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Six degrees from the tipping point
Time for another round of Six Degrees of Separation in which the idea is to form a chain of connections from a starting book. This month Kate who organises the meme, has chosen a non fiction work as the trigger book.
The Tipping Point by Malcolm Gladwell is one of the few business books I’ve read (rather than just bought and left on the bookshelf). Even more remarkable I enjoyed reading it and found it helpful in my own line of work. Gladwell defines the ‘tipping point‘, as the moment when an idea, a trend or a form of behaviour crosses the threshold, tip and spreads so extensively it becomes a noticeable phenomenon. His first example is about the sudden popularity of Hush Puppies shoes in the mid-1990s but he also goes on to talk about a battle between a director of the New York subway and the graffiti artists who are intent on spoiling the look of his trains.
Gladwell sees how the involvement of different types of people with particular sets of social gifts are essential for change to happen: some are “connectors” who know large numbers of people and who are in the habit of making introductions; “Mavens” are information specialists, the people who delight in gathering information and sharing it. Then there are the “salespeople”, the ones who are great at persuading others to a point of view or to a particular action.
It’s one of these “salespeople” that features in the first book in my chain.
Nelson Mandela was one of the most significant and influential political leaders of our time. His autobiography Long Walk to Freedom profiles his early life, his political awakening and the 27 years he spent in prison for acts of terrorism. But it also shows his ability to persuade people to a different point of view – most notably to the need for reconciliation and not recrimination in post apartheid South Africa. In the final chapters of the book, Mandela — now President of his country — looks to the future and his belief that the struggle against apartheid would continue.
It’s in a post apartheid South Africa that my next book is set.
The Whale Caller by Zakes Mda takes us to a town on the south coast of the Western Cape. It’s become famous as one of the best places from which to watch the migration of Southern Right Whales during the spring and winter. The Whale Caller develops a an affinity with these whales, calling to them using his kelp horn. Much of the book is about the relationship of man to nature but it also has a theme of betrayal. One of the ways this is played out is through a set of characters called The Bored Twins who start off as being playful but they take their games a step too far, with tragic consequences.
The twins in The Whale Caller are not anywhere as endearing as the pair in my next book: The God of Small Things by Arundhati Roy. The Kochamma “two-egg twins” are a mischievous pair, loving nothing more than to indulge in word play, where they read backwards take words and phrases uttered by adults and twist and distort them into their own version. They’re also a jealous pair whose noses are decidedly put out of joint when another young girl comes to stay with the family.
All that talk of twins puts me in mind of a classic in the science fiction genre.
Still from the Village of the Damned
John Wyndham’s The Midwitch Cuckoo gives us more than one set of twins. We get a while village of identical children born within a few days of each other in the same small village. They all appear normal except they have unusual, golden eyes and pale, silvery skin. As they grow up it becomes increasingly clear they are far from humanThese children have none of the genetic characteristics of their parents. As they grow up, it becomes increasingly apparent that they are, at least in some respects, not human. This is one of the few science fiction novels I’ve enjoyed along with the film version called Village of the Damned.
Wyndham’s novel was creepy rather than shockingly scary. If it’s the thrill of the later you’re looking for, then Susan Hill’s The Woman in Black is more likely to suit. It’s written in the style of a traditional Gothic novel using the familiar device of a storywithin a story. This tale of a mysterious spectre that terrifies a small English town, because it heralds the death of children, proved to be a huge success when it transferred to the stage in 1987 becoming the second longest-running play in the history of the West End after The Mousetrap. I didn’t care for the book at all — I thought Hill’s prose was overblown (it’s so tedious when an author loads up the narrative with adjective upon adjective) but the stage play is superb. Daniel Radcliffe’s film version, felt to me like a very pale imitation.
For brilliance in the Gothic vein, we have to turn to a much earlier novel. For my last link I’m chosing a book with a similar title. The Woman in White was the fifth title published by Wilkie Collins and generally regarded as an early (if not the first) example of the sensation novel. Collins ingeniously hit on the idea of telling this story of an heiress caught up in a deadly conspiracy, through multiple narrators. The effect is akin to hearing witnesses in a legal trial with the reader given clues to help solve the case. The plot does stretch credulity but Collins is such a ace storyteller that you get swept along anyway. But the book wouldn’t be half as good without the character of Count Fosco, a larger than life villain who hides his menacing nature behind a mask of intelligence and urbanity. Early critics of the novel were uncomfortable about this character however, fearing it could corrupt susceptible women readers.
And with that we have reached the end of a chain which has gone from a book that caused a sensation when Gladwell published it in 2000 to one that caused a sensation in 1859. A bit of a strained connection maybe but I shall let you all judge.
