Review: The Life-changing Magic of Not Giving a F**k


First, there was The Life-Changing Magic of Tidying. Then, in an excellent example of action and reaction, came The Life-Changing Magic of Not Giving a F**k. It’s the second book that I’m reviewing – although perhaps I should have read Marie Kondo’s book on decluttering your life first.

It’s that time of year where, if you’re anything like me, you clear out the clutter. By my front door today, there are bags of clothes I don’t wear, and boxes of books that I’m not going to read again, all lined up and ready to go to the charity shop. I’ve read enough about The Life-Changing Magic of Tidying that even my underwear drawer is tidy now, but what about the other, bigger drains on your life. A tidy home is of little benefit if you never get time to relax in it. In The Life-Changing Magic of Not Giving a F**k Sarah Knight takes a wry look at how to declutter your life from things – and people – who drain your time, energy and money.

I think I’m fairly good at choosing what I care about and not being driven by other people’s opinions but if you find yourself saying yes then regretting it, The Life-Changing Magic of Not Giving a F**k is the book for you. I do sometimes say yes to invitations and regret it later, and in this book Sarah Knight encouraged you to weigh up the emotional and time costs of saying yes, as well as the financial costs.  She uses examples such as drinks with co-workers, expensive weddings and hen nights. Writing in terms of fucks given (and this is not a book for you if you flinch at the use of the word fuck), she suggests we all have a limited fuck budget and need to say yes to only the things we really care about. In the book Knight suggests how to do this without upsetting those we care about, and how to prioritise our own needs in a good way.

The book is humorous,  not endorsed in any way by Marie Kondo, and an easy read. If you’re the sort of person who is frustrated by being told to tidy, but perhaps you feel you have too many obligations and not enough time, this could be the book for you.

Christmas Fiction

“So you’re Mary?” Mrs Landers’ smile was wide as the doorway. “Come on in and get yourself warm.” She glanced through the open door. “Looks like there’s snow in those clouds. It’d be nice to have a white Christmas, wouldn’t it?”

“’M warm enough.” Mary slouched into the room, carrier bag in her hand. “S’not exactly the Ritz in here is it?”

“Don’t be rude, Mary,” Angela said, shuffling through her papers. “Beggars can’t be choosers, and if you will run away on Christmas Eve, well, it’s not like we can put you on the next bus home. Even if we trusted you not to get off at the first stop. You’ll be warm and safe here, until we can get your dad to collect you.”

Mary slumped on the chair, letting her lank mouse blond hair fall over her face. “He won’t bother. I told you not to try calling him. He’s been on at me since I …” She glanced down at her stomach, a curved dome bursting out from her anorak. “Never mind.” She picked at her nail, wishing she was different, smarter, older. She looked around the room. No point trying to run, she was too slow now. She’d let them think she was staying and work out how to find him later.

“Right, I’m off. Mrs Landers will show you your room.” Angela pulled her fluffy white coat round her as she left.

Mrs Landers’ cheerful voice filled the silence. “So we’re quiet here, this Christmas, just you and me and Bruno.”

“Thought you only took girls, that’s what she said.”

“Bruno, well, I don’t think Angela’s ever really taken to him. She says I should keep him out the back in his kennel when I’ve got visitors, but you don’t mind dogs, do you?”

Mary raise her head a fraction, glancing at Mrs Landers through her long fringe. It was just another day, another place to stay, and all she had to do was get through Christmas. “S’pose. Don’t have much choice, do I?”

“He was going to be put down, too big for most homes they said at Battersea. And I’m a pushover for waifs and strays.” She flushed, her cheeks matching the rose of her jumper. “Not that you’re … come and see your room, lovey.”

 

Mary sat, sullen and quiet, through dinner. “Not really hungry,” she’d said when it was served up, but she cleared her plate, first good meal she’d had, she thought back, since it all blew up, since she couldn’t hide it any more. Bruno lay beside her all the way through the meal, and she didn’t think Mrs Landers noticed when she slipped him some of her chicken.

She watched the television without a word, though Mrs Landers chatted the whole way through the EastEnders special. The big dog lay sprawled at Mary’s feet on the rug that used to be cream with pink flowers but was now tired and grey.

