2025 #14 Birnam Wood (Catton)

 

Birnam Wood by Eleanor Catton
My rating: 3 of 5 stars

3.75 stars
It wasn't until after I read the book that I noted the "A savagely satirical thriller" description provided by a reviewer. This book made me rethink my general strategy of not reading about a book before engaging, although I may have taken that to the extreme here, since the description says "A gripping psychological thriller" so I shouldn't have been in the dark.

And speaking of dark...this book is just that. And it is not *just* a "psychological" thriller, so I feel that isn't exactly a fair description. I enjoyed the book, but felt it lacked subtlety. The (truly) bad guy is so evil that he spells out his nefarious plans for us, while we have to watch as he dupes the other characters in the book. His hand is shown too early on -- I started to feel just a general sense of dread waiting for it all to come to a head. We also are treated to a lot of narration about his scheming (as a personality trait):

"His goal had been to become so ambidextrous when it came to action and reaction, move and countermove, that he would reach the point where half the games he played were won by white, and half by black; only then, he'd told himself, could he really call himself a master."

Overwrought chess analogies aside, the description says "it is an unflinching examination of the human impulse to ensure our own survival" -- that's fair, although there's quite a bit of flinching going on in some respects. There are some real chances for character and relationship development that are stymied by the ending. Mira, the main protagonist, is a fascinating character:

"Like all self-mythologizing rebels, Mira preferred enemies to rivals, and often turned her rivals into enemies, the better to disdain them as secret agents of the status quo."

Catton reveals Mira's layers through passages like this and the complexity of her character pushed the book toward four stars for me. The pacing is frustrating -- slow and leisurely at the beginning and then accelerando at the end. The catalyst for the accelerando makes for a fun (?) plot point, however, and we do get quite some classic suspense moves, and a game of cat and mouse with several mice and several loops.

The premise engages with politics in New Zealand and environmental issues and I felt myself wanting to know a bit more (as a reader not wholly familiar with New Zealand), and not especially via bickering characters. The writing is beautiful and descriptive, and overall gives a great sense of the delicate balance (imbalance, perhaps) in which we operate as a society.

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2025 #13 Last Night in Montreal (Mandel)

 

Last Night in Montreal by Emily St. John Mandel
My rating: 4 of 5 stars

Melancholy and poignant, Last Night in Montreal invites the reader into an exploration of "not all who wander are lost" by expanding the meaning of being lost, and the meaning of wandering. Lilia is a wanderer, lost in her own forgetting, but not moving without aim. Eli wanders aimlessly in his own life, until his journey takes him to Montreal in search of something he didn't know he was looking for. Abduction and rescue are blurred, as are concepts of lost and found. The book is centered around the development of the characters, and while the plot is slow (by traditional standards), that's not the focus of the book. That said, I found myself a bit frustrated at the predictability of some of the plot points, although the point is not about the happening, but the secrecy and the invisible hold these events have on different characters. The juxtaposition of the father-daughter duos: Lilia and her father, and Christopher and Michaela, is artful and the dipping in and out of the past lends a much needed diversity to the plot, which could otherwise be subsumed (in the second half) by a perceived stalemate between Eli and Michaela. The book is heavy, cast in a sense of longing and learning lessons the hard way, but also very beautiful in its language and the way it lays bare human frailty (and strength).

I quibble quietly with a few characterizations, e.g. Eli's incompetence in French --one does not get to the level of writing a dissertation on dead languages with absolutely NO familiarity with French (or at least its roots). It is a bit frustrating to have so little backstory as to Lilia's scars, only because the act of violence is offered almost as an afterthought. I wanted to know more about Simon, the quiet hero.

It might be called a mystery, but more a mystery of the soul, rather than of plot. The book does not resort to clichés in the end (thank you), but the end of the novel feels a bit like an epilogue that tries hard to "tidy up" some of the loose threads. Still, one is well-advised to read (or listen) without worrying about the destination, as it truly is about the journey (with apologies for my own cliché).

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2025 #12 Every Day I Write the Book: Notes on Style (Kumar)

 

Every Day I Write the Book: Notes on Style by Amitava Kumar
My rating: 4 of 5 stars

Kumar captures the quirks as well as the slings and arrows of writing in academia through a mish-mosh of anecdotes, short essays, and what feels at times to be scrapbooking (in a good way). The book is divided into nine parts: I) Self-Help; II) Writing A Book: A Brief History; III) Credos; IV) Form; V) Academic Interest; VI) Style; VII) Exercises; VIII) The Groves of Academe and IX) Materials.

