriteness to her recap. All this against the historical event of the man on the wire.

It was America, after all. The sort of place where you should be allowed to walk as high as you wanted.

The emotional aspect of this book is what makes it so riveting. Claire’s hesitance and tentativeness, Ciaran being overtly protective of his magnanimous brother, Tillie’s raw honesty... how different people cope with grief, and how they try to fathom the crazy world around them. It’s a novel of massive scope, heartbreaking but not depressing... hinting that there is light at the end of the tunnel, and eventually, hope is not in vain.
The diversity of characters is incredible, and one can’t help but cheer on all the primary characters, although... some of the backup characters (including some of the mothers in Claire’s support group) - the less said, the better. It’s so real, so... non-fictional. The irony, of course, is, the one event that seems fictional (i.e. the grand walk across the towers) is what is non-fictional.

In the wake of 9/11, the significance of this walk seems so much greater. Everyone stood up and took notice of this marvelous feat, and in spite of all the grief in the world, on that fateful day, Petit’s act was what was on everyone’s mind, and they all came together to witness that... and then there was 9/11, which, for completely different reasons, brought the city together again, and showed just how resilient, brave, strong and heroic the people are - in spite of the horrors that life brings in its wake.

Erin @ ErinReads has scheduled this as her Reading Buddies read for the month of July. Pop over to see more thoughts and discussions on this book, for I really don't think my post has done an incredible book much justice.

William S Burroughs - Junky

Junky is William S. Burroughs semi-autobiographical story, about being a drug-addict - a "junky," if you will - in the 1940s in the good ol' US of A. At less than two hundred pages, this is an extremely short, albeit insightful read. This first-person narrative is an unapologetic unemotional documentary of Burroughs' experiences, the friends he made, and the encounters with the law, as they tried to clamp down on drugs, addiction and peddling, with the help of "pigeons".

Originally published under the pseudonym, William Lee (Lee being his mother's maiden name), at the very outset, the reader is told that the narrator is an Ivy League graduate (Harvard), with a trust-fund to his name. So, the theories of a "troubled childhood" or "hard-times" or "bad company" are almost instantly cast aside.

The question is frequently asked: Why does a man become a drug addict?

The answer is usually that he does not intend to become an addict. You don't wake up one morning and decide to become a drug addict. [...] You become a narcotics addict because you do not have strong motivations in any other direction. Junk wins by default. I tried it as a matter of curiosity. I drifted along taking shots when I could score. I ended up hooked.

Burroughs does not make any excuses, but instead writes about the junk community with a kind of objectivism that would make a good journalist proud. His tale takes him through New York City, and then Kentucky, New Orleans and finally Mexico. However, in spite of the change in location, the paradigm remains the same:

Junk is often found adjacent to ambiguous or transitional districts: East Fourteenth near Third in New York; Poydras and St.Charles in New Orleans; San Juan Létran in Mexico City. Stores selling artificial limbs, wig-makers, dental mechanics, loft manufacturers of perfumes, pomades, novelties, essential oils. A point where dubious business enterprise touches Skid Row.

What makes this a truly tremendous feat is that Burroughs managed to get it published in the anti-drug America of the 1950s, where books like this, in all likelihood, got censored. However, despite being unapologetic, this book is almost a narrative on why addiction is bad, and how difficult a habit it is to kick, despite one telling oneself they have it all under control.

From junk sickness, there seems to be no escape. Junk sickness is the reverse side of junk kick. The kick of junk is that you have to have it. Junkies run on junk time and junk metabolism. They are subject to junk climate. They are warmed and chilled by junk. The kick of junk is living under junk conditions. You cannot escape from junk sickness any more than you can escape from junk kick after a shot.

The singular focus of the book is junk, despite it being autobiographical. Trysts with law, friends Burroughs scored with, friends he relied on and how he got the money to score are all detailed impeccably - you could say, it's almost documented. Morphine, coke, heroin - how to procure them and the high you get off them - you name it, it's there. However, the one complaint I had with the book is, the reader is not privy to the author's personal life at all. For example, in a passing statement, we learn that Burroughs has a wife - wait...hang on... what?! Some of those bits were slightly confusing, but then, one must take a step back and remember that this is all about the addiction, and everything else is secondary.

