Wolfson Contemporary Reading Group: 2016

Saturday 26 November 2016

Our next book

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The Sellout, Paul Beatty

The Reading Group will meet again on Wednesday, 7 December 2016 at the usual time of 7.30pm in Plommer A. We will be discussing The Sellout, by Paul Beatty - this year's Man Booker Prize winner.

From Amazon.co.uk:
A biting satire about a young man's isolated upbringing and the race trial that sends him to the Supreme Court, The Sellout showcases a comic genius at the top of his game.

Born in Dickens on the southern outskirts of Los Angeles, the narrator of The Sellout spent his childhood as the subject in his father's racially charged psychological studies. He is told that his father’s work will lead to a memoir that will solve their financial woes. But when his father is killed in a drive-by shooting, he discovers there never was a memoir. All that’s left is a bill for a drive-through funeral.

What’s more, Dickens has literally been wiped off the map to save California from further embarrassment. Fuelled by despair, the narrator sets out to right this wrong with the most outrageous action conceivable: reinstating slavery and segregating the local high school, which lands him in the Supreme Court.

The book is available in local libraries, and in paperback and Kindle edition from Amazon* and other booksellers.

*Please remember to use the link on the Wolfson Alumni & Development website if you choose to buy from Amazon, as College will benefit from the sale: http://www.wolfson.cam.ac.uk/alumni/amazon/

October review: 'Eight Months on Ghazzah Street', by Hilary Mantel

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Book: Eight Months on Ghazzah Street, Hilary Mantel

Publication date: 1988

WCRG Meeting: 26 October 2016

Rating: 7.5

The Reading Goup met as usual last month to discuss Hilary Mantel’s 1988 novel, Eight Months on Ghazzah Street. It was a novel that elicited some strong feelings. One member in particular intensely disliked the novel; finding the characters to be insufficiently drawn and the plot extremely confusing. Others tended to agree with these points, but felt that this was part of the point of the novel: to show how the individual gradually fades away in the face of a rigid regime.

There was some discussion of characterisation and one member remarked that the men were depicted in a much less substantial way than the women. Interestingly, given the fact that Mantel was writing about a culture that could be viewed as oppressive to women, it was the women in this novel who seemed to best grasp the human truths and interactions going on below the surface.

The Group also considered how well the air of confusion created by Mantel succeeded in conveying the experience of living under the Saudi regime. One member had a relative who spent time working there and was able to give first hand parallels which convinced us that Mantel had given a convincing account of the facts. Mantel herself lived in Saudi Arabia for a time and this undoubtedly fed her observations of the culture and the experience of living there as a Western woman.

Most of the meeting was spent considering how the novel conveys the frustration and diminution of people like Frances who submit to these kinds of regimes for the sake of money. The uncertainty and paranoia evoked by Mantel may have communicated what such a life would feel like, but it had the knock-on effect of leaving the reader unsure of what was really happening and experiencing one’s own frustration!

By immersing oneself in Frances’ mindscape, the reader begins to doubt his\her understanding of events. One reader remarked how, on her first morning in Saudi Arabia, Andrew says to Frances: ‘you are not a person, you are a woman's. This clearly sets the tone for the novel’s exploration of different forms of imprisonment, both physical and mental.

Some of the Group were dissatisfied with the characterisation, feeling that Mantel was using her characters as ciphers and symbols, rather than depicting living, breathing individuals. There was also a feeling that the novel is rather dated in its views and depiction of Saudi Arabia. It was first published in 1988, just after the film ‘Death of a Princess’ appeared. One hopes that Jeddah is not like that now, although those with knowledge of the region were not so sure of this.

As always, we greatly appreciated the comments sent in by absent members. One of these described the writing as the equivalent of viewing life through a peephole and this would explain some of the ambiguity and disjointedness of the narrative. Another mentioned that Hilary Mantel was just moving from travel writing to fiction when she wrote ‘Eight Months’ and had not really found her stride in this early fiction.

One reader, who particularly admired the novel, described it as ‘a powerful blend of Kafka, Orwell, Hitchcock and Highsmith’, evoking all sorts of parallels and echoes. He emphasised the closed, narrowed landscape of the city without maps and appreciated the ways in which Mantel used images of locked doors and veils to emphasise fear and paranoia.

The novel scored a respectable 7.5.

Saturday 24 September 2016

Our next book

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Eight Months on Ghazzah Street, Hilary Mantel

The Reading Group will meet again on Wednesday, 26 October 2016 at the usual time of 7.30pm in Plommer A. We will be discussing Eight Months on Ghazzah Street, by Hilary Mantel.

From Amazon.co.uk:

Frances Shore is a young English bride joining her prototypical bland English engineer husband as expats living in Saudi Arabia. She's been fully warned that life for w woman in Saudi Arabia is "unpleasant", but she quickly learns that "unpleasant" is truly an understatement. The repressive and authoritarian aspects of fundamentalist Muslim society, and the cynicism it breeds among the educated middle classes within it, are on full display here.

September book review: 'What I loved', by Siri Hustvedt

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Book: What I Loved, Siri Hustvedt

Publication date: 2003

WCRG Meeting: 14 September 2016

Rating: 6.1

This was a relatively small meeting in which there was an animated discussion of Siri Hustvedt’s much admired novel published in 2003. Most of the group had found the book readable after some initial difficulty in getting into the story but were left with a feeling of dissatisfaction, asking themselves ‘What was that about?’ When we analysed the dissatisfaction it seemed to relate to the multiplicity of themes that were introduced. The book takes the theme of grief for the death of the narrator’s son Matt who dies suddenly and unexpectedly. It shows how this tragedy affects both the father and the mother and shows them unable to understand each other’s grief to the extent that the wife, Erica goes away to California.

