The Pale King, by David Foster Wallace

I have discovered the key to David Foster Wallace's work, and it lies solely with the reader. Give it the time it deserves. His writing is so deeply layered, with ranging perspectives and a raft of information, many of which seem to bear little connection to the plot. Time and patience, however, reveal the tapestry. I truly didn't want the book ever to end, because this novel about the IRS, of all things, became the exploration of so many conundrums of modern life that it seemed that it might in the end explain everything.

This is a posthumous work, painstakingly stitched together from the papers Wallace left upon his untimely death. The editor, Michael Pietsch, describes it as a labor of love, but it must have been Herculean. One can only imagine how great the novel would have been if finished; as it is, we are lucky to have it in this form, and it is fantastic despite its lack of polish.

Think IRS: I immediately conjure gray walls, tens of thousands of smudged, tear-stained pages, pen protectors, ashen complexions. Monotony piled upon boredom. Step into the halls of the Regional Examination Center in Peoria, Illinois, and you'll find all of that, plus interminable lines, endless, incomprehensible regulations, crushing bureaucracy, and Machiavellian office politics, for starters.

The minutiae of tedium - sounds like a great subject for a novel, no? And yet... it is endlessly fascinating. Sitting cramped in my airplane seat, hours from either departure or destination, I read about characters caught in a perpetual traffic jam, and felt remarkably unconstricted. There was that sense of familiarity, the sorrow at the futility of hours spent wasted on mundane chores, combined with relief at knowing that my life (your life) could never be this banal. Though, described in exhaustive detail to the outside world, who knows?

What is the book about? Lots and lots of people working at the IRS. It could be subtitled: A Human Anthill. Depictions of childhoods both traumatic and run-of-the-mill are echoed in descriptions of adult lives both mundane and poignant. There's an awful lot in this book; really you just have to read it to begin to see its depth and breadth and yes, I'll say it, genius.

The Hunger Games, by Suzanne Collins

I'm probably not the last person on the planet to read The Hunger Games, but there can't be too many left. Nonetheless, my opinion...

The premise of this book is quite horrible - children battling one another to the death. I didn't think I would feel so sanguine reading the gruesome details, but this book is Hollywood all the way; the blood and gore seem like special effects. That said, there is still no way I'm taking my not-quite-eleven-year-old to see it. There's a lot you can gloss over when you're reading that would be downright horrifying on a twenty-foot screen.

This is YA done right, with the emotional life of the protagonist taking precedence over the mundane details, but with enough of those details to make it interesting. Katniss (possibly the worst name in popular literature) is the kind of heroine you want your girls idolizing: smart, strong, capable, and not quite in control of her emotions. The book is completely addictive, with non-stop action and lots of visual detail, making you feel like you're right there in the midst of it. The author dodged some pretty tricky bullets as far as her heroine's moral choices went, which admittedly is often the case in YA. Katniss certainly had to consider whether she was capable of brutal murder, but was mostly saved from being put to the test. I appreciate that a heroine can't go around killing everyone in sight simply in order to survive, but a little more moral ambiguity would have made me like the book more.

Like many dystopian fantasies, there's an odd combination of a technologically advanced society intermingled with something more Medieval, and it's a little hard to figure out how those two coexist. I was surprised to learn, for example, that Katniss' childhood home had a TV, as I had pictured it without electricity. I think some of this might be explained to better satisfaction in the sequels.

The end of the contest was a little anti-climactic, and the immediate aftermath rang very hollow to me. It reminded me of reality TV, where much of the tension is manufactured. Again, I think these events may be a setup for the next two books. Suzanne Collins says she didn't set out to write a trilogy; that the events of the Hunger Games demanded more exploration. I might believe her. I expect I'll read the next two, despite having been apprised of a few major spoilers. If they are as entertaining and fast-paced as this one it will be time well spent.

I've seen the movie trailer, and I think it will be great. Despite my insistence that 'the book is always better than the movie,' this one may prove the exception. Collins wrote the screenplay as well, which bodes well for consistency with the original. I'll just have to sneak out to see it so the 10-year-old doesn't suspect...

Gain, by Richard Powers

In reading this book, I learned more than I ever dreamed I'd want to know about several subjects: soap-making, and the chemical evolution of cleaning products of every kind; the history of marketing; the moment-by-moment reality of chemotherapy; the history of the financial markets in America since their conception; an awful lot about cancer and what causes it and how it takes hold; and a whole lot of other stuff that now escapes me. Such erudition! I am stunned, impressed, and educated.

This book alternates between two stories. The first is that of the Clare family: Three brothers start a candle and soap company in mid-19th century Boston. Their little experiment evolves into a multi-national chemical company, with various Clares and others paving history with processes both chemical and financial. Along the way they play an integral part in developing the concept of modern marketing.

The parallel story is of Laura Brody, mild-mannered real estate agent in Lacewood, IL, home of Clare International HQ. Laura has moved past her divorce and is managing her teen aged kids, ex-husband and new career admirably. Her story gives a personal face to the unintended consequences of industry and supposed progress.

The incredible thing about this book? It was fascinating. I don't read much non-fiction; I need a story to make facts interesting. I quite willingly devoured pages of chemistry, economic theory and history in this novel, and never got bored. Richard Powers has the rare ability to transmit his passion for science through language, and to make any subject he tackles interesting. I'm willing to bet that he's not only the smartest guy in any room he inhabits, but also has a better understanding of art, and its intersection with both physical and social science. This is, after all, the basis of humanity, but most of us don't embody it as fully as Powers.

