Betty Scott

‘What Is Not Yours Is Not Yours’ by Helen Oyeyemi

‘What Is Not Yours Is Not Yours’ by Helen Oyeyemi

what_is_not_yours_is_not_yours_9781594634635_4748dHelen Oyeyemi’s stories are like hedge mazes. As soon as you begin to anticipate a direction, a destination, and an ending, there’s a turn, and another turn, then before you know it, the story is about someone or something else. What Is Not Yours Is Not Yours uses such labyrinthine structures in only the best ways, subverting folk tales, upending traditional narratives, and unfolding backstories as if outside of time.

The tales are mostly set within the same landscape and feature some recurring characters and related events, though they stand up well on their own. They’re not woven together into one large tapestry, like the stories Anthony Marra’s The Tsar of Love and Techno, but rather exist as distinct entities shot through with the same shimmering thread. This is an idealized world, though one much like ours, where diversity is not only common but barely questioned; where comrades take up for one another at the slightest hint of danger; where (and this is the engine of the book’s best wonders) anything and everything can be haunted, possessed, made sentient, or imported from an alternate reality.

James Baldwin and #OscarsSoWhite

James Baldwin and #OscarsSoWhite

An excellent piece in The Economist recently crunched the numbers on the two-year Academy Awards whiteout. It turns out that “even during a 15-year span, the odds of seeing at least one sequence of back-to-back whiteouts are around one in 100,000.”

And yet, here we are. Despite being well represented in the Screen Actors Guild and the immense statistical unlikelihood that no performers of African-American, Latino, Asian, or other non-European ancestry might win a nomination for the second year in a row, it’s exactly what happened. Numbers, however, don’t tell you why, and with the occasional pundits, critics, and laptop opinionisti dismissing the importance of on-screen representation, America needs to be told why. For that, we need James Baldwin.

In his 1976 book of film writing (Vintage International has a nice paperback edition [ISBN 978-0307275950]), Baldwin opens by stating in frank, personal terms that yes, being able to see somebody who resembles you, your family, and your neighbors does, indeed, matter.

The Portable Veblen by Elizabeth McKenzie

ThePortableVeblen9781594206856_3b03aWhether this quirky, gently postmodern novel is a book you will love or hate depends largely on how you feel about whimsy. It tackles a host of serious topics–the military industrial complex, the marriage industrial complex, whether we owe our families a debt and to what degree we’re obligated to pay it down–but often in distinctly unserious ways. Conversational squirrel, anyone?

I don’t imply that The Portable Veblen is shallow or has nothing to say, or that it name-drops the titular noted economist (and other cultural greats like William James and Richard Rorty) without reason. No, subjects like the deeply conflicted attitudes about money and success held by many millennials and the meaning of marriage in contemporary American culture actually form the backbone of this novel. It is, however, also very character-driven, and the main character knows no end of whimsy. Her perspective seeps into McKenzie’s imagery and turns of phrase, so that a squirrel’s markings resemble Victorian finery and potted flowers become cancan skirts.

‘The Weight of Things’ by Marianne Fritz

‘The Weight of Things’ by Marianne Fritz

TheWeightofThingsYou probably haven’t heard of Marianne Fritz, but she was one of Austria’s most adventurous authors. Thanks to Dorothy, a publishing project, her first novel became available in English translation this winter.

The Weight of Things is a war story by way of horror novel, or more precisely, a novel about World War II that is set almost completely after the fact. It’s soaked in nightmarish imagery, the darkest of humor, and foreboding symbolism. At the same time, many of the grimmest acts unfolding in its pages are skimmed lightly; we understand what happens without the gruesome play-by-play we may be accustomed to from more detail-oriented fiction. This skirting, in a way, makes these passages more shocking. The saving of a life, the taking of a life, domestic, minutiae, and a parent-teacher meeting each merit about the same number of paragraphs.

Lost Canyon by Nina Revoyr

LostCanyon_9781617753534_6d76bThis ambitious novel tells the story of four very different people from Los Angeles who go hiking in the mountains expecting to be challenged, but they get far more than they’d expected when they strapped on their backpacks. Readers should not, however, confuse this for a typical man vs. nature story.

The book alternates between four main characters, telling parts of the story from each of their perspectives with little overlap. They’re a diverse group, and as the action intensifies, it’s interesting to see divisions within the group shift to outside it, with each of them broadening the “us” in which they include themselves. The book doesn’t shy away from discussing race and class, lending it a crisp realism.