fiction

Nora Webster, by Colm Tóibín

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Newly widowed Nora doesn’t want to answer her door. In the Irish town of Wexford in the middle of the 20th century, it is customary for people to stop by the home of someone in mourning in the evening. Without phones there’s no way to call first to see if they are welcome, so they just come and knock on the door.

Despite her yearning to be alone, Nora always opens the door. To a neighbor who commiserates with her, she says, “‘They mean well. People mean well.’”

Bound by convention, missing her husband’s steady presence, Nora must begin making her own choices. As the sole support for her four children, she is first confronted with financial decisions. Later she has to contend with emotional issues as her two young sons come to terms with their own grief. Their two older sisters are away at school.

Nora is a fascinating character. She does not seem to be close to anyone, now that Maurice is gone. Though she says at one point that she never loved her mother, she’d expected at some point they would find a place to meet. However, it hadn’t happened before her mother has passed away. Nora is not interested in being with her two sisters and aunt, though she and they make the customary visits.

She is not even close to her children, thinking at one point “that she had never before put a single thought into whether they were happy or not, or tried to guess what they were thinking.”

She seems to hold herself at the same distance. Practical, focused on the everyday things that must be done, she barely touches the fringes of introspection. The reader, too, is held at a slight distance from her. Tóibín uses a close third person point of view, telling the story through Nora’s eyes, but her lack of self-analysis leaves us as much in the dark as she is. We hear her think one thing and then see her do the opposite, and have to assume that she is giving in to convention again or to what another person wants her to do.

When we discussed this novel in my book club, one person pointed out that much of the drama in this quiet book came from the space between Nora’s thoughts and her actions. Whether you call it drama or conflict or tension, I think that this analysis is accurate.

I called it a quiet book, though things large and small happen, and there are plenty of emotional upheavals. Another book club member praised the way political events of the time were woven into the story, giving it additional depth and universality.

In the end, though, what we all liked about this book was the close look at an ordinary life, one of the reasons we like Anne Tyler’s novels as well. A master storyteller like Tóibín can make us care about a single, ordinary individual. He can find the value in that life and as a result help us understand more about ourselves and our own lives.

In the first chapter, a neighbor Mrs. Lacey mentions her daughter. Ellis Lacey is the young woman whose story is told in Tóibín’s best-seller Brooklyn, recently made into a film. What did you think of that story? How do you think it compares with this one?

The Likeness, by Tana French

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In this second mystery from Tana French, the murder of a young woman drops like a stone into the world of her four friends, and of the detectives investigating it. Ripples spread, unsettling all of their lives and certainties and waking deeper currents.

I read this book and French’s earlier one, In the Woods, a few years ago, long enough ago that the details have faded but my memory of liking them hadn’t. That made them a good choice for listening to in the car on a couple of long trips: the story would come back to me enough that I wouldn’t have to concentrate hard to follow it but I could enjoy again the writing I loved.

The first person point of view makes these two books especially vivid. In the Woods is narrated by Rob Ryan, a detective in the Dublin murder squad. With The Likeness, his former partner Cassie Maddox, who has moved to the Domestic Violence unit, is pulled back and plunged almost against her will into investigating the death of Lexie Maddox, found stabbed in a remote cottage.

Frank Mackey, her boss from when she worked underground, back before the murder squad, persuades Cassie to impersonate the dead woman. The two young women look almost exactly alike, rare enough, but even more astonishing is that the dead woman had assumed the identity of Lexie Maddox, one of Cassie’s undercover identities. Mackie tells Lexie’s four friends that she survived and then sends Cassie in to live among them, to see if she can identify a suspect.

This is the part I loved. The five of them, PhD students at Trinity, live in a dilapidated country mansion which Daniel has inherited. He and Abby, Rafe, Justin, and Lexie are completely self-sufficient socially, a tight unit: innocently playful and sweet together, they become an armored phalanx among strangers.