“Ah,” Mrs Landers said as it finished and the news came on. “We won’t watch that. All a bit gloomy, isn’t it. Now it’s time to turn in, lovey. You going to come upstairs?”

Mary shifted in the big armchair with the tattered floral covers. “Dunno. In a bit.” She needed time to herself, time to find a way to contact Joe.

“Come on. You need to get your sleep in before the baby comes.”

Mary let herself be chivvied upstairs. She didn’t get changed. She lay down, waiting, but she couldn’t get comfortable on the single bed, and her body ached. Too long sitting on the bus to London, she thought, and all to no avail. It was the police who’d picked her up, right outside the bus station, hadn’t believed her when she said she was sixteen already, took her phone off her, delivered her straight to social services.

She gave up trying to get comfortable, and slipped out onto the landing. She knew his phone number, and Mrs Landers looked like the sort to still have an old fashioned home phone. She paused outside the woman’s bedroom door. It was ajar, and she could hear slow, steady breaths, so she carried on downstairs. She hadn’t seen a phone in the living room, so she went through to the kitchen. As she passed through the doorway she had to grip the frame as a shard of pain ran through her.

Shouldn’t have eaten so much, she thought, drawing in breath to try and ease the stabbing. Bruno nuzzled round her feet, his shoulders level with her thighs, and she was glad she wasn’t alone. She wouldn’t be alone, wouldn’t be here for much longer if she could get hold of Joe. He’d come and get her, and by morning they’d be gone, and by tomorrow no-one would be able to drag her back home. Her gaze alighted on the old cream plastic phone. She listened for a second, then picked it up and dialled.

“Joe? It’s me. … I know. Brixton. 17 Lansdowne Way. I know it’s miles. … Great! I’ll wait down here.”

Maybe she should have gone back up for a bit, it would take him more an hour to get there from Enfield, but her stomach was cramping, her back ached, and she didn’t want to have to go up, just to come down again. She couldn’t put the telly on, it might wake Mrs Landers, so instead she paced up and down, stopping every few minutes as another cramp grabbed her. Bruno followed, back and forth round the small living room, his big brown eyes watching her.

“Come on, Joe,” she said, voice low. She gripped the back of an armchair. The pains were getting worse, and she was starting to get an inkling that it wasn’t the chicken pie. She just needed to hang on until Joe got there.

Finally, an engine roared to a halt outside the house, the sound cut out, then there was a tap on the door. She waited until the contraction slowed then opened it and flung her arms round the lanky young man.

As they separated she said, “It’s snowing!”

“I had to go slow, nearly came off the bike a couple of times. Where’ve you been, Mary? I waited and waited at Victoria station but you never showed, never answered you phone. I thought you’d changed your mind.”

“Doesn’t matter. We need to go. Oh!” She leaned on him as her womb clenched.

“What’s up?”

“The baby. We need to go home, now.”

Joe turned, scanning the whitening street. “We can’t, Mary. You can’t go on the bike like this. What if the baby came on the way back?”

“What’s all this?” Mrs Landers had come down the stairs, pink dressing gown wrapped round her, “Come in off the doorstep and I’ll put the gas fire on. Now who are you, young man?”

Things blurred after that, glow of the gas fire warm on her face as she knelt on the carpet, pain seizing her body. She could hear Mrs Landers, anxious voiced, on the phone, “No, I see. I know. As soon as you can.”

“It’s coming, Joe. It’s coming and we haven’t gone home yet.” Joe’s hand was warm on her back, Bruno beside her.

“It’s okay, Mary. We’ll be fine. You should see the place I’ve got. It’s small, but it’ll be enough for you and me and …”

Another pain seized her and his words were lost as she gripped his hand.

“I’ve called the ambulance, lovey, but they say the roads are getting worse. Can you hang in there?”

“Don’t, … think … I … can …”

She could feel it, tearing, burning as the head crowned.

“Aahhh!”

“Just a bit more, lovey, I’ve got a towel ready when he comes.”

She pushed, kept pushing until, with a sense of relief, the baby slipped out of her body.

“There you go, lovey. You hold him now.”