Those interested in a writing "guide" can just skip to Appendix A: "Ten Rules of Writing", but as the strikeout text on the book's cover implies, this is not a guide (in the traditional sense) nor a report on style. Instead, it is a memoir (in parts) of a writing life, interspersed with nuggets of widsom, dry humor. Fans of Anne Lamott's Bird by Bird may recognize Kumar's small pencil and folded index card that he carries in his pocket, and indeed many of his recommendations align with Lamott's, albeit with a slightly less sardonic tone.

While one would expect Kumar to be "well-read," he shares his knowledge pragmatically, without pomp, and always with clarity of meaning. We don't just get a vast bibliography shared through an eclectic set of "notes", but actual motivation to read those essays and books. There's an earthiness and honesty in Kumar's voice, that manages to critique academia while still acknowledging his own role within. A few bits felt more self-indulgent than instructive, although sometimes the shortest offerings packed a punch, such as the final note of part III: "Credos remain meaningless abstractions unless put to use." (68). He reminds us that one can read endlessly about writing, but to be a writer, one must... write. And let's face it -- reading about writing provides comfort, as if filling our brains with what we ought to do is a substitute for actually doing it (and is a better alternative to binge-watching television).

Struggling academic writers would be well-advised to keep this book close at hand, as even picking one bit of it at random might help jolt you out of a slump. It can also be read in small doses, rather than cover to cover, and I might even suggest out of order, depending on your need at one moment (although there's a certain joy to the sections Kumar offers, and fun little surprises such as the wit about credos mentioned above).


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FTL2025 3B challenge Every Day I write the BooK-----> Kindred by Octavia Butler

2025 #11 The Between (Due)

 

The Between by Tananarive Due
My rating: 4 of 5 stars

With excellent voicing by Kevin Kenerly, The Between manages to be chilling, touching, and thought-provoking. Hilton James is a bit of an Everyman figure in that he loves his family deeply, works hard, and is loved in return by friends and family. He survived a drowning accident as a small child, and that survival was both magical and tragic. In adulthood, Hilton's wife, the only elected African American judge in Dade County, Florida, becomes a target as she receives threatening and extremely disturbing hate mail. Hilton's dreams began to blur the line between fantasy and reality, and he is torn between the "shoulds" and the "coulds" of living life on two planes of existence.

Due expertly shapes Hilton's character , and we feel incredible tension between Hilton's lived experiences and how they are perceived by those around him. Hilton is an empathetic character, even at his lowest, but there is plenty of compassion for those in his orbit as well.

It would not be fair to say the ending is predictable, because that implies a sort of easy out, and this is not the kind of book where that matters much. It is very much about the journey, but there were moments when I could feel myself growing impatient (much like Hilton!) and wanted to get moving. That said, while the narrative has its slower moments, there are also times where the plot picks up speed and you can hardly put it down. It is truly a wonderful read and I recommend it to anyone who enjoys reading about contemporary issues intertwined with a dose of magical realism and even a bit of thriller.

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2025 #10 Council of the Cursed (Tremayne) - Sister Fidelma #19

 

The Council of the Cursed by Peter Tremayne
My rating: 4 of 5 stars

The historical backdrop for this installment is the Council of Autun (in present-day France)-- c. 670-- that was convened under Bishop Leodegarius (Leodegar) to regulate the implementation of Benedictine Rule. The Bishop is a character in the story. Most significantly, a central area of focus was banning the compatres (special companions/spouses) for monks, a practice we know from Fidelma was still accepted in Ireland (Hibernia), although not without challenge. In the historical note, Tremayne defends his interpolation of wives of clerics being sold into slavery, albeit citing much later actions by Popes Leo IX and Urban II.

Some of the characters felt a bit overwritten -- the imperious Abbess Audofleda and Lady Beretrude, especially. Valretrade, on the other hand, often faded into the scenery, which was unfortunate given her role in the story.

However, this particular volume excelled in parsing regional differences not just in beliefs, but also customs, not just between Celtic regions and France, but even Franks vs. Burgunds. King Clotaire (aka King Clothar III) is another historical figure, who Tremayne only gives voice to toward the end, but it is effective.

Returning characters include Abbot Segdae, and from the previous book, Verbas of Peqini, who some may recall did not part company with Fidelma on good terms.

The mystery itself follows a fairly common formula (used several times in the series) wherein Fidelma is called to investigate a murder that seems obvious, but is not in the least (hence, a story). The reveal at the end was blissfully short relative to Fidelma's usual dramatic and drawn out conclusions, and Tremayne seems to be getting more comfortable in allowing the main protagonists (we can include Eadulf, sometimes) to be in harm's way as the series progresses.