Even just driving up to the house and seeing them on the steps Cassie is thoroughly charmed, in the deeper sense of being almost under a spell. It all seems so familiar. And the golden weeks that follow—working on the house together, dancing to Abby’s singing, reading and talking in the evenings—tempt Cassie with their promise of a different life. I was reminded of the beginning of Brideshead Revisited when Charles Ryder falls in love with Sebastian’s life. French captures so well the fun of being part of a tight group of friends, when you’re young and it’s all happening for the first time and everything seems unbearably sweet.

Even as Cassie slips more deeply into their easy camaraderie, though, she is looking for anything that might point to a suspect. She explores the local folks’ hatred for the house’s inhabitants and Daniel’s cousin’s frustration over not inheriting the house himself. She begins to see cracks in the family. She hears secrets whispered at night, notices Justin’s mounting fears and Rafe’s increased drinking.

There are plenty of questions to keep my mind buzzing, not just the big ones of who killed Lexie and why, but questions about each of the four friends, about why Lexie needed a new identity, about Mackey’s intentions and what Cassie herself will choose to do at each turn.

And the story is hauntingly beautiful at times, such as when we are drawn into the world these friends have created, their hour of splendour in the grass. There is much here about innocence and responsibility and the desire for freedom that can sometimes drown out everything else. And Cassie, with her strong moral code, her chameleon-like abilities, and her doubts and temptations makes an excellent traveling companion.

What books do you like to listen to in the car?

Best books I read in 2015

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As a writer, I learn something from every book I read. These are the twelve best books I read in 2015. Although I read much fiction, I’m a bit surprised to see how many of the books I’ve selected are nonfiction. Please check the links to the blog archive for a fuller discussion of each book.

1. Nine Gates: Entering the Mind of Poetry, Essays by Jane Hirshfield

The nine essays in this book contain much depth and beauty. In them, Hirschfield explores the magic of poetry, pulling back the curtain to show what makes some poems work. Her insights leave space for the imagination, equally inspiring for poetry readers and those who write.

2. A Map of Glass, by Jane Urquhart

Within this absorbing story of Sylvia and Jerome and Andrew lies a profound meditation on love and memory and geography and change. I was deeply moved by this story and came to a new understanding and acceptance of losses that still haunt my dreams.

3. Offshore, by Penelope Fitzgerald

Set among a motley group of people living on barges on the Battersea Reach of the Thames, this Booker Prize-winning novel follows Nenna, a woman struggling to make a home for her two young daughters. This image of being neither on land nor at sea underpins the lives of the people on the barges. All of them live in the littoral, hanging onto the edge of survival. Fitzgerald is often quite funny, her humor coming from the absurdity of life’s situations and some of its people. However, rather than satirising them, she treats them with compassion and respect.

4. Fierce Attachments, by Vivian Gornick

Gornick’s highly praised memoir, Fierce Attachments, explores her relationship with her mother. In the introduction Jonathan Lethem calls the book “mad” and “brilliant”, but it is more than that. The story of these two women, and the other men and women drawn into their orbit, drives forward with an intensity and, yes, ferocity that I’ve rarely encountered.

5. Testament of Youth, by Vera Brittain

I’ve read a lot about the Great War: poetry, history, memoirs. What I hadn’t thought much about are the women. The land girls, yes, and the misguided women handing out white feathers, but not about the nurses or the women waiting for the next letter from the front and anxiously scanning the lists of the dead. Vera Brittain’s brilliant memoir fills that gap. Written in the early 1930s, she describes the horrors that stunned her “cursed generation” in a calm yet unforgiving voice, the voice of the sternly practical and compassionate nurse she became.

6. Penelope Fitzgerald: A Life, by Hermione Lee

In this rich and readable biography, Hermione Lee gives us not just Fitzgerald’s story, but also a discerning evaluation of her work. By giving us the events and people that shaped and influenced Fitzgerald as a writer, this remarkable biography sheds new light on Fitzgerald’s novels. Plus I love that it sent me back to read all the novels again.