Mary smiled as she put the baby in her arms. Joe leaned over and put his arm round her. “That’s my girl,” he said.

Mrs Landers went to the window and pulled back the curtain. Mary could see the flakes falling thicker and faster now.

“Going to take a while for the ambulance, lovey.”

“It doesn’t matter now. She’s here, we’ve got our little girl.”

“I don’t know what that Angela is going to say. And your parents!”

“It doesn’t matter.” She looked at Joe. “What time is it?”

He checked his phone and grinned. “Just gone midnight. Happy birthday, Mary.”

 

Review: The Portable Veblen by Elizabeth McKenzie


The Portable Veblen  is the sort of book that makes me want to give up writing. It cleverly interweaves the diverse topics of squirrels and traumatic brain injury, love and family relationships, along with a Norwegian economist to make a strong story that keeps you reading all the way though. Veblen is a 30 year old temporary medical secretary when she meets Paul, a research doctor. She is creative and alternative: having grown up with hippy parents, Paul wants to live life by the rules. Veblen queries twenty first century materialism: Paul embraces it. Despite this, they fall in love and plan to marry, but of course, being a book, the path is far from straightforward. Their quirky families and conflicting beliefs cause problems, but these are multiplied as Paul wrangles with big pharma to try to develop a new medical device that could save soldiers lives when they experience traumatic brain injury in the battlefield. Readable literary fiction, this book mixes humour with intelligence, and keeps you reading to the end.
The Portable Veblen is around £12.99 at time of writing.

 

Review: The Novel: a survival skill by Tim Parks


I’m not sure.

I was beginning to get irritated by the subjectivity of the first chapter of The Novel: A Survival Skill: The Literary Agenda, and the start of the second where the author talks about meeting JM Coetzee, but then he starts to dissect the biographical fallacy, and I wonder if he is intentionally writing in a personal and subjective manner, sprinkling ‘I’ throughout the pages. Biographical fallacy: we shouldn’t interpret literature in relation to the author’s personal life. Parks writes, “Imagination works on material that is available.”  As an author, and particularly since writing more creative works of fiction, I re-read my work wondering just how much of me it exposes.

And Parks’ book weaves in and out of the personal: a chapter about Joyce is followed by a chapter where, ‘The publisher  of this book has asked me to include a section on my own writing, to put myself in the picture. I do this with reluctance.’ The penultimate chapter on Dickens is possibly one of the most interesting parts of the book, full of details about Dickens’ personal life, and possible drivers for his plots. Parks concludes that we cannot judge a book or provide any ‘pecking order of writers’ because, as readers, our reactions are conditioned by our backgrounds too.

I’m still unsure. This is a book that is good in parts.

Review: Grief is the thing with Feathers by Max Porter

What I know now.

  1. I cried. How can one not cry all the way through a book about two small boys whose mother has died?
  2. Grief shifts. It is different every time and still the same, over and over again, through centuries and nations. We all feel grief, it seems never ending, and yet we travel through its depths until it becomes less consuming, still present. We move on, we are never the same.
  3. I don’t know enough about Ted Hughes. Or crows. Or Ted Hughes and Crow.
  4. That Grief is the Thing with Feathers is a gut wrenching, understated, sideways examination of loss.
  5. And I want to know what Max Porter is going to write next. Because the thing about throwing out conventions and sneaking up on story so it builds and twines between pages from different points of view, is that it is a hard thing to follow.

Buy Grief is the Thing with Feathers for around £7 … or do the sensible thing that Amazon suggests and invest in Ted Hughes’ Crow: From the Life and Songs of the Crow too.

 

Review: Life and other near-death experiences by Camille Pagan


What makes a good story for you? For me, it is all about life and death, about birth and tears, about the stuffing makes up human experience. I feel  short hanged if I leave a cinema without having laughed, or cried,  or both. I remember reading Jojo Moyes’ Me Before You one Christmas Eve, tear s streaming down my face. I was sad, but I was also content because that book had transported me, because I was living a fresh human experience through the written word. An in many ways, that is what I have just experienced while reading Life and Other Near-Death Experiences by Camille Pagan.