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2025 #9 Bones of Echo Lake (James) - Jake Cashen #3

 

Bones of Echo Lake by Declan James
My rating: 4 of 5 stars

This had moments that are riveting, and another great performance by Alexander Cendese. By now, in the third installment of the series, James has settled in to some of the recurring characters, so they are less contrived and more dimensional --this particularly applies to Gemma, Jakes's older sister, who still occasionally becomes a caricature, but is definitely more likeable. Anya, on the other hand, is less sympathetic than I would have expected, especially given her role in this particular story.

Unlike the other two that have a niche area of interest at their core (wrestling for no. 1, and hunting for no. 2), this one feels a bit more like an old-fashioned mystery (in a good way) -- human remains are unearthed and we have a town with lots of secrets to hide. This one involved introducing considerable backstory and James does it fairly well, although it did get a bit tiresome trying to keep track of the victim's various "involvements." But throw in some juicy scandal and there's a great story.

As for the culprit? I was sure I had it figured out from the get-go, but let's just say I was very, very close. And that's good -- I don't like to be right in this case (and the actual murderer was plausible, as opposed to bringing in a bunch of material right at the end to justify it). I'm looking forward to Red Sky Hill up next.

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2025 #8 The Egg and Other Stories (Weir)

 

The Egg and Other Stories by Andy Weir
My rating: 4 of 5 stars

This quirky little collection of stories is entertaining and occasionally unexpectedly emotional, and every once in a while, groan-inducing (of the "response to a dad joke" variety). It would be hard to pin down a theme, and those who know Weir for his sci-fi will appreciate stories like the titular "The Egg," "Bored World" and perhaps "anti-Anthoxiant." I won't call out too many of the others because several rely on the somewhat-clichéd-but-you-will-still-smile PLOT TWIST! endings. But the humor in Project Hail Mary is here, and if you've got an hour of laundry to do and a bathroom to clean, this is a great listen to make the time less dreary.

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2025 #7: The Discarded Image (Lewis)

 

The Discarded Image: An Introduction to Medieval and Renaissance Literature by C.S. Lewis
My rating: 5 of 5 stars

The subtitle of this book is misleading in some respects. If you are not already well-versed in literature (not just medieval and Renaissance lit, but Hellenic antiquity as well), you might find yourself frustrated by Lewis's consistent references to items he believes should make up a core knowledge. That said, there is so much to be gained here and one should avoid distraction by getting too bogged down in the individual references. To do so is to miss the proverbial forest for the trees. Ultimately Lewis is building a case for a medieval model, and his epilogue addresses the complex and layered meaning behind that word. Ultimately he proposes more of a model-process: "The new Model will not be set up without evidence, but the evidence will turn up when the inner need for it becomes sufficiently great." (222-23).

Somehow, Lewis manages to bring us from talk of angels and daemons (not always demons), to an investment in the exercises of the human soul, such as Intellectus and Ratio:

"We are enjoying intellectus when we 'just see' a self-evident truth. We are exercising ratio when we proceed step-by-step to prove a truth which is not self-evident. A cognitive life in which all truth can be simply 'seen' would be the life of an intelligentia, an angel." (157).

It cannot be forgotten that Lewis was a literary scholar, a theologian, a poet, and himself a writer of science-fiction and fantasy. One gets the sense when reading Lewis, particularly in this book, that none of these are actually distinctively parsed for him. His acknowledgement and study of tropes seems to play out in real time, with statements that could be one or more layers of his intellectual onion. He critiques how we consider the past--as a 'costume play.' "This superficial (and often inaccurate) characterisation of different ages," he writes, " helps far more than we suspect towards ur later and subtler discriminations between them." (183). Indeed, I often remind my students (and myself) that history is more about patterns and tropes than pigeonholing figures, events, and art into narratively defined styles and genres.

The sum of the micro-literature reviews, the subtle 'digression' about digressions, and the encyclopaedic tone (something Lewis manages as an art), is an over-arching treatise on our human condition as it relates to literature (and art as a whole):

"Literature exists to teach what is useful, to honour what deserves honour, to appreciate what is delightful. The useful, honourable, delightful things are superior to it: it exists for their sake; its own use, honour, or delightfulness is derivative from theirs. In that sense the art is humble even when the artists are proud..." (214)

This book could be read in multiple ways. Perhaps when I have more time for curiosity, unhampered by the obligations of a career, I will sit again with this book and look up every treasure that Lewis cites. I will see the details of the collective contributions toward the medieval Model, and I suspect I will be richer for it. Lewis is not without his detractors, notably Philip Pullman (an author whose books I love), and others who have critiqued some of his works as sexist, and depictions in Narnia, in particular, as racist. Not having read any of those books since I was a child, I'm not equipped to comment on that at present, but I keep it in mind as I read Lewis's non-fiction works.