7. A Spool of Blue Thread, by Anne Tyler

My book club rarely comes up with a unanimous verdict on a book, but we all loved this book by Anne Tyler, as we have loved other of her books we’ve read. It’s not just because she writes about Baltimore, and specifically the part of Baltimore we are most familiar with. I think the quality that we love in Tyler’s novels is her ability to give us people who, with all their quirks and flaws, yearn for something better and have faith that they can get there, people whose stories play out in families so true that we recognise them immediately.

8. On Such a Full Sea, by Chang-Rae Lee

Set in a future version of Baltimore, called B-Mor, Lee’s latest novel represents a logical outcome of the tensions currently tearing the city apart. We have the story of the B-Mor community and we have the story of one young woman, Fan, who leaves B-Mor in search of her boyfriend, Reg, who has disappeared, apparently removed by the powers that be for their own purposes.

9. Glaciers, by Alexis M. Smith

Sometimes you want a big, fat novel; sometimes you want a small, quiet one. Only 112 short pages, Smith’s novel follows a young woman during a single day. Twenty-something Isabel is many things: a thrift-store aficionado, a librarian who repairs damaged books, a child of divorced parents, a resident of Portland, Oregon. But most of all she is a person whose imagination is both deep and wide.

10. Maps for Lost Lovers, by Nadeem Aslam

The rich, luxuriant writing in this novel felt like lowering myself into a hot perfumed bath after a long but rewarding day. Poetic doesn’t begin to describe the fragrant mass of images and sense-impressions that fill every sentence. Aslam’s personification of the natural world adds to the atmosphere of mystery, of legends handed down through the generations. Aslam presents his characters with compassion, gently asking the reader to recognise the reasons they act as they do. And he wraps the story, with its many pairs of lost lovers, in the beauty of the world in all its flavors and in the intoxication and deep comfort of love.

11. I Hate to Leave This Beautiful Place, by Howard Norman

I’ve long been a fan of Howard Norman’s novels and memoirs. I especially enjoy the way he conveys the magic of ordinary moments. Reading this memoir is like listening to my best friend tell me stories. Most of us, especially in our later years, feel the need to discover or construct the narrative of our lives. Norman shows us a way to piece the past together without forcing it into an artificial pattern.

12. The Tender Bar, by J. R. Moehringer

Moehringer describes how, growing up without a father, he finds a refuge with men who hang out at Dickens, the local bar, where Moehringer’s Uncle Charlie is a bartender. As we get to know them, each one stands out in brilliant eccentricity coupled with a deep, if flawed, humanity. Moehringer treats them with the tender dignity that Anne Tyler so reliably employs with her misfits and oddballs. His great achievement is making these men with their beer bellies and balding heads, their drinking and gambling, their apparent aimlessness (beyond getting drunk and having a good time) into heroes.

What were the best books you read last year?

The Opposing Shore, by Julien Gracq

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There’s an ongoing debate among book folks about literary versus genre fiction. Some people complain that literary fiction indulges a love of language at the expense of plot, leading to boring tomes with beautiful sentences and striking imagery but where nothing happens. Others complain that genre fiction is mindless entertainment, bound by strict genre rules, with little intelligent content.

Still others—people like me—really only want stories. Lists of books I’ve loved inevitably include both literary and genre fiction. I’ve loved books from most genres, primarily mystery, science fiction and fantasy. And I’ve loved plenty of literary novels, yes, even Henry James and William Faulkner with their sentences that go on forever.

My favorite books are set apart by their absorbing stories. What makes a story absorbing? As you can probably guess, the answer touches the basic elements of fiction: complex characters, good plot structure, a pleasing facility with language, and a well-integrated theme. I’ll abandon literary novels with gorgeous language but no plot just as fast as a genre novel with one-dimensional characters.

But there are exceptions.

