Turkish Tag Team: Requiem över en förlorad stad during Cold Nights of Childhood

I was debating whether to make this one post or two, and in the end decided to make this a single post for a variety of reasons:

  • In terms of sheer practicality, my posting schedule and reading schedule are such that my usual rate of posting will have me bleeding 2023’s books into 2024, which I emphatically do not like.
  • These are authors that are in a kind of dialogue with each other, or rather one of them is clearly inspired by the other.
  • The books themselves were even very similar in terms of mood, themes, structure, etc.
  • I didn’t have much to say about either book on their own.

So, first of all, which books are we talking about?

The first was a Swedish translation of Aslı Erdoğan‘s Requiem över en förlorad stad. I read an interview with her in an old issue of Karavan that I brought with me on vacation for airplane reading; in the end I was so taken by how insightful and interesting and brainy she was that when I got back to Stockholm I immediately grabbed what book of hers I could from the library.

The second book was a recommendation from a American friend now residing in Turkey that served to underscore an author I had apparently added to my Storygraph TBR (probably mentioned in the same issue of Karavan): Tezer Özlü. An English translation of her Cold Nights of Childhood was published this year, which I was able to track down at the Stockholm library.

My process was something like this:

  1. Read Erdoğan
  2. Solicit an opinion on her from a bookish American friend in Turkey, who recommends Özlü
  3. Read Özlü

As you might guess from that turn of events, I wasn’t entirely taken with Requiem. It’s a lot of mood and imagery and lovely turns of phrase, but nothing I could really sink my teeth into (or that I can remember now, at the time of writing, a week or two later). Trying to summarize the book is a struggle: “unnamed woman wanders around an unnamed city at night”? I guess?

My best explanation is that Requiem functioned as a sort of literary therapy for Erdoğan, and therefore concrete experiences are abstracted into an etheric dream world rather than relived in all their terror. Art as a process rather than a product, written for Erdoğan and not for an audience. The end result is that I would finish each chapter unsure of what happened and without any sense of the human being behind the words, and that last point is ultimately the make or break thing for me.

As Bookish American friend in Turkey tactfully put it, Erdoğan’s literary reputation might be overstated due to her (obviously important and brave and impressive!) political activism. But I also get the sense that Requiem is a very different beast than her earlier books, so perhaps I don’t have an entirely fair picture of her work. The same bookish friend also tipped me off that Tezer Özlü had finally been published in English for the first time, in an off-the-cuff follow-up to her estimation of Erdoğan that implied a comparison in Özlü’s favor.

What bookish American friend couldn’t have known, or maybe she did, was that Requiem reads like a riff on, and a response to, Cold Nights of Childhood. Both books ground a woman narrator in a city (or several cities) as she wanders not only through space but also through time, emptying their memories on the page the same way you empty your pockets before throwing a pair of pants in the wash. But if Requiem is an etheric and abstract dream world, then Cold Nights is waking life, or maybe better put a lucid dream. Instead of fuzzy, surreal abstraction, Özlü names everything with precision and clarity: people, streets, cafes, flowers. The same clarity holds throughout, even as the narrative skips through time or across space; she eschews poetic metaphor and favors stark depictions of her external circumstances and experiences, whether it’s stays at psychiatric wards or adolescent sexual desire or family gatherings in their cramped rural home. I might not have learned anything about Özlü by the end of Cold Nights, but unlike Requiem I still felt like I had met her. All of the English summaries make comparisons to The Bell Jar and it’s honestly a pretty apt one.

Both of these books raise the question of I’ve been taught to expect in stories, not only through school and writing advice, but also in the kinds of stories available for consumption in popular culture. Building expectations through repetition is another way of teaching, after all, and the stories in most conventional media usually have story arcs, character arcs, conflicts, changes, a sense of narrative unity. By the end of the story, situations and characters should be different from how they started, and we should be able to clearly trace the progression of those changes. How many of these expectations can go unmet and a story (a book, a movie, a TV show) still be satisfying? How else can we look at stories? What other shape can they take? What other purpose can they serve?