I quite enjoy the Beatniks, in an almost perversive sense - from Kerouac's On The Road to this. As Kerouac says:

But yet, but yet, woe, woe unto those who think that the Beat Generation means crime, delinquency, immorality, amorality ... woe unto those who attack it on the grounds that they simply don’t understand history and the yearning of human souls ... woe in fact unto those who make evil movies about the Beat Generation where innocent housewives are raped by beatniks! ... woe unto those who spit on the Beat Generation, the wind’ll blow it back.

Have you read any Beatnik literature? Or, do you have any on the to-read pile? I suspect my next one would be another Burroughs...Naked Lunch.

David Mitchell - Ghostwritten

Ghostwritten is David Mitchell's first novel, and on finishing it, I've now read all his works, which pleases me greatly. Of course, the fact that this is a tremendous debut adds to the pleasure, albeit, I really do wish there was another Mitchell on my shelf, just waiting to be read. The sub-title of the book reads, "a novel in nine parts," and so it is. It could easily a collection of nine short stories, each told in first person by a different narrator, who seemingly have nothing to do with the previous narrator(s). However, six degrees of separation (or fewer) bind the characters together, through time and different geographical locations. The link between the characters isn't blatantly evident though, as one might come to expect from Mitchell, and at times, it's confusing as to how the characters come together, and to figure out if there is any kind of causal sequence. That said, one can't help but anticipate the revelation of the link, and then deliberate over it for a bit, which in turn means that one can't help but read the book, scrutinising almost every word to see where the link lies.

{note: there are some spoilers below, but I have tried to keep them to the minimum}

The first story, Okinawa, is inspired by the Sarin gas attack on the Tokyo subway - an act of domestic terrorism. Quasar, a terrorist, is on the run after wreaking havoc on a train, as he imagines a world without the "unclean" - forgive the comparison, but similar to the way some pure-bloods (and Voldemort and his Death Eaters) fell about mud-bloods in Harry Potter. Quasar believes he can communicate with the leader of his cult telepathically, and while he hides out in Okianawa, waiting for things to quieten down, he gets the news that His Serendipity has been captured. While the locals rejoice, Quasar tries to get in touch with the powers that be, to figure out the next course of action. The password to get in touch with the powers that be is simply, the dog needs to be fed.

Cue the second story, and the shift in location to Tokyo, where a teenager works in a record store, specialising in jazz. One day, a group of girls enter the store, and he's instantly attracted to one of them, but they leave the store, and he is resigned to never meeting her again. A few days later, while he's closing up the store, he hears the telephone ring, and being conscientious, goes in to answer the phone. The voice at the other end simply says, it's Quasar. The dog needs to be fed. As fate has it, this slight delay leads to him meeting the girl again, and they immediately hit it off. End of the second story. Yes, the links are that random.

“The last of the cherry blossom. On the tree, it turns ever more perfect. And when it’s perfect, it falls. And then of course once it hits the ground it gets all mushed up. So it’s only absolutely perfect when it’s falling through the air, this way and that, for the briefest time … I think that only we Japanese can really understand that, don’t you?”

{end of spoilers}

Through the rest of the stories, the reader meets the Russian mafia, and a ghost that transfers from being to being by touch; a physicist involved with the Pentagon and a night-time DJ in New York; a tea shack owner at the Holy Mountain who laments as to why women are always the ones who have to clean up, and a drummer/writer in London who also works as a ghostwriter to pay the bills.

I couldn’t get to sleep afterwards, worrying about the possible endings of the stories that had been started. Maybe that’s why I’m a ghostwriter. The endings have nothing to do with me.

You know the real drag about being a ghostwriter? You never get to write anything that beautiful. And even if you did, nobody would ever believe it was you.

We're all ghostwriters, my friend. And it's not just our memories. Our actions too. We all think we're in control of our lives, but they're really pre-ghostwritten by forces around us.