From beauty myth to family jealousy in six steps
It’s time for another Six Degrees of Separation where the idea is to create a chain of book connections. This month we begin with a non-fiction title from 1990: The Beauty Myth by Naomi Wolf.
There is in a clue in the subtitle “How Images of Beauty Are Used Against Women” about the primary message of this book. Wolf argues that as the social power and prominence of women have increased, the pressure to conform to unrealistic social standards of physical beauty has also grown stronger because of commercial influences on the mass media. Amongst her evidence she cites a rise in cases of eating disorders such as anorexia and bulimia and the rapid growth of plastic surgery.
The Beauty Myth became a best seller and generated considerable debate. I remember thinking when I read it that, though interesting and thought-provoking, it wasn’t anywhere near as convincing as Germaine Greer’s The Female Eunuch. I’ll give Wolf a lot of credit however for bringing the topic out into the open. Sadly, we see evidence regularly that the issues she saw then haven’t gone away.
Let’s stay with myth and beauty for my first link: Pygmalion by George Bernard Shaw, is a play about a professor who trains a poor, uneducated girl to act and speak like a lady. The title comes from the ancient Greek myth of Pygmalion, a sculptor unable to find any real woman who fitted his idea of the perfect female. He carves a statue out of ivory that is so beautiful and so perfect that he falls in love with it and wants to give it life.
Pygmalion is of course a story about transformation and change; a theme which is central to my next book; also by an Irish writer. In Nora Webster Colm Toibin gives us a deep and penetrating portrayal of a middle-aged widow struggling to remake her life after the premature death of her husband. She returns to the office work she thought she had left behind forever, begins listening to the classical music her husband never liked and starts making new friends. One of the most significant signs that she is moving on comes when she visits the hairdresser and emerges with a radical new style.
I could link to another work about transformation, Educating Rita by Willy Russel, in which a young uneducated hairdresser enrols for an Open University degree course because she wants more from life. I’ve seen the stage version and watched the film multiple times (it’s one of my all time favourites) but I can’t really use it for this chain since it would mean breaking my rule that I select only texts I’ve read.
So let’s go down a different path and to another book which uses hair styles as part of a theme about identity. The main character in Americanah by Chimamanda Ngozi Adichie only begins to feel truly free and true to her Nigerian roots when she decides she will no longer spend hours and vast sums of money on having her hair ‘relaxed’. Hair, she comes to realise, is a political issue in America with black women expected to relax their natural curls with strong chemicals in order to conform to comfortable white norms. Before she makes her first return home to the Nigeria she left 15 years earlier, she visits a salon to have her hair braided.
I’m sticking with the issue of identity for my next book. A Portrait of a Lady is one of Henry James’ most respected novels. It wasn’t one I enjoyed at first reading – I found it incredibly slow (page after page where nothing much happens except someone opens an umbrella)… I must admit I skimmed many passages. It wasn’t until I re-read the book that I began to fully appreciate this tale of a young American woman who insists that she must be free to write her own plot and then to live with the unfortunate consequences of her decisions. Still not sure I understand the ending however….
Consequences takes me to India and to a novel that won the Booker Prize in 1997. The God of Small Things by Arundhati Roy has two captivating characters in the form of Rahel Kochamma and her brother Esth. They’re used to being the centre of attention so when their new cousin arrives to spend Christmas at the family home, their noses are put out of joint. Their jealousy has tragic repercussions that don’t become apparent until the final chapters of the novel. Until then we’re treated to some tremendous comic scenes involving these effervescent twins.
The family rivalries depicted in Arundhati Roy’s novel remind me of Neel Mukherjee’s novel The Lives of Others which is set in India during the second half of the 1960s. In it we meet three generations of the large and relatively wealthy Ghosh family who live together in one house, their rooms allocated on a strictly hierarchical basis. The patriarchal Prafullanath and his wife Charubala live on the top floor., the widow of their youngest son is relegated to a storage room on the ground floor of the house. Inevitably there are tensions over saris and wedding jewellery.
And with that I’ve reached the end of a chain which has moved from notions of beauty through female identity to familial disputes. If you’re interested in how other bloggers created their chains, take a look at booksaremyfavouriteandbest and also find out how to join the meme hosted by Kate.
8 Favourite Reads of 2017 (so far)
We’re approaching the mid point of the year so what better opportunity to review the last six months and pick my favourite reads to date. Top Ten Tuesday this week in fact is all about the best 10 books of 2017. Of the 30 books I’ve read so far there were eight that stood head and shoulders above the rest.
