The Storm is a beautifully woven tale that skips across time and geography to bring the reader into the life of Shar, a Ph.D student and policy wonk who has overstayed his student visa in the United States. Things are complicated. He has a daughter, but he is not married to her mother. If he leaves and cannot return, he risks never being able to see Anna again. But Shar’s story does not start and end with him. There are layers of character, the passage of time, the vagaries of culture and a pinch of the supernatural. Before Shar, there was the partition of India and Pakistan. There was a sailor with black sails; there was a storm.
The storm is more than an event of nature, it is the swirl of events which bring people into each other’s lives. The storm is the government, the storm is human desire, the storm is fate. Told from multiple points of view over decades, The Storm shows us real humans at their best and at their worst. Those who want to make the world better and those who care only for themselves at this moment. The plotting is tight, the characters are fully developed, and even though some only have walk-on roles, there are no extra characters—every single one does something important to move the story forward. There is a lot of grief in The Storm, but there is beauty to balance it. Read it, and I promise you won’t be sorry.
This month’s tea treat recipe combines bananas and pineapple, two crops grown in Bangladesh, the setting for parts of The Storm. Be sure to serve it with Black Tea, also grown there.
Well, Janeites, it is with a heavy heart that I report to you: this book is not very good. I had high hopes, since it was a murder mystery, but alas those hopes were dashed upon the rocks of mediocrity. As may be surmised from the title, this is a retelling of Mansfield Park in mystery form. I don’t think it will spoil anything to tell you that Fanny is the victim. It’s on the flap copy. What the flap copy doesn’t tell you is that this plodding narrative, which remakes Fanny into a bratty heiress whom readers will be glad to see bludgeoned on the grounds of Mansfield, is a complete departure from Austen. All the characters are recast, mostly not for the better. Edmund is now Mrs. Norris’s stepson, and not bound for the clergy, Fanny is rich, the Bertrams are middling. The reader gets the story mostly from Mary Cawford’s point of view, and she and Henry are probably the best characters in the novel as well as the most sympathetic.
What doesn’ make sense is why the author chose to use the characters from Mansfield Park, and the setting, and then proceeded to change them all; she may as well have just written her own book with totally new characters, leading this reader to believe that the only reason to use MP as the jumping off point was to lure unsuspecting Janeites who are also mystery lovers into purchasing this twaddle. The best thing about it is the detective, Maddox, and he doesn’t appear until more than halfway through. Speaking of, this purported murder mystery is without a victim for 140 pages. If I hadn’t been committed to reviewing this, I would have cast it aside in frustration after about 25 pages, truth be told, but I took one for the team. Caveat Emptor, you’ve been warned.
Grace Reinhart Sachs has it all. A great job, a loving, doctor husband, and a beautiful son. She is even about to start the public relations tour for her first book, You Should Have Known. As a marriage therapist, Grace has walked couples through trying to put it back together and she has counseled them when things have already fallen apart. She sees other people’s problems with great clarity. The thesis of her book, a sort of self help guide to not choosing relationship partners poorly, is that the clues you need to really know someone are always there, but we often choose not to heed them. We turn a blind eye to the less worthy attributes of the ones we fall in love with, when we should have known all along that he or she would do the things that disappoint us later in life. In short, we could avoid the catastrophes of middle age by being more attuned to what our significant other was telling us from the beginning. We Should Have Known.
Grace has a fabulous New York life—a great apartment, private school for her son, the trappings of status and education are all hers, until they aren’t. All it takes is the very public revelation of her own husband’s secret to blow it all up. Facing public humiliation and even ostracism, Grace has to decide how to handle her own problems with the same clarity she has always applied to her clients’.
This novel serves as a mirror to our voyeuristic culture, which seems to take great joy in dragging even innocent people through the mud. We are so quick to judge and so gleeful in that judgment. Do we ever stop to consider how satisfying our desire to revel in sordidness affects others? How it affects ourselves, come to that? Schadenfreud diminishes those who participate in it, and Korelitz uses her characters to show this extremely well. Anyone who has spent time on volunteer committees will see people they recognize. You Should Have Known also explores the theme of victim blaming. Perhaps we blame the victim because we need to reassure ourselves that it could never happen to us. It is true that there are often clues that the victim ignores, but it is infinitely easier to see those clues after the fact, and so much more satisfying to tsk tsk someone.
Through the setting, Korelitz examines modern materialism as well. How much is enough? When Grace steps outside of her New York life, she sees, maybe for the first time, the unimportance of all the things she thought she needed to be happy. She reevaluates her own relationship with money and actually understands how limited the choices might be for a woman in her situation who had none.
The reader is kept in the dark about what Grace’s husband has actually done until almost the end of the novel. This serves to keep the focus on Grace and Henry, her son, rather than on the sensational details of “the event,” and it is an effective device. By the time the reader has the whole picture, she is completely invested in Grace’s story. At times sad, wrenching, even a little shocking, You Should Have Known offers an entertaining read that is also thought provoking.
NaNoWriMo is coming up! If you, like me, tend toward the plotting side rather than the pantsing side, and the thought of writing 50,000 words in one month makes you begin to hyperventilate, fear not, dear reader, Readerly has you covered. For the plotters among us, and the pantsers who want to be them, Readerly will be sending out weekly planning tips beginning on November 1. We are jumping on the NaNoPlanMo bandwagon, and we are all in.
Here’s the schedule in case you want to make sure you don’t miss a thing:
11/1 Are you clear about WHY you are writing this book?