The above quotes illustrate another prominent aspect of the book: the role of fate, of chance, of the chain-reaction. The sheer randomness of the stories, and the way the characters inter-connect is pivotal to the novel, and keeps the reader completely engrossed. Of course, the other side is, by the time the reader actually starts relating to the narrator or nodding in agreement with their sentiments, a new narrator is introduced and the old narrator a thing of the past.

And then there's sneaky little political comments just dropped, making the book a lot more relevant in today's day and age. The below snippet, for example, reminds me of the preamble to Iraq.

"Have you noticed," said John, "how countries call theirs 'sovereign nuclear deterrents,' but call the other countries' ones 'weapons of mass destruction'?"

It's an overtly ambitious work, with some fairly profound statements, that had me admiring the debut from the get-go. It was thought-provoking and massive - perhaps not as demanding as Cloud Atlas, but a hell of a ride, nonetheless, and one couldn't help but marvel at how it all unraveled.

Integrity is a bugger, it really is. Lying can get you into difficulties, but to wind up in the crappers try telling nothing but the truth.

Of course, the other impressive thing was, how all nine narrators found a unique voice in the novel, totally disconnected from the previous narrator, similar to Cloud Atlas. Speaking of his most acclaimed book so far, two characters from Cloud Atlas also made an appearance in this book: Tim Cavendish and Luisa Rey - their occupations remain the same across the books, i.e. publisher and writer respectively. Not only that, but a character with a comet-shaped birthmark has a cameo role to play as well. I have to say, love finding old friends in new books!

Personally speaking, my primary complaint with the novel was that I didn't get a sense of closure or fulfilment on finishing the book. I enjoyed it, but I just didn't get the ending. I re-read the last "story" thrice, but to not much avail. I believe this book would benefit from a re-read, as there might have been a multitude of subtle hints that I missed - inadvertently.

Have you read David Mitchell's debut novel? Or, anything by him? What's your favourite? My unequivocal pick would be Number9Dream, but that might have something to do with it being the first Mitchell I read. I almost feel as though I have to re-read all his works in the order of writing, to truly appreciate the erratic wondrous world of fiction he has created.

Michael Chabon - The Amazing Adventures of Kavalier and Clay

The Amazing Adventures of Kavalier and Clay is well - amazing. Not only does this book celebrate the "great, mad, new American art form" and pays a tribute to the spirit of Americana in the 1930s, it simultaneously depicts the despair in Europe during the second World War, and how incredibly disconcerting the war was - both, for the people who had to live it, as well as the people who managed to escape it. Eighteen year old Josef Kavalier flees Prague in the golem's coffin, leaving his family behind, and ends up in Brooklyn, New York, where he's forced to bunk with his seventeen year old cousin, Samuel Klayman (Clay). The cousins, both aspiring artists, hit it off immediately, and Clay introduces Kavalier to the wonderful world of comic books - in an age where Superman has just hit the stands, where the comic book obsession is rampant, and where there's big bucks to be made, the cousins decide to create their very own super-hero to rake in the money.

And so, The Escapist is born, inspired by the boys' fantasies of freedom and liberation, in the face of the Holocaust and their admiration for Houdini. With Kavalier's artistic talents and Clay's plot-building  genius, The Escapist kicks-off and is a massive success, followed on with radio episodes, TV and merchandise. Time and again, they send the Escapist to battle against Attila Haxoff (a fictional character meant to represent Hitler), and the "Razis". Kavalier saves enough money to bring his family to America, and spends most of his time hating the Germans and brooding and introspecting about the situation he is in, while dreaming of the day he will be united with his family. His creativity is inspired by his circumstance, and he makes no effort to tone it down:

There were just two principals, the Escapist and Hitler, on a neoclassical platform draped with Nazi flags against a blue sky. [...] His [The Escapist's] musculature was lean and understated, believable, and the veins in his arm rippled with the strain of the blow. As for Hitler, he came flying at you backward, right-crossed clean out of the painting, head thrown back, forelock a-splash, arms flailing, jaw trailing a long red streamer of teeth. The violence of the image was startling, beautiful, strange. It stirred mysterious feelings in the viewer, of hatred gratified, of cringing fear transmuted into smashing retribution, which few artists working in America, in the fall of 1939, could have tapped so easily and effectively as Josef Kavalier.