Station Eleven by Emily St John Mandel: I never thought to find myself choosing a sci-fi novel as a favourite read. But this was outstanding. My review noted: The combination of beautiful style of writing and a compelling narrative made this a book I found hard to put down.
The God of Small Things by Arundhati Roy: Not only is this one of my favourites of 2017, it’s high up on my list of favourite Booker Prize winners because of its glorious characters and dazzling language. My review is here
Glorious Heresies by Lisa McInerney: Bold and brash, this is a novel that pulls no punches in its depiction of the underbelly of Cork in Ireland. But as much as the drug dealers, prostitutes and thugs will have you rolling your eyes in despair, there will be times you can’t help but feel a wave of sympathy for their predicament. As I noted in my review, this is a novel which poses serious questions about salvation and guilt.
My Ántonia by Willa Cather: It took me long enough to get around to reading what is considered one of Cather’s finest novels. It celebrates the pioneering spirit but not in a rose-tinted glasses way; there is plenty of sorrow mixed in with the nostalgia. My review is here
Oscar and Lucinda by Peter Carey: “a marvellously idiosyncratic tale of two misfits” is how I described this Booker Prize winner in my review. It has some wonderfully surreal scenes including one where a gangly young priest is hoisted aboard a steam ship in a cage normally used for transporting animals.
His Bloody Project by Graeme Burnett McCrae: a cleverly constructed novel that purports to be a true account of a young Scottish lad accused of three murders. It’s presented in the style of a case study into the murders in late 1860s and the subsequent trial so readers get witness statements, a newspaper account and an investigation by a criminologist. My review is here.
The Vegetarian by Han Kang: This has to be the most bizarre and disturbing novel I’ve read this year. It begins with a decision by a Korean housewife to stop eating meat and traces her mental and physical decline. My review summed up my reaction: This is not a novel you can say you ‘enjoy’ or ‘like’ but it’s certainly one that you will not forget.
A Tale for the Time Being by Ruth Ozeki: this is quite an extraordinary novel which covers a dazzling array of topics and themes. Zen Buddhism; environmental degredation; bullying; suicide; memory – to name just a few. The result should be a complete mess but it’s a surprisingly mesmerizing story of a Japanese teenager writing a diary to express her feelings of dislocation – that diary is found many years later washed up on a beach in British Colombia. I haven’t got around to reviewing it yet in full.
![The God of Small Things by Arundhati Roy [Booker Prize]](https://i1.wp.com/bookertalk.com/wp-content/uploads/2017/04/kerala.jpg?resize=90%2C70&ssl=1 "The God of Small Things by Arundhati Roy [Booker Prize]")
The God of Small Things by Arundhati Roy [Booker Prize]
The God of Small Things, the debut (and to date sole) novel by Arundhati Roy sparked a hoo-ha when it was announced as the winner of the Booker Prize in 1979. A lawyer from Kerala (Roy’s home state in India and the setting for the book) filed a complaint of obscenity against the author. Reviews in the USA were extremely positive but those in the UK, less so. The Chairman of the Booker judges, Gillian Beer, a professor of English literature at Cambridge praised the book for its ”extraordinary linguistic inventiveness” but some commentators said it was too popularist. One previous Booker judge called the novel “execrable” and The Guardian newspaper labelled it “profoundly depressing”.
Was I reading a completely different novel to the one read by the UK critics? I’d agree that The God of Small Things is not an ‘uplifting’ book – it’s one you read it with a sense of sadness for the characters whose lives take a turn for the worse. But depressing? No way. It’s thoughtful, insightful and an often funny tale of the decline and fall of the dysfunctional Kochamma family who “tampered with the laws that lay down who should be loved, and how.” As for the allegation of ‘popularism’ I’d be mightily offended by that if I were the author for it’s a term that suggests a kind of book that can be read without taxing the brain too much wheras Roy’s novel is full of ideas and questions about the caste system, communism and family loyalty. Added to this are the insights we gain into aspects of life in Kerala including the growth of Communism and the tradition of the Kathakali dance.
The novel opens with one of the members of the Kochamma family returning to her childhood home at Ayemenen House in Kerala at the southernmost tip of India. This is where Rahel (one half of the Kochamma “two-egg twins” ) lived for seven years with her brother Estha and their proud, beautiful mother Ammu who bears the stain of a divorce from her alcoholic, violent husband. Other residents include the twins’ blind grandmother Mammachi, their beloved uncle Chacko (Rhodes scholar, serial womaniser) and their great-aunt Baby Kochamma. Ayemenen House was once an elegant property befitting the proprietors of a successful chutney and pickle business but by the time of Rahel’s return the gardens are overgrown, the windows are filthy, the corpses of insects litter the rooms and grease dulls the shine of the doorknobs. The only occupants are Baby Kochamma, now a fat old woman who spends her days sprawled on a sofa watching soap operas beamed in via a huge satellite dish, her maid and Estha, now a young man who refuses to speak.