This is the story of a young woman hit by a double blow. Everything that she takes for granted – her relationship, her health – suddenly shifts, and she does what many of us might do in the circumstances. She takes off. Fortunately for Libby she is in a fictional world where, when she runs away to spend a month of a beach she meets a supportive older woman and an attractive pilot! Her time is full of ups and downs but by the end she is coming to terms with her changed life and ready to take on the challenges it poses.

I read this straight through on a two hour train journey, so it is a fairly quick read, but a good one. Life and Other Near-Death Experiences costs from £3.99 on Kindle and is out on 1 November.

Review: Satin Island by Tom McCarthy

Sometimes books don’t make sense until right at the end. Satin Island is one where I didn’t get it until I reached the acknowledgements!

Tom McCarthy explains that he wrote this book during a residency which, ‘I spent projecting images of oil spills onto huge white walls and gazing at them for days on end.’ It all begins to make sense …

Satin Island is told by U, a male anthropologist working for a big corporation. He is working on a project, the Koob-Sassen project, which remains opaque throughout the book as to intest and purpose, opaque to U as well as the reader.

McCarthy uses images of oil spills and stories of sabotaged parachutists from news stories in this novel, all as part of U’s ethnographic work. U tries to write a book, and fails, instead coating his walls with images from the news stories and delivering the ideas he derives from these as his contribution towards the project. He feels like he has failed, but his contribution is eventually received with accolades. And we are still unclear what he has contributed to.


In some ways, as I neared the end of this book, it made me think of Don De Lillo’s Cosmopolis. Both books submerge themselves under the surface of the corporate world,but De Lillo goes deeper, faster, and his world is more insane. I loved McCarthy’s Remainder, where you get sucked into one man’s world, sucked so deeply that you don’t realise just how insane it is until right at the end. Satin Island doesnn’t work so well for me, perhaps because U is less compelling: it is hard to write a persuasive corporate drone even if he is a drone with self-knowledge. His relationship with his girlfriend Madison seems bland and unfulfilling for him, which again makes it harder to care. This book works as an intelligent and intellectual analysis of the futility of the corporate world, but if you want a good read and a great introduction to McCarthy, try  Remainder.

Review: Rebecca at the Theatre Royal, Brighton

Should you read the book before seeing the play (or film?) I don’t know – there are arguements for both! This weekend a friend and I took my 13 year old daughter to see Rebecca, the stage adaptation of the Daphne Du Maurier book. D had never read it, I had read it many years ago and had made the decision not to refresh my memories before the play. I came out, however, with a burning need to re-read the book, and the impression of the ghost of many things unsaid.

The set is often the first thing that interests me in a play .. or otherwise! First impressions count and as the curtain rose I got just the right impression. The set was part crumbling mansion, part beach and it flexed perfectly with the scenes of the story. As the play opened a corpse is lowered down and placed under a boat which then forms the centre stage, just right for the theme of the story. The cast did a great job with the musical parts of the play, songs inspired by the period and very much in line with the coastal setting. As the first half of the play progresses we meet the new Mrs de Winter, watch her meet her in-laws and the staff. This part of the play is played for laughs – Maxim de Winter’s sister Bea and her husband Giles are comic characters and the young serving boy Robert is humorous in a way that I found over-the-top and distracting from the plot. Perhaps that’s what it takes to sell a story from 1938 to audiences in 2015 – the theatre was largely full, so the recipe to turn classic novel into entertainment is working. And the dog … I nearly forgot to mention the dog! Have a look at some of the reviews on the Kneehigh Theatre site for more on whether a puppet dog is a good addition to the play.

The mood of the play took a twist at the end of the first half and the the second part was in many ways more in line with the spirit of the novel, but still there is always the issue that you can fit far more detail into a book than a play. Mrs Danvers was marvellously evil, the new Mrs de Winter’s transformation from innocent to tainted took place, and Maxim de Winter became exposed as we saw his torment. The cast did a good job as the action moved to a climax and the impossible situation that Rebecca has left as her legacy played out. But still, the book is so much more.

