The House of the Dead

As a rule I generally pack light for my vacations, but this is always in favor of bringing too many books. The prospect of long hours of travel always inspires me to bring a selection, so that if my mood or attention span should shift, I’m more likely to have something suitable on hand. Plus there’s just the fact that I never want to feel like I “only” have one thing to read. Yes, there is Kindle (or the Kindle app, in my case) but sometimes phone battery is at a premium. Inevitably, then, I travel with at least two or three paperbacks, ideally ones without sentimental value so I can leave them behind (to make room for new books). Only sometimes, against my better judgment, do I bring library books or hardbacks that I was desperate to finish at that particular moment.

Nor can these books be just any random unread book off the shelf, either. A mysterious quality guides my hand, the “vibes” if you will. This is how I choose most things, actually—I have to bask in the collective presence of the options and contemplate them until one suddenly just feels right. The decision cannot be rushed or rationalized. Ice cream parlors with miles and miles of flavors were agony for me as a child (and no doubt for the parent accompanying me).

All of that preamble is to say that I can’t for the life of me explain why I chucked Dostoyevsky’s The House of the Dead into my bag beyond “the vibes.” Crime and Punishment was one of my favorite books out of my entire high school English career and afterwards I set about acquiring, but never actually reading, other works by Dostoyevsky. The next book of his that I read to completion was The Idiot last January—some twenty years later, in other words.

Where I struggled with The Idiot, I deeply enjoyed The House of the Dead. The character studies are more penetrating, more engaging, more revealing. The back of my Dover Thrift edition (ah, yes, Constance Garnett, my old friend!) describes the book as a “semi-autobiographical memoir,” which I take to mean as more or less true. The introduction purporting to be “oh look at these notes I just happened to find among a dead man’s papers” seems to be the plausible deniability cover-your-ass gloss of fiction over the rest of what’s to come.

The various prison personalities are interesting enough that you can overlook the lack of overarching plot or conflict. The narrator relates various observations that roughly correspond to a year, from winter to summer to winter again. Not really a strict chronological year, as such; it’s maybe akin to a thematic grouping, with several summers or winters collapsed into one, with a substantial chunk of time elided: Dostoyevsky himself served four years at a prison camp, and the self-insert narrator (Alexandr Petrovich) claims to have served ten. Petrovich acknowledges this gap and explains that he was the most observant and inquisitive during his first few months at the prison, so those memories are the strongest.

Since The House of the Dead is set in a Siberian prison camp, certain comparisons spring to mind. Not only Solzhenitsyn and One Day in the Life of Ivan Denisovich—the portraits of the various inmates reminded me a lot of Homeboy. Enough that I might send my Homeboy book buddy a copy of The House of the Dead. Preferably a newer translation than Garnett’s, though. Several have been put out since then, including Pevear & Volokhonsky! My own copy is now residing on the shelves of Što čitaš? in Zagreb, where it will hopefully find a second life.

Letters to a Young Poet

Who has two thumbs and is constitutionally incapable of going on vacation without purchasing a book or two? This girl!

I stumbled on Ivallan’s Secondhand and Exceptional Books on a quest to patronize the legendary Bei Slawinchen on a recommendation from a coworker. Bei Slawinchen didn’t happen, whether because it was closed for renovations or because I wasn’t cool enough to be let in (maybe both), but the trip out to Neukölln was worth it for Ivallan’s. Did I spend three hours browsing? Yes! Did the staff at any time pressure me to pay up and get out of the tiny space? No! Did they in fact help me locate an upcoming book club read? Yes! (I didn’t end up buying it, but paging through a couple chapters was enough for me to decide that it wouldn’t be for me.) I wandered around with various books in hand, waiting for my excruciatingly slow data connection to load library websites and my Storygraph TBR so I could check my spontaneous interests against books I was already planning to read or that I could borrow for free.

In the end I walked out with a novelty cross-stitch (“AWKWARD” in silver thread on green background), a bookmark I think I’ve already lost, and two slim volumes, one of which was the new Penguin Classics edition of Letters to a Young Poet, in a relatively new translation from German by Charlie Louth from 2011. Their collective weight was probably less than, or at most equivalent to, the copy of Wind, Sand and Stars that I had resigned myself to depositing at my hostel. Therefore, totally legitimate purchase: no net gain or loss.