It’s Estha that Rahel has come to visit. They were inseparable as children, thinking of themselves
… together as Me, and separately, individually as We or Us. As though they were a rare breed of Siamese twins, physically separate, but with joint identities.
For the first seven years of their life they rode above the antagonisms and tensions of the household with a blend of affection and inexhaustible energy. But when Chacko decides to bring his estranged wife and his daughter Sophie Mol to Ayemenen for Christmas, the twins are jolted into a realisation that their mother’s love cannot be taken for granted. Their ensuing jealousy of Sophie Mol has tragic consequences.
Twenty-five years have passed since Rahel and Estha last saw each other. It the night Sophie drowned in a river. What happened that night, what part the twins played and why Sophie’s death had such damaging consequences for the family is something we learn only in fragments “resurrected from the ruins and examined. Preserved. Accounted for.” Roy’s reconstruction of the past is a circuitous one, told via flashbacks and foreshadowings whose significance becomes apparent only when all the strands come together at the end of the novel.
It could make for a deeply frustrating read but what captivated me and sustained my interest throughout was the exuberance of the characters and the richness of the writing itself. The twins’ private language is a case in point. They love all forms of word play, including reading backwards, but particularly the one where they take words and phrases uttered by adults and twist and distort them into their own version. Instructed for example to be good ‘Ambassadors of India’, when they meet Sophie Mol at the airport, they instantly adopt new titles as ‘Ambassador E. Pelvis’ (reflecting Estha’s love of pointy shoes and quiffed hairstyle) and Ambassador S. (stick) Insect’ (for the moth disovered by her father that flutters in Rahel’s heart). On the way home they give a rendition of the song they’ve been taught to sing in welcome:
RejOice in the Lo-Ord Or-Orlways
And Again I say re-jOice
Their Prer NUN sea ayshun was perfect
This is writing that dances and sparkles with nonsensical rhymes, jokes and rogue capital letters that perfectly capture the effervescent nature of the twins, often with tremendous comic effect.
The twins of course are at the heart of the novel. It is their reaction to Sophie Mol’s visit that provide the impetus for Sophie’s death and for a revelation about their mother’s love affair with Velutha, an Untouchable, that will be her and her family’s undoing. But my favourite character is Baby Kochamma, a woman who in her youth fell in love with a Roman Catholic priest and converted to his faith to try and win him. Embittered by her failure she degenerates into a mean, resentful figure who loves nothing more than stirring up trouble for everyone else. So determined is she to protect her family’s reputation from the shame of Ammu’s forbidden love, that she fabricates a story that Velutha is a rapist and a child abductor just so he can be got out of the way. The grossness of this woman’s mind is matched by her physical presence.
In the old house on the hill Baby Kochamma sat at the dining table rubbing the thick, frothy bitterness out of an elderly cucumber. She was wearing a limp, checked, seersucker nightgown with puffed sleeves and yellow tumeric stains. Under the tale she swing her tiny, manicured feet, like a small child on a high chair. They were puffy with oedema like little foot-shaped air cushions. …
She was eighty three. Her eyes spread like butter behind her thick glasses. … Her hair, dyed jetblack, was arranged across her scalp like unspooled thread. The dye had saine the skin of her forehead a pale grey, giving her a shadowy second hairline. .. A sly touch of rouge. And because the house was locked and dark and because she only believed in 40 watt bulbs, her lipstick mouth had shifted slightly off her real mouth.
With characterisation this glorious, with language that dances and dazzles and with a story that mingles sadness with joy, The God of Small Things has become one of the best novels I’ve read all year.
Footnotes
About the book: The God of Small Things by Arundhati Roy was published by Flamingo in the UK in 1997. It went on to win the Booker Prize in 1997, was listed as one of the New York Times Notable Books of the Year that same year and reached fourth position on the New York Times Bestsellers list for Independent Fiction.
About the author: The God of Small Things is semi-autobiographical, reflecting Arundhati Roy’s childhood experiences in Aymanam, Kerala. Though its success gave her financial security she turned her back on fiction writing to devote herself to political activism. She is a spokesperson of the anti-globalization/alter-globalization movement and a vehement critic of neo-imperialism and U.S. foreign policy. Late in 2016 Hamish Hamilton UK and Penguin India announced she was working on a new novel – The Ministry of Utmost Happiness – with a publication date of June 2017.
Why I read this book: It’s one of the Booker Prize winners I hadn’t got around to reading.
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