Category: Reviews

Scratch a geologist and, under their skin, you’ll find a romantic

Snowball Earth

Snowball Earth: the Story of the Great Global Catastrophe That Spawned Life as we Know it
by Gabrielle Walker

I picked up this book because Walker came highly recommended, not because of the subject matter. In fact, the one aspect of the book I had been interested in (the biology angle) was squeezed largely into one chapter. It turns out that this is a book about geology, which I have very little knowledge of or interest in, yet I found it hugely readable and genuinely enjoyable.

I will attempt to explain the premise briefly. The Earth is about 4.5 billion years old. The first lifeforms – single-celled slime, often called the “primordial ooze” – emerged about 3.7 billion years ago. The first multi-cellular creatures – the ancestors that led to complex beings such as us humans – didn’t show up until 600 million years ago. Scientists had long been puzzled as why it took so long for evolution to really get started and whether there had been some kind of trigger. In the late 20th century geologists finally found what looks like the answer – the Snowball Earth.

“Stretch your arms out wide to encompass all the time on Earth. Let’s say that time runs from left to right, so Earth was born at the tip of the middle finger on your left hand. Slime arose just before your left elbow and ruled for the remaining length of your left arm, across to the right, past your right shoulder, your right elbow, on down your forearm, and eventually ceded somewhere around your right wrist. For sheer Earth-gripping longevity nothing else comes close. The dinosaurs reigned for barely a finger’s length. And a judicious swipe of a nail file on the middle finger of your right hand would wipe out the whole of human history.”

But what is the Snowball Earth? The idea is that sometime around 650 million years ago the Earth froze completely over, even at the equator, for a few million years. There’s a lot of geological evidence pointing to this having happened, possibly multiple times in quick (geologically speaking) succession, and it is the theory that best answers a lot of questions raised by odd rock formations and other geological anomalies. However, it’s also a controversial idea that has taken a lot of time and accumulated evidence to reach the state of semi-approval it currently has.

It really is to Walker’s credit that she has made a book about looking at rocks so very appealing to me. I think this is partly because she puts the emphasis firmly on the people and personalities involved. This book is as much about Paul Hoffman, a professor of geology at Harvard, as it is about anything else. Walker depicts him as quite the character, difficult and brilliant, with long-standing rivalries and a long string of we-used-to-be-friends, but her picture is still a warm one.

“There’s something about holding a geological hammer that makes you want to hit rocks. Weigh one in your hand, and you’ll find yourself itching to whack something with it. Still, to carve a hand sample into just the right shape for your pocket requires considerable skill. Paul is very, very good at it. If his geology career went awry, he could make a living as an ornamental rock chipper.”

The way Walker describes the piecing together of the Snowball Earth theory is very enlightening as regards the scientific process, elucidating where ideas come from and how they develop, sometimes painfully slowly. She lets the story unfold as it really did – in fits and starts – with only the occasional backpedal to clarify. This can be frustrating at times when suddenly a new character comes into play and has to be introduced but it also cannily introduces suspense: How is this new person connected to everything else? And how will they affect Paul’s story?

“Relationships among geologists are intense. By its nature, geology involves travelling with your colleagues to remote places…living on top of one another and away from other people for weeks on end…Their personalities become magnified. They bond or they break.”

Walker’s explanations of the actual science are largely excellent, though she does occasionally simplify a little too far – who doesn’t know at the basic level what DNA is? But I came away from this book really feeling that I understood it all and curious about what further developments have been made in this area since the book was published 11 years ago.

There are some beautiful descriptions both of the remote locations the geologists travel to to find the right rock formations and of geology itself. Walker paints a romantic view of geology, showing love for the subject and affection for all the people involved in the tale. Perhaps it’s this warmth that drew me in. I’m certainly intrigued to read more of her works and see if she can make other unlikely subjects come alive for me in the same way.

“Scratch a geologist and, under their skin, almost invariably, you’ll find a romantic. They will often be gruff about the landscape they work in. They are usually matter of fact about the rocks and how they interconnect. But try asking why they’ve chosen to spend their lives working on this particular place or on that particular terrain, and that’s when the stories start to slip out.”

Published 2003 by Bloomsbury.

Source: Borrowed from the library.

Challenges: This counts towards the 2014 Popular Science Reading Challenge.

Memory is the seamstress, and a capricious one at that

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Orlando

Orlando
by Virginia Woolf

This is an odd book. Having read some Woolf before and knowing roughly what the storyline was I thought I knew what to expect, but it wasn’t really what I got. I ended up greatly enjoying it but though I found it clever and witty from the start, it took me a while – more than half the book – to actually like it.

How to explain the story? Orlando is born the son and heir to an aristocratic English family and becomes beloved courtier to Queen Elizabeth I and then King James I until his heart is broken by a Russian beauty, after which he sulks his way through the civil war and Restoration and then travels to Turkey to be the British Ambassador there to King Charles II, is made a duke, then falls asleep for a week and wakes up a woman, upon which she continues to have adventures up until the present day (or rather the present when the novel was written, back in 1928).