State Tectonics

State Tectonics marks the first time I’ve finished an entire new trilogy since I finished The Obelisk Gate back in 2017? 2018? (And we’ll overlook, as well, A Desolation Called Peace, which is so bound up with A Memory Called Empire  that I’m pretty sure the two novels started as one gigantic tome.) Genre fiction as of late has the bad habit of turning everything into series of some kind or another, and when my reading life is already navigating the tension between the scope of my ambitions and the limits of my time, series are the last thing I need. But I was so taken with Malka Older’s cyberpunk-y political thriller and the complex electoral near-future she had imagined that I went ahead and finished the next two books, though at this point if she comes out with further installations I will declare myself done. Not because I doubt they’ll be good, but because I only have so much time on this earth.

Like she did with Null States, Older jumps ahead to a few years after the previous book left off. It’s election time again, the same as in Infomocracy, and this time the sprawling tech giant Information itself is under attack. Rogue physical assaults are being launched against Information servers and hubs around the world; unsanctioned communications channels designed to go undetected by Information have been figuratively as well as literally unearthed; mysterious individuals are roaming around cities and handing out self-destructing paper copies of “local guides” that claim to be better sources of information than Information itself. Who is responsible? What’s their end game? Is it an inside job? How will all this affect the upcoming election? Again, like in Null States, Older expands perspectives to include secondary characters we haven’t spent much time with before—Maryam, a Muslim lesbian techie who first appeared on the side in Infomocracy; Amran, a young and inexperienced Sudanese Information employee introduced in Null States—while touching base with previous perspective characters like now-married, now-pregnant Roz from Null States and Mishima from Infomocracy.

I would recommend reading all three books in pretty close succession, if only to keep the rather large cast of characters straight in your head, particularly the side and secondary ones. My timing didn’t quite work out, so while I read Infomocracy and Null States back-to-back, I took six weeks off in the middle of State Tectonics to go on vacation (and I wasn’t about to bring a hardback library book with me in my carry-on luggage). Whatever nuance I failed to grasp because I forgot who was a member of which political party who had broken up with whom wasn’t enough to make the broader strokes of the action impenetrable to me, and quite frankly I just plain have fun spending time in the world to which Older has obviously given an incredible amount.

Without getting into serious spoiler territory, I will say this: State Tectonics is an incredibly satisfying ending that is on brand with how the geopolitics in the series have developed and shifted across all three books. People who are better at intrigue than I am might be able to guess where the story is going, but for me the ending was well-earned. Older sticks the landing, no doubt about it.

Full House: The Spread of Excellence from Plato to Darwin

One of strongest pieces of evidence that, contrary to Leibniz’s assertion, we do not live in the best of all possible worlds is that somehow Richard Dawkins is still tottering around while we lost Stephen Jay Gould to cancer in 2002.

Or maybe there’s a parallel universe version of me lamenting a Gould who lived long enough to become the villain. Who knows!

While today I try to make a point of reading as many authors as possible, my default reading position up until maybe ten years ago was to focus obsessively on single authors and suck the marrow out of them—by which I mean, read every available book, article, essay, whatever. The only hard limit I drew for myself was posthumous publications, and only because I know from firsthand experience how utterly embarrassing all of my unrevised writing is. Stephen Jay Gould was one of those obsessive focal points for me, though the volume of his writing ultimately outstripped my attention span and, thus, much of his work remains for me to read. Hooray!

I acquired Full House: The Spread of Excellence from Plato to Darwin during the period of hyperfocus, but then somehow kept on putting off reading it. I have a vague sense that I was holding off on it to save as a reward for other, more onerous reading, until that went on so long I just moved on entirely. Then, during my trip to the US, I uncovered the book in a cache I had packed up to make ready for shipping to Sweden and decided now was the time to read it and evaluate if I wanted to ship it across the ocean.

The argument Gould makes in Full House is basically one against the teleological framework of evolution: that things evolve for some higher purpose, or more specifically deliberately towards complexity; that complexity is somehow the best, most special, or most desirable form of life. Rather, Gould argues, we should look at it in terms of variety. Really what’s fantastic is that we have such a range of complexity! The basis of the book is his article “The Median is Not The Message,” originally published sometime in the early 90s, in which he points out how misleading (or not) the various statistical averages (that is, mean, median, and mode) can be.  In Full House he expands his focus from cancer prognoses to batting averages and bacteria.