On my last day in Berlin, I ended up sitting in a strandkorb at Tempelhof with some snacks and reading most of the book there, pausing occasionally to watch a family playing basketball. Contemplative. Idyllic.

A hundred years later, a lot has changed, but Rilke’s advice right from the third paragraph is still on point and perhaps the best advice any writer could get:

Go into yourself. Examine the reason that bids you to write; check whether it reaches its roots into the deepest regions of your heart, admit to yourself whether you would die if it should be denied you to write. This above all: ask yourself in your night’s quietest hour: must I write? Dig down into yourself for a deep answer. And if it should be affirmative, if it is given to you to respond to this serious question with a loud and simple “I must,” then construct your life according to this necessity; your life right into its most inconsequential and slightest hour must become a sign and witness of this urge.

Everything else is just details.

To The Lighthouse

My birthday gift of The Heart Is A Lonely Hunter was such a success with its intended recipient that they already owned a copy. “You’ve given me one of my favorite books for my birthday! I think this one is up there with To The Lighthouse,” they texted me after opening it. “Thank you! ❤️”

(If I can toot my own horn for a minute, I want to stress that even though this is a book friend and that most of our conversations touch on books, Carson McCullers had never come up. I was just operating on vibes.)

I’d given To The Lighthouse a couple of tries, years ago, because Mrs Dalloway was that rare piece of assigned reading that I actually enjoyed. It’s one of the few books I’ve liked enough to read more than once, and I even made a point of attending Bloomsday in 2019 in a low-key Clarissa Dalloway costume (so low-key that it was more akin to a private, petty joke that only I found amusing). Alas, I found To The Lighthouse so much harder to get into. Something about Woolf’s prose in anything else I’ve ever read from her is just…unpleasant. I don’t mean that it’s difficult; there’s lots of difficult writing I enjoy on the aesthetic level. I mean that I derive almost no enjoyment from it.

But the siren song of a book friend’s recommendation is hard to resist—and besides, I’m older and wiser now. Maybe, also, the paperback version I tried to read back in Korea was just too ugly, with too-small text and an unappealing font. Maybe this time I would fall in love with Virginia Woolf again. (Even though just three years ago I’d panned Orlando for “not being Mrs Dalloway.” Conveniently forgot that!)

This time around I at least finished To The Lighthouse, so that’s an improvement. I admire the conceit and the concept: the way that Woolf freezes a single afternoon into a cut gem and then examines it like a jeweler, assessing it from every angle and perspective; the graceful skip through the intervening years and tragedies (war, deaths, failed marriages) to arrive at the return of the Ramsays to the island. “Time Passes” was actually the one section of the book that flowed for me, that I enjoyed reading. Everything else was bumpy, jerky, hard to get into.

Always a weird, hollow feeling when you really want to like a book for whatever reason (it’s by an author you like; it’s a friend or lover’s favorite book) but you just can’t. Again, I ask: Why aren’t you Mrs Dalloway?

Historiskan 1/25

The extended silence here was due to a train vacation throughout Europe—and as usual, another international trip meant time to catch up on my stack of periodicals. First up: Historiskan. Topics included:

  • The cover story about The Carter Family, the progenitor of country music as we know it today.
  • The lesbian girlboss and prolific diarist Anne Lister, who nonetheless remained a fervent Anglican Tory her entire life. The duality of man, or something.
  • Qiyan in the Umayyad Caliphate: women musician, composers and entertainers analogous (though not identical) to geisha.
  • Continuing on the music theme, the Swedish singer Ulla Billquist. Translating her Swedish Wikipedia page into English looks like a fun project for Future Me.
  • Women on board the doomed ship Vasa, including a few remains that were misidentified as men. Coincided neatly with an Australian friend’s visit to the Vasa Museum.
  • La Malinche, the enslaved Indigenous interpreter and consort of Hermàn Cortès.
  • The Soong sisters, which coincided relatively neatly with my reading of The Dragon’s Village. I’ve been meaning to follow that up with Wild Swans, maybe it’s finally time…
  • Tillie “the Terrible Swede” Anderson, a pioneering woman cyclist.
  • The Swedish non-profit organization Svalorna, which still operates today in Latin America and Bangladesh.

Wind, Sand and Stars

When I first read Le petit prince, I was in my author-obsessive phase and so immediately decided to find other books by de Saint-Exupéry. The high school library had Wind, Sand and Stars and I gave it a shot, but for one reason or another didn’t get more than a couple pages in before I gave up.