Notice the hinky timeline there? Orlando’s ability to live through centuries with minimal ageing (the narrative clearly states Orlando is 30 when he turns into a she about a third of the way through the novel, despite about a century having passed since the book’s opening scene, in which a 16-year-old Orlando alternates swordplay with writing poetry) isn’t directly addressed until quite late on, and it took me a little while to notice the historical clues to this fantastical thread. The switch in Orlando’s gender, on the other hand, is very directly dealt with, with comments on Orlando’s gender from page one.

“Orlando stared; trembled; turned hot; turned cold; longed to hurl himself through the summer air; to crush acorns beneath his feet…Whom had he loved, what had he loved, he asked himself in a tumult of emotion, until now?…Love had meant to him nothing but sawdust and cinders…as he looked the thickness of his blood melted; the ice turned to wine in his veins…he dived in deep water; he saw the flower of danger growing in a crevice…”

I can see how many an essay could be based on this book, there are so many interesting themes and details, from gender identity and sexuality, to Orlando’s attempts to be a patron of poets and a poet him/herself, to Woolf’s view of the changes in society over the centuries covered, and so much more besides. (It’s also apparently a fictionalised biography of Vita Sackville-West, with whom Woolf had an affair and to whom the novel is dedicated, but I don’t know enough about the real-life history to have spotted this within the text myself.)

What struck me most was the tone of the book. It’s very satirical, almost brashly so, and this I felt kept me at a distance from the story, which was in stark contrast to my experience of Woolf’s other works. This meant I never got a handle on Orlando as a person but I did (eventually) grow to love the style and rhythm of the story.

“Once the disease of reading has laid hold upon the system it weakens it so that it falls easy prey to that other scourge which dwells in the inkpot and festers in the quill. The wretch takes to writing. And while this is bad enough in a poor man…the plight of a rich man, who has houses and cattle, maid-servants, asses and linen, and yet writes books, is pitiable in the extreme.”

There’s certainly no shortage of great lines. I had to stop using sticky notes to mark great quotes and start using a pencil, because there were so many but also because I found myself wanting to add little comments. I just wish I’d found a harder pencil as I’m having to squint a bit to read my faint scribbles!

While the genres the book satirises – picaresque adventure, historical biography, overblown romance – are as old as the novel, and while this is not written in Woolf’s familiar Modernist style, there are nevertheless modern touches. Woolf breaks the fourth wall by not only speaking direct to the reader and discussing the art of writing biography but even referencing specific page numbers (which are presumably carefully changed in every new edition) in a non-fiction fashion. And though for the most part the style is straight-faced biography, occasionally it turns abstract, nonlinear, in sections that are not exactly stream of consciousness but certainly owe their origin to Woolf’s mastery of that mode. Through Orlando’s own attempts to become a writer, Woolf pulls apart the literary style of every age since the Elizabethan but also mocks the literary critics of every age for preferring anything old over anything new.

“Memory is the seamstress, and a capricious one at that. Memory runs her needle in and out, up and down, hither and thither. We know not what comes next, or what follows after. Thus, the most ordinary movement in the world, such as sitting down at a table and pulling the inkstand towards one, may agitate a thousand odd, disconnected fragments, now bright, now dim, hanging and bobbing and dipping and flaunting, like the underlinen of a family of fourteen on a line in a gale of wind.”

I think I liked the last part of the book best because it became more self-aware, discussing Orlando’s reactions to the changing times rather than time just passing unnoticed as it seemed to in the first part of the book. The satire gets particularly savage in the 19th century, perhaps exposing Woolf’s own prejudices, but this results in some of the book’s most delicious lines.

“Thus the British Empire came into existence; and thus – for there is no stopping damp; it gets into the inkpot as it gets into the woodwork – sentences swelled, adjectives multiplied, lyrics became epics, and little trifles that had been essays a column long were now encyclopaedias in ten or twenty volumes.”

All of which did appeal to me, but I was still left wishing this had been more like Woolf’s other works. Perhaps (and I seem to find myself saying/writing this far too often) this is another book I need to re-read to fully appreciate. I definitely think I would get more from studying it – from having someone draw out the little details and historical background that I know I missed. Maybe I’ll search out a study guide before I pick it up again!

First published 1928 by the Hogarth Press.

Source: I bought this as part of a set of Penguin Red Classics several years ago, I think from a catalogue so probably the Book People?

We love breasts, yet we can’t quite take them seriously

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Breasts

Breasts: a Natural and Unnatural History
by Florence Williams

Continuing with the popular-science self-education, I picked up this book because descriptions made Williams sound a lot like Mary Roach, whose book I enjoyed. And this was much in the same vein, even with some of the same reservations.

It’s an eye-catching title, right? I quite enjoyed watching people’s reactions when I was reading this book at the pub, or when we had guests round and it was sat casually on the arm of the sofa. This book also started a fun game where for a week, Tim got to ask me every evening “What have you learned about breasts today?” and I was able to give genuine answers!

“We love breasts, yet we can’t quite take them seriously. We name them affectionately, but with a hint of insult. Breasts embarrass us…For such an enormously popular feature of the human race…it’s remarkable how little we actually know about their basic biology…Not even the experts among us are certain.”

