| As I speed walk along the path, the low sun flickers on and off through the trees. Dark light, dark light, it dizzies my brain as if I’m in a zoetrope, making me pause and clasp a column of rough bark for balance. Usually, I welcome the winter sun on my face, but now I turn from the light that mocks me. Usually, I’m good at seeing in the dark but, even after Brexit, I did not foresee the triumph of Trump and I’m distraught. |  |
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Let me introduce you to two novels by established female authors about young people struck down by serious illness, set in the social context of the British National Health Service, the first in its contemporary incarnation and the second at its inception.
 Since childhood, Thelonius Liddell has striven for excellence in an attempt to forget the trauma of seeing his father murder his mother. At a university careers day, he’s recruited into the US intelligence agency by Becky Firestone, the somewhat disturbed daughter of the director whom Thelonius eventually marries. When we first meet Liddell he’s already a dead man, writing his memoir in the ten metre square cell in the clandestine containment unit he calls The Beige Motel. Now preferring the name Ali, he was converted to Islam by his wizened cellmate in a squalid (presumably Iraqi) prison, where he is accused of the murder of a man and his young daughter and of desecrating the Koran. His conversion was part of a deal brokered by a young woman, Fatima, but, like almost everything else in this multi-layered thriller about the war on terror, we have to keep on turning the pages to uncover the truth. While I’m inclined to agree that, as Fatima says, Stupidity has taken over the process of government in both countries, there’s nothing stupid in this complex tale of compromised morality and the fragility of the human mind.
I hadn’t been reviewing for very long, when I was invited to contribute to the book recommendation site, Shiny New Books. Honoured as I was, I didn’t feel ready back then, but kept it in mind. After Victoria posted a lovely early review of Sugar and Snails on the site and hosted my guest post on writing about secrets, I resolved to keep an eye out for suitable books to review. I’m pleased to announce that my reviews of The Social Brain and Playthings were accepted for the latest edition so if you’re satisfied with the easy answer to my question you can go straight to the reviews by clicking on the images. But if you’d like to discover another connection, then read on.
 Over half a century ago, the social scientist and psychoanalyst, Isabel Menzies Lyth was commissioned to carry out an investigation into why so many promising nursing students were dropping out of training. What she discovered makes edifying reading for anyone using, or employed within, the human services or, indeed, any organisation at all. Despite the best intentions of all the staff, the social systems that had evolved within the hospital were like a spanner in the works, functioning against the primary task of healing the sick. Many highly motivated students, despairing at the impossibility of delivering compassionate care, simply left. Yet this human wastage was built into a system that relied on a high volume of low-paid students to deliver patient care, without having sufficient posts for them to move on to on qualification. Although the work is radically different, I’ve wondered for some time whether there’s a similar redundancy built into the creative writing industry, encouraging the dreams of far more budding writers than there are slots in the publishers’ lists.
As Christmas Eve is the traditional time for ghost stories and the Gothic, so today’s the day to share a couple of my recent reads to have you scared to go to bed.
 As I rarely, if ever, watch sport, I was surprised how involved I got in the London Olympics. How could I not be moved by such a display of determination and athleticism? But it was the Paralympics I enjoyed the most (despite the slightly inferior TV coverage). Alongside the awe at the athletes’ prowess, were the stories, implicit or explicit, of adversity overcome. On top of that, the games afforded a rare opportunity to look properly at disabled bodies and, with the somewhat complex rating system, to be curious about them without fear of causing offence.
 With three high-profile husbands and two serious relationships with female colleagues, the life of the anthropologist, Margaret Mead, seems to have been as original as her research endeavours. While criticised as both a woman in a man’s world and a populariser of social science, as well as her findings on the sexual freedoms of Samoan society being subject to challenge, she remains – according to my totally unscientific survey of one – the best-known anthropologist of all time. In Euphoria, Lily King brings her vividly to life in this fictionalised account of a woman with a very similar history to Mead’s during a period of fieldwork along New Guinea’s Sepik river in 1933.
Nell and her husband Fen – malarial, injured and dejected after five months with the dreadful Mumbanyo tribe, she in particular despairing at their neglect and mistreatment of babies – are about to return to Australia when Bankson, another anthropologist based on Mead’s third husband, Gregory Bateson, familiar to me through the double-blind theory, persuades them to reconsider.  High-powered advertising executive, James Marlowe, is delighted when he wins the brief to create a new campaign for an international bank. But his involvement in the corporate world comes at a heavy cost, as he becomes increasingly dependent on drugs and alcohol in a vain attempt to keep the unethical nature of this endeavour out of mind. This distances him from his beloved wife and son and, eventually, from himself, as a psychotic breakdown lands him in a psychiatric hospital, terrified by a collection of plastic and metal animals and figurines which he calls The Zoo. It’s there that the reader first meets him, and there that we sit alongside him as he gradually pieces together the sequence of events that have brought him to the lowest point of his life.