This is only one of many themes that are picked up at some point in the novel. The ongoing theme of the narrator Leo is his friendship with and admiration for the artist Bill W. This was much more than an analysis of male friendship as the writer who is also an art historian, weaves in from the very beginning, a commentary on the paintings and constructions of the artist. One member of the group thought that this was extraneous and not an organic part of the novel although the symbolism, for example, of the artist’s shadow falling over the nude woman and of his calling it a self-portrait were also noted. The boxes or small set scenes that are described did seem to relate to what people experienced as a fragmentary presentation of ideas. Doreen had brought in a review of Joseph Cornell’’s boxes in the Cambridge Humanities Review but this understanding of the visual in relation to the verbal did not satisfy most of our readers.

One of the main themes was the strange behaviour of Bill’s son Mark who, as one member pointed out had to become the son for both men after Leo’s son, Matt, had died. Mark becomes a strange and frightening figure who raises hopes continually that he has changed his behaviour but always reverts to the unscrupulous thief or maybe even accessory to murderer. His identity is unformed and the fluidity extends to his gender which added to the difficulty of readers to feel any empathy with him although most people found that the book did lead them to go on reading.

We noted that the female characters are less clear than the men and are perhaps seen from the man’s perspective Perhaps from this point of view it is possible that his mother’s difficulties led Mark to his apparently psychopathic behaviour . This is an interesting point of view for a female novelist but everyone agreed that she did not let us go away with any sense of questions answered or solutions provided.

Overall the group was not enthusiastic although some people said that they felt a little more positive at the end. We were grateful for the written thoughts of absent members. When we considered how we would rate the book, one person awarded 1 out of 10 which was certainly not positive? Overall the score was 6.1.

Sunday 10 July 2016

September 2016: Our next book

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What I loved, Siri Hustvedt

The Reading Group is taking a summer holiday, but will return on Wednesday, 14 September 2016 at the usual time of 7.30pm in Plommer A. On this date, we will be discussing What I loved, the 2003 novel by American writer Siri Hustvedt.

From Amazon.co.uk:

In 1975 art historian Leo Hertzberg discovers an extraordinary painting by an unknown artist in a New York gallery. He buys the work, tracks down its creator, Bill Weschler, and the two men embark on a life-long friendship.

This is the story of their intense and troubled relationship, of the women in their lives and their work, of art and hysteria, love and seduction and their sons - born the same year but whose lives take very different paths.
Everyone is very welcome to join us on 14 September and we hope to see you for the usual lively discussion and refreshments. However, if you are unable to be with us, please email your comments and scores so that they can be shared with the group.

Unfortunately, this book does not appear to be available in local libraries. However, it is worth checking in bookshops. The novel can also be purchased from Amazon* here: https://www.amazon.co.uk/gp/product/1473639050/ref=s9_simh_gw_p14_d0_i1?ie=UTF8&fpl=fresh&pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=desktop-1&pf_rd_r=785PCQB5XYBSK51SEBPH&pf_rd_t=36701&pf_rd_p=ffc59dae-8e2a-46df-8253-b1c54a099916&pf_rd_i=desktop

*Please remember to use the link on the Wolfson Alumni & Development website if you choose to buy from Amazon, as College will benefit from the sale: http://www.wolfson.cam.ac.uk/alumni/amazon/

June book review: 'The Buried Giant', by Kazuo Ishiguro

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Book: The Buried Giant, Kazuo Ishiguro

Publication date: 2015

WCRG meeting: 29 June 2016

Rating: 7

The feelings of Reading Group members were mainly positive when it came to Kazuo Ishiguro's latest novel, The Buried Giant. However, there was still some division in the ranks, best exemplified by contrasting the comment of one member that it was 'one of the dullest books I've ever read; it was a struggle to keep going' with that of another reader who found it to be a 'wonderful, lyrical' piece of writing. One of our readers listened to the audio version of the book, which was, rather fittingly, read in a soft, West Country burr. As this reader explained, it is the story of a journey with various digressions and adventures experienced throughout. It is a story which takes place at the end of the main characters' lives and yet it is a book very much about life. Most felt that the novel had numerous nuances and pathways which could be explored, and that Ishiguro's story dwelt in a world of ambiguities and uncertainties. The novel describes a people who seek explanations for what they cannot explain and look to religion to provide the answers.

A number of themes were identified by readers - from war and a cycle of violence, to death and all the different guises people have dreamt up to make the thought of death easier to bear. Belief is another strong theme in the novel, as one sees Axl and Beatrice putting faith in God when they are afraid or facing the unknown. A few readers also identified the issue of ageism in the novel, as Beatrice and Axl are treated differently by their fellow villagers, not even trusted with a candle at night and considered as contributing less to the community. There are also lots of references to the departed Romans and what they have left behind in terms of customs and beliefs, but also in terms of the Roman imprint on the land. A few readers found Ishiguro's treatment of history and national identity particularly poignant given the current political climate: the novel certainly questions ideas of kinship and shared experiences.

One of the most intriguing aspects of the novel was felt to be the subject of memory. All were curious about the mysterious mist which has settled over the land and caused country-wide forgetfulness; only Axl and Beatrice at times appear to be fighting against this collective blank slate and hold on to the memory of their son throughout their journey. There was a lot of debate in the Group about what represents the truth in this story and it was interesting to observe readers trying to make sense of all the clues and details and piece them together into a cohesive narrative. It could be observed that this search for answers, for agreed upon versions of events, is precisely what Ishiguro was hoping to inspire with this novel.

One reader in particular was struck by Ishiguro's faithfulness to the fairytale genre and likened it to Irish fairy stories best told around the fire by a storyteller. The narrator's voice at the beginning of the novel, the meandering journey, the tests and encounters along the way, and the cast of creatures and strange individuals all represent the hallmarks of classic folklore. However, this kaleidoscopic mode of writing did not delight all present. Some readers were frustrated by the lack of cohesion and the unexplained appearances and disappearances. These readers felt that the novel failed to hold together as a single story, but was instead made up of multiple narrative strands that did not quite fit together. One reader wondered if the entire novel was allegorical and whether he should be reading meanings into every character and every event. Many were confused particularly by the ending and there was much discussion as to each reader's understanding of the text - it was remarked that each reader wrote their own version of the tale.