I did learn some good facts, especially in the early chapters. This book starts strong, with a fun-fact-filled overview and then a plunge into what we know about breasts and evolution. Apparently there’s quite the division between scientists about whether breasts (and by that I mean human breasts, because we are the only animal to have breasts throughout adulthood, not just while lactating) evolved because men find them sexually attractive (and primarily mated with the women with breasts) or because it confers multiple advantages for feeding babies and for women’s health in general. Williams clearly leans toward the latter explanation and I was pretty thoroughly persuaded to her side.

“Modern life has…taken a strange and confounding toll on our breasts. For one thing, they are bigger than ever…We are sprouting them at younger and younger ages. We are filling them with saline and silicone and transplanted stem cells to change their shape. Most of us are not using them to nurture infants anymore, but when we do, our breast milk contains industrial additives.”

Williams shows a sense of humour but she doesn’t treat her subject lightly, for the most part. However, she does show her own bias a little too clearly. For instance, in the section on breast implants, she is clearly bemused by the whole idea and a little mocking. But at least some of the increase in implant surgery is down to the rise in breast cancer, which she devotes multiple chapters to later in the book. It seems to me that this subject merited a little more seriousness – perhaps a few more conversations with women about why they had the surgery.

“Double-D breasts on skinny women are not all that common in nature. (Barbie’s proportions are naturally found in one out of one hundred thousand women, according to researchers from the University of South Australia; Ken’s bod, by contrast, is found in one in fifty men.) Big, fake breasts have so thoroughly saturated mainstream entertainment and media that they’ve created a new standard by which boys judge girls and girls judge themselves.”

In fact, this was a bit of a running theme. For such a human subject, Williams failed to humanise the issues but instead tended to get clinical. I appreciated that there was plenty of real science explained very well, but I don’t think this is an entirely medical subject and yet Williams devotes more than half the book to what seem to be her pet topics – breast cancer and breast feeding. Yes, these are clearly important aspects of a book about breasts but I can think of plenty of areas left unexplored or only lightly touched upon. For instance, anthropology – what are the historical and geographical differences in social attitudes to breasts? (I would guess Williams shied away from this kind of discussion because it tends to centre around the sexual aspect of breasts, which she was distancing herself from.)

It’s not an overly clinical book. In fact, it is written engagingly and warmly. Williams happily uses herself and her pre-teen daughter as examples, from getting themselves tested for toxins before and after a sort of plastic detox (lots of chemicals used in lots of household plastics and flame retardants end up in breast milk, but only because our modern bodies are swimming in them) to detailing their family history of ages at child-bearing (which has a complicated relationship to chances of getting breast cancer). This adds a personal flavour while she also gives the stats and other wider details.

“In [macaque] society, daughters learn from hanging around their mothers longer and more often, and thinner milk means they stay close for more frequent feedings. The sons, by contrast, might be ‘tricked’ by the [relatively] fattier milk into feeling sated and therefore not feeding as often. It’s not a bad thing for the sons; they have more time to play and explore, skills they’ll need down the road when they leave the group.”

More than anything, this book owes a debt to Rachel Carson’s Silent Spring (which I haven’t read and clearly really shoould), which Williams freely acknowledges. She worries about the effects of environmental toxins more than anything else and is fairly persuasive on this topic. She certainly made me glad I don’t live in the US! (Europe has much stronger regulations regarding chemicals, both on general sale and in household uses.) There is a bit of a US-centric angle, with plenty of specific studies from elsewhere but the general statistics are all US and almost always quoted without comparison. (There’s one place where she compares US stats with Canada and it’s a stark difference, which I found fascinating. Why? No suggestion is given, frustratingly.)

I preferred the opening chapters on evolution and puberty more than the later stuff but this was overall an interesting book on a subject we don’t tend to talk about, despite the importance of breasts in our lives. I strongly feel we need, as a society, to get over the sexualised view of women’s bodies and this book has a strong contribution to make to that.

Published 2012 by W W Norton.

Source: Borrowed from the library.

Challenges: This counts toward the 2014 Popular-Science Reading Challenge.

There is no truth except in relation

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The Luminaries

The Luminaries
by Eleanor Catton

I’m a bit bemused why this won the Booker Prize. It’s not by any means a bad book, but less than a week after finishing it I’m finding it’s not really stayed with me, and nothing about it felt particularly standout. Except perhaps its size. That’s pretty noticeable.

This is a historical mystery novel with a broad cast of characters (and you know there’s a lot of people to keep track of when a book begins with a character list) who inhabit the New Zealand coastal town of Hokitika during the 1860s. The story opens with the arrival of Mr Walter Moody, come to make his fortune on the nearby goldfields. On his first night in town he stumbles on a secret meeting of 12 men who are trying to get to the bottom of a series of mysterious events that occurred two weeks previously: a prostitute attempted suicide (or did she?), a wealthy (and well-liked) man vanished and a drunken hermit was found dead with a fortune hidden in his home. Moody finds that by chance he has some information that may be pertinent to the gathered men, so they all tell their stories in turn. Or rather their snippets of the same story, because it becomes clear that they are each part of a large jigsaw puzzle that must be reassembled.

“Unconfirmed suspicion tends, over time, to become wilful, fallacious, and prey to the vicissitudes of mood – it acquires all the qualities of common superstition – and the men of the Crown Hotel, whose nexus of allegiance is stitched, after all, in the bright thread of time and motion, have, like all men, no immunity to influence.”