The perspective on corruption is chilling, to quote one of the minor characters, Lou, the moral voice of the novel (p234-5):  Three days after her sixteenth birthday, Lydia Lee is dead. As with the Mormon family in A Song for Issy Bradley, the different ways in which her parents and siblings, older brother Nath and younger sister Hannah, react to the loss brings further hurt to them all. The favourite child of both parents, it seems that Lydia has held them together; her absence reveals and widens the cracks in the family system.
The parents met at Harvard: James a postgraduate student delivering his first ever lecture on that great American archetype, the cowboy; Marilyn an undergraduate determined to make it in the male-dominated world of medicine. Pregnancy and marriage puts paid to her ambitions as they move to small-town Ohio where James has been offered a teaching post. Chillingly, their marriage would be illegal in some States: James is the only son of Chinese immigrants and, in 1958, interracial relationships are taboo. 
9 fictional psychologists and psychological therapists: 9. The Delivery Room by Sylvia Brownrigg20/10/2014  The delivery room is the moniker Mira Braverman‘s husband, Peter, ascribes to the office in their North London flat from which she operates her psychotherapy practice. Over a period of just over a year, the reader bears vicarious witness to the trials and tribulations of her patients while Mira struggles to prevent her own pain intruding upon the therapeutic hour.
This is a beautiful novel about what it is to be human: about birth and death; grief and yearning; and the boundaries between public and private. It’s about conflict, from minor misunderstandings to the fragmentation of nations and all-out war. It’s about national identity, about insiders and outsiders and the risks entailed in genuinely getting to know another human being. Like therapy itself, it’s a gentle novel woven with textured detail, absorbing and gripping while proceeding patiently, eschewing formulaic tropes and attention-grabbing gimmicks, towards some deeper truth. The narrative progresses from multiple points of view. Although, at least initially, I balked at the head hopping, it’s successful in both adding layers of nuance to the story and in highlighting one of the most interesting aspects of the therapeutic relationship. Each of Mira’s patients meets a plump woman in late middle age with an Eastern European accent, but what they make of this varies with their own personalities and needs. One perceives her as maternal; another sees a Russian or Czech intellectual; the one who comes closest to seeing her as she really is snipes at her for being a Serbian at the time of the Balkan conflict. Yet there’s a touch of humour in their different assumptions about the abstract painting hanging on her wall.  One of the signifiers of good fiction is the early clarification of what the main characters want and sending them on a journey where they will be continually thwarted in their search to get it, right? With each of the seventeen chapter titles flagging up something the characters either want or don’t want, Alison Moore, in her second novel, seems on the surface to have taken this to heart. Lewis, doesn’t want soup or sausages but, when he was a child, he wanted to go to the moon. Sydney wanted to live in Australia. Lawrence wants a CD of The Messiah.
But Alison Moore is too sophisticated a writer to churn out a formulaic quest story. He Wants is populated by people who singularly fail to pursue their desires, or even to know what they are. Lawrence, an elderly resident of a nursing home, eagerly accepts the staff’s offers of tea, even when he already has one going cold on his lap. Lewis, his son, a retired RE teacher, eats the soup he does not want that is delivered each day by his daughter. Sydney, the childhood friend who mysteriously disappeared, wants to meet Lewis’s daughter but Barry Bolton gets in the way. Yet, despite their passivity, the reader can’t help rooting for these characters as it gradually dawns on us how, for most of his adult life, Lewis has wanted something he could never bear to acknowledge.  This week sees the publication of two second novels by female writers addressing the themes of identity and religion through the portrayal of men who don’t sit very comfortably within their own skins. Yet my experience of these novels was so different I’ve decided, despite my obsession with linking, to review them in separate posts, thereby breaking my unwritten rule and posting on consecutive days. I hope you’ll be able to join me for both.
The title, In Search of Solace, suggests a quest novel and, indeed, Jacob Little does set out to find both the woman he knew as Solace, as well as the comfort and consolation of discovering the answer to the question of who he is. But Jacob is a long way from the traditional hero: a shadowy figure who, consistent with his own theory of identity as: not something we choose for ourselves, nor … Something that grew organically as we got older. It was something gifted to us. By others … as a kind of malleable gloop that could be manipulated by the people around us; never fixed, but changing with every situation and circumstance (p 172-173), is revealed to the reader through the perceptions of the other, more solid, characters. I liked the idea of exploring a protagonist from the outside in, and that notion of identity as something forced upon us by other people is consistent with the psychoanalytic notion of projective identification in which we experience ourselves as thinking, feeling and acting in ways that don’t actually belong to us. But I wasn’t convinced that the omniscient narrator speaking directly to the reader in meta-fictional asides was either necessary or helpful:  Writers learn early to be wary of mirrors. It’s painful to have to score through that purple passage eloquently describing our protagonist’s physical appearance from the top of their head to the tips of their toes. When what we took for writerly innovation is revealed to be a cliché; the first time we allow our narrator to look in the mirror, could be the last.