Watch the play, then re-read the book, or read it for the first time. The play is good – it takes you from laughter to tears – challenging the emotions is one of my key requirements for theatre – but the book is better. I’m off for a quiet read…

First draft: Artist

He stares at the brush, at the row of primary coloured paint pots on the table in front of him. Ask him to cover a wall in magnolia and he knows what to do. Tell him to paint on paper and he is floored. Flawed. That’s why he’s here, flaws too large to cover with paint or paper, no amount of filler will…

“Go on. Paint whatever you want.”

He doesn’t want, stopped wanting months back, maybe years. She holds it out to him, chubby handled wooden brush, fine bristles metal bound, OT written in black marker in case he wants to take it out of the room. Wants. He doesn’t know what he wants. He’s still staring at the brush when she comes round again, places her hand on his, warm on cold, her soft skin on his callouses. A shiver runs through him.

“Which colour?” she asks, but she’s already guiding the brush to the yellow. “Just make a mark. It’s sometimes the first stroke that’s the hardest. Just let it flow from there.” And the paint trails from the brush, down the side of the pot, across the table and the paper is instantly marred. If there had been something that he had wanted to paint, it would have to fit with the fresh streak of sunshine that has been forced upon the page. Not his mark, and she’s moving on now, talking to the man across the room who has clearly been before. He is working on a half started canvas, making purple marks that, if he squints, might be flowers.

He stares at his page, paint continuing it’s sprawl without his input, drips falling from the brush. Spoilt.

“What about some blue?”

She’s back, and he pushes into her touch this time, until she forces the sunshine brush into the pot of blue, yellow smears into the pristine darkness.

“No!” He jerks his hand away, brush still in blue, jar teetering, tipping. Blue paint spreads, runs to the edge of the table and he backs away, chair scraping until he stands and it falls. She’s looking at him. The flower painter has paused to look too, brush in the air and Sam’s gaze is suspended as the purple paint pools on the end of the brush, until enough has moved to form a drop which falls, and movement starts again

“I’ll get a cloth,” she says. “Never mind. Accidents happen.”

He stands as she wipes.

“It’s okay. Just a spill.

Look, I’ve cleared it up.

Try again.

Do you want a clean piece of paper?”

The phrases brush the surface of his mind, and he watches her put a blank sheet on the table. She doesn’t try to put a brush in his hand this time, doesn’t try to touch him again. He’s still standing, can’t sit, can’t be here, can’t listen to her encouraging murmurs which build until he lunges forwards, swipes at the paint until the pots spin across the table, paint flies, crimson drips falling to the floor, on his hand, his shirt, as he stumbles back and the chair seizes at his ankles. He crumples and all he can see is red.

Review: The Crossing by Andrew Miller and The Other Side of the World by Stephanie Bishop


I’ve just read these two books and I think between them they do a great job of examining the challenges that becoming a mother places on self and identity. In The Other Side of the World Charlotte struggles to reconnect with the woman she was before children, and to find the time and energy to paint. Her husband, Henry, cannot face the thought of another English winter. Set in the 1960s, Charlotte is strangely contemporary. She is a painter until she becomes a mother, twice in quick succession. The uprooting she experiences as the family emigrates echoes the way in which she herself has been uprooted. This is an atmospheric story about travelling to the other side of the world in the 60s. The writing conveys the changing identity of becoming a new mother, losing yourself and finding your changed self. The scenery is vivid and Bishop does a good job of sharing both how the male and female lead characters feel. A good read, packed with emotion, the ending challenges every mother who has ever felt that her role is too much.


The Crossing is a strange book – but well worth a read. It asks questions about identity and motherhood and running away.  The writing, the language is restrained, and some part of it seems very male as it describes Tim and Maud’s growing relationship, and the birth of their daughter Zoe. In other ways the writing reflects Maud’s character: she is presented as a career woman, a woman who is attractive without knowing it, and ultimately it questions Maud’s role and ability as a mother.

Maud’s love of sailing drives the book. Along with her career as a research scientist, sailing seems the closest she can come to have a passion, and Miller’s book really took off as I read Maud’s struggles with a storm at sea. Like The Other Side of the World, there is ambiguity in the end. Maud is no longer the same person, no longer in the place where she started. Both books acknowledge that in becoming a mother one is no longer the same. And both expose the uncertainty in becoming someone new.