Then, last year on a trip back home, I saw a beat-up old copy at the Little Free Library someone had established on the porch of the post office. Why not try again? I picked it up, along with one or two others, and took them back to Sweden with me.

Now, a year later, I read it! Halfway through the year and this was the first book to qualify for my physical library quota. Oops.

I’m in the process of comparing the translation to the French original (which my local library happened to carry, hooray!). I’m not sure if substantial changes were made for the English translation, or if there are multiple editions available, because there are ten chapters in English and only eight in French, and I’m not sure that all eight of the French are even part of the English. As of writing I sat down and started re-reading one of the chapters that appears in both books, and even between those there are substantial differences. Whole paragraphs appear in the English that are nowhere to be seen in the French. Did Lewis Galantière take huge liberties with his translation? Was the French revised from one edition to the next? Unfortunately at the time of writing I’m practically on my way out the door so I’ll have to leave that question for another time.

As it exists in English, Wind, Sand and Stars doesn’t hit in the same way that Le petit prince does. There’s plenty of adventure and lyricism about the act of flying, the psychology of being a pilot…but there’s also plenty of French imperialism. You can expect or write off certain things as being “of their time” (and the original French came out in 1939), but when you have in your head the sensitivity, curiosity, and nuance of Le petit prince, it’s a bit of a shock to stumble across de Saint-Exupéry’s complete lack of interest in the Bedouins he describes—of its time or otherwise. To the extent he gives them any thought at all, it’s not much more than stereotype; French superiority isn’t ever stated outright but it’s there as background radiation.

That’s the only fly in the ointment, but unfortunately it’s a pretty big one. Big enough to chuck the book into the memory hole? No, of course not. But certainly big enough to detract from the magic of the rest of the book—including the near-fatal crash in the Sahara that led, years later, to Le petit prince, where de Saint-Exupéry and his mechanic were rescued from certain death by a passing Bedouin.

Om det regnar i Ahvaz

I fell a little bit in love with Nioosha Shams at Stockholms Litteraturmässan two years ago in a panel discussion on the phenomenology of reading. I added her only book to my TBR, one of the more recently published books to end up there.

I’m still in love with Shams, but Om det regnar i Ahvaz is not for me. The premise is simple: the first teenage heartache, pasted over that most exciting of times, graduation. And yes, since we’re talking about teenagers, this is squarely within Young Adult territory. Just to pick up a copy, I had to creep in to the Youths TM section of the library like an interloper, past the sternly-worded Official Rules explaining that in order to keep the space friendly for the Youths TM, no one over 25 was allowed to sit and linger in this space. Not an auspicious start, perhaps!

Since I’m an old, and not particularly romantic, the drama doesn’t hit the same. Our protagonist Ava falls in love with the (only slightly) older, glamorous Nadja, a summer love that unravels over the course of the book. Ava also has her two obligatory Teenage Shenanigan Besties, with whom she shares a rather wholesome and aspirational bond, and her younger brother who has been ensnared by a different glamor: gang life. This last point takes up the intermittent B plot, which I would have liked to see feature more prominently (or just have its own book?), I guess because I find stories about navigating familial relationships more interesting than romance.

But if I were a queer teenager, this would have no doubt been fun escapism. The story wasn’t for me, but Shams has a fantastic way with words and populates the book with fun and relatable (if highly idealized) characters.

How to Be an Anti-Capitalist in the 21st Century

I read this one over the course of several months for a neighborhood book circle, even though it’s short and simple enough to finish in a couple of days. Erik Olin Wright intended this to be a quick introduction for laypeople, free of academic jargon and complicated arguments. Maybe stretching such a thin text over too long a time hampered my understanding of it, but by the end I felt like How to Be an Anti-Capitalist in the 21st Century didn’t deliver on the promise of its title.

I say this as someone who already fundamentally agrees with Wright’s larger project. But a how-to guide includes concrete steps and real-life examples to follow. Wright provides no instruction whatsoever, and for all of his theorizing about how different anti-capitalist (or simply not capitalist) groups and projects can be organized, the only specific example he mentions is Wikipedia. Contrast this with Chokepoint Capitalism, This is an Uprising or Rules for Radicals, which constantly refer back to real life protests and research, picking apart successes as well as failures. When hypothetical alternatives are floated to solve a current problem under capitalism, they are described in very precise terms. You come away from those books feeling prepared and capable of doing something.