At the heart of every super-hero's success though, lies tragedy. Superman's planet was destroyed, and Batman's parents were murdered - what does fate have in store for Kavalier? and Clay? Their early success passes them by, and they grow up, struggling to find their place in the world - to find their calling. Kavalier finds his love interest in Rosa Saks, a warm affectionate artist, whose world revolves around Kavalier - in fact, she's the only real female character in the book (discounting the mothers of the cousins, both of whom have short fleeting roles), and automatically, one roots for the happy ending that Kavalier deserves with her.

But, in this pre-war New York (pre-war as America still hadn't entered the war), things aren't always fair, and along with the happiness, beauty and joy, there lies anger, despondency and helplessness. As the blurb at the back of the book says:

Joe can think of only one thing: how can he effect a real-life escape for his family from the tyranny of Hitler?

And one can't stop turning the pages to figure out how it all ends.

This book covers a lot of ground: from magic to Houdini, from pop-culture to homosexuality, from comic books to the warfront, from the grand escape to living with hope and despair, from loving to losing, from 1930s to the 1950s, from war to post-war, and the underlying tragedy at each step, despite the humour, romanticism and passion that the protagonists have, makes it a fantastic read.

It's also an eye-opener into the world of comics, and how much effort and talent really goes into it - the story, the backdrop, the "why" - every super-hero has a story, and the way these stories are concocted and created are mind-blowing. Many book-lovers that I know disregard comics, presuming it's not "all that" but, this quote from the book says it all, really:

For that half-hour spent in the dappled shade of the Douglas Firs, reading Betty and Veronica, the icy ball had melted away without him even noticing. That was magic - not the apparent magic of the silk-hatted, card-palmer or the bold, brute trickery of the escape artist, but the genuine magic of art. It was a mark of how f*****d up and broken was the world - the reality  - that has swallowed his home and his family that such a feat of escape, by no means easy to pull off, should remain so universally despised.

This book was quite chunky, at 600+ pages. However, I really did not want this book to end, as I reached the last hundred pages... and I think that stands as testament to how incredible I thought this book was. It's been ages since I've read something as fantastic and captivating as this, and I can't wait to read another book by Chabon.

18 miles and... nothing?!

I'm back from NYC, and I had a great time. Worked hard, partied hard, read little. The guys I work with were on a mission to ensure I missed at least one of my half-seven meetings after a night out. Much to their dismay, they didn't succeed. I didn't do any sightseeing whatsoever, barring a couple of early morning runs at Central Park - not sure that counts though? However, on the Sunday that I landed, I did make my way to the Strand Bookstore: "18 miles of books".

I love books, I love bookstores, and the thought of eighteen miles of books was more than a little appealing. I half-thought I'd go crazy and buy half the store. As I approached the store, I told myself, "you will not spend more then $50 here," and I was quite uncertain as to whether I'd be able  to stick to that resolve.

Before entering the store, I scoped the outside, where loads of secondhand books were stacked, but in no order or categorisation. I tried looking through them to find something, and considering there were about a few thousand books there, I thought finding three to four books to read would be easy - but nope! No such joy. The books were literally just dumped there, and while they were only $1 each, I just couldn't find anything even remotely interesting. Guess part of the charm is to search through loads and loads of books to find the gems, but.... I don't know.

Anyway, I strolled inside, thinking that I'd have more luck with books. Immediately, I was overwhelmed. The shelves were stacked from floor to the ceiling, and it was just - wow!

I started browsing, just enjoying myself in this apparent book-lover's haven. However, the whole place was a little strange, as in, the popular fiction books had tables devoted to them - completely random. The tables were called "Fiction-I", "Fiction-II" etc. and they were books that the store recommended (presumably). However, again, it was just idly scattered as in, it wasn't done by author or genre or anything. They did, however, have a "Best of the best" section, which I quite liked.