Those who loved the book were enchanted by the gentle, measured prose - a characteristic of Ishiguro's writing. These readers became completely absorbed in the world he created and were happy to wander through the landscape and follow the shifting narrative styles, from the ponderous opening chapters, to the encounter with creatures such as dragons and pixies, to the picaresque of the Gawain story. One reader memorably remarked that she loved the way the novel blew her 'preconceptions about people and meetings out of the water'; she 'couldn't rely on [her] nice, neat, little boxes, and that's lovely'. Many spoke of being challenged by the novel and forced to confront complex issues of memory and relationships and belief. Another reader commented on the delightful 'episodes of kindness' between people and also noted that the novel is an interesting experiment.

Some readers who have admired Ishiguro in the past were disappointed by his latest offering; they felt that the novel was not for the general reader and resembled a convoluted Anglo-Saxon verse in the mode of Beowulf. These readers appreciated the writing style, but the story and its characters left them cold and unmoved. Indeed, this detachment and artificial narratorial style was noticed by a number of the Group, but not all were discouraged by it. One reader saw it as a symptom of putting a fairytale into words - such stories only really gain life in the telling and this is missing for the solo reader.

The Buried Giant proved to be an excellent choice for the Reading Group, inspiring lots of debate and interesting observations. There were scores at both ends of the spectrum, but its largely positive reception saw it receiving an average score of 7 out of 10.

Monday 30 May 2016

June 2016: Our next book

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The Buried Giant, Kazuo Ishiguro

The next meeting of the Reading Group will take place on Wednesday, 29 June 2016 at the usual time of 7.30pm in Plommer A. We will be meeting to discuss The Buried Giant, the seventh novel of Kazuo Ishiguro.

From Amazon.co.uk:

'You've long set your heart against it, Axl, I know. But it's time now to think on it anew. There's a journey we must go on, and no more delay...'

The Buried Giant begins as a couple set off across a troubled land of mist and rain in the hope of finding a son they have not seen in years.

Sometimes savage, often intensely moving, Kazuo Ishiguro's first novel in a decade is about lost memories, love, revenge and war.

Everyone is very welcome to join us on 29 June and we hope to see you for the usual lively discussion and refreshments. However, if you are unable to be with us, please email your comments and scores so that they can be shared with the group.

May book review: 'My Brilliant Friend', by Elena Ferrante

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Book: My Brilliant Friend, Elena Ferrante

Publication date: 2012 (first published in Italian in 2011)

WCRG meeting: 25 May 2016

Rating: 6.5

My Brilliant Friend by Elena Ferrante inspired one of the most spirited Reading Group discussions that we’ve had in quite some time. The book divided opinion, although only a few members truly raved about it. One reader memorably described it as ‘like Eastenders but with better weather.’

The biggest source of dissension within the Group (and which led to the most lively debate) concerned the issue of historical authenticity. The Group was divided into those who admired Ferrante’s picture of 1950s Neapolitan society, and those who felt that this period detail receded into the background. It was argued that, despite being an historically significant period in Italian history, the novel had a very shallow and superficial focus and did not create a recognisable picture of 1950s Italy. Some members were particularly frustrated by the paucity of historical detail in the novel and felt that Ferrante could have gone deeper in interrogating issues of post-war tension and the still-pervasive vestiges of Fascism. For these readers, the novel’s insularity was a failing and made it a less satisfying read. However, those who disagreed with this opinion countered that one experiences Naples through its people and Ferrante does not need to embellish this with explanations and observations. These readers argued that the inclusion of more historical detail would not have been true to the child-centric nature of the novel. This first novel in the tetralogy is particularly child-oriented: although Elena is in her sixties when she decides to write the story of her friend Lila, My Brilliant Friend charts the years of their childhood from the age of six up to the age of sixteen and is largely told from a child’s perspective of the world. For children, their world view is understandably much narrower and what a modern-day audience sees as history and political intrigue, they see simply as daily life.

All agreed that Ferrante brilliantly depicts the complexities of female friendship, although some of our male members, in particular, found the confessional style a bit tedious as the novel progressed. To paraphrase one reader, the novel is full of the petty jealousies and sexual frustrations of acne-ridden teenagers! There was some debate as to whether readers preferred Lila or Elena, with many finding it difficult to truly ally themselves with either girl. A few of our number commented on an air of malice underlying the text, and found this off-putting. In the opening pages of the novel, an adult Elena decides to write Lila’s story after her friend has disappeared and tried to erase herself from memory in the process, and one reader questioned whether this was an act of love or spite. This ambiguity pervades the novel.

As it is Elena who is telling the story, one only sees Lila through her eyes – one never learns what Lila is truly thinking or feeling. One reader remarked that the novel would have been stronger and more compelling if it had been written in the third-person. Elena was felt to be a potentially unreliable narrator with her own agenda for writing this story, and it was therefore difficult to know whether one was gaining a true representation of the people around her. All agreed that obsession is a key theme in the novel: Elena’s feelings for Lila are a deep and complex mix of admiration and envy, love and hate, desire and disgust. This evocation of feeling is one of the strongest elements of the novel.

Another member observed that the act of writing is also an important feature of the novel – Elena takes control of the story by writing it and her ability to express herself gives her power over Lila. This theme is also tied to that of education – many readers felt that Lila was the truly clever one of the pair, but she did not have the opportunities to learn and thrive as Elena did. Elena’s education would become her ticket out of Naples, whereas Lila, we learn at the beginning of the novel, never leaves Naples.

One member read the book in its original Italian and was impressed with the skilful prose. This member felt that the violence and poverty of the area was well-captured, although she was shocked at the narrow world of the girls who had not even seen the sea while growing up in Naples. One of our number was reminded of the writing of another Italian, Curzio Malaparte and recommended his novels, The Skin and Kaputt, as more historically rich alternatives to Ferrante’s insular depiction of post-war Naples. Another member expressed some concern about the level of violence in the novel – this reader felt that violence was overused and contributed to a sense of the novel as a ‘never-ending soap opera.’

