A slow day today, so here are reading notes I’ve been meaning to make.
Favorite Reads 2010:
This might be the year of the memoir for me: I finished A Year of Magical Thinking as the year closed and began with Eudora Welty’s thoughts of William Faulkner.
The Blind Side, A Right to Be Merry, Julia and Julie, Liar’s Club, Night, Parched, Capote’s stories, Dylan Thomas’s Christmas, Laura Ingalls Wilder…
Favorite Children’s Read Aloud – As much as I’ve enjoyed revisiting Laura Ingalls’ family, I love, love, love reading aloud from F. A. Steele’s
English Fairy Tales. The stories are outlandish and magical, but the language has more magic. The words trip from the tongue. Love the Arthur Rackham illustrations. The portrait of Catskin with her pale skin and dark eyes staring from her motley furs is hypnotizing. And Jack with giant heads tied to his belt as he enters into a room to save the sisters tied by their hair to the wall is positively dashing.
Most inspiring book: Probably Mother Mary Francis’
A Right to Be Merry, which I read at the right time, although I also truly enjoyed Peter Kreeft’s
Prayer for Beginners.
Better the second time: or third time in the case of
My Antonia. Simply beautiful.
In This House of Brede is probably a close second. Both I would read again.
Favorite novel: I was surprised by how much I enjoyed Michael Ondaatje’s
The English Patient. Heart wrenching. But Capote’s short stories also touched a chord and merit revisiting.
Some quotes from recent reads:
Love the epigram from A
Tidewater Morning , three short stories by William Styron about a young man (semi-autobiographical?) growing up an only child in Virginia: from Thomas Browne’s "Urn Burial": “The long habit of living indisposeth us for dying.”
From Truman Capote’s “The Thanksgiving Visitor”: Young Truman has only his old aunt, a misfit herself, as a friend. She invites the school bully to Thanksgiving dinner. When Truman tries to trump the boy by calling him a thief, the aunt tells Truman she is shamed more by his deliberate cruelty, planned cruelty, than she is upset by the guest’s thoughtless theft.
In "A Christmas Memory," this aunt dies. The story closes with the image of Truman and the aunt flying kites they made each other for Christmas. She imagines she has had a glimpse of God as they watch the kites flutter in the winter sky: “I’ve always thought a body would have to be sick and dying before they saw the Lord. And I imagined that when He came it would be like looking at the Baptist window. Pretty as colored glass with the sun pouring through, such a shine you don’t know it’s getting dark. And it’s been a comfort to think of that shine taking away all the spooky feelings. But I’ll wager it never happens. I’ll wager at the very end a body realizes the Lord has already shown Himself. That things as they are .. just what they’ve always seen, was seeing Him. As for me, I could leave the world with today in my eyes.”
From
A Bigamist’s Daughter is one of the last books I read on our trip. Reminded me a little of one of my all time favorites,
The End of the Affair, with its twist on the object of love.
Synopsis: Young woman at a vanity press gets involved with one of her writers, a man who needs an ending to his story about a “noble” bigamist. They both use each other for selfish purposes, but, of course, eventually feel a real connection. If the story remained on this level, it would be forgettable, but the twist comes from Elizabeth’s reflections on her past loves and other relationships, especially with her absentee father and emotionally distant mother. Every relationship seems to have some sort of duplicity, or some way in which it falls short of the ideal. We find out the Elizabeth once entertained the thought that she might be a nun, and now none of her lovers can measure up to that ideal of the Perfect Love, the ideal Father. McDermott never takes the thread that far, she never commits Elizabeth to being in love with God, but the suggestion is there.
Some quotes: Elizabeth’s mother, named Dolores, sorrow, says in response to Elizabeth’s surprise when her mother’s new lover suggests they had a rough life: “Children often mistake their own happiness for that of their parents.”
Despite Elizabeth’s friend’s disappointment with her wedding compared to her dream of a wedding, she still wants to get married: “But she wanted to fall in love again and she could only think of love, real love, as a moment of consummate seriousness, consummate honesty. A moment when all the laughter stopped, when her life, which she admitted was only skimming along its surface now, would stop, plunge her to a depth she had never before reached, that she could only equate with holiness or revelation or a cool silent place where her past and future would meet like two fine sprays of water, meet and mingle and rise up like a geyser and burst forth like some miraculous spring or blessed fountain (a fountain of champagne, perhaps, because, had she thought about it, the place was not unlike a church and the sound of mingling water not unlike that of whispered vows). . . . She wanted real love, she wanted true attention. She wanted, at least, to be gazed upon in the same way her authors gazed upon her, listened to in the same way her authors listened to her. She wanted to find in the real world, their kind of adoration, both to give and receive, but mostly to show Bill someday in the future when they met again, and over lunch or a drink in her dimly lit apartment she told the triumphant story of her life without him.” (95)
At her mother’s funeral, she handles her mother’s rosary beads and asks for faith: “If I could have rubbed some of that old belief from them, I would have. If I could have brought them to my lips and sucked from them anything other than the salt from my own fingers, any faith, any comfort, any of the old trust that the words truly meant something and that their meaning endures beyond all loss, I would have.”