Yet a character who never caught sight of their reflection would be an odd kettle of fish indeed. Plate-glass windows, stainless steel doors: the built environment abounds with reflective surfaces, never mind the mirror above the bathroom sink. Should these be totally out of bounds for writers? Our protagonist’s relationship to mirrors can be useful way of illustrating their character or mood. Are they obsessively drawn to mirrors or avoidant; are they anxiously checking their appearance, or an ordinary woman using lipstick and mascara to compose her outdoor face? Surely it’s the information dump that’s the problem. After all, Elmore Leonard preached against detailed description, not mirrors. A skilfully employed shiny surface can reflect more than is apparent to the eye. For example, in Harriet Lane’s debut novel Alys, Always, Frances sees  I recently published a post – no, I’m not saying which one – which I knew was a bit muddled. I had something to say, and it was timely to say it, but I couldn’t marshal my thoughts to express that something in a sufficiently coherent manner. For weeks it had festered on my To do list. I’d bring out my draft now and then to add bits and chop bits and move bits of it around, but it still wasn’t anywhere near how I’d hoped to get it when the idea had first lodged itself in my mind. It wasn’t so dreadful that I wanted to consign it to the scrap heap, but I had to accept I hadn’t the time or the talent to make it zing. So I clicked on Publish and left it for others to judge its worth. Do we demonstrate a lack of respect for ourselves and our readers when we send out work we consider below par? Or are we being realistic in recognising we can’t perform at our optimum level all the time? Where do we draw the line between acceptable and sloppy, and how do we recognise such a line when we see it? We need our standards but, as Emma Darwin points out, too much self-criticism and perfectionism is counter-productive as it stops us even trying to create. Yes, we must kill our darlings, but we mustn’t abort them before they’ve had the chance to see what they might become. Accepting things as they are isn’t tantamount to passive resignation. It’s not the same as giving up. Yet isn’t it rather grandiose to think we have to get everything right? My blog post, along with the rest of my millions of sentences, is insignificant in the overall scheme of things. Good or bad – the universe doesn’t give a shit. I like the way Justine Musk has drawn on the Icarus myth to illustrate how writers need to forge a path between reaching for the scorching heights of the sun and sinking so low our wings become waterlogged and we come crashing down to earth:
 Live Love Laugh Learn ... Norah's blog Don’t you love connecting through the internet? It’s great fun peering into other people’s shop windows and, if we’re really lucky, being invited inside. I get quite excited about the way we feed off each other’s ideas (with appropriate credits, of course) and can visit places we wouldn’t otherwise go. I’m just back from a virtual flight to Australia to pontificate on Norah Colvin’s blog. My post, exploring the psychoanalyst’s Stephen Grosz’s thoughts on praise, blossomed out of <140-character interactions with Norah on Twitter. Why not climb aboard your own magic carpet¹ to have a look at what our creative dialogue has spawned? Thanks to Norah for the invitation and the lovely way she has presented my post.
I didn’t have to travel quite so far when I did my other g**st² blog post at This Itch of Writing. The theme of that was writer’s block, with a bit of psychoanalytic theory thrown in, and, if you’ve avoided my plugs so far, you’d better have a look now! Since Annecdotal’s inception, I’d wondered about playing host to other writers, but my attempts to persuade friends who weren’t already blogging didn’t work out. But it’s time to cast the net a bit wider and think about recruiting other voices to vary the tone. There’s so much knowledge and talent around, it’s hard to know where to start, but I want to keep the focus on reading and writing. Let’s see how it goes. What’s your experience of fruitful connections in the blogosphere? If you’ve played host on your own blog or been invited to appear on another, do you have any tips for the novice? My next post will (probably) be on writing is the second person – do come back this weekend to share your thoughts on the ‘you’ narrator. ¹ Apologies for the whimsy, I’m dancing back and forth between this post and one I’m drafting for International Women’s Day next month, where Scheherazade gets an honourable mention. ² If you’re wondering why I’m nervous about the g**st word, I read somewhere that Google was very snotty about it. It might be a myth, but don’t want to mess up those SEO’s. |
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About Anne Goodwin
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entertaining fiction about identity, mental health and social justice
My third novel, published May 2021
My debut novel shortlisted for the 2016 Polari First Book Prize
My second novel published
May 2017.
Short stories on the theme of identity
published 2018
Annecdotal is where real life brushes up against the fictional.
Annecdotist is the blogging persona of Anne Goodwin:
reader, writer, slug-slayer, tramper of moors, recovering psychologist, struggling soprano, author of three fiction books. LATEST POSTS HERE
I don't post to a schedule, but average around ten reviews a month (see here for an alphabetical list), some linked to a weekly flash fiction, plus posts on my WIPs and published books. Your comments are welcome any time any where. Get new posts direct to your inbox ...
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