Rather curiously, almost all of those present who enjoyed the novel struggled to get into it at first. At least two members had tried to read the book on a few occasions before persevering with it and eventually feeling rewarded for their efforts. Some admitted to never feeling entranced, or invited into the story and this failing of Ferrante’s writing to draw readers in was felt by many present. One member had read all four books in the series and told how she ‘couldn’t stop reading them.’ For those who became captivated by the relationship between the girls, there was something compulsive about reading this novel. However, while Lila and Elena are quite finely drawn characters, the rest are just walk-on roles and there is no positive male figure in the novel.

All agreed that there are too many characters in the novel – as evidenced by the index of characters included at the beginning. Characters were easily confused and the absence of distinct identifying features and personalities meant that they remained peripheral figures interchangeable with one another. By focusing so carefully on Elena and Lila, Ferrante neglected to flesh out the wide cast of characters around them.

My Brilliant Friend proved to be a rewarding read for the Reading Group. While there were some high scores between 7 and 9, most scored it lower and this led to an overall average of just 6.5.

Tuesday 3 May 2016

May 2016: Our next book

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My Brilliant Friend, Elena Ferrante

The next meeting of the Reading Group will take place on Wednesday, 25 May 2016 at the usual time of 7.30pm in Plommer A. We will be meeting to discuss My Brilliant Friend by Elena Ferrante.

From Amazon.co.uk:

A modern masterpiece from one of Italy's most acclaimed authors, My Brilliant Friend is a rich, intense and generous-hearted story about two friends, Elena and Lila. Ferrante's inimitable style lends itself perfectly to a meticulous portrait of these two women that is also the story of a nation and a touching meditation on the nature of friendship. Through the lives of these two women, Ferrante tells the story of a neighbourhood, a city and a country as it is transformed in ways that, in turn, also transform the relationship between her two protagonists.

Everyone is very welcome to join us on 25 May and we hope to see you for the usual lively discussion and refreshments. However, if you are unable to be with us, please email your comments and scores so that they can be shared with the group.

April Book Review: 'The Ocean at the End of the Lane', by Neil Gaiman

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Book: The Ocean at the End of the Lane, Neil Gaiman

Publication date: 2013

WCRG meeting: 26 April 2016

Rating: 5.3

Neil Gaiman’s latest work failed to excite the members of the Reading Group this month. Only two members were warm in their praise, with the majority feeling rather apathetic about The Ocean at the End of the World. One reader, who has read some of Gaiman’s earlier novels, commented that his latest offering was not as deep or satisfying. Another member first came across the book as the BBC ‘book at bedtime’ and enjoyed it far more when he was listening to it while tucked up in bed.

The first matter discussed by the group was whether Ocean is a children’s or adult book. Most of those present felt that it lacked the necessary depth and plot to make it a good adult novel, but that it would be an engaging read for children at bedtime. However, it was pointed out by a few readers that the novel may be too dark and philosophical for younger readers. Some of the readers admitted to not being avid fans of the fantasy genre, but did not dismiss the book on the grounds that it was more geared towards the children’s book market. However, one reader noted that, while the novel might aspire to join the ranks of JK Rowling and Philip Pullman, it fell far short of these heavyweights and was nothing more than a bland children’s book.

Gaiman’s writing was praised at the meeting – all agreed that he effectively evoked the world of the child and that the writing was very engaging and attractive. Gaiman’s use of imagery and his depiction of the power of fear was felt to be particularly strong. One member commented on how much she had enjoyed the descriptions of food in the book. Descriptions of food were lush and often central to the action – the protagonist associated the kind of food he was eating with his level of safety and revelled in the wholesome fare at the Hempstock’s farm.

All felt that something intrinsic was missing from the novel – it needed to delve deeper, to interrogate the lives of the characters further, and not simply skim over the issues. Threads were introduced only to be abandoned: such as the plot device of the opal hunter who commits suicide, which opens the novel, but is never explored further. Similarly, the protagonist returns as an adult for a funeral, but his life between childhood and adulthood is never covered, nor is the detail behind his return. One member remarked that the novel felt like ‘a fragment of a bigger story’. It was thought that a lot of background detail and explanation was lacking, which frustrated rather than intrigued readers. There is a fine line between keeping one’s readers in suspense and causing them to lose interest, and many of the Reading Group members fell into the latter category.

The book explored ideas of time and memory; showing how we all have our own version of the truth and how the past is rewritten and reshaped over time. One big question raised by the novel was: is the fantasy real? At the meeting, it was debated whether the entire fantasy element of the novel was symbolic – if it was all the creation of a young boy who had suffered something traumatic in his childhood and used his imagination to deal with it. If Gaiman was hinting at this, most readers felt that he didn’t give them enough on which to build this theory.

One reader remarked how she looked for themes and meanings, but was continually disappointed. It was noted that detail is important to a children’s story, but Gaiman introduced many such elements only to abandon them later. Another commented that the book wasn’t fantastical enough to be a strong fantasy story, but equally, it wasn’t developed enough to be enjoyed as a work of realist fiction. Only two members were genuinely enthusiastic about the novel – impressed by the writing, entranced by the fantastical elements, moved by the boy’s fear and confusion, and happy to revel in the vivid world created by Gaiman.

Many members were muted in their response to the book and were of the opinion that it didn’t really work as a book group read. However, those who truly disliked the book were vocal in their disapproval! One member recounted how he had been willing to give the book a go, but his impatience grew to the point where he wanted to throw it across the room. ‘I wonder if I'd approached the book stoned, would it have been more enjoyable’, was his most memorable comment.

As Gaiman’s book failed to impress the Group, it received a mark of just 5.3, but the true failing of the book was evidenced in the fact that the meeting ended early.

Tuesday 26 April 2016

What I've been reading...