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Follow the Leader Challenge 2A ---> Enacting Musical Time by Marius Kozak

2025 #6: Dancing with Demons - Sister Fidelma #18 (Tremayne)

 

Dancing with Demons by Peter Tremayne
My rating: 3 of 5 stars

This particular installment of the Sister Fidelma series digs into the tensions between the "old ways" and the "New Faith" with much more detail than the previous books. While occasionally tedious to hear it explained via audiobook, the additional context adds a complexity and richness to the world of Fidelma that is more than just Druids vs. Christians. The plot, however, is very slow, and the reveal (in typical Fidelma fashion) takes almost 40 minutes in the audiobook. The motive itself does provide some twists and turns, but the answer to "whodunnit" was so complex and full of weird afterthoughts that I wasn't that interested in the end. This is often the case when there's an "obvious" murderer at the outset -- in this case Dubh Duin, chieftain of the clan Cinél Cairpre, who cannot unfortunately provide any defense or otherwise since he seems to have taken his own life after seemingly killing the High King Suchnussach in his bedroom. All is, as you might guess, not what it seems. This is the situation in which Fidelma finds herself.

Happily, in terms of character development, we start to see an increase in Fidelma's self-awareness, particularly of her treatment of Eadulf, who also seems to be coming more into his own.

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Series About Series Challenge 2025 no. 2 February

2025 #5 Yellowface (Kuang)

 

Yellowface by R.F. Kuang
My rating: 4 of 5 stars

Ok, so I'm torn. If three stars is "it's ok" and four is "I liked it," I think I fall squarely in the middle (e.g. 3.5 stars) and that isn't necessarily the fault of the author. I'm writing this review on Goodreads with the knowledge that it is probably one of the most meta reviews I will ever write, given the pages of the book devoted to the role of social media (including Goodreads reviews) in the life of an author.

I recently read Anne Lamott's Bird by Bird and this was an interesting (although unintended) followup that confirmed most of Lamott's more cynical statements about the writing life (or perhaps, more accurately, the publishing life). Where it fell flat for me is that Juniper and her neuroses probably would have maintained my interest in a short story or novella, but by the denouement (which might have been "a" denouement), I was just done with her. I am fine with narrators who are unlikeable, but it was just too much of her voice--her whiny, excuse-ridden, entitled voice. Typical unreliable narrator, there's no reason at any time to trust her, so I just felt this constant sense of being manipulated---maybe that was the point. There was one moment, however, when Juniper says, "I feel like a meme of a clueless white person" (287) and all of a sudden I felt grounded in the message rather than having to ride on the Juniper train watching the dumpster fire unfold, helpless to do anything.

I am definitely a white person. Occasionally, I'm probably clueless too. But I don't think I missed the point(s) of this book. And I'm not naive--Juniper Songs do exist all over the place, some a lot more insidious and some even more clueless. The part of Yellowface that is "a horror story story about loneliness in a fiercely competitive industry" is fantastic. It would have made a great Twilight Zone episode. But the length of having to endure Juniper's horrific behavior overpowered the narrative of loneliness--of Juniper, of Athena. I suspect there's just too much to say about the motivations behind plagiarism and appropriation, so I'm sympathetic. Ultimately, it is an artful book that makes us sit with, lean into, and smush our faces in discomfort, and it unapologetically doesn't let up. After we turn the last page, perhaps we can step back and find the Juniperisms that hide in our own hearts.

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Follow the Leader Challenge 2025 2b ---> YellowfacE --> Every Day I Write the Book by Amitava Kumar

2025 #4 Wayward (Crouch) - Wayward Pines #2

 

Wayward by Blake Crouch
My rating: 4 of 5 stars

Really a 3.5 - 3.75 for me.
The second installment of the Wayward Pines trilogy is better than the first, as it is has more dimensions and sub-plots. While it is possible to read the second without the first, I don't advise it. The story is terrific, full stop. What isn't terrific is the weird amount of kink whenever it comes to most of the female characters (and their interaction with Ethan). The big "reveal" scene between Ethan and Teresa almost made me stop listening. Teresa's characterization is inconsistent, and Pam is WