During the late 18th century and early 19th century, citizens of the newly formed United States were “seeking out the land’s scenic marvels, measuring their sublime effects in language, and even staging an informal competition for which site would claim pre-eminence as a scenic emblem of the young nation” (Sayre 141).
When I arrived at Woodbourne prison for that first intake procedure I was surprised to find a certain level of relaxation. Maybe what I mean is not relaxation, but a kind of small town banter that was easy to slip into with the guard who checked me through the metal detector as I set it off again and again. He reassured me he was not going to make me take my shirt off, though the fact that it was fastened with snaps instead of buttons was causing the problem. I told him that I was wearing a T-shirt underneath if it was necessary to remove the outer garment. Harmless flirtation, or maybe just everyday humanity. Whatever you call it, I was not expecting to find it at Woodbourne.
Book by DINAW MENGESTU
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In All Our Names, the Ethiopian-born novelist Dinaw Mengestu tells the story of two Isaacs and a Helen living, loving, and leaving each other—apparently in the 1970s. The story, which takes place in both Uganda, and a generic Midwestern U.S. town called Laurel, is narrated partly by Isaac, whose real name isn’t really Isaac (he is also called Langston, Professor, and Dickens at different times and by different people), and partly by Helen, the American social worker assigned to him after he comes to the U.S. to study at university.
The novel begins with the faux Isaac, almost twenty-five, leaving his village in Ethiopia for the Ugandan capital of Kampala, to “claim his share,” i.e. to become a famous writer, surrounded by like-minded men. There, he meets the other Isaac (whom we’ll call Isaac [2] for clarity) at the university, though neither Isaac is a student, and it is unclear whether the two men are like-minded. Their relationship and involvement with the revolution against Idi Amin makes up Isaac’s share of the narrative.
The $14 manhattans were terrible. We drank them anyway. Las Vegas, Lost Wages, whatever you call it, it was the gateway to our West(ern vacation—three canyons, eight days). The next morning, we ate gigantic omelets beneath a mirrored ceiling, amid fake trees lush in fake pink bloom, pulled out the map and headed through the wide open landscape: straight road, big sky, dry scrub, tumbleweeds.
Book by HEATHER DOBBINS
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Most of us have been damaged or done damage to someone we love. Perhaps we fell into an affair, abused alcohol or drugs, or turned our backs on commitment. Who has not awakened at three a.m. to find the grinning demon of shame at the foot of the bed? If we are honest, we acknowledge our fears and dependencies, discern our selfishness and jealousies.If we are lucky, we forgive and find some sort of redemption, hopefully without spending too many nights with our mouths to a half-empty bottle of bourbon. In Memphis poet Heather Dobbins’ first full-length collection of poetry, In the Low Houses, published this year by Aldrich Press, there is a bottle of bourbon. Also marriage, infidelity, and death. There are graves, literal and metaphorical, and if, as T.S. Eliot suggested, our only superiority to the past is that we can contain it and be enlarged by it, there is something good growing in Tennessee.
Charlie Kaufman imagines a plane crash at the beginning of his semi-autobiographical film Adaptation; he envisions himself nonplussed while the passengers around him scream and fight each other for oxygen masks. I always imagine frantically writing an invariably optimistic goodbye note to my family as my plane descends – reassuring them, falsely or not, depending on the day, that I enjoyed what life I had. Almost anyone who’s flown in an aircraft has played a similar “What if we all die?” scenario in their minds, even if just half-consciously while watching the safety demonstration.
Book by LORRIE MOORE
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Bark is Lorrie Moore’s first collection of stories in sixteen years, and it is a work to devour. While most of the eight stories have appeared elsewhere, including three in The Collected Stories of Lorrie Moore (2008), they feel fresh here. We see what Moore has been up to all these years. Moore’s humor and sensibility have evolved now that she and her characters have reached middle age.She still dazzles with word plays and turns meaning on end, but she makes fewer wisecracks, and the stories are sadder. In the past her awkward characters faced plenty of tragedy, but had a youth on their side. In this collection, she examines loss brought on by her familiar themes of divorce and death, but her characters are older, and struggle in a darker way.
That said, Moore knows how to have a good time, starting with her playful title. Three epigraphs from poets Caroline Squire, Louise Glück, and Amy Gerstler refer to bark. Squires writes about an apple tree, Glück and Gerstler about dogs. Moore works bark into the collection in joking and devastating ways, and not only for the reader. The characters are more devastated by their experiences in these stories than in her previous stories.
In the third season of Girls on HBO, whose season finale aired at the end of March, Hannah Horvath, age twenty-five, is at the Gramercy Park Hotel in New York with seven friends. A renaissance-revival design concept by artist Julian Schnabel, the $929 suite is Hannah’s to review for her advertorial job at GQ, and she has decided to throw a party. Her boyfriend is making his Broadway debut. Her best friend Marnie has a chance at being a folk songstress, and Hannah herself is secretly applying to the Iowa Writers Workshop. Packed into a deluxe hotel room, these twenty-somethings entertain visions of success larger than their own lives.
The beloved British travel writer Patrick Leigh Fermor’s long-awaited last book made it into print in March, three years after his death and seventy-nine after the adventure that inspired it. The Broken Road is the third and last volume of Leigh Fermor’s winsome, nostalgic, and poetic memoir of his two-year walk across Europe to Constantinople, as the philhellene Leigh Fermor called Istanbul to the end.The first volume, A Time of Gifts (1977), begins in 1933—he was eighteen—at the Hook of Holland and ends on a Danube bridge linking Hungary and Slovakia. Between the Woods and the River (1986), picks up there and ends at the narrow defile called The Iron Gates (since drowned by a man-made lake) where the Danube enters Bulgaria. This last volume meanders through Bulgaria and Romania, crosses the Bosphorus, and ends in January, 1935, with a contemplative sojourn in the monasteries of Mount Athos in Greece, the country Leigh Fermor ultimately called home.
Book by ROS BARBER
Reviewed by
I’ll be honest: when The Common asked me to review Ros Barber’s new book, The Marlowe Papers, I was leery. Novels-in-verse aren’t really my thing. Reading the back cover blurbs, I became even more skeptical: a novel in iambic pentameter (rhymed and blank verse) from the point of view of the English poet, playwright, Christopher Marlowe (1564-1593), whom conspiracy theorists claim was the real author of Shakespeare’s plays? The book claims Marlowe’s death, in a bar-fight before the Church of England could charge him with heresy, was staged to let him escape England. And while in hiding, he ghost-wrote all of Shakespeare’s plays.
What the hell? I expected an overwrought, creepy fan-fiction piece in archaic diction and clumsy meter. After reading a few pages, I realized I owed Ms Barber an apology. This is a damn fine book.
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