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Philippa Gregory, The Taming of the Queen (Simon & Schuster, 2015)

Last week, Christine and I were invited back on to Chris Mann's Drivetime radio show on BBC Radio Cambridgeshire to discuss Philippa Gregory's latest novel, The Taming of the Queen. Taming centres on the marriage of Henry VIII to his final wife, Katheryn Parr, whom he predeceases. Having read a few of Gregory's earlier novels (her well-known 'Tudor Court' series), I knew what to expect and there weren't really any surprises. That's not necessarily a bad thing; for me, reading a Gregory novel of historical fiction is an enjoyable, stress-free experience. Gregory is good at what she does – it's not earth shattering, or incredibly profound, but nor is it the meaningless, bodice-ripping stuff of which her critics like to accuse her. For me, Gregory takes a fascinating period of history and humanises it. She gives a voice to female characters who are too often footnotes in history, or merely depicted as the titillating companions of more famous men.

Gregory researches her novels extensively and this is evident in her descriptions of the religious and moral debates of the day. She takes certain liberties with fact and embellishes where records are absent, but this is largely successful. There are, however, a few bum notes – the sex scene in the opening chapter of the novel hints that Gregory may be feeling a little anxious about today's craze for erotic fiction, but the description is cringe-inducing and painfully awkward. Similarly awful is Gregory's fictional account of how Katheryn Parr managed to gain a pardon from Henry VIII when he was hell-bent on executing her.

Despite these missteps, Gregory has written a compelling and absorbing novel. Christine was not quite so commendatory, but she too found the story enjoyable despite feeling that the final months of Katheryn's marriage (when her life hung in the balance) was too rushed.

Anne O'Neill

Thursday 24 March 2016

Calling all members: recommend a book!

Image credit: Pimthida, Flickr

We're trying out a new way of picking our monthly book whereby each reading group member (whether you attend in person or not) may submit the title of one book which they would like to see discussed. All of these titles will then be placed in a hat and a new one drawn out at each month's meeting.

WCRG members at home and abroad are invited to submit their preferred title via email to wolfsonreading@gmail.com. The full list of recommended reads will then be added to the blog along with synopses and book jacket images.

There are no rules governing what you can suggest. We have always been quite flexible in interpreting the word 'contemporary' in our group name, but books published from the 1920s upwards is probably a good guide. Recommending particularly long and complex books (400 pages and upwards) is not discouraged, but such titles may be reserved for reading over the summer vacation.

You don't have to have read the book yourself in order to recommend it – the book can be a favourite of yours, or one you've always wanted to read. If you have read the book before, please consider adding a line or two explaining why you are recommending it.

We want every member to feel part of the reading group, so please send in your recommendations! And while we'll only put one book title from each member in the hat right now, you are very welcome to suggest additional book titles also.

April 2016: Our next book

The Ocean at the End of the Lane, Neil Gaiman

The next meeting of the Reading Group will take place on Wednesday, 27 April 2016 at the usual time of 7.30pm in Plommer A. We will be meeting to discuss Neil Gaiman's The Ocean at the End of the Lane.

From Amazon.co.uk:

THE OCEAN AT THE END OF THE LANE is a fable that reshapes modern fantasy: moving, terrifying and elegiac - as pure as a dream, as delicate as a butterfly's wing, as dangerous as a knife in the dark - from storytelling genius Neil Gaiman.

It began for our narrator forty years ago when the family lodger stole their car and committed suicide in it, stirring up ancient powers best left undisturbed. Dark creatures from beyond this world are on the loose, and it will take everything our narrator has just to stay alive: there is primal horror here, and menace unleashed - within his family and from the forces that have gathered to destroy it.

His only defence is three women, on a farm at the end of the lane. The youngest of them claims that her duckpond is an ocean. The oldest can remember the Big Bang.

Everyone is very welcome to join us on 27 April and we hope to see you for the usual lively discussion and refreshments. However, if you are unable to be with us, please email your comments and scores so that they can be shared with the group.

March book review: 'The Rosie Project', by Graeme Simsion

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Book: The Rosie Project, Graeme Simsion

Publication date: 2013

WCRG meeting: 23 March 2016

Rating: 6.8

The lighthearted nature of Graeme Simsion’s ‘charming’ book seemed to infuse the reading group last night, as all were in particularly high spirits while discussing The Rosie Project. It may not be a great work of literature, but the majority of the members who read The Rosie Project enjoyed it enormously. One reader memorably remarked that the book is ‘funny as a fit’ and that she regularly thought ‘I know that person’ while reading it. Those who responded less favourably to the book were disappointed by the predictability of the romantic plot line, with one reader commenting that it was something of a ‘one joke book’ where they grew weary of the repetitious Asperger joke.

Comparisons to the TV show The Big Bang Theory and Mark Haddon’s bestselling The Curious Incident of the Dog in the Nighttime were also made, with some readers preferring the more adult insights provided in The Rosie Project. Two or three readers found it to be very similar to the TV show and were not surprised that the book began life as a screenplay, with its focus on humorous, if somewhat unrealistic occurrences.

While the majority enjoyed the novel immensely, all admitted that the plot was predictable, especially as Don’s relationship with Rosie progressed. No one really doubted that Don would end up with Rosie in the end (it is called The Rosie Project after all), but many found the speed with which Don changed his thinking and way of life unbelievable. All save one member agreed that Rosie’s ‘father project’ is the weakest part of the novel. Most found that particular plot at best confusing, at worst completely irrelevant. Only one reader was intrigued by Rosie’s search to learn the identity of her biological father and satisfied with its denouement. Some readers expressed incredulity at the lengths Rosie, but particularly Don, was willing to go to in order to test all of the DNA samples, particularly considering the ethical lines he was wiling to cross.