I picked up a couple of books and thumbed through them, only to be slightly turned off by the quality of the books. I now understand what Hanff meant in 84 Charing Cross Road, when she said that the books in New York felt cheap and not as beautiful as the books across the pond. I was carrying The Amazing Adventures of Kavalier and Clay at the time, and I picked up the same paperback at the store. While the number of pages were the same, the book was significantly thinner than my edition. It felt as though the pages would rip the minute I started turning them - does anyone feel the same way about American paperbacks? Or, is it just me?

What really got me going, though, was this beautiful edition of Angela Carter's The Bloody Chamber that they had sitting on one of their fiction tables.

I already have two editions of this book: one sent to me by Claire in March last year, and one I found in a second-hand bookstore a couple of months later, which featured the cover art of Roxanne Bikadoroff. Anyway, I couldn't justify buying a third edition of this book, so I asked one of the employees if they had any other books by Angela Carter - and I just got a brusque "if it's not on the table, then no". Fair enough - other than the fact that about ten minutes later, I did find some more books by her - none in this kind-of edition though. :(

Ideally, people who work in book shops should be book lovers, but I didn't think that was the case here. Even the brand new books (full-priced books) weren't kept well. I almost bought Maus, but all six copies they had were torn - and they were all at full price. And when I say torn, I don't mean a slight crease at the edges. Parts of the cover of the book were definitely detached from the book itself, and unfortunately, in my little world, that's not okay!

I eventually did buy two books, just because it would be wrong to leave a bookstore that overwhelming empty-handed, but all in all, I was slightly disappointed by the experience. I love going to Foyles in London {Charing Cross Road}, because they have an amazing collection, but more importantly, each time I go to pay, I end up chatting with the cashiers about my purchases or/and request them to recommend some of their favourites to me. It's the same with the two Waterstones I frequent.

How about you? Do you have any such illusions about bookstores? Do you have a favourite store which you visit more for the experience than for the actual books? And am I just being idealistic and silly?

See Me Walking Down Fifth Avenue...

So, I'm off to New York tomorrow. New York, one of my favourite cities in the whole wide world. Broadway! SoHo! MoMA! Madison Square Gardens! Central Park! You get the idea, right?

It's just for a week, and it is on work, which means I won't get much time to take in the city as much as I've like to, but I do get a couple of afternoons free, which means I can go to the MoMA and the Met and if the weather holds, go horseback riding at Central Park. I really cannot wait, despite the fact that I am exhausted of traveling...

Unsurprisingly, I'm taking a few books with me - mainly fiction based in New York. A few months back, I had asked for some recommendations on books set in New York, and based on a combination of that and GoodReads, here's my New York Reading List.

Do you have any favourite books set in New York? Or, any places that I must see/things I must do?

Helene Hanff - 84 Charing Cross Road

If there ever was a perfect book, this would be it. Yes, I know that's an extremely strong and subjective statement, but I don't think many people who have read this will disagree. It's feel-good, happy, and just... perfect. 84 Charing Cross Road revolves around two people living halfway across the world from one another, with their warmth, kindness, generosity, and love of books bringing them together. The book is a series of real letters exchanged between the two of them over a period of twenty years, starting in October 1949.

Helene Hanff, in New York, is a book-lover but she struggled to find good copies of the books she was interested in near her, so she wrote to a small second-hand bookstore in London, Messrs Marks and Co., which was located at 84 Charing Cross Road, requesting them to send her clean second-hand copies of books she was interested in. Frank Doel was her main correspondent at the bookstore, who replied, and through the letters, a beautiful friendship began.

What was amazing was how, through the letters, one can actually see the friendship evolve. The first few letters were "stiffer" and more formal, with Frank addressing Helene as "Madam" (to which she replies, "I hope ‘madam’ doesn’t mean over there what it does here.") and then moving on to Miss Hanff (to which she replies saying, "Miss Hanff to you (I’m Helene only to my friends")). Finally, they are on first name terms, as Frank isn't quite as stand-offish as he comes across initially.

Honestly, in an age that pre-dates online shopping by a few decades, the fact that Helene was buying her books across the pond seemed incredibly quirky. She had her reasons, which unsurprisingly I do agree with - the way books were made in New York didn't compare to the way they were made in London, and her philosophy was to not cram her shelves with contemporary books, but only purchase books that she'd read and loved - and she wanted the beautifully made ones from London sitting on her shelves.

