Tuesday, July 17, 2018

Halfway Through! Now Reading Booker Book #26


I started this project not aware that this year marks the 50th anniversary of the Booker Prize, so that was a happy coincidence. To celebrate the anniversary, a committee was asked to choose the “Best of the Bookers,” and they choose the book right in the center, the one I am looking forward to re-reading next, The English Patient. I have read more books by Michael Ondaatje than anyone else on the Booker list except Ian McEwan (half a dozen) and Margaret Atwood (all of them).


Now that I have finished 25 of the winners, I think it would be a good time to pause for some reflection.

I have discovered some writers I will return to: A.S. Byatt and Anita Brookner, for sure; John Berger and Keri Hulme, perhaps.

I have discovered that these books can be not just longer but denser than my typical read, so I may not reach my goal of reading 118 books in 2018. I usually read over 100 books a year with no problem, but we’re a little over halfway through the year and I’ve only read 51 books. Goodreads.com says I am 12 books behind schedule [gulp].

I have been reminded that a book that wins a prize will not necessarily please everyone. I have found several books here that I struggled through and wondered, what was the committee thinking? I must remember that when I argue with people about “best books” lists.

And finally, I nominate Ralph Fiennes as Official Actor of the Booker Prize. He has starred or co-starred in at least three Booker-based films: Schindler’s List, Oscar and Lucinda, and The English Patient. If you know of any more, tell me in the comments!

Monday, July 16, 2018

Booker Book #25: The Famished Road, by Ben Okri

Have you ever noticed how absurdist works are very short? There is a reason for that: one can only put up with so much absurdist dialogue.

And have you ever heard that saying that nothing is more boring than other people's dreams?

Well, The Famished Road is five hundred pages of absurdist dialogue and other people's dreams.



Our hero, Azaro, a young African boy, cannot decide if he wants to live in our reality or in the spirit world. He chooses our world, but the spirit world keeps pursuing him. In nearly every chapter, Azaro goes to the local bar, sees weird spirit-world stuff happen (that's the "other people's dreams" part), then gets home late and gets in trouble. In the next section it starts all over again.

In the background, two political parties are waging war in the village. Dad is trying to become a boxer and politician. And Madame Koto, the bar owner, is growing rich, and corrupt, and just plain growing. All this surely has some kind of allegorical meaning, but grotesque visions of monsters with multiple heads trying to lure Azaro back to the spirit world distracted me from whatever that might be.

I admit that many portions of this book are beautifully written and highly imaginative, especially the first few times that Azaro wanders between worlds, or the final chapters that at last make the connections clear. But I think this book, like its magic-realist genre-mate Midnight's Children, would have been twice as compelling if it were half as long.

Saturday, July 7, 2018

Booker Book #24: Possession, by A. S. Byatt


Lucky me: two awesome books in a row. I don’t often use the phrase “tour de force,” but Possession is one. Ms. Byatt has written two love stories from the points of view of two authors, several diarists, and multiple critics, and has given each his or her own unique literary voice.

The story begins when poor Roland Michell, the epitome of the starving graduate student, finds two rough drafts of a letter. They are from the poet he has devoted his studies to, Randolph Ash, to a woman whose very existence is unsuspected by biographers and critics. He soon finds the intended audience was a certain Christobel LaMotte, also a writer, and sets off on a quest to discover if the correspondence ever went beyond the intriguing drafts.

Roland finds the LaMotte specialist, Maud Bailey, and the chase is on. It’s a literary mystery in which the contemporary couple mirror and parallel the nineteenth-century writers -- Roland/Randolph, Maud/LaMotte -- yet with some surprising differences and twists, as well. 

Byatt is a master poet and storyteller. I looked forward every day to returning to this book, and savored the end. It is a careful collage of texts about reading, writing, and literary studies, but also about men, women, love -- and possession.