The insights into university life and the political scheming which goes on in academe were felt to be particularly well-observed, and Don’s refusal to conform to these social codes of conduct (such as with the student who plagiarised part of his assignment) was a source of amusement. Don’s comically awkward interactions with women were also a strength of the novel, particularly in scenes such as where he practiced his dancing with the skeleton, or, where Don set the timer on his watch in response to someone asking him to ‘give them a minute’.

Only one reader questioned the integrity of the novel, arguing that Simsion was irresponsible in his portrayal of Don Tillman, depicting him ambiguously as both an eccentric character and someone potentially on the autistic spectrum. By failing to research the matter carefully and write more thoughtfully about Don’s life experiences, this reader felt that Simsion offered an overly simplistic view of Asperger's syndrome.

However, other reading group members strongly disagreed with this assessment of the novel, with many describing it variously as heart-warming, poignant, and revealing. Most members felt that the novel raises awareness of a condition which is often poorly understood, and gives some insight into the challenges faced by those living with an autistic-spectrum condition; introducing them to a difficult subject in an accessible and memorable way. One reader reported that a friend, who is the mother of an autistic child, appreciated the book and ‘recognised every page’. And another member, who is herself the mother of an ‘Aspie’, found the story to be ‘fun, warm and loving’ and worth sharing with her son at bedtime.

One reader admitted feeling quite envious of Don’s uncluttered life – his carefully organised schedule and his daily meal plans, for example. In response, another reader mentioned that this more simple, streamlined way of living is garnering attention in certain quarters right now. The thinking behind it is that all decisions take energy to make and, if one makes the performance of non-important tasks automatic, one saves energy which can then be expended on things one considers more important.

While no one is rushing out to buy the sequel – The Rosie Effect – all those present (and those who sent in email reviews) found The Rosie Project to be a very enjoyable read. All save one member gave the book at least 6 out of 10, leading to an overall WCRG rating of 6.8.

Saturday 27 February 2016

What I've been reading...

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Robert Harris, Dictator (Hutchinson, 2015)

Just finished reading the above book and I loved it. It is the third in a trilogy of novels centred on the life of Cicero, as narrated by his slave/secretary Tiro during turbulent times in Rome’s history (weren’t they all turbulent?) when Julius Caesar has become part of the triumvirate with Pompey and Crassus. It concludes with Cicero’s rather brutal death and his realisation that he has miscalculated in his support of the young Octavian, later to become Augustus.

None of this is not a plot spoiler: Harris’s research of the period is extensive – his bibliography is impressive – and he keeps very close to the written sources. In fact, one reviewer said you might as well read the sources rather than Harris’s fictionalized account as he keeps so close to them. Harris’s writing style is clear. His characters are well drawn and you really care about the fate of Cicero, his daughter Tullia and his slave/secretary Tiro, as well as a host of other characters in the book. He maintains the tension throughout the book even if some of us are aware of how it must end. Harris was a political journalist in his other life and it shows. He enjoys recounting the political machinations of the Roman senators.

I love this kind of fiction based on fact. I can enjoy a good story in the hands of a master craftsman, but also feel I am learning a bit of history. There are, however, some weaknesses. Occasionally Harris slips into slightly jarring modern vernacular; for example Pompey and Crassus are said to stand for election “on a joint ticket”. But overall this is compulsively readable and succeeds in re-creating the social and political world of late republican Rome – I’m a great fan of Robert Harris as a writer. And the book makes me want to read the sources, all in the Loeb Classical Library. If you feel that modern government today is far from ideal in its corruption and greed, perhaps reading this novel might help put it into perspective. But then perhaps we should have learnt a stronger lesson from our Roman forebears.

Christine L. Corton

March 2016: Our next book

The Rosie Project, Graeme Simsion

The next meeting of the Reading Group will take place on Wednesday, 23 March 2016 at the usual time of 7.30pm in Plommer A. We will be meeting to discuss Graeme Simsion's The Rosie Project, the debut novel of this Australian writer, published in 2013.

From the book jacket:

Love isn't an exact science – but no one told Don Tillamn. A handsome thirty-nine-year-old geneticist, Don's never had a second date. So he devises The Wife Project, a scientific test to find the perfect partner. Enter Rosie – 'the world's most incompatible woman' – throwing Don's safe, ordered life into chaos. Just what is this unsettling, alien emotion he's feeling?

Everyone is very welcome to join us on 23 March and we hope to see you for the usual lively discussion and refreshments. However, if you are unable to be with us, please email your comments and scores so that they can be shared with the group.

Februrary book review: 'A God in Ruins', by Kate Atkinson

Image credit: www.waterstones.com

Book: A God in Ruins, Kate Atkinson

Publication date: 2015

WCRG meeting: 24 February 2016

Group rating: 6.5

A particularly large and lively group of members, new and old, gathered to discuss Kate Atkinson's latest bestseller, A God in Ruins. This hugely successful book, which saw Atkinson win the Costa book award for the third time, met with very passionate and mixed responses from our readers. While some members loved the book, most were less commendatory in their assessment, feeling that Atkinson had produced an enjoyable but flawed novel. The discussion opened with debate as to the meaning of the title, with some believing that Teddy represents the god who crashed down to earth and lived a rather dysfunctional life thereafter. It was remarked that the Emerson quotation at the beginning sums up the novel pretty well: 'A man is a god in ruins. When men are innocent, life shall be longer, and shall pass into the immortal, as gently as we awake from dreams.' One reader observed that the novel represents the universal condition of man and depicts an 'allegorical rather than a personal journey.'

Many of the members were frustrated by the unsympathetic character of Viola and the lack of light and shade in her portrayal. It was felt that her bitterness and cruelty as a mother and daughter were never truly explained, and that the awful death of her mother Nancy (aided by Teddy) could have been explored in more depth. One reader noted that Viola may have been named after the wrong Shakespearean character, bearing more resemblance to Goneril; while Bertie occupied the Cordelia role in the story. Viola's relationship with her father was very one-note and her rebellion against everything her father held dear was sustained unrelentingly throughout the novel. It was also noted that, despite the implication that Nancy's death had a huge impact on Viola, Nancy herself was a very vague, one-dimensional character, with no real sense of her character being evoked. The potential emotional impact of her death was lost as a result of the failure to bring the character to life.