That’s part one, which is 360 pages long – partly because every new character is described in great detail, or at least their physical appearance and temperament are. But that length also comes from the same story effectively being told multiple times from different perspectives, with different details added or assumptions made that are later proved wrong. It’s an interesting way to tell a story, if sometimes confusing, and I think I was a little disappointed that the rest of the novel didn’t follow quite the same style.

From part two the story moves more conventionally forward and then eventually backward in time, much like a detective novel, following the characters trying to unravel the mysteries and then going back to reveal what actually happened. It’s no surprise that all of the odd events are linked together, but figuring out how and why is genuinely intriguing and enjoyable enough to keep me reading without feeling burdened by the book’s 832 pages (except for the occasional sore arm from holding all that size and weight – this is definitely a good argument for the e-book).

“[This] only showed, Moody thought, that a man ought never to trust another man’s evaluation of a third man’s disposition. For human temperament was a volatile compound of perception and circumstance.”

So if it wasn’t the book’s size or the plot that left me unsatisfied, what was it? One thing is that I didn’t really get the book’s main narrative device – the plural narrative voice (as in, the story is told by “we”, not that different narrators take turns). I wasn’t sure who these voices were supposed to be, though I did get a sense they were somehow linked to star signs and astrology, which also pop up at the start of each section. It’s a shame because I quite like the idea of a chorus, like in an old play, but it just didn’t quite work for me. Possibly because I was put off by the astrology references. This is a personal prejudice, but I did think that the astrology didn’t strongly relate to the rest of the story and felt out of place. (It does actually come up as a plot point that’s probably meant to be really important, but I felt could easily have been dropped without affecting the rest of the story at all, so that’s not really key at all, is it?)

“When we looked upon Man, we sought to fix him: we mourned his failures and measured his gifts…But there is no truth except in relation, and heavenly relation is composed of wheels in motion, tilting axes, turning dials; it is a clockwork orchestration that alters every minute, never repeating, never still. We are no longer sheltered in a cloistered reminiscence of the past. We now look outward, through the phantasm of our own convictions.”

I did like the little summary at the start of each chapter, which reminded me a lot of Henry Fielding’s Tom Jones, including the tongue-in-cheek sense of humour with which they are written. And I liked the variety of people, both in terms of nationalities and personalities. But that very plurality also meant that there was no psychological insight into any people or events. It’s a personal preference, I know, but I like to get under someone’s skin in my reading, rather than be held at arm’s length.

Have you read this? What did you think of it?

Published 2013 by Granta.
Winner of the 2013 Man Booker Prize.

Source: Borrowed from a friend.

I can’t get mad at science

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The Immortal Life of Henrietta Lacks

The Immortal Life of Henrietta Lacks
by Rebecca Skloot

I remember hearing about this book when I first came out and thinking “That sounds interesting” and moving on. It got serious fanfare in the US but I think over here it was a quieter success and now I’ve read it I wonder why it wasn’t a bigger deal here as well, because it’s an amazing book.

I mean, I get it really. It’s an American story by an American author dealing with some specifically American issues – segregation and civil rights, medical care and insurance, education of the poor. But it’s also a universal story. I mean, Henrietta Lacks’ cells are at the heart of biological and medical research all over the world.

“[I’ve wondered] what she’d think about cells from her cervix living on forever – bought, sold, packaged, and shipped by the trillions to laboratories around the world. I’ve tried to imagine how she’d feel knowing that her cells went up in the first space missions…or that they helped with some of the most important advances in medicine…I’m pretty sure that she – like most of us – would be shocked to hear that there are trillions more of her cells growing in laboratories now than there ever were in her body.”
– Rebecca Skloot

I should explain. Henrietta Lacks was a very poor black woman who died of aggressive cervical cancer in 1951, aged just 31. She was being treated at Johns Hopkins Hospital in Baltimore, where a Dr Gey was particularly interested in cervical cancer, as he was studying its two different known forms, so he was taking tissue samples of every cervical tumour he came across. He also happened to be trying to grow human cells in the lab but couldn’t seem to keep any alive, so any tissue samples he collected were also passed to his assistant for that purpose. Lacks’ cancer cells, labelled HeLa after her, didn’t die but instead multiplied. And they kept on multiplying day after day, something which was unprecedented in human tissue.

This was huge news scientifically speaking. Lab-grown human cells gave scientists an intermediary between animal testing and live human subjects. Suddenly they could infect real human cells with diseases and see how they reacted. They could test medicines and biological theories. Specific chromosomes were identified for the first time using HeLa cells. The polio vaccine was developed, as were IVF and chemotherapy. Many huge breakthroughs in science can be traced back to Henrietta Lacks. So it’s strange and jarring to read that she died so poor she didn’t even have a gravestone (until, that is, a year or so after this book was published when Skloot had prompted enough people to remember Lacks that the money was finally raised and a memorial service held). In fact, Henrietta Lacks wasn’t even asked permission for her tissue sample to be used in research. And her family didn’t know about HeLa cells until two decades after her death, when they found out from a journalist.

