Category: books

Happy International Women’s Day

  

My mind is on power, my home electrical power and also the power of women. Here at home, we’re losing our power at breakfast on March 8th and we won’t  have it back until dinner (our local hydro authority has to replace a pole).  At the same time, March 8th is also International Women’s Day, a time to celebrate and honor powerful women. And what better way to do that than by reading a book written by or featuring powerful women? There are so many, though, that it’s hard to choose. So, rather than listing out just a few titles, I’m listing out a few links to give you more choice.

The titles selected by Off the Shelf highlight themes of resilience, friendship and family: https://offtheshelf.com/2019/08/bold-novels-featuring-women/

Over at Tolstoy Therapy, the titles are chosen to inspire courage: https://tolstoytherapy.com/books-about-strong-women/

And last but definitely not least, the Vancouver Public Library has curated a list of books (fiction and non-fiction) that address the issues of women’s rights from past to present: https://vpl.bibliocommons.com/list/share/79828372/377701707

Happy International Women’s Day!

My February Reads

The snowdrops are in bloom, and the daffodil foliage has started to break ground. It feels too soon! The days are still cold and wet, darkness still comes early, and I’m still very much in winter hibernation mode, enjoying mugs of steaming tea, woolly socks and books. Lots and lots of books. Here’s what I’m reading this month.  

Wrong Place, Wrong Time by Gillian McAllister

Driving Over Lemons: An Optimist in Andalucia by Chris Stewart

The Hotel Nantucket by Elin Hilderbrand

Books read to date in 2023:  12

The Likeability Factor

I got together with two friends for a visit last weekend. We hadn’t seen each other in quite a while; we have a wide range of interests and busy lives, so we had lots to catch up on. Eventually, the conversation turned to books and movies . . . what we were reading, what we were watching. And since the Academy Award nominations had been announced earlier that week, we began discussing which of the movies we planned to see, if any.

This year, there’s one movie I’m not sure I’ll watch: The Banshees of Inisherin.  Written and directed by Martin McDonagh and starring Colin Firth and Brendan Gleeson, the movie is set on a remote Irish island and tells the story of two lifelong friends who drifted apart after the end of the 1923 Irish Civil War. It is not, by all accounts, a feel-good film. It is described, at best, as bleak. It’s also a movie that seems to evoke particularly strong emotions. Those who love it rave about it. Those who hate it do so with a passion.  

“I wonder how the screenwriter feels?” I wondered aloud to my friends. “To have produced something so many people dislike?”

“There’s no guarantee something you create will be well-received,” one friend responded.

“And it’s been nominated for an Academy Award,” my second friend added. “So not everyone disliked it.”

They were both right. However, too many negative reviews of a movie, a book, an art installation or any other creative venture can mean the difference between success and failure. And by success, I don’t mean public accolades and praise, but the kind of success that allows an artist to make a living, even a modest one, and carry on with their craft. For a writer, a book that draws significant negative reviews won’t sell well, which could mean no contract on their next book. These two women aren’t writers, but they’ve been my friends long enough to understand some of how publishing works. They were sympathetic.

After a minute, one of them said, “Maybe society needs to reframe the idea that disliking something is bad.”

“What do you mean?” I asked.

“You know what they say – if everyone likes you, you’re not living an authentic life.” She paused just long enough for us to reflect on that. And then she said, “Maybe it’s the same for art. If everybody likes what you produce, how authentic can it be?”

I know, intellectually, that tastes vary. Not everyone will love the same book or movie or song. The same food, the same colour, the same breed of dog. And yet, as a creator, I want people to love what I produce. So, if I’m truly honest with myself, anything less than that feels like a failure.

But my friend helped me see a simple yet profound truth: Something that is truly authentic is never a failure. It may not appeal to the masses; it may not be a critical or commercial success. But it can still be meaningful, it can still touch people, it can still convey feelings and reveal big truths. In the same way that authenticity in relationships is where we find our true joy, authenticity in creativity is where we find our true success.  

I still don’t know whether I’ll watch The Banshees of Inisherin. Apparently, people leave the theatre crying, and I don’t need sadness in my life right now. But I do need authenticity. So maybe I’ll pack up my Kleenex and go.

Wintering

                                        

“Plants and animals don’t fight the winter; they don’t pretend it’s not happening and attempt to carry on living the same lives that they lived in the summer. They prepare. They adapt. They perform extraordinary acts of metamorphosis to get them through.

Winter is a time of withdrawing from the world, maximizing scant resources, carrying out acts of brutal efficiency and vanishing from sight, but that’s where the transformation occurs.

Winter is not the death of the life cycle, but its crucible.”

Katherine May

Last weekend, I went on a yoga retreat, one focused on honouring Winter Solstice. The women running the event decided to hold the retreat in January even though Winter Solstice is the third week in December. Their reasoning? December is an extremely busy month, and early January felt more appropriate somehow. My busyness lasted well into January, so retreating at the end of that first week was the perfect fit for me.