Atkinson is known for her interest in stylisation (as evidenced in her previous work, Life After Life), but it was largely felt by the group that she wasn't as successful with her experiments in this novel. The chapter focusing on Sunny was described by one reader as 'grotesque' and 'over-the-top' and by others as an unsatisfying imitation of the Gothic genre. The influence of other works on Atkinson's writing was also remarked upon, with all present agreeing that her allusions to a broad sweep of writers from the literary canon were clunky and obtrusive, serving to show off her erudition rather than add anything meaningful to the narrative. Only one of our overseas readers appreciated the wealth of literary allusions, describing it as a 'veritable literary education'.

Disagreement arose as to the success of the chapters which focused on Teddy's WWII experience. Some readers found them over-long and drawn-out, with the novel wearing Atkinson's research too heavily. However, others found the war scenes gripping and realistic, and some of the most substantial portions of the novel. Readers also disagreed on the topic of the novel's controversial ending. For some, the reading experience was enriched because of the final reveal, which poignantly captures the reality of war: that lives full of possibility can simply disappear from time and memory. Many members were moved by this final twist, while others felt 'cheated' and believed that the ending 'negates' the rest of the novel. Some found the ending to be an 'amateurish trick' and an unsatisfying return for their investment in Teddy's story. All agreed that the inclusion of the Augustus story was unsuccessful and 'slightly irrelevant', as the message that Augustus represents Teddy immortalised was already clear from reading the novel. Atkinson remarked in an interview that A God in Ruins was a novel about fiction, but it was thought by some that she was being too meta in her use of literary tricks, sacrificing sincerity for cleverness.

Those who most enjoyed the novel seemed to be the readers who had not read Life After Life, the novel to which Atkinson wrote A God in Ruins as the companion. For some who had read and loved Life After Life, Atkinson's follow-up was thought to be vastly inferior. These readers were dismayed by Atkinson's lack of thoughtfulness, craft, and commitment in A God in Ruins, a 'lazy' novel with 'flat' characters and insufficient editing. This response was in stark response to two readers in particular, who were captivated by the pace of the novel and Atkinson's 'skilful' narration, and gave it high scores as a result. One member commented that the overwhelmingly positive critical reception of A God in Ruins was puzzling given the frank and, at times, critical appraisal of it by the Wolfson Contemporary Reading Group. It certainly led to one of the Group's most divisive reviews of a novel, a divide somewhat reflected in the score of 6.5.

Saturday 13 February 2016

What I've been reading...

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**Harper Lee, Go Set a Watchman (London: William Heinemann, 2015)**

Oh dear! The only positive thing I have to say about this book is that it encouraged me to reread Harper Lee’s To Kill a Mockingbird (1960), which I think is a truly wonderful book, filled with warmth and, while making its point about the unfairness of life (especially black Americans), it also shows a society that tries to be fair especially through the portrayal of Atticus Finch, a true Gentleman in every sense of the word. This latest novel, on the other hand, has no warmth and it even shows Atticus Finch adopting some quite racist attitudes. Written before To Kill a Mockingbird, it was submitted to the editor, Tay Hohoff, who saw its potential and encouraged Lee to rewrite, and from that came the later book.

I did not like the style of Watchman, which indulged in a lot of calling people ‘honey’ and ‘sweetheart’. The plot bored me and I did not feel any empathy for Atticus or Scout (in this book largely called Jean Louise and a twenty-six-year-old returning to Maycomb after living in New York). It explores the tensions over race between the more liberal North and the still racist South which wants to keep the black Americans well and truly underfoot. Scout is shocked to discover that Atticus is allowing people in an official council meeting to openly demand that the black Americans are kept in their place – a view Atticus supports since he believes that black Americans are not educated enough to vote and would, through their sheer voting numbers, put black men in governing positions. In the end Scout comes to agree with her father’s stance – something which I might have found disappointing if I had at all cared about her as a character.

The reviews of this book warn the reader not to read this as a sequel to To Kill a Mockingbird. [SPOILER ALERT<] And it is hard to discover in this novel that Jem has dropped down dead from a heart attack and Dill is tramping around Europe after the trauma of the Second World War [>/SPOILER ALERT] but, if I just look at this book on its own, as I am encouraged to do, I would suggest that it is not good enough, and it should not have been published, doing great damage to Lee as a writer. Am I right in believing that there was a hint that Truman Capote helped Lee with To Kill a Mockingbird? If so, then perhaps this later novel had more to do with Capote than Lee. My mark would be 1 out of 10. I really could not see any reason to publish it or to read it.

Christine L Corton

Wednesday 20 January 2016

February 2016: Our next book

Image credit: http://www.amazon.co.uk

A God in Ruins, Kate Atkinson

The next meeting of the Reading Group will take place on Wednesday, 24 February 2016. At 7.30pm on this date, we will all gather in Plommer A to discuss Kate Atkinson's A God in Ruins. Published in May 2015, Atkinson's novel recently won the Costa novel prize, making her the first author to receive the prize three times.

A God in Ruins charts the life of Teddy Todd – would-be poet, World War II bomber pilot, husband, father, and grandfather – as he navigates his way through life in the 20th century. The biggest challenge of all for Teddy will be living in a future he never planned to have.

Described as 'horribly funny', 'authentic' and Atkinson's 'tour de force', the book looks at the effects of war, not only on those who live through it, but on subsequent generations living in its shadow. Those who have read Atkinson's previous novel, Life After Life, will recognise Teddy as Ursula Todd's younger brother, but A God in Ruins is still a novel capable of standing on its own.

Everyone is very welcome to join us on 24 February and we hope to see you for the usual lively discussion and refreshments. However, if you are unable to be with us, please email your comments and scores so that they can be shared with the group.