Oh, there is a plot in Gracq’s award-winning novel. Aldo, scion of an elite family lives a life of heedless pleasure in the capital of the mythical island nation of Orsenna. The ancient culture has grown stale and tired, silted up with now-empty rituals. The aristocrats who run the nation are just going through the motions that previous generations have formalised. Years of peace and plenty mean that only the elderly attain posts in the government, leaving young people little to do once they finish school.

Aldo’s hedonistic lifestyle is interrupted by a call to do his military service. He is sent to the ancient outpost of Syrtes as an observer. He finds a rundown naval base where the handful of officers spend their days hunting and the soldiers are rented out to nearby farmers. Although Syrtes is the first defense against Farghestan, the country on the mainland with whom Orsenna has been at war for three hundred years, the war has been dormant for so long that it seems only a rumor from the past.

Plunged into this damp miasma of empty days where everyone goes through the ancient rituals without believing that they are needed anymore, Aldo catches glimpses of ancient glory. And, as the observer, he begins to hear whispers. Strange encounters start to build a sense of impending action, action that calls to the young Aldo, whose impatience to do something, anything, is growing.

Marino, who commands the base, tells him, “‘Like you, I used to think something extraordinary had to happen to me. I believed it was my fate. You’ll grow old, just as I have, Aldo, and you’ll understand. Extraordinary things don’t happen. Nothing happens.’”

It’s an unusual and intriguing theme: transgression, even destruction, as a way of breaking out of stasis, a way to finally feel alive and that your life has meaning.

I should have been dismayed by how slowly this story, told through Aldo’s consciousness, develops. The inertia confining him and his culture is reflected in the story’s pace. It only begins to disperse further in. Yet far from being bored, I was captivated. Why? Because of the language.

Gracq’s sentences are packed with fresh and startling images that made me gasp with recognition and pleasure. The sometimes dense paragraphs reward close attention by vividly bringing to life not just the physical environment, but the feel of the place, as well as the twists and turns of Aldo’s thoughts and emotions and understanding. I felt that I lived this story, with an intensity I’ve rarely experienced.

Although published in 1986, the story has much to say to our current Western culture, where entertainment has pushed aside information in much of our media, as well as in other present-day cultures where young people are pushing aside the shell of the past and struggling to remake their worlds, for better or worse.

What book are you ending the year with?

Father Christmas, by Raymond Briggs

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My young friend brought this award-winning children’s book along on a recent overnight at my house. I hadn’t heard of it before and, reading it aloud at bedtime, was thoroughly enchanted.

In the format of a graphic novel, the story follows Father Christmas through his most demanding day: December 24. There are no elven worker bees, no Rudolph, no North Pole. Instead we have a seemingly ordinary man waking from a dream of sunning himself on a beach to find that it’s Christmas Eve. No wonder he’s rather grumpy!

We follow him through his morning chores: putting the kettle on, collecting eggs, bathing. The detail in the pictures is quite incredible; I had to hold back my friend’s quick fingers to give me time to glory in them. The houses Father Christmas visits with his sleigh and two reindeer are quite extraordinary: from a camper to an apartment to a glorious manor house and even, well, I don’t want to give it away.

Just an ordinary man doing a job of work. He grumbles a bit, but finally is able to go home and cook his Christmas dinner and pudding. Under all that grumbling is a sweetheart who takes good care of his reindeer and even pulls out presents for his cat and dog.

I love this book. Most of us want to work at jobs that are meaningful, that in some way benefit others. We can’t all dispense a sleigh-full of presents, but we can give a few toys to a charity like Toys for Tots or donate time or money to a food bank or kitchen. We can find a way in even the most menial jobs (and I’ve held some of the lowliest) to make someone else’s burden a little lighter. We can pay forward the gifts that we’ve been given. Then we can go home and put our feet up, maybe with a cat on our lap or a dog keeping our feet warm, and know that we’ve made a difference.

Happy holidays to all.