The day was about letting go, slowing down and getting still, something that doesn’t always come easily to many of us. Katherine May talks about this in her book, Wintering: The Power of Rest and Retreat in Difficult Times. While I’ve only just started reading it, the book encourages us to find joy in the quiet of winter and accept life as cyclical, not linear. She writes: In winter, I want concepts to chew over in a pool of lamplight – slow, spiritual reading, a reinforcement of the soul. Winter is a time for libraries, for the muffled quiet of book stacks, and for the scent of old pages and dust.

I’m not so sure about old pages and dust, but the idea of slow, spiritual reading and libraries definitely resonates. As I write this, the wind is howling and the rain is lashing at the skylight; it’s a day to curl up inside. Writers – probably most artists when I think about it – are comfortable with solitude. I certainly am; I need it to do my work. For the last six months or so, though, I’ve been out in the world far more than usual, and it upended my natural rhythm and definitely negatively impacted my writing. So, for me, ‘wintering,’ pulling the metaphorical shades and getting back in touch with the cyclical nature of life and of my creative muse, feels appropriate.

Not everyone likes winter; I realize that. For those of you who find this season difficult, I leave you with this quote from John Geddes:

My November Reads

                                        

The leaves are falling, and my neighborhood raccoons are feasting. Because of the cold, late spring, we didn’t get many apples or pears this year, and the fig tree outside our bedroom window set fruit late. So late, in fact, that most of the fruit didn’t mature. It’s no good to us, but the raccoons love it. They show up to the feast at about 2 am, activating our motion sensor light and waking us up. It didn’t take them long to strip the tree, but that didn’t seem to matter. Our yard is now a preferred stop on their middle-of-the-night rambles. We’re contemplating disconnecting our motion sensor light. In the meantime, there’s always a book beside the bed if we’re woken up. Here’s what I’m reading this month:

We Are the Light by Matthew Quick

Grow Now by Emily Murphy

The Sugar Thief by Nancy Mauro

Books read to date in 2022: 74

But Is It . . .

                                               

. . . good?  

That’s the question all creatives ask themselves at one time or another. Whether we’re writing a book, painting a canvas, or creating a song, a sculpture, or even a garden, at some point, we all stop to wonder – is it good?

Readers want to know that too. Lately, I’ve been working a few days a week in the local bookstore in our little village. It’s been an interesting opportunity to learn about publishing from the book-selling side of the aisle. And something that happens regularly is customers come in and ask, ‘is this book good?’

It’s a challenging question to answer because good is difficult – I’d argue nearly impossible – to define. Must a book be an award winner to be deemed good? Must it be literary (whatever that means)? Does a likeable (or unlikeable) character make a book ‘good?’ Should a good book have lyrical prose or spare writing? Be a certain length? Have a linear plot line or one that’s more innovative? Does a good book deal with weighty subjects or sweep you away in a froth of escapism? Should it have a happy ending . . . an ambiguous ending . . . or an ending that makes you think?

Good, I’d argue, is subjective. For instance, I don’t like to eat anything custard-related, so no matter how well-prepared, I’d never find a crème Brule or a Spanish flan ‘good.’ One of my friends strongly dislikes yellow, so any garden with a lot of yellow isn’t good for her. Art – books – are different, you say? I don’t think so. Good, by definition, is open to individual taste, and even that can vary depending on timing and circumstances.

As an example, I always enjoy books by Lianne Moriarty. Yet a few years ago, when my dad was hospitalized, and I was dealing with multiple weighty issues around that, I had to put her novel Nine Perfect Strangers down. It’s a thriller with ten points of view, and it’s dark. I didn’t have the concentration to follow ten characters and a good read for me then was something more uplifting. Conversely, I’m not usually a fan of gothic or vampire novels, nor do I like New Orleans as a setting (I don’t know why), but years ago, I ripped through Anne Rice’s Vampire Chronicles series and loved it. I don’t know if the novels would hold up for me today, but back then, I called them a good read.  

One of the definitions of good, as stated by The Cambridge Dictionary, is ‘being of a kind that is pleasing or enjoyable.’ For me, as a writer, that means being satisfied or pleased with what I produce and knowing it’s the best I can do at that moment. For me, as a reader, it means immersing myself in a story or narrative that enriches my life in some way, regardless of the techniques it uses to do that.

Good, in the end, is a feeling that’s hard to measure or define. But feeling is the keyword there. And in the words of Paul Sweeney, “You know you’ve read a good book when you turn the last page and feel a little as if you’ve said goodbye to a friend.” 

I Read Canadian

 Tomorrow, Wednesday, November 2nd, is I Read Canadian Day. This national day is geared toward raising awareness and celebrating the richness, diversity and breadth of Canadian literature. Though the day is heavily geared toward celebrating Canadian books for young people, all Canadians are challenged to ‘Read Canadian’ for 15 minutes and to share their experience at their library, in their schools, at home with their families, or on social media. Leading by example is a great way to get young people to read. So here are a few titles for adult book lovers written by Canadian authors.