“John Hopkin [sic] didn’t give us no information about anything. That was the bad part. Not the sad part, but the bad part.”
– Sonny Lacks

“It’s not fair! She’s the most important person in the world and her family living in poverty. If our mother so important to science, why can’t we get health insurance?”
– Lawrence Lacks

It’s an often sad story, and it would be easy to be judgemental about the money made by pharmaceutical companies from HeLa while many of the Lacks family can’t afford basic healthcare or decent education. But that would be an oversimplification and Skloot is a better writer than that. Dr Gey freely sent samples of HeLa cells to fellow researchers all over the world, so his only profit was his continued career. And there were very few laws surrounding medical ethics in the 1950s; it was common to take human tissues without consent, or perform tests on patients without explaining why.

Skloot combines three different stories here: the life of Henrietta Lacks and her family; the scientific impact of HeLa, including the development of ethics laws and lab procedures; and her own investigations, which lasted more than a decade and had their roots in her biology degree course, in which Henrietta Lacks merited just one sentence in one lecture. Skloot really did have to be dogged in her pursuit of the truth. The Lacks family had not been treated well by previous journalists and took a lot of persuading to co-operate.

“Truth be told, I can’t get mad at science, because it help people live, and I’d be a mess without it. I’m a walking drugstore! I can’t say nuthin bad about science, but I won’t lie, I would like some health insurance so I don’t got to pay all that money every month for drugs my mother cells probably helped make.”
– Deborah Lacks

She manages all three strands brilliantly, with wit and insight. I learned a lot about the science of HeLa cells, about medical ethics (and the historical lack of them), about the Lacks family. Skloot depicts it all honestly, warts and all. The Lacks family history is a colourful one that includes slavery, STDs, domestic violence, drugs, prison and many a family feud. And the scientific story, while largely a positive one, also includes some disturbing moments.

This is an important story that needed to be told but Skloot wasn’t the first to try. The difference is that she was the first to do it well. This is a gripping, entertaining read and deserves all praise and success that comes its way. When I did a little further reading on Skloot’s website I discovered that with the profits from this book she set up the Henrietta Lacks Foundation, which provides grants for medical and educational expenses to those in need, particularly members of the Lacks family. I think I have developed a small crush on her.

Published 2010 by Macmillan.

Source: Borrowed from the library.

Challenges: This counts towards the 2014 Popular-Science Reading Challenge.

Death and Treason, Rhyme and Reason

Bristol Old Vic Studio, 7 May
Twisted Theatre

Death and Treason, Rhyme and Reason
(Twisted Theatre/Bristol Old Vic)

You can tell when you walk into the Studio Theatre, with toys and cider bottles strewn between the instruments on their stands, long-stemmed roses and little plastic figures arranged on the tables, that this is going to be an unusual night’s entertainment. It’s a musical cabaret, with some acting and storytelling mixed in. It’s different, and I liked that about it.

The theme is nursery rhymes – the dark side. Twisted Theatre have investigated the historical origins of those familiar childhood songs and from that research, written original songs (and a couple of poems set to music) that illuminate those stories with a sense of humour and pathos. I must say from the outset that the music that forms the basis of this show is amazing. Lead singer and compère Nuala Honan’s voice is incredible. In the first song there is a section where she is wailing, in the character of a mother whose baby has died, and I felt chills down my spine. She’s also funny. I liked her eye rolling imitation of a decapitated head. Trust me, it’s better than it sounds.

It’s certainly not all about the laughs. They allow the sadness of the stories to come through as well. The end of Jill’s monologue to Jack (styled as a series of text messages) is heartbreaking. And their retelling of “Pop goes the weasel” as a tale of poverty is moving both lyrically and musically.

Twisted Theatre
(Twisted Theatre/Bristol Old Vic)

The troupe’s musical style reminded me of Hugh Laurie and the Copper Bottom Band, which is the highest praise I can give, but I don’t just mean that they’re good. The combination of instruments (cello, viola, violin, drums and occasional glockenspiel) and the blues style of singing had the definite feeling of a New Orleans jazz club, though the stories being told are thoroughly European. Though Honan very much led the performance, all the musicians are great singers as well as being excellent at their own instruments. There’s a brilliant section when the four women descend on the one man on stage, drummer Robert Burgess, ousting him from his seat, and the women proceed to drum altogether, with cellist Jessica Macdonald doing a fine job of leading the rhythm.

This is not a slick, neat show. In fact, it’s a little…rough. I got the impression that the cast know they tend to the chaotic and decided to make a virtue of that, and their plan worked better in some places than others. I loved the meat cleaver chopping celery (I mean, it was slightly scary, in a frantic crazed way, but it was also funny and impressively rhythmical) but the pantomime of the electric leads getting tangled every time violinist Elizabeth Westcott and violist Emma Hooper moved around the stage got a little bit tiring. It’s good to see that the cast are having fun and that they grasp that what they are doing has its silly side, but a tiny bit more polish might not hurt.

They will certainly have plenty of time to add that polish before the end of their run as this show is touring for the rest of the year. Do check www.twistedtheatre.com for details of dates and venues. To get a flavour you can listen to their song “Baby plug hole” on Soundcloud. I quite fancy a second helping myself.