Here is how the author/boyfriend, Tupper, describes his main character, the bigamist: “A man who is, ironically, incapable of having an affair. A man who must always, always sanctify his love with marriage, who must establish a home for himself and any woman he loves and then must return to that home whenever he can. A man of great nobility, I think. A truly romantic, heroic character.” Elizabeth has trouble articulating what she finds wrong with that idea, but she herself struggles with presenting herself as something she’s not, of being found out she’s a fraud.
The motif of Penelope, waiting all those years for perfect Odysseus, to return while confronted with suitors, runs throughout the story. Wives waiting for perfect husbands, or telling stories about perfect husbands. Meanwhile, she seeks to understand why some couples “suffer the tyranny of what lovers do to each other.”
When she suggests that women could be bigamists, Tupper is appalled. He believes that all women want a reason for men leaving and a hope for them to return. Men don’t get their identity from women as women do from men, he says. But then he is appalled that the innkeeper, Hedda, seems to treat men as he suggests bigamists treat their wives – love them and leave them to love others.
So while on one hand, Elizabeth admires the image of a faithful Penelope awaiting Odysseus, there is also this description of how Elizabeth’s first love in school was God, how the nuns who taught her have led her to believe that marriage is a religious experience. She meditates on her favorite picture of Elizabeth, old and barren, greeting Mary, young and virginal, whose husbands are “no match for the virile God whose will alone could fill their wombs.” (171)
This image remains as Elizabeth goes on to uncover how her mother, her friend Joanne, her father’s aunt (or perhaps mother), and even herself, found themselves holding on to an ideal of love even when confronted with a flesh and blood man who loves them.
After visiting Joanne, who was “bound to be disappointed” because she had so many ideas about being a bride and a housewife, Elizabeth thinks, “A little feminism is a dangerous thing… A little feminism, she thinks, merely makes you suspicious. Makes you kick at all those pretty pink rocks of romanticism, exposing their wormy undersides, but it doesn’t make you lift them up and toss them out completely. Doesn’t keep you from pity and hope and seeing his side of it. From those old longings for a husband, beloved husband buried forever at your side.” (207)
And so Elizabeth continues to hope for true love, even though Tupper doesn’t measure up, and even though she tells him she’s still in love with her first love, who, she thinks, still loves his first girlfriend, even though he professed to love Elizabeth.
At the graveyard of her great-aunt or perhaps grandmother depending on the story she chooses to believe, Elizabeth wonders about her mother, “who needed the myth of Husband, eternal Husband, and the other ordinary husband who was willing to believe in it . . . Her mother, who could be reconciled to her life, to his life, to all that through him she had lost, by the lovely story it made.”
She doesn’t fault her mother or her aunt for believing the “myth” that “love will come to you, love beyond everything. It will change your life forever. The myth he alone can refute; that his absence alone can make irrefutable. The myth in which he is best left in shadow, best left imagined, or remembered, or told. Told in the darkened bedroom, told to the warm, the homely, the necessary husband: the myth of another – Husband, Father, Prince.”
“Because some love,” [Elizabeth] whispers, “goes beyond even the lover himself. Some love can surpass even him, the real lover, until his real presence is no longer required for the love to last. Love that’s like a spiritual life, like pure faith.” She hesitates, but his head is bent as if he were a priest in a confessional or a pilgrim at a shrine. “It’s a love that can’t be ended,” she goes on, “or replaced. It’s the way my mother loved, the way she, the aunt . . . – my grandmother loved. The way I’ve loved.”
Interesting to compare this to marriage in Joan Didion’s
A Year of Magical Thinking: “Marriage is memory, marriage is time.. . it is also, paradoxically, the denial of time.” For the forty years Didion was married to her husband John Dunne before his death, she did not age in his eyes. “When we mourn our losses we also mourn for better or for worse, ourselves. As we were. As we are no longer. As we will one day not be at all.”