At the Center, by Dorothy Van Soest

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In this electrifying mystery, Anthony Little Eagle is placed in a foster home. Two days later he is dead. The police think it’s a tragic accident, but Sylvia Jensen isn’t convinced. As the foster care supervisor, Sylvia ignores pressure from her manager to accept the accident ruling; she thinks they are placing the reputation of the child welfare office above concern for Anthony.

The only other person investigating the death is J.B. Harrell, a reporter. He has little faith in Sylvia’s motives or determination. A sixty-year-old white woman with a grey ponytail, a beaded necklace, and a problem with alcohol, Sylvia knows she is on dangerous ground. She is deeply engaged with the tribal communities, through her work but also her sympathies. Yet, at the same time, she fears being seen as a wanna-be Indian, a New Ager cherry-picking another culture. Harrell picks up on her ambivalence and guilt.

Woven in with the story of Anthony’s death and Sylvia’s pursuit of the truth is another story, of a Native American child fostered by a white couple for seven years. Mary struggles with discrimination against her son and lives in terror that he will be taken away from her.

As a former welfare mother, I’ve seen social workers from the other side of the desk. Most are compassionate, but some treat their clients as mentally or morally deficient. All are burnt-out by huge caseloads and funding cuts. Sylvia Jensen’s compassion is tempered by her knowledge of the system, its strengths and its faults. The author captures the realities and sometimes contradictory agendas of a child welfare office.

As she should. In addition to being a writer, Dorothy van Soest is a social worker, political and community activist, as well as a retired professor and university dean who holds an undergraduate degree in English literature and a Masters and Ph.D. in Social Work. She brings a comprehensive knowledge of the foster care system, adoption, and tribal culture to give depth and detail to this fascinating story. Full disclosure: I am acquainted with Dorothy.

I read a lot of mysteries and thoroughly enjoyed this one. While Sylvia and Harrell’s investigation into Anthony’s death captured my attention, and Mary and her son my concern, what I most liked was the glimpse into a world unfamiliar to me: the liminal space where Native Americans interact with white people. I’ve read Tony Hillerman’s mysteries, but this novel gives a different perspective.

I also appreciated the multi-faceted depiction of the different forces competing over the fate of a vulnerable child. Even when all involved have the best intentions, a solution may not be easy to find. We are but human, and every system has flaws. To me, the hope comes in seeing characters such as Sylvia and Harrell rise above their own weaknesses to try to do good in the world.

What book have you read recently that gave you hope?

Disclosure of Material Connection: I received a copy of this book free from the author. I was not required to write a positive review. The opinions I have expressed are my own.

Mrs. Palfrey at the Claremont, by Elizabeth Taylor

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Elizabeth Taylor was a well-known and much-loved British author, publishing thirteen novels and short stories in magazines such as The New Yorker and The Saturday Evening Post. She has been praised by writers such as Kingsley Amis and Hilary Mantel; Anne Tyler compared her to Jane Austen, Barbara Pym, and Elizabeth Bowen. However, since her death in 1975, her fame has faded; somehow women, especially those who write about society and the family are less likely to make it into the literary canon. The Telegraph calls her “one of the forgotten geniuses of the [short story] form.”

I came across her name and this title on one of those lists of best books. Mrs. Palfrey arrives at the Claremont on a dreary January day, comforting herself with the words “If it’s not nice, I needn’t stay.” Recently widowed, she is coming from a visit with her golf-mad daughter and her family in Scotland. Once in her room “she thought that prisoners must feel as she did now, the first time they are left alone in their cell, first turning to the window, then facing about to stare at the closed door: after that, counting the paces from wall to wall.” But she thinks this “briskly”. After all:

She had always know how to behave. Even as a bride, in strange, alarming conditions in Burma, she had been magnificently calm–when (for instance) she was rowed across floods to her new home; unruffled, finding it more that damp, with a snake wound round the bannister to greet her. She had straightened her back and given herself a goo talking-to, as she had this afternoon on the train.