Anansi Boys, by Neil Gaiman

Another terrific Neil Gaiman book - is there any other kind? Anansi Boys is set in the same territory as American Gods, the nexus of humanity and godliness. In this case, the god in question thinks he is human, and only slowly comes to understand that his family is not just mildly dysfunctional, but is downright otherworldly.

Gaiman's ability to take on the voice of a character so decidedly unlike himself is uncanny. I understand that that is the job of the novelist, but still. The atmosphere ranges from the mundane to the bizarre, and I could always picture myself in the scene. There's something Everyman about Fat Charlie, which makes his realization of his godliness very satisfying.

The clumsy, always slightly-behind-the-curve child of a charmed ne'er-do-well, Charlie has no interest in revisiting his childhood home after his father's death. It turns out that some childhood fears are well-deserved; the frightening neighborhood ladies of his youth are in fact witches of a sort. As the layers slowly peel away, Fat Charlie is dragged into the realization that what he thought were dreams are real, and that he has a family unlike any other.

One of the things Neil Gaiman does really well is interweave the supernatural with the every day. The more fantastical elements of the story are counterbalanced with reality: difficult boss, demanding girlfriend. The result is a hero who provokes your frustration, but who you can't help rooting for.

Plays Well With Others, by Alan Gurganus

This is a narrator who needs Valium. The frenetic pace of his prose matches that of the striving, hard-scrabble, tumbling lives of the friends he loves so fiercely.  In the club world of 1980's New York there are a lot of drugs going around, but tranquilizers are not among them.

An account of the burgeoning gay arts scene, this book is a paean to the young men who briefly lived and died, mothlike, during an epidemic that rivaled the Black Plague. Hartley Mims is an exile, escaped from his homophobic southern roots to the mecca of artists, performers, scholars, and egotists. He and his friends are close in a way that may be possible only for expats who never even felt at home at home. Their passion for one another is matched only by their competition to be the best artist, the most beloved, the first at everything. Hartley misses first by a hair, and suffers from the great good luck of being the last. Happy, and wondering if that's a decent substitute for genius.

This book made me a little bit tired with its relentless pace, but I liked it a lot. It's fun to read a voice that's so entirely unlike your own. I could never keep up with the young Hartley and his muses, but I wouldn't mind hanging out with the middle-aged version.

Mink River, by Brian Doyle

Did you ever want to live in Cicely, Alaska? The town, the setting for the TV series Northern Exposure, was full of quirky individuals of vastly different types who somehow all came together to give their town and one another an incredible sense of community. Neawanaka, Oregon is just this kind of town. The inhabitants are mostly scraping by, some with luck and joy, others in more dire circumstances.

The dozen characters we get to know intimately (among them a jaded bar owner, an opera-loving police officer, and a beloved sculptress), weave around one another in a way that is possible only in small towns. Ultimately there is something safe and lovely about being known by everyone you encounter, even if it means you are forever categorized by your parent's bad behavior, loose grasp on reality, or saintliness.

Mink River is almost stream of consciousness, with the dialogue unindicated by anything as distracting as quotation marks. Although that can be hard to follow, in this case it mostly isn't. I liked that the difference between a character's thoughts and spoken words was sometimes hard to distinguish. There are a lot of people doing a lot of heavy thinking in this book, though they go about their lives as though they were unburdened by philosophy.

The touch of magical realism the author injects is in keeping with the slightly otherworldy sense of the place and people. In a town where the Department of Public Works considers its main objective to be the happiness of the inhabitants, a talking crow is no big thing. There's a gentle balance of gritty realism and fanciful possibility that keeps this book both grounded and delightful.

Finally, Brian Doyle's lovely use of language. There is a lot of old world in the flow of words across the page; Irish and Native American DNA are intertwined in what is essentially a long, unmetered ballad. I love an author who will create the word he needs if it doesn't already exist.


In the end, the only real problem I had with Mink River was keeping some of the characters straight. The author has a penchant for nicknames and descriptors, which can take a little while to sort out. The main issue for me, however, was that I kept mixing up the two main couples in the story, one the daughter and husband of the other. These relationships were so similar that I'd forget if I was encountering the older or the younger generation. Call me a cynic, but it is, sadly, hard for me to believe in such marital bliss striking the same spot twice.

November

November has caught me reading several books at a time, which is always tricky - once I divert my attention it's hard to say whether it will ever return. 


I started An Arsonist's Guide to Writers' Homes in New England: A Novel, by Brock Clark, but only got through about half. The tone charmed me at first, but soon grated. He's sort of a modern-day Vonnegut, and his novel would benefit from Vonnegut-like brevity. 



I'm mid-way through Chang and Eng, by Darin Strauss, which I'm enjoying but seem to have put down for a little while. More about that one in the future.



We the Animals, by Justin Torres, is a first novel and a truly wonderful book, which always bodes well for the future. It's very short, which lets you gulp it down in a sitting or two; just the way it should be experienced. This story of the youngest of three bear-cub brothers and their very young parents is emotionally charged, to say the least. It's one of those very visceral novels, with no real dialogue, and a compelling immediacy. Highly recommended. It really deserves a post of its own, but may not get one.


I read two kid's books this month:


The Liberation of Gabriel King, by K.L. Going, is a good story, well-told, about a fearful boy and his best friend in the just-starting-to-segregate South of the 60's. 

I Am the Ice Worm, by Maryann Easly was so-so; interestingly set in the Arctic, but spotty in terms of plot and character. My book-obsessed 10-year-old liked it.

Now we're into December, and I'm reading yet another great book. Stay tuned...