A more appropriate title would probably be How to Think About Anti-Capitalism in the 21st Century, because what Wright does well in the volume is defining, categorizing, and organizing concepts. Instead of coming away from the book knowing what to do, I came away from it with better and more precise ways of articulating my ideas. This is by no means an unimportant part of the process of “eroding capitalism” (Wright’s own concept), but it’s not a fulfillment of the promise of the title.

How to Be an Anti-Capitalist… was intended to be accompanied by a denser, more scholarly text on the subject. Wright already had a heavy-hitting career as an academic and had been asked by various groups he’d organized with to write a more approachable popular text. He got that one out of the way first and then died from cancer before he could finish the bigger one. Perhaps that would have had the meat and potatoes I felt was lacking here.

Hemlös: med egna ord

I have mixed feelings about street papers as a solution for homelessness, but I still buy Situation Sthlm more often than not. It goes on the stack with the rest of my magazine subscriptions and then I read them all while I’m traveling, depositing them in seat pockets and airports as I go.

The most recent edition of Situation Sthlm, which I bought right before boarding a train to Norway, included a separate paperback anthology of the Med egna ord section of the magazine from 2015 to 2025—that is to say, writing from the magazine sellers themselves. It’s an interesting  collection to have, not least because it offers a more permanent space for writing than a monthly periodical.

Or, it almost does. The book is printed and bound like a proper paperback, all very professionally, but when you look closer you realize there’s no ISBN. Even the free copy of Bara ljuset kan besegra mörkret that I just randomly got in the mail one day has an ISBN, meaning it’s a registered entity in the larger bookseller ecosystem. How is this edition of Hemlös: med egna ord, never mind the previous two paperback anthologies, supposed to survive? No ISBN means you can’t hop on, say, adlibris.se and buy a copy two or three years after publication, if reading this blog post inspires you to buy it. One copy each of the 2008 and 2015 editions are available from the Stockholm public library, but that doesn’t feel like especially robust data security.

Not so permanent after all, perhaps.

The anthology consists of poetry or brief little biographical pieces and daily observations, so it’s not exactly citizen journalism. But it’s citizen literature, if such a concept exists—outsider art—and it would be a shame if it disappeared from the conversation because it wasn’t included in the system.

The Lies That Bind: Rethinking Identity

I first came across Kwame Anthony Appiah’s The Lies That Bind: Rethinking Identity in a friend’s Instagram story and thought, “Hm, this would be an interesting book.” And it was, but not in the way I had been hoping for.

Appiah examines the broader concept of identities in an opening chapter (“Classification”) and then breaks down five specific ways that people typically identify—creed, country, color, class, and culture—before giving some end remarks (“Coda”). In each chapter he highlights the inherent instability of these concepts, not just through abstract supposition but also by pointing to historical events and people, like Italo Svevo or Amo Afer, as case studies.

Perhaps the book wasn’t for me because I was already on board with how unstable these categories are. I wouldn’t be able to name any specifics, but I imagine that Appiah’s arguments in places (maybe especially in the chapters on country and color) were also made in Nell Irvin Painter’s A History of White People, which meant that they weren’t new ideas for me. The chapter on creed also left me particularly underwhelmed—Appiah gives a thorough and convincing explanation of why religions are more than just adherence to a particular sacred text, but it seems to be in response to a shallow Internet atheist style interlocutor. Yes, that specific understanding of “religious creed” as an identifier is indeed a bit wobbly, but religion can be defined in other ways besides “adherence to a particular sacred text.” Those more nuanced understandings go largely unaddressed.

I think I also was going in half expecting a diatribe against what’s lately been termed “identity politics,” but Appiah never goes that far, either. He does raise skepticism about appeals to diversity within political parties or companies, but never more than mild commentary as an aside to the larger point. I went in spoiling for a good debate and instead got an explanation of things that more or less aligned with the views I already had.

Instead, the most engaging parts for me came in the initial Classification chapter, where Appiah sets out a working definition of “identity” for the book and where he thinks identities fail. In his view, identity markers are a rough shorthand for group assignations we can sometimes choose for ourselves and that we sometimes have foisted upon us. If I’m a Muslim, I have a very clear idea about what it means for me to be a Muslim. I also have a clear idea about it means for other people to be a Muslim. At the same time, other people have their own ideas about what it means for someone to be a Muslim. So far so good, if slightly chaotic. But because individual ideas about “being Muslim” will never coalesce into a universally accepted definition, things collide. I might consider myself Muslim while other Muslims do not; someone can also consider me a Muslim when I’m not in reality.

This kind of sloppiness might be surmountable or at least tolerable on its own, but identities run into another thorny problem: essentialism. By this Appiah is referring to the philosophical idea of “essences,” that people (or things, or animals, or etc.) possess immutable, timeless qualities. Mash this up with identity labels, and this means that we think of any given identity marker as arising from an eternal and immutable characteristic of the person with said identity. To continue on the Muslim example, people tend to think (or to act and speak as if they think) there is a Muslim-ness that all Muslims share, that it is an eternal and immutable thing. Essentialism, Appiah theorizes, works more or less fine for simple concrete things like cups or chairs, but it can’t hold for identities. There’s too much variation, even contradiction, within any one group.

But even though essentialism is presented as the single most important reason to rethink identity, it’s only addressed head-on in the introductory chapter. Appiah refers back to it occasionally in later chapters, but not in any strong sense. If illustrating the inherent instability of identity labels was meant to be the argument against essentialism, I don’t think it’s a very convincing one.

This might be a problem where I’m expecting popular philosophy, or popular political science, to dig into a topic at an academic level. That’s simply not the job of a popular book aimed at a lay reader and the problem is my own expectations. If a book like The Lies That Bind is meant to be an introduction that inspires readers to seek out more robust texts, or even just to reconsider their own ideas, then that’s fantastic no matter what I think of it. After all, The Lies That Bind is also an interesting and engaging read. Appiah has a knack for effective framing devices and clear, concise explanations. Perhaps the fact that the book grew out of lectures also helped give it a light, conversational tone.

As someone described How to be an Anti-Capitalist in the 21st Century, it’s a good book to give to your centrist friend. But if you’re already convinced of the instability of identity markers then there’s not much new here for you.

2025 Reading Goals Check-In

At least 48 books:
I am four books behind as of this post (20 rather than 24), but I have upcoming vacation time with plenty of long train rides to catch up!

At least 4 are in French:
Trois femmes puissantes
En attendant la montée des eaux

This puts me at halfway. If I’m feeling desperate, I can count this goal as fully met (since I read each French book twice).

At least 25% are in Swedish:
Eight out of twenty is a nice round 40%. Or, the better metric: I’ve read an equal amount of Swedish and English.

At least 12 are non-fiction:
Sister Outsider
The Shock Doctrine: The Rise of Disaster Capitalism
The Lies That Bind
Hemlös—med egna ord
How to Be an Anti-Capitalist in the 21st Century

Just a little less than halfway on this one, but everything I’m reading at the time of writing is non-fiction. Once they’re done this will be back up to par.

At least 10 have been in my library for over a year:*
This category has been sorely neglected. I only started with the first in June, with Wind, Sand and Stars.

At least 10 have come from my TBR (as of January 1, 2025):
An Unnecessary Woman
En attendant la montée des eaux**
Om det regnar i Ahvaz

(For my own reference, the last book I added to my TBR before January 1, 2025 was Où on va, papa ?)

At least half are by women or enby authors:
Seven out of fourteen authors so far this year are women.

At least 10% are by Black authors:
Trois femmes puissantes
Sister Outsider
En attendant la montée des eaux
The Lies That Bind

Ten percent of twenty would be two, so I’m ahead of the curve here. Assuming I finish around fifty books, however, I need one more.

At least 1 new-to-me country (as of January 1, 2025):
Lebanon (An Unnecessary Woman)
Iran  (Den blinda ugglan)
Guadeloupe (En attendant la montée des eaux)***

The map has a few more than those added as I remembered things like, oh yeah, Garth Nix is Australian! Even so, I’m ahead of the game here, by accident, so I will arbitrarily allow this to count towards future lists.

*I revised this one after I didn’t quite meet it last year. Is it shifting goalposts or is it adjusting targets to better correspond to reality? You decide!

**Technically I had added another Condé novel to my TBR instead of this one. Since I mostly just picked it at random to act as a Condé placeholder, I’m counting En attendant… as part of this goal fulfillment.

***Guadeloupe is an overseas department and region of France, but it feels like it should count.