I love this kind of everyday courage. It is so rarely celebrated. It stands her in good stead as she adjusts to the routines of the somewhat seedy hotel, where long-term residents mingle with “birds of passage”. The residents are a marvelously eccentric bunch, their world narrowed to the hotel and its inhabitants, the predictable dinner menu a source of endless speculation. Mr. Osmond tells racy stories and frowns on Mrs. Burton’s nightly drinks–they cost extra–as does Mrs. Arbuthnot, a rather stern woman crippled with arthritis, but also the person who first spoke to Mrs. Palfrey, including her in the group, a kindness Mrs. Palfrey never forgets.

Before she realises that visitors are a major topic of conversation, Mrs. Palfrey mentions that her nephew Desmond lives in London. When he doesn’t show up, Mrs. Arbuthnot and the others commiserate with her, something she cannot bear. When she encounters a young writer on one of her walks, Ludo, and repays his kindness by inviting him to dinner at the Claremont, she decides to pretend that he is Desmond.

The webs become ever more tangled, but–as with Anne Tyler–Elizabeth Taylor treats her characters with respect. She may invite us to laugh at them sometimes, but never loses sight of their essential goodness and the courage it takes to face a lonely and penurious old age. I found this novel satisfying and unexpectedly moving. I see that it was made into a film in 2005 and hope that I can find a copy.

What other once-famous writers can you recommend?

A Spool of Blue Thread, by Anne Tyler

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My book club rarely comes up with a unanimous verdict on a book, but we all loved this book by Anne Tyler, as we have loved other of her books we’ve read. It’s not just because she writes about Baltimore, and specifically the part of Baltimore we are most familiar with. No, it is something more.

In this, her 20th novel, Tyler introduces us to the Whitshank family. You know families like this one: while there are tensions and long-held grudges between Abby and Red and their four grown children, there is also love and concern and care, even if these emotions are sometimes tempered with frustration or incomprehension. They take for granted their connection with each other, just as they know that if asked to go for a walk on the beach, one is expected to agree.

Part of the glue holding them together is their belief that they, as a family, are special, though Tyler undercuts this assertion by telling us that it is based, among other things, on their ability to keep pets alive to a great age. There are also the stories that they tell about themselves. One has to do with the way Red’s father came to build and then own their house on Bouton Road. The house itself is a character, a vessel for all of their narratives: the wide, deep porch where Abby discovered her love for Red, the curving staircase that funnels sound up to someone hidden upstairs, the kitchen where the real heart-to-hearts take place.

Abby and Red, in their 70s, are starting to experience the effects of aging. Red has trouble hearing and has pulled back from the family construction business started by his father. Abby has begun to blank out for periods of time, finding herself in odd places when she comes to. Over their protests, their dutiful son Stem and his family move in with them, only to be joined unexpectedly by Denny, the black sheep son.

Abby’s baffled love for Denny, a rebel from a young age whom she has never understood, won my heart for this story. I know so many families where one child seems to absorb all the oxygen in the room, driving parents and teachers to distraction. In some ways I was that child, with my constant refrain: Leave me alone! Tyler’s portrait, not just of Abby, but of Denny himself subtly evolves through the book and is just so utterly true to life.

My book club had a long discussion over one critic’s remark that this was a “comic novel”. We agreed that Tyler’s humor is everywhere, but that it is subtle and witty rather than comic. One person, reading it a second time to remind herself of the story, suddenly noted all the little clues scattered in the text that would come to fruition later. Tyler’s craft is astonishing; she distracts us with a compelling story so that we do not notice her writer’s guile.

What we love about Tyler’s novels is her genuine compassion for her characters. She does not shy away from their faults and peculiarities, but she never mocks or criticises them; she instead treats them with respect and dignity. In a recent post on Writer Unboxed, literary agent, author, and writing teacher extraordinaire, Donald Maass suggests that readers are drawn to positive characters, those who have a hopeful outlook on life (though not the uniform optimism of a Pollyanna). These are the kind of characters we readers want to spend time with, whose spirit inspires us. Maass says in another post, “Generally speaking, we choose company that is pleasant. People who are warm, open, curious, compassionate and interesting are good to be around. We gravitate to people like ourselves, who share our outlooks, interests and values.”