I houseclean my books every spring and throw out those I'm never going to read again like I throw out clothes I'm never going to wear again. It shocks everybody. My friends are peculiar about books. They read all the best sellers, they get through them as fast as possible, I think they skip a lot. And they NEVER read anything a second time so they don't remember a word of it a year later. But they are profoundly shocked to see me drop a book in the wastebasket or give it away. The way they look at it, you buy a book, you read it, you put in on the shelf, you never open it again for the rest of your life but YOU DON'T THROW IT OUT! NOT IF IT HAS A HARD COVER ON IT! Why not? I personally can't think of anything less sacrosanct than a bad book or even a mediocre book.

The enthusiasm and passion that Helene had for her classics and books was incredibly endearing, as was her direct forthcoming manner which put Frank at ease.

“You’ll be fascinated to learn (from me that hates novels) that I finally got round to Jane Austen and went out of my mind for Pride and Prejudice which I can’t bring myself to take back to the library till you find me a copy of my own.”

However, what made her a truly remarkable character was her actions when she discovered everything in Britain was being rationed post-war. She promptly started sending the employees at 84 Charing Cross Road meat and eggs, and she even sent them nylons! Christmas presents were exchanged, and the friendship struck between the two people who had never met just came across as so real and wonderfully touching. In London, the rest of the staff started corresponding with Helene as well, as did Frank's wife, and again, the affection and kindness between these strangers who'd come together largely due to their love for literature was evident. Almost fairy-tale like. Too good to be true.

In fact, Helene was even invited by her friends in London to visit them, and stay with them. Her friends visited the bookstore in London, and once Frank et al discovered that they were her friends, they were treated like royalty.

...We walked into your bookstore and said we were friends of yours and were nearly mobbed. Your Frank wanted to take us home for the weekend. Mr. Marks came from the back of the store just to shake hands with friends-of-Miss-Hanff, everybody in the place wanted to wine and dine us....

It does make me wonder though - nowadays, the world is so much smaller, communicating across the pond so much easier, but how often are any of us going to be lucky enough to strike a friendship as pure and uncomplicated as that? No selfishness, no end-game, just affection and kind-heartedness. Remember: this book is non-fiction.

I loved all the characters in this book, and I think I'd feel lucky if I had the opportunity to befriend even one of them, for in a world as tainted as the one we are in today, such unselfish kind people are like hidden precious gems. I loved the sense of humour, the excitement and the literary passion.

I am going to bed. I will have nightmares involving huge monsters in academic robes carrying long bloody butcher knives labeled Excerpt, Selection, Passage, and Abridged.

Have you read this book? Is it the "nicest" book you've ever read? Or is it just me?

If you haven't, I really hope you're convinced that it's a must-read now. It really really is - I was slightly apprehensive when I began reading it, for I'd heard a fair few other bloggers gush about this book, but it really is all that.

Michael Cunningham - Specimen Days

I absolutely adored Cunningham's The Hours, and couldn't wait to read another book by Cunningham. And then - then I saw the cover of this one, and I was in love! I knew I just had to read the book. And so, I did. Essentially, Specimen Days is a collection of three novellas, as opposed to one novel. Like The Hours, there are three inter-linked stories, and like The Hours, a famous literary persona makes an appearance (in this case, it's Walt Whitman).

However, unlike The Hours, this novel is set in entirety in New York, and it's set across time. The first story goes back to the era when Whitman was still alive, during the time of the Industrial Revolution; the second story is almost current-day set in a post 9-11 New York haunted by terrorist threads and the final story is set in a futuristic society of half-humans and aliens.

In an almost Cloud Atlas-esque fashion though, the protagonists across the stories seem to be re-incarnations of themselves. There's Simon and Catherine (Cat, Catareen) as the two adults and Lucas (Luke) as the adolescent. A bowl makes a reappearance across the ages as well, as does the poetry of Walt Whitman.