In a way it would probably be interesting to read this alongside Taleb’s Black Swan, which focuses on the extreme tails of the bell curve that Gould alludes to, but I don’t particularly feel like going back to re-read Taleb (I’m hoping that If Books Could Kill will one day cover Black Swan) so that essay will have to wait another day.

Full House is an interesting read, and a relaxing one. Gould had principles and politics, and much of his fame stems from publicly taking very specific stances. Here he isn’t addressing creationism or Charles Murray; the paradigm he’s looking to shift here is much more benign and so Full House is a much less stressful book. (Yes, it’s good that someone is debunking Murray, but then it’s stressful to remember that Murray is out there needing to be debunked.) But because it’s so relatively light and uncontroversial, it’s not the most essential Gould book for a personal library. Will I need to look anything up in here in order to prove a point on the Internet? Nope. Will I want to quote anything from this in order to better express my opinion on a topic? Again, probably not. The Mismeasure of Man, Rocks of Ages and The Hedgehog, the Fox and the Magister’s Pox are more the kinds of Gould books with a permanent residence in my shelves. Nonetheless a worthwhile read, and another book crossed off the to-read list.

The Beast of Wolfe’s Bay

I read a lot during my American vacation, enough that I hit my annual book goal early in September. This was due in part to revisiting children’s and middle grade books while staying with my parents (Emil and the Detectives, Berries Goodman) and also to reading very short volumes, of which The Beast of Wolfe’s Bay is one.

The Beast of Wolfe’s Bay was part of a care package from a friend in Texas; I’d never heard of Erik Evensen or any of his work before this. Thus I had no expectations going in and, as a result, had a fun time reading it. I’m also not as well read in The ClassicsTM as I should be, since I didn’t twig to the Beowulf structure/retelling until reading the afterword from the author. No, not even the title tipped me off.

My only criticism is a point of taste, and one that I think most of the people who enjoyed the book will disagree with. I’m as steeped in teeaboo geek pop culture as the best (or worst?) of them, but when other works start laying on the references with a trowel—specifically when the author leans extra hard in making it clear to the audience that a character is That Kind of person—it becomes a bit much. There were lots of conversations that felt, to me, like cringe-inducing pandering.

Gags like license plates or t-shirts are one thing, and actually are a great way for a visual medium to be subtle in a way that pure text can never be. (Think of all of Roy O’Dowd’s t-shirts in The IT Crowd. Now reflect on how it would be impossible to make the same off-hand reference in text without tediously describing the t-shirt in question and, in doing so, drawing extra attention to it.) Evensen includes these sorts of visual references, and if that had been his only approach I would have thought them well done. But the references to Star Trek or Red Dwarf in conversations have nothing at all to do with the story, or even the characters, and feel shoehorned in just for the sake of showing off to the audience that “I like your favorite geeky thing!”

For all the words I just spent on it, though, it’s really only a minor criticism; nothing ever took me fully out of the story. Like I said, a matter of taste.

If your favorite X-Files episodes were the monster-of-the-week stories, or if you’re really into collecting Beowulf translations and retellings, this is exactly the little one-shot for you and it’s worth throwing a couple bones at the author. As for me, I won’t be revisiting The Beast of Wolfe’s Bay, but I’ll put Gods of Asgard on my TBR.

I Know Why the Caged Bird Sings

I mentioned elsewhere on the Internet that unless you make a concerted effort to review your to-read list, it really becomes just a graveyard of aspirations. On this particular blog I used the graveyard metaphor in my review of The Jakarta Method, but originally I used it in a post elsewhere about Farewell to Manzanar, which I read over two years ago now: September 4, 2021, if Storygraph has it right. Farewell had been on my to-read list since probably around 2010 or so.

And yet I don’t have a post here about Farewell to Manzanar. I might have been too overwhelmed or too lazy or too whatever at the time, but I think another part of it was easily: what is there to say about a book like this one? There’s nothing I could say about this book that wouldn’t just be superfluous and trite, so why bother, in the end it would just come across as glib.

The same feeling prevails for I Know Why the Caged Bird Sings but I want to at least push through that wall to say: here is a book I read. Not for the sake of getting anyone else to read the book, because it doesn’t exactly need more hype, but because I want as complete a record of my reading as possible. So, to that end: story time!