In a story, characters encounter obstacles that try them to their limit (in a workshop with him, I started calling Maass The Don—thinking of The Godfather—because of the creative ways he kept pushing us to torment our protagonists). A positive character, confronted with barriers, does not wallow in helpless despair but pushes forward. As Maass says, “The human race is hopeful, yearning, seeking a more perfect world and full of faith that we can make it one.”

It is this quality that we love in Tyler’s novels: her ability to give us people who, with all their quirks and flaws, yearn for something better and have faith that they can get there, people whose stories play out in families so true that we recognise them immediately.

What do you look for in the protagonist of a novel?

Emily, Alone, by Stewart O’Nan

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O’Nan is one of my favorite writers, for his appreciation of and immersion in his characters, however humdrum or exciting their lives might be. Here, we inhabit Emily Maxwell, an elderly woman living out the tail end of her life in the modest home in a Pittsburgh suburb, the one she’d shared it with her husband Henry until his death. Her friends are also dying off, leaving her with her brash sister-in-law Arlene as her regular companion for breakfast buffets and conversations about the grown children. Alone at home besides her elderly dog, Emily makes an elaborate routine out of her regular chores.

Emily relies on Arlene’s driving which, if shaky, is better than her own. However, all of Emily’s arrangements are thrown into disarray when Arlene faints in a restaurant. Not only does she have to drive Arlene’s car, but she has to navigate the hospital and run errands for Arlene. As her confidence blossoms, she buys a small car and, little by little, begins to expand her world.

I love how O’Nan uses specific details to bring a memory to life and then submerges you in Emily’s reactions and emotions. Here, she is recalling a birthday dinner for her daughter, Margaret, at the country club Henry had introduced her to:

It must have been forty-five years ago, because Margaret was slim as a ballerina in her pinafore, curtseying to everyone for the fun of it. Emily’s own parents were there, a rare occasion, her father gawking in his cheap brown suit, impressed by the high windows and the murals on the ballroom’s ceiling, the white-gloved waiters circulating between tables to deliver iced pats of butter stamped with the club crest. Emily would have arranged for Margaret to have her favorite–yellow cake with chocolate icing–and Henry would have paid by signing his name. Forty-five years.

She could not stop these visitations, even if she wanted to. They plagued her like migraines, left her helpless and dissatisfied, as if her life and the lives of all those she’d loved had come to nothing, merely because that time was gone, receding even in her own memory, to be replaced by this diminished present . If it seemed another world, that was because it was, and all her wishing could not bring it back.

This 2011 novel is a sequel to Wish You Were Here which I read in 2007. I have to admit I don’t remember much of it beyond the characters’ names, the premise of the story and how much I liked it. Liked it? I was buried in it.

I came to this one with some apprehension. Though younger than Emily, I know what it is to live alone once children are grown and gone. I know what it is to have to create a life almost from scratch once work and family fall away, how to find new routines and habits. But once engaged in the story, I thought mostly of my mother, how she sat alone in her townhouse for years until, over her vociferous protests, we persuaded her to move to a comprehensive care facility. She bloomed there, making friends, taking up water-color and quilting.

As Emily blooms here. Although I’m not there myself yet, I believe O’Nan captures the inner life of an elderly woman, moving through her days accompanied by memories of the past, finding ways however unexpected to be in the present and look forward to the future. I enjoyed spending time with Emily. I saw much of myself in her and the potential for more. I especially loved her conversations with her dog, Rufus. She calls him Mr. Feisty, Mr. Excitable, Mr. Pork Pie, and Chubbers McBubbers. They share the same difficulties moving around, taking multiple medications. They remind me of my conversations with my little cat, the Love Bug.