11/8 Do you know what your message is? Every book has one…
11/15 Do you have a firm grasp on your main character? Even if you are a plotter, you can’t have a plot without one…
11/22 The Cause: Effect Trajectory and why it matters
11/29 Change over time, as in there needs to be some or no one will read your book, not even your mother.
Fall is a time for Apple everything! This month enjoy a dark and slightly disturbing Academic thriller with a steaming hunk of Apple Up-Side-Down Ginger Cake and a cup of tea.
There isn’t a lot left to say about this book. It was first published in 1992, and I have had it in my TBR pile for a while now. Well, what with Fall in the air (only 86 degrees here in Central Texas on the first day of Fall, ya’ll, be sure and break out your sweaters!) I decided to move it to the top of my pile and I am glad I did. This is one of those novels that stays with you for a long time after you finish reading it. The best comparison I can come up with right now is to Lolita. You know the train wreck is coming, you know the characters are terrible people, yet you can’t look away. Even though it is over 600 pages, you will keep reading. Even though you find out the “bad thing” on the first page, you will keep reading. Even though none of the characters has much in the way of redeeming qualities, you will keep reading.
In case you want to discuss the book with someone while you eat cake, here are some questions.
Which of the characters do you think was most responsible for what happened?
Why do you think Richard was so desperate to join the Greek Program?
What do you think Julian’s role was?
What do you think happened that Richard didn’t tell us?
How sympathetic was Bunny’s family? Why or why not?
In 1931, Ranganathan first published his blockbuster of the library world, The Five Laws of Library Science. You may laugh, but most librarians still take these laws pretty seriously, albeit with a few parenthetical updates.
Here are the five laws:
Books Are For Use
Every Reader His/Her Book
Every Book Its Reader
Save The Time Of The Reader
The Library Is A Growing Organism
While we could have quite a philosophical discussion about whether these laws apply just to books, and how do we define a book anyway, what I want to focus on in this post is #4. One of the core functions of a librarian is to provide reader’s advisory, in layman’s terms, to match readers with books based on their interests, preferences, etc. Providing a shortcut for the reader with helpful, careful suggestions and listening to them to get an idea of what they might like and then being familiar enough with what is available to match them with something they want to read, is to save the time of the reader.
I would like to suggest that if we rewrote these rules for Book Coaches, #4 would be: Save the Time of the Writer. A book coach saves the time of the writer, by giving them a framework so they can write their book with elements such as plot, character, conflict, and more firmly in mind. A book coach helps a writer set goals and manage their writing. A book coach provides feedback along the way, so that the first draft might resemble a 3rd draft; writers can address issues in revisions to make their book the best one the writer can write. Book Coaches help writers tell stories in compelling ways, by providing them with scaffolding to build their skills—cheering them on when they are in the groove and supporting them when they need a professional set of eyes and perhaps a little tough love to move forward.
Writing is not for the faint of heart! But Book Coaches can Save the Time of the Writer and help them on their writing journey.
This is a beautifully written book about a family suffering a terrible loss. Lydia, the favorite daughter of a mixed race family (Caucasian and Asian) has drowned. Surprisingly, though there are sad moments, the tone is hopeful. Ng explores what happens when people’s lives don’t turn out the way they thought they would; when characters must adjust their dreams to fit the reality of their lives. She also delves into the miscommunication that can occur when family members don’t really listen to each other or talk to each other; the assumptions we make are generally wrong and often hurtful. Ng’s language is lyrical and she employs the rarely used omniscient first person for almost every character of the story. This allows the reader to uncover the truth one person at a time, through narration of the present, memories, thoughts, and actions as each person moves through the tragedy that has befallen them. A heartrending portrait of a family in crisis, Everything I Never Told You is well worth reading and discussing. It will stay with you long after you turn or swipe the final page.
In Lisa Cron’s book, Story Genius, she writes about the what if in fiction. The “what if” provides the external impetus that will kick off the protagonist’s internal struggle (43). The what if on its own is not enough for a book, but it can be a powerful way to begin to frame an idea and see where it takes you. Here are some examples from stories you may be familiar with:
What if a child who was mistreated by people who were supposed to care for him grew into a position of power over these same people? (The Count of Monte Cristo)
What if there was an incriminating letter that had to be hidden, but the police were at the door? (“The Purloined Letter”)
What if there was a way to murder someone who was generally despised in such a way as to guarantee that everyone involved would keep silent? (Murder on the Orient Express)
What if someone invented a time machine that could go backward and forward in time? (The Time Machine)
What if a man who was content with his life of privilege and with doing what was expected of him by everyone else, met a woman who won his heart despite her unorthodox ways? (The Age of Innocence)
One way to think about this is to consider the what if as the premise or the “inciting incident” of a novel, but it is a little more nuanced than that. The what if is an external action or circumstance, but it has to push the protagonist into an internal struggle. It cannot just be a cool premise or it will fall flat. For example, in the original Planet of the Apes movie, the final irony is revealed when Charleton Heston sees the Statue of Liberty and realizes that he has traveled not to another planet, but to the future of the earth. In the Marky Mark version of the Planet of the Apes, the ending has zero punch, because, and this is what the director even says in the commentary, they just tried to come up with a cool twist. If you’ve seen it, they travel to another planet and when they come back to earth, with NO EXPLANATION, it has been taken over by apes. Dumb and SO unsatisfying. I am not going to entertain debate on what might explain this stupid ending; the point I want to make is that you can’t just aim for a cool twist/what if. It has to make sense and it has to have a point, and it has to drive the protagonist to struggle.
With all of this in mind, think about your idea for a book. What is the What If that will cause your protagonist to make a decision, take an action, start the struggle?