My sambo’s discovery of mid-century pulp magazines a couple of years ago led to him occasionally reading spooky poetry from publications like Weird Tales etc. on his Twitch stream. This, in turn, has led to occasional suggestions for other poems from viewers and regulars, which is how earlier this year he ended up asking me if I’d ever heard of Maya Angelou. I thought for a second that he was joking, since he’s usually extremely clued in to American (popular) culture, but no, the question was in earnest.

“Of course. She’s probably one of the premiere American poets of the twentieth century. National treasure.”

“Someone requested a poem by her today and it was almost impossible for me to get through it without crying.”

“Mm-hm. Like I said, national treasure.”

And yet I didn’t get around to I Know Why the Caged Bird Sings until now. I’m glad that I read it but embarrassed it took this long.

Les petits chevaux de Tarquinia

One of the pitfalls of my English education is that I ended up with a huge blind spot when it comes to contemporary authors. It’s not anyone’s fault in particular; it’s just how my course load worked out. Though, I don’t know if Marguerite Duras would have ended up on my English curriculum. Maybe French, if I’d taken more than two semesters.

Duras didn’t even become a familiar name to me until a couple of features over on LitHub. Then, browsing a small (and predominantly Farsi?) international bookstore in Stockholm, back in the before times, I noticed a Duras title in the French section: Moderato Cantabile. It also looked mercifully short, something that I could probably manage with my limited French. Manage I did, and so I began scouring Stockholm library for other books by Duras. Les petits chevaux de Tarquinia was the first to meet my requirements of being available in Swedish as well as French.

Not a lot happens in Les petits chevaux. We have five Parisians on vacation together in a sleepy Mediterranean village, two couples (Sara and Jacques, Ludi and Gina) and the freewheeling Diana, stuck in their rut of swimming, bocce, and endless Camparis until they’re knocked out of their  orbits when a new vacationer shows up with a boat. Sara is immediately attracted to him, their flirting eventually leads to a tryst, but then in the end Sara decides to go on a trip to Tarquinia with Jacques and Diana rather than to stay behind and have an extended affair. At the same time, they’ve all become involved in looking after an elderly couple in the village who have arrived to claim the remains of their son. He was killed in the course of his work to decommission leftover landmines and now everyone is waiting for the mother to change her mind and sign the death certificate. There’s also a forest fire at some point?

It sounds like a literary Seinfeld episode (“She wouldn’t sign the death certificate, Jerry, would you believe it?”), which is also how I’d describe Moderato Cantabile, but somehow it works. Maybe because of the undercurrent of “will they, won’t they” sexual tension that appears in the first conversation between Sara and Boat Guy and persists throughout the entire book. Maybe it’s because Duras lets her characters have pretentious philosophical conversations that are usually the purview of stoner insights. Maybe it’s because even though on one level, nothing happens, there’s also a lot of nothing that happens: people go on boat rides, go swimming, have dinner, hike up and down the mountain to visit the mourning couple. If everyone just sat around in the bar drinking, it might come off entirely differently.

At any rate, this kind of slow, ponderous, talk-y book is exactly my jam. Which is good since I essentially read it three times (French first, then Swedish to fill in the gaps, then French one last time). I don’t know that I have any quibble with Suzanne Palme’s translation, either. Palme also seems to have passed away, but since her obituary is paywalled at DN I don’t know more than what journalisten.se has to say:

Suzanne Palme
26 OKTOBER, 2000 | Oslo, har avlidit vid 73 års ålder. Hon arbetade en tid som vikarie på Göteborgs Handels- och Sjöfartstidning innan hon övergick till förlagsbranschen.

I assume that’s the right Suzanne Palme, at any rate. According to boksampo, she has just half a dozen or so translations to her name. They’re a rather scattershot collection; De små hästarna is the only Duras novel there.

Emil and the Detectives

Both of my parents moved at least part of their childhood libraries into our home where they became the foundation for my collection (and my brother’s, for that matter). Some of these ended up being my own favorites while others simply hung about the house, in various common area bookshelves, forever unclaimed and unread by either me or my brother. Not for any particular reason, either; I think I would just forget about them as soon as I left the room or hallway. Such was the fate of Emil and the Detectives, which I finally sat down to read because sometimes the world is a bummer and you just want to read children’s books from a happier time.

Young Emil from the small town of Neustadt is sent off to visit his grandmother in Berlin with a not insubstantial sum of money, but is robbed en route. A local gang of plucky young boys come to his aid, hijinks ensue, and Emil and the detectives get their man. It’s very wholesome without being cloying, which would explain why there are approximately one million (or just five) movie adaptations of it. It’s cute, it’s a fast read, it’s fun, there’s not much else to say.

For such a slim book, Emil and the Detectives invites a bit of a Wikipedia rabbit hole. The author, Erich Kästner, was the odd duck who was able to remain a vocal critic of the Nazis without being sent to a camp or having to flee the country. While his much more risque and controversial adult novel, Fabian, was the subject of Nazi book burnings, his children’s work was popular enough to keep him more or less out of trouble. Another one of his children’s books, Lisa and Lottie, eventually became the basis for The Parent Trap.

The English translation is another rabbit hole, though a murkier one. It was published thanks to the efforts of legendary children’s book editor May Massee. By all accounts, in addition to her publishing and editing work, Massee also produced the first English translation of Emil and the Detectives, though a later one by Eileen Hall is purportedly the most readily available one in Europe. And yet there’s not much to be found online or in Massee’s biography about any other translation efforts. Was this the only translation she ever produced, a la Alexandra Dick and The Dwarf?

There is lively discussion (read as: this blog post) around the subsequent translations of Emil and the Detectives, and how English translators have approached the question of slang and dialect in the story. My German is several years out of use by this point, though all of this is tempting enough for me to dive back in.

Severance

Ling Ma’s Severance was the Austin Feminist Sci-Fi Book Club’s pick for August, a meeting I was lucky enough to attend in person for once!

“Here’s a question for everyone,” I announced during an early lull in the conversation. “Describe this book as a mash up of two other works.”

My own answer was Station Eleven and My Year of Rest and Relaxation. Other names that came up included The Last of Us, Girls, The Road, Dawn of the Dead, and Sex and the City. A pattern emerges, but to spell it out more clearly:

Candace, our protagonist, is part of a group of zombie apocalypse survivors led run by a cult-guru-in-the-making named Bob escaping New York City to a shopping mall in Illinois. Why a shopping mall in Illinois? Through some weird happenstance, Bob happens to be part owner of the property. Don’t think about it too much.

The zombies, meanwhile, are not only slow zombies—they’re not even particularly hungry or aggressive ones. Spawned by a fungal infection that can sit dormant for ages until it’s triggered, these zombies are entirely docile and stuck in loops of activity until their bodies give out. We see a family in a dining room go through countless iterations sitting down to an imaginary dinner; another character keeps on trying clothes from her closet. Interspersed with the zombie apocalypse narrative, we get flashbacks to Candace’s life right up until the killer fungus: her family’s contentious move from China and lifelong strain it caused, her father’s unexpected death, her mother’s rapid decline into dementia, her lackluster relationships, her job in publishing  various glitzy and gimmicky editions of the Bible.

That’s pretty much it. Some people get infected, some people die, and the narrative eventually just…peters out.

Everyone at the meeting agreed that a lot of the public health responses to the fictional virus (or well, fungus) in Severance felt very Covid-y despite the 2018 publication date; my hypothesis is that Ma drew from how epidemics like bird flu and swine flu were handled in Asia when it came time to write about how an actual pandemic would unfold. We were also all in agreement that the book felt very gimmicky with a lot of vague ideas that were only half explored and that at the same time felt like pretty heavy-handed critiques and observations of Our Current Society. Candace is passive to the point of frustration, making poor decision after poor decision, and none of the other characters really have a distinct personality (except Bob the cult leader). To me it read like a novel of the Chinese Immigrant Experience but then someone suggested to Ma that she examine it through the framework of a zombie story instead and…I don’t know. I’m not mad I read it, but it never really coalesced into something coherent.

Gift From the Sea

Another random “left field” book, I stumbled across Gift From the Sea when a college friend asked me to read a selection from it at her wedding in Seattle. It’s a short book, and in the run-up to a wedding there’s a lot of “hurry up and wait,” so over the next couple days I just…read most of it. After the wedding I put it on my to-read list so I would eventually finish reading it. An excellent souvenir, then, when years later I was visiting that same friend in Seattle and came across a copy of Gift From the Sea in the bookstore!

As Becky (my friend) describes it, it’s a book that Anne Morrow Lindbergh wrote to convince herself to stay in a crappy marriage. That knowledge, paired with the couple’s Nazi and Fascist sympathies, certainly takes a bit of the shine off of it—here’s an excellent example of separating art from artist and where people are comfortable drawing the line. For me, Gift From the Sea is on the “I still feel comfortable consuming this” side of the line; an example of a “nope, no thank you” would be the music of Percy Grainger.

Gift From the Sea is an installment in one of my favorite not-really-a-genres, “author retreats into isolation and writes their Deep Thinky Thoughts.” Other examples of the form include Walden and Journal of a Solitude. Lindbergh writes a great deal on the need for solitude and alone time in romantic relationships, particularly for women; as much as it’s depressing to admit in the Year of Our Lord 2023 (compared to 1955), this still rings true. All the data currently available about the burden of childcare and domestic duties in hetero partnerships, marriage or otherwise, indicates that the bulk of it still falls on women. Hence why the alone time—time “off the clock,” so to speak—is particularly important for women in this situation.

The other underlying current in Gift From the Sea is the vague sense that modern life is overwhelming and things are happening too quickly, which again: looking back on 1955 from the distance of 2023 the idea of life moving too fast is ludicrous. I suppose that overwhelm is a permanent part of life anymore, and as such sentiments like Lindbergh’s will remain relatable. You read books like this one not necessarily to learn anything new but to remind yourself of what you value and what’s important in your life. “Yes, that’s right, I need to take more time for myself,” you say, nodding along. “Yes, that’s right, I do best when I have alone time to recharge.” Sometimes we need that reminder, and that’s probably why Gift From the Sea remains such a favorite.

Braiding Sweetgrass

I was concerned about the environment from a pretty young age, though whether it’s because Captain Planet was a successful piece of propaganda or because the combination of pragmatism and anxiety (“There’s nowhere else to go if we ruin the Earth”) set in early, who can say? Either way, “environmental awareness” has always been in the back of my mind, though usually in the form of planet-wide existential crises: the hole in the ozone layer, climate change, that sort of thing.

Coming up on ten years in Sweden, however, I’ve started thinking about the environment as a means of creating place on a personal level. How do you create the feeling of at-home, of belonging? The first step is to make the new surroundings familiar, to learn the names and properties of things. Theoretically. I don’t actually know very many plant or tree names for anywhere I’ve lived, but sometimes I page through our copy of  Den Nordiska Floran with a guilty conscience.

Braiding Sweetgrass, as a collection of essays on ecology and the nature of relationships, speaks to that approach to the environment. Yes, planet-wide catastrophes are looming, but any individual disconnect from the environment is a loss on a personal level as well. Each essay in the collection explores a different facet of this disconnect, including at the academic level where the dispassionate and disconnected objective approach to environmental studies supercedes or ignores a squishier, more subjective one. Kimmerer is at home in both worlds and has a knack for transforming bleak, dry data points about a particular moss or plant or animal species into a narrative that, again and again, focuses on relationships and interdependency.

Here is an interesting tension: supporting worthy causes versus acquiring stuff. I always like to buy at least one thing if I visit a local independent bookshop, but I was on vacation, traveling only with my carry-on bag and a purse, and with limited shelf space at home. Financially support Reading in Public, an adorable bookstore and cafe in West Des Moines, or add to my growing mountain of stuff?

It comes as no surprise that I bought the book, of course. Now the escape route to avoid the mountain of stuff: am I deluding myself if I think that a curious reader taking the Greyhound out of Indianapolis will find the book before a harried cleaner just tosses it in the garbage? Would the profit earned by Reading in Public be worth whatever environmental cost may be incurred by the book once it leaves my hands? Is my motivator a noble detachment from stuff or the mindless disposability that naturally arises in a world filled with consumer goods that are constantly made anew? Am I a thoughtful steward of the planet or just lazy?

I suppose the only downside is that the people most likely to read and enjoy Braiding Sweetgrass are the ones who are already asking themselves those sorts of questions—preaching to the converted. But better to light a candle than curse the darkness.