Disclaimer: Tickets were kindly supplied to me by the theatre in return for an honest review.

I liked pretending my body was two hundred tons of unstoppable steel

Machine Man

Machine Man
by Max Barry

Max Barry was one of the first authors Tim introduced me to that he loved, back in the heady early days of our relationship when we were young and worried about agreeing on things like whether a book or film or album or TV show was complete genius. We’re over that now, but on Max Barry we still agree – he’s a great author and it is criminal that this book was never properly published in the UK (a Kindle version was eventually released in 2013, presumably after he signed a publishing deal for his new book Lexicon). Tim picked this up in the US and after waiting a year to let him to read it first, I gave up on that and read it for myself.

In fairness, Tim has read the first third or so of this before, albeit in its original unedited form. Barry did something a bit unusual with this book: he published the whole thing online in daily excerpts, initially free and later to subscribers only. Possibly this is related to the lack of a UK publisher, but the formally published version has been heavily edited because, as Barry concedes in his author’s note, what his online fans read (and often fed back on) was just a first draft, and one that was for the most part written on an odd schedule to meet the self-imposed daily deadline.

“As a boy, I wanted to be a train. I didn’t realise this was unusual – that other kids played with trains, not as them. They liked to build tracks and have trains not fall off them. Watch them go through tunnels. I didn’t understand that. What I liked was pretending my body was two hundred tons of unstoppable steel. Imagining I was pistons and valves and hydraulic compressors.”

The story is typical Barry – a sci-fi thriller with great characters, love, humour and a strong anti-corporate theme. Charles Neumann is a scientist and engineer working for Better Future, a large company with fingers in many pies. Charlie is socially awkward, probably autistic. Certainly, his reaction to losing his leg in an industrial accident isn’t a typical one, but in his voice it seems perfectly reasonable. He sees the opportunity to build himself a new leg that’s more than just a prosthesis. But then the artificial leg will be better than his remaining healthy leg, which poses a problem. Or is it an opportunity?

“I woke to a terrible cramp in my foot. Not the foot I had. The other one. I groped around in the dark, grimacing and clutching at empty sheets. I hauled myself upright and turned on the lamp and threw back the sheets. ‘See. Nothing there.’ I was talking to my brain. ‘Nothing to hurt.’ I leaned forward and pretended to massage the space where my toes would have been. As a scientist, I am not proud of this. But it seemed to help.”

An added romantic complication is Lola, the prosthetist, who is surprisingly sympathetic to Charlie’s way of thinking. And there’s a whole array of managers from Better Future whose reaction to Charlie’s surreptitious new project isn’t wholly expected either. He soon finds himself caught in a bewildering web of people he isn’t sure he can trust.

“I had been going about this all wrong. Biology was not ideal. When you thought about it, biological legs couldn’t do anything except convey a small mass from A to B, so long as A and B were not particularly far apart and you were in no hurry. That wasn’t great…If you were designing something within that limitation, then okay, good job. But if you weren’t, it seemed to me you could build in a lot more features.”

This book has some surprising plot turns (not exactly twists) and it definitely fulfils the thriller requirement of keeping you reading avidly. Charlie’s narration gives it all a fresh angle as he often doesn’t understand why people react the way they do, but of course as the reader you can see both sides. It’s darkly funny and also quite moving. I felt at times that this had a lot in common with Flowers for Algernon (which is my favourite sci-fi book) and I wonder if Charlie’s name might be a nod to that classic.

Published 2011 by Vintage Books.

Source: Tim bought it at the Last Bookstore, LA.

The air is like a solid entity

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Instructions for a Heatwave

Instructions for a Heatwave
by Maggie O’Farrell

This is a lovely book, a sort of family saga that only covers a month or so of time but manages to encompass whole lives lived and deftly investigates family relationships of all varieties.

In the summer of 1976, Britain was in the grip of a now-legendary heatwave and drought, and O’Farrell uses excerpts from the hastily introduced Drought Act 1976 to intersperse the action. The effects of the heat and water shortage are filtered through one family: the Riordans. Gretta knows her husband Robert is struggling a little to adapt to retirement but she doesn’t expect him to just go missing one day. Their three adult children hurry home to help with the search, but they bring with them their own baggage and conflicts.

“The heat, the heat. It wakes Gretta just after dawn, propelling her from the bed and down the stairs. It inhabits the house like a guest who has outstayed his welcome: it lies along corridors, it circles around curtains, it lolls heavily on sofas and chairs. The air in the kitchen is like a solid entity filling the space, pushing Gretta down into the floor.”

The children are quite different but what they share is that the distinct effects of their childhood can be discerned in their adult selves. Middle child Michael Francis struggles to balance his desire to keep his wife and children happy with his unfulfilled ambition to move to America and be a rock star of the academic world, a desire that is driving his wife away from him. Youngest child Aoife is dyslexic but at a time before such things were known about, she has spent her life hiding her shame at her inability to read, which led to her being labelled fractious and difficult. Oldest child Monica spent the latter half of her childhood effectively raising Aoife, as their mother was often too tired or ill, and her adult life is defined by her wish not to be a mother.