The first story, In The Machine, is set during the time of the Industrial Revolution (nineteenth century), where Lucas, a young boy, starts working in the factory where a terrible accident led to his brother's unfortunate demise. Lucas, who spouts Whitman (a present-day poet at the time) incessantly, reaches the haunting conclusion that the machines are evil and are trying to pull the living in, as they did to his older brother (Simon). His innocence and adamance is almost heart-breaking as he tries to convince Simon's fiancee, Catharine, to stay away from the "machine."

And then we move to The Children's Crusades, where Cat plays the leading role, as a woman who is a police psychologist. Amidst other things, she mans the phone line where would-be terrorists and assassins call up and drop hints about potential upcoming bombs. The latest set of terrorism seems to be coming from a group of children, who quote Whitman's Leaves of Grass, hug a random stranger, and then the bomb detonates...

Finally, there's Like Beauty, set in a post-apocalyptic New York, swarming with aliens and androids. Simon, an alien, who is programmed to recite Whitman at the unlikeliest of times, runs away with Catareen, a lizard-like alien, in search for the man who created him. They take a trip across the country, along with Luke, and manage to find a place on a spaceship that will take them to paradise - a different planet.

The characters are wonderfully drawn across all three stories, and the rapport between them is extremely real. Some of them are outsiders, whereas some of them are searching for a place where they belong. The way things are described had me nodding along in agreement, specially in the second novella.

"Look around," she said. "Do you see happiness? Do you see joy? Americans have never been this prosperous, people have never been this safe. They've never lived so long, in such good health, ever, in the whole history. To someone a hundred years ago, as recently as that, this world would seem like heaven itself. We can fly. Our teeth don't rot. Our children aren't feverish one moment and dead the next. There's no dung in the milk. There's milk, as much as we want. The curch can't roast us alive over minor differences of opinion. The elders can't stone us to death because we might have commited adultery. Our crops never fail. We can eat raw fish in the middle of the desert, if we want to. And look at us. We're so obese we need bigger cemetery plots. Our ten-year-olds are doing heroin, or they're murdering eight-year-olds, or both. We're getting divorced faster than we're getting married. Everything we eat has to be sealed because if it wasn't, somebody would put poison into it, and if they couldn't get poison, they'd put pins into it. A tenth of us are in jail, and we can't build new ones fast enough. We're bombing other countries simply because they make us nervous, and most of us not only couldn't find these countries in a map, we couldn't tell you which continent they're on. [...] So tell me. Would you say this is working out? Does this seems to you a story that wants to continue?"

The title itself is inspired by one of Walt Whitman's works - something I'm not very familiar with, which makes me feel slightly guilty, for I don't think I missed a lot in the book. Some of the references though seemed unnecessary, but I think that might be a result of me not really seeing the whole picture, as I'm not well-versed with Leaves of Grass, or much of Whitman's work/thoughts.

Have you read Specimen Days? Or any other Cunningham?

If you've read Specimen Days, do you think knowing a lot more about Whitman's work would improve the reading experience manifold?

Truman Capote - Breakfast At Tiffany's

"Charming" - That's the first word that came to mind when I turned over the last page of this novella. I haven't seen the Audrey Hepburn movie, so I didn't really know much about the plot (maybe I really do live in my own little cocoon) prior to reading the classic. There's Holly Golightly, who gets the star billing, as the writer recounts memories of his glamourous neighbour many years later. Holly Golightly is a young woman, drifting through life in New York in the 1940s: the bars, the martinis, parties, the social scene. A complex character, who's a wonderful combination of being naive and stubbornly independent, she keeps her friends close yet at a distance.

As her past tries to catch up with her, and she unknowingly gets entangled with the Mafia, she contemplates what she wants from life.

I don't want to own anything until I know I've found the place where me and things belong together.  I'm not quite sure where that is just yet.  But I know what it's like.... It's like Tiffany's.... Not that I give a hoot about jewelry.  Diamonds, yes.  But it's tacky to wear diamonds before you're forty...

This was my first foray into the world of Capote as well, and I was blown away by the rich lyrical writing, by the richness of Holly's character, and by some of the cleverly crafted paragraphs. It was a delightful read, and I think the story is going to stay with me for a long time, as will Holly: a character that frustrated me to no end, but I still couldn't help but like her.