I’m not exactly looking forward to aging, though of course it’s better than the alternative, but Emily’s story helps me prepare myself for times to come, and more patiently appreciate those who are there now.

What books about aging and loneliness have you read?

Netherland, by Joseph O’Neill

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This is one of those books that I appreciated rather than enjoyed. Sure, there are beautiful sentences and sentences whose intelligence, perception, and depth of emotion require no ornamentation. There are quick, deft depictions of character, such as this one of our narrator, Hans:

“Let me introduce myself properly,” Chuck said. “Chuck Ramkissoon.” We shook hands. “Van der Broek,” he said, trying out the name. “South African?”

“I’m from Holland,” I said, apologizing.

Boy, are there characters. Chuck hails from Trinidad but is 100% American, with his handful of shady businesses, his huge appetite for life, and his outsize dream of saving the world by establishing a cricket club in an abandoned field on the edge of the city. Through him, Hans meets and becomes a part of a subculture of cricket clubs, made up of émigrés, himself the only white one.

Much as I appreciated the writing—more about that later—I have to admit that I was bored. So much so that about halfway through I set the book aside for two weeks, and debated whether to finish it or not. First off, I don’t share the fascination those who live or have lived in New York seem to have for novels about what it’s like to live in that city. Surely they know already. I am more fascinated by The Hague and deeply enjoyed the brief flashbacks to Hans’s youth. I was also fascinated by his enigmatic mother, by far the most interesting character to me, though barely present.

Secondly, the plot is not an attention-grabber. We learn in the first few pages that Chuck’s body has been found in a canal and that Hans and his wife have been estranged but are now back together. The exploration of cricket and Chuck’s world are somewhat interesting, but the story of yet another middle-aged man, estranged from his life and feeling disconnected from his fellow humans doesn’t excite me. At least there are those beautiful and penetrating sentences.

Some people have no difficulty in identifying with their younger incarnations: Rachel, for example, will refer to episodes from her childhood or college days as if they’d happened to her that very morning. I, however, seem given to self-estrangement. I find it hard to muster oneness with those former selves whose accidents and endeavors have shaped who I am now.

A little background: Hans, who grew up in The Hague and lived in London before moving to New York, is a successful equities analyst for a large bank. In the wake of the attacks on the World Trade Center, he and his wife and young son take up temporary abode in the Chelsea Hotel. The dislocation and the danger prompt Rachel to take the child and move back to London. Her refusal to let Hans come with them signals her intent to end the marriage.

If this almost casual use of the 2001 attacks is one of the successes of the novel—for once they are not used to ratchet up drama and sentiment—Rachel is one of its failures. Presented as active in contrast to Hans’s passivity, she is a mass of unexplained contradictions, secrets, and sometimes seemingly random decisions. While such a depiction makes sense given that we are being told the story by the mystified, miserable, and angry Hans, it turns Rachel into a chesspiece designed to move the story along rather than a person.

I liked the depiction of the fellowship Hans forms with his fellow cricketers, the way they watch out for each other even though their lives only intersect in this one area. I was not particularly charmed by Chuck, whom some reviewers have compared to Gatsby, and questioned why Hans became so involved with him. I derived some amusement from random oddball characters—no, I don’t want to give them away—but after living in Baltimore, they seemed mild to me.

I’m left with the beautiful and unexpected passages, such as this one:

The business world is densely margined by dreamers, men, almost invariably, whose longing selves willingly submit to the enchantment of projections and pie charts and crisply totted numbers, who toy and toy for years, like novelists, with the same sheaf of documents, who slip out of bed in the middle of the night to pitch to a pajama’d reflection in a windowpane.

I appreciate the transnational perspective brought by O’Neill, who is of Irish and Turkish descent, grew up in The Netherlands, and now lives in the U.S. His memoir, Blood-Dark Track, should prove interesting.

Have you ever set a book aside for a few weeks and then gone back to it? What did you end up thinking about it?