“She cannot read. She cannot do that thing that other people find so artlessly easy: to see arrangements of inked shapes on a page and alchemise them into meaning…She can stack up words inside herself but she cannot get these words down her arm, through her fingers and out on to a page. She doesn’t know why this is. She suspects that, as a baby, she crossed paths with a sorcerer who was in a bad mood that day and…decided to suck this magical ability from her, to leave her cast out, washed up on the shores of illiteracy and ignorance, cursed for ever.”

There are many secrets hiding in cupboards for the Riordan family, some of which are revealed early on in the novel (and therefore included in the previous paragraph), some of which are hinted at and then gradually revealed, while others come completely out of left field, or so it seems. This is partly the effect of the family’s (or at least the parents’) Catholicism, which puts pressure on them all in ways that perhaps wouldn’t have been true for a less religious family. But then again it is 1976, and some of the events recounted are years before that, so at least some of the social pressure is simply of its time. Being Catholic doesn’t just give them all a higher level of guilt, it also makes them different from the people around them so that there are times when they close ranks as a family. Gretta and Robert are both Irish but living in London, and it’s worth remembering that the IRA was at the height of its terrorist activities in the 1970s, so having an Irish connection was another way to be shunned by your English neighbours.

All of which makes this sound like quite a serious book, and certainly it deals with some serious issues, but it does so with warmth and love, not to mention humour. It was a joy to be in the Riordans’ company, even while they were all being incredibly frustrating in their various and different ways. It’s also a very atmospheric book, with a real sense of the heat of that summer and evocative descriptions of its various settings.

“Conversations with his mother can be confusing meanders through a forest of meaning in which nobody has a name and characters drop in and out without warning. You needed to get a toehold, just a slight grasp on your orientation, ascertain the identity of one dramatis persona and then, with any luck, the rest would fall into place.”

One thing that struck me was the realisation that the three adult children are all younger than me. They seem so sure that the paths of their lives are decided, that they are where they will stay, but they’re all in their 20s – so much could still change for them if they can only find their way. Again, this is partly a product of the times. People married and had children much younger then, and such commitments do have a tendency to make big life changes harder to make! But it’s also a bit clever on O’Farrell’s part, combining the uncertainties and the sureness of youth – the children know they are flawed, they fret about it and even try to change, but they are so certain they know themselves inside out when we, as readers, can see that they have plenty left to learn on that score.

As you can tell, I thoroughly enjoyed this book and will be adding O’Farrell to my list of authors to buy in future.

Published 2013 by Tinder Press.

Source: Foyles Bookshop, Bristol.

A benign immensity of unstained light

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Heart of Darkness

Heart of Darkness
by Joseph Conrad

Perhaps if I had come to this book with no surrounding knowledge my response to it would be different, but I’ve read Chinua Achebe’s essay and many other articles on the subject so I came to this looking for the racism. That said, I think it’s pretty hard to ignore. The question is: is it still a good book, even so?

This is a short, readable book but I’d have to say it’s not gripping because I often found the floweriness of the writing disguised the action – it’s essentially an adventure story but you’d almost not notice that from the style. It is very descriptive – the kind of writing where you can miss the plot moving on because you’re mesmerised by the words.

“The day was ending in a serenity of still and exquisite brilliance. The water shone pacifically; the sky, without a speck, was a benign immensity of unstained light; the very mist on the Essex marshes was like a gauzy and radiant fabric, hung from the wooded rises inland, and draping the low shores in diaphanous folds. Only the gloom to the west, brooding over the upper reaches, became more sombre every minute, as if angered by the approach of the sun.”

What is the plot? An unnamed narrator on a boat on the River Thames introduces fellow crew member Marlow, who in turn tells his story of a job he took in Africa to transport ivory, having had a whim to go on a voyage of discovery like the great explorers. Marlow describes his journey from Europe to Africa, around the coast, then inland by various means (the destination is unnamed but widely agreed to be Congo, where Conrad had himself worked as a riverboat captain for a trading company) until he reached the station where he was to captain a riverboat, only to find that the riverboat has been wrecked and he must rebuild it before he can start his job. Urgency is added by reports that Mr Kurtz, the manager of a remote station upriver, is gravely ill and Marlow needs to fetch him as soon as possible. Kurtz is a bit of a legend within the Company and Marlow feels that their fates became dangerously entwined.

Because this is a story within a story, it can be difficult to decipher the book’s attitude toward Africans. Yes, there are plenty of racist things said, but we hear them through the filter of not one but two narrators – so is this a comment on how European trading companies saw Africans or is it Conrad’s own opinions?

“They howled, and leaped, and spun, and made horrid faces; but what thrilled you was just the thought of their humanity – like yours – the thought of your remote kinship with this wild and passionate uproar. Ugly. Yes, it was ugly enough; but if you were man enough you would admit to yourself that there was in you just the faintest trace of a response to the terrible frankness of that noise, a dim suspicion of there being a meaning in it which you – you so remote from the night of first ages – could comprehend.”

To be clear, we’re not just talking about racist language that might be deemed “of its time” and therefore to an extent excusable. We’re talking about language that characterises many of the Africans as lesser beings, as supernatural monsters or as inferior idiots. And while Marlow develops a fondness for at least one African member of his riverboat crew, he also states that it was wrong to train this man to do a job, that it is somehow an unnatural pretence.

On the other hand, the Company’s treatment of natives appears to be condemned by Conrad, as he describes in clearly negative language enslaved Africans and the devastating effect of the trading routes on the settlements that they pass through or near. Marlow certainly shows no love for the Company in general, finding fault with most of its employees whom he meets and struggling to bite his tongue in the face of nepotism, incompetence and corruption.

An added level of ambiguity comes from the dreamlike, or rather nightmarish, quality of the story as a result of Marlow’s psychological state. The unfamiliar heat, lack of sufficient food and recurrent illness combine with a growing fear of attack (which is in fairness justified as the riverboat and its crew are indeed attacked) to create a kind of madness. The Company sends Marlow to see a doctor before he leaves Europe and the doctor does a psychological assessment, stating that he finds the effects of such voyages on Europeans to be “scientifically interesting”. Fairly early on in his travels in Africa, Marlow states that he feels he is becoming “scientifically interesting” (it’s one of my favourite moments in the book). So by his own admission he is therefore unreliable.

“No fear can stand up to hunger, no patience can wear it out, disgust simply does not exist where hunger is…Don’t you know the devilry of lingering starvation, its exasperating torment, its black thoughts, its sombre and brooding ferocity? Well, I do. It takes a man all his inborn strength to fight hunger properly. It’s really easier to face bereavement, dishonour and the perdition of one’s soul – than this kind of prolonged hunger.”

Of course this actually raises more questions. If this degree of psychological imbalance is common in western Europeans who travel to central Africa, is that an excuse for some of the behaviour depicted? Is it a comment on the continent itself – a place that sends men mad? Or is it simply an honest observation of people going there ill equipped for the conditions? (Which would, thinking about it, be further condemnation of the Company, as it was responsible for the wellbeing of its employees.)

I can certainly see how so many books, essays, articles and theses have been written about this book, as there is far more I could say about these subjects and more. But for me it comes down to quality of writing, and on that count Conrad scores fairly high. The writing is gorgeous and atmospheric. I suspect I could pick out any line and it would be a great quote. Perhaps the story would benefit from more straightforward language but the prose would not.

“Do you see the story? Do you see anything? It seems to me I am trying to tell you a dream – making a vain attempt, because no relation of a dream can convey the dream-sensation, that commingling of absurdity, surprise and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible which is the very essence of dreams.”

Which, overall, leaves me predictably on the fence about this one. I’m glad I’ve read it but I can’t say I side wholly with Conrad’s detractors or his defenders. I got the uncomfortable feeling that he was objecting to the mistreatment of Africans much as he might object to dogs or horses being beaten, overworked, made homeless, etc. But it’s hard to deny that it’s a beautiful piece of writing.

Have you read this? What did you think?

Originally published 1899 in Blackwoods Magazine.

Source: Project Gutenberg.

Challenges: This counts toward the Rory Gilmore Reading Challenge.

The Tinderbox

The Tinderbox

Bristol Old Vic Studio, 23 April 2014
Bristol Old Vic Young Company

Writer Silva Semerciyan has turned Hans Christian Andersen’s brief, frightening tale The Tinderbox (and I remember the image of those big dogs with saucer eyes haunting me from the pages of my book of fairy tales) into an epic, devastating story. The result is a timeless lesson about the lengths parents will go to to save their own child, or the lengths those with power will go to to retain it. The fairytale classic beginning of a prophecy of doom told about a baby princess leads to bloody and hopeless war, ruthless laws and terrible poverty. The show has also, wisely, updated the role of the 17-year-old princess, making her a smart architecture nerd who has been kept hidden from the reality of her parents’ tyrannical rule.

Of course, theatre is about more than just story and the Young Company has done a great job with all aspects of this show. The live musical accompaniment sets the tone – occasionally playful, occasionally loud and scary but mostly thoughtful and brooding. Pianist (and musical director) Hettie Feiler gets it just right (including at one point crouching on the floor and plucking the piano’s strings to spooky effect) but I must also mention the remarkable singing voice of Lorenzo Niyongabo (who plays the king).

Props and staging are kept quite simple. Wooden chairs and wooden sticks form the basis of scenes from battleground to pub to palace to forest. They also add percussion to the soundtrack, which often thunders ominously through the Studio theatre. There was a moment when the cast, dressed as soldiers, pointed sticks at the audience and lunged with a loud grunt and it was genuinely scary.

The actors, for all their youth, are great. In fact for most of the time you can easily forget their youth. I was particularly impressed by Beth Collins as the queen, and by whichever member of the ensemble cast it was who played the heavily pregnant prison guard. Occasionally the mask would slip, when players were on stage but not speaking, and I would remember briefly that these are teenagers who have just devoted their school holiday to final rehearsals. But only briefly.

Most of the cast had a box of matches affixed to their costume so that a recurring motif of striking matches was used for everything from falling in love to adding yet more fear or tension. But it’s not all dark – the show also has a sense of humour, and of course a love story. Because it is still at heart a fairy tale.

Disclaimer: A free ticket was kindly supplied to me by the theatre in return for contributing a review to Theatre Bristol Writers.