January book review: 'Frog', by Mo Yan

Image credit: http://world.chinadaily.com.cn/2014-12/23/content_19150856.htm

Book: Frog, Mo Yan

Publication date: 2014 (2009 in Chinese)

WCRG Meeting: 13 January 2016

Group rating: 5.8

In the first meeting of the New Year, the Reading Group met to discuss Mo Yan's Frog. First published in Chinese in 2009, Mo Yan has gained increased international attention as a novelist since winning the Nobel Prize for Literature in 2012. The member who recommended the book was keen to see how the group would find Mo's work and felt that our Reading Group members would read the text closely, rather than simply be swayed by the wildly differing opinions of Mo Yan as either a brave whistle-blower against the establishment, or the mouthpiece of the Chinese government. Reading the book – which deals with the one-child policy in China – at this time was also felt to be particularly apt given the announcement of the official ending of this policy in 2015.

In explaining its decision to award the Nobel Prize to Mo Yan, the selection panel described his style as one of 'hallucinatory realism'; and this blurring of the lines between superstition and reality, truth and subterfuge, was evident to all who read Frog. Mo's frankness in describing the brutal realities of enforcing the one-child policy is counter-balanced by a certain playfulness in dealing with some of the other painful issues of the time, such as the starving children eating coal and the ambiguity surrounding the provenance of Little Lion's and Tadpole's baby.

It was remarked upon by a number of readers that Mo Yan 'fudges' the issue of who is responsible for the suffering of the people and raises potential economic justifications for the policy through the narrator, whom all believed to represent Mo Yan himself. One member commented that, for all the detail provided, she didn't get a sense of history or the passage of time from reading the novel, and felt that interrogation of the issues was avoided.

Gugu is ostensibly the main character, but she does not tell her own story. Instead, her story is told by a man in a society which heavily dictates the role of women. This framing of Gugu's story may have been an attempt to highlight this injustice, but it had the unfortunate side-effect of distancing the reader from Gugu. One never gets a glimpse of her interiority or that of any character in the book. One member memorably described the characters of Frog as 'illustrations of points' rather than representations of flesh and blood people. The epistolary form of the novel, where Tadpole tells the story of his family and his village through a series of one-sided letters to his Japanese mentor, was also felt to be rather awkward.

The possibility was raised that the at-times clunky prose may partly have been the effect of the translation. Howard Goldblatt is the English translator of all Mo Yan's works and is known for self-editing the texts so as to, in his opinion, make them more palatable for Western readers. Not speaking English himself, Mo Yan is supposedly unfazed by the possibility that his works are being, at best edited, but at worst butchered.

It was argued, quite passionately, that Mo Yan does not set out to create heroes in Frog. Instead, he creates ugly characters that expose ugly truths about humanity. However, readers were not disappointed by the negativity of the character portrayals so much as they were by the failure to fully realise any of the characters, or move them beyond mere caricature. Mo Yan's style may have been designed to allow his readers to think independently but it also created a distance between readers and the text, particularly Western readers who have not had first-hand experience of such situations. This begs the question of how an author writes for an audience: should a writer address an audience in terms that he/she would understand, or pitch the work at some approximation of a universal audience?

All present at the meeting found Frog to be an educational and beneficial read, bringing their attention to a society and a culture too often shrouded in mystery or obscured by misrepresentation and misunderstanding. A few members were very appreciative of the novel, giving it scores of six and seven. Ultimately, however, there was very little strong enthusiasm for the novel – giving the impression that, for many, it was a spoonful of medicine, required but not enjoyed. This somewhat lukewarm response to the text is reflected in its score of 5.8 out of 10.

January 2016: Our next book

Image credit: https://www.penguin.com.au

Frog, Mo Yan

The next meeting of the Reading Group will take place on Wednesday, 13 January 2016. At 7.30pm on this date, we will all gather in Plommer A to discuss Mo Yan’s Frog. First published in Chinese in 2009, the novel was published in its English translation earlier this year. Mo Yan, which means ‘Don’t speak’, is the pen name of Guan Moye and his curiously titled novel is set in his real-life home county of Gaomi in China. The novel is based on the life story of the author’s aunt, Gugu, and is told through a series of letters between the narrator and an unidentified Japanese writer.

Quoting Isabel Hilton in the Guardian newspaper, 18 December 2014: ‘Gugu is 70 when the story opens with the first letter. The daughter of a famous doctor, her life spans the Japanese occupation of China, the victory of the Communist party in 1949, the hunger and violent political upheavals of the first 30 years of communist rule and, finally, the lurch to a peculiarly rampant form of state-directed capitalism and the social forces it unleashes. Some villagers grow rich; others sink into destitution. Gugu trains as a midwife while still a charismatic and heroic teenager, and begins her career by dispatching the ignorant and superstitious old women who, with fatal effects, have hitherto attended village births. Gugu’s reputation spreads quickly as she delivers children through the ravages of famine and political upheaval. […]

Her golden career falters, however, when her glamorous fiance, an airforce pilot, defects to Taiwan. Narrowly escaping disgrace as a conspirator in his treason, Gugu throws herself with renewed and implacable zeal into the state’s one-child policy. The beloved midwife becomes hated state abortionist, hunting down and forcibly terminating unlicensed pregnancies. Many expectant mothers and thousands of unborn children die horribly. When China begins its economic transformation, only the poor remain caught by the rules. The rich can afford to pay the fines; the poor have to cheat. The policy stays in place, one character explains, because it allows the state to collect fines.’

The book is available in paperback and Kindle edition from Amazon* and from a number of bookshops. It promises to be a source of interesting and meaningful discussion, and we hope that you will join us to celebrate our first meeting of the New Year. Refreshments, as always, will be provided at the meeting. If you are unable to attend, please consider emailing your comments and your score in advance of the meeting.

*Please remember to use the link on the Wolfson Alumni & Development website if you choose to buy from Amazon, as College will benefit from the sale: http://www.wolfson.cam.ac.uk/alumni/amazon/