The Maid by Nita Prose

The Vanished Days by Susanna Kearsley

The Lost Kings by Tyrell Johnson

A Season on Vancouver Island by Bill Arnott

Fayne by Ann-Marie MacDonald

Looking for Jane by Heather Marshall

Mindful of Murder by Susan Juby

The Witches of Moonshyne Manor by Bianca Marais

Happy reading!

My October Reads

We’ve had an unusually warm fall here on the west coast and a dry one too. My hometown of Victoria, a few hours south of us, has experienced the driest 90-day period since records began in 1898. While most of us have loved the endless summer weather (some have taken to calling it Augtober), virtually everyone also recognizes that rain is badly needed. Water levels are so low that salmon have had trouble spawning in some areas, and western red cedars and Douglas firs are also stressed. Thankfully, rain is forecast for Friday. I’m looking forward to it, not only for the environmental relief it will provide but for the opportunity to get out of the garden and into my reading corner. So here’s what I’m reading this month.

The Kitchen Front by Jennifer Ryan

The Last Good Funeral of the Year by Ed O’Loughlin

Mad Honey by Jodi Picoult and Jennifer Finney Boylan

Books read to date in 2022: 67

An Ode to October

 I am, for the most part, a spring and summer person. The gardener in me craves sunshine and warmth. That said, fall and winter are restful and rejuvenating, and with more time to read and cocoon, I appreciate them for different reasons. And I especially love October. The beauty of the changing leaves against a brilliant blue sky . . . the crisp fall air . . . the chance to pull out those cozy sweaters that have been tucked away . . . and pumpkins! Lots and lots of pumpkins (though I’ll pass on the pumpkin-flavoured lattes, thank you very much).

October is also a significant month from a literary point of view. Oscar Wilde was born this month, and so were Eugene O’Neill, Dylan Thomas, Anne Tyler, and Zadie Smith.  Frank Herbert and R.L. Stine. Nora Roberts, Michael Lewis, and Wally Lamb.  Doris Lessing and Ursula K. Le Guin.  Emma Donoghue. I could go on, but you get the idea.

Many bestselling literary characters came to life in October too. On October 2nd, 1950, Charlie Brown, Snoopy and the rest of the Peanuts crew first appeared, thanks to creator Charles M. Schulz. Winnie-the-Pooh by A.A. Milne made its debut in October, as did Paddington Bear by Michael Bond. Sherlock Holmes by Sir Arthur Conan Doyle was published in October, and so was Moby Dick by Herman Melville, Jane Eyre by Charlotte Bronte and For Whom the Bell Tolls by Ernest Hemmingway.  More recent October releases include The Lion, the Witch and the Wardrobe by C. S. Lewis, The Hitchhikers Guide to the Galaxy by Douglas Adams, Small Great Things by Jodi Picoult and The Lincoln Highway by Amor Towles.

October definitely has a long-standing literary leaning. No wonder it’s an excellent month to pull up a chair, light the fire and open a good book.

The Wrath of Poseidon

                                              

In mythology, Poseidon is the Greek god of the sea and rivers, the creator of storms and floods, and the bringer of earthquakes and destruction. He’s considered one of the most disruptive of all the ancient gods, yet he’s not always seen as a negative force. He is the protector of mariners, the patron saint and the protector of horses, and he was known as Neptune to the Romans.

Whether you call him Neptune or Poseidon, right now, he’s angry.

Last week, Hurricane Ian brought widespread and devastating destruction to parts of Florida and the Carolinas. Further north, some Prince Edward Island residents are still cleaning up after Hurricane Fiona and only now getting their power back. At my house, we’re preparing to move out while our floors are replaced because of a very small (and we thought easily dealt with) kitchen flood last March. No wonder floods are on my mind.

One of the oldest flood stories known to man, The Epic of Gilgamesh, was recorded on 12 stone tablets and dates back to 650 BC. And we can’t forget the ancient biblical story of Noah’s Ark. Scholars still debate which story came first. Regardless of where the truth lies, floods have been featured in literature for centuries.

The threat of a coming flood was used as a plot device by Geoffrey Chaucer in The Miller’s Tale. George Eliot used a flood to bring her novel The Mill on the Floss to a dramatic conclusion. More recently, Clare Morrall’s gripping When the Floods Came is a futuristic novel set in a Britain prone to violent flooding and ravaged 20 years earlier by a deadly virus. Much more uplifting is the children’s six-book series The Children of Green Knowe by Lucy Boston, which focuses on an only child sent from boarding school to spend the Christmas holidays with his great-grandmother. She lives in a mysterious and ancient ark-like home Green Knowe, a place regularly surrounded by the flood waters of the fens and only accessible by boat. It sounds magical and almost makes the idea of being surrounded by flood waters appealing.

But almost isn’t good enough for me right now. So, as we pack up and head to temporary lodgings while our floors are being replaced, I’m scanning my ‘to be read’ book pile for stories where water does not feature prominently. Something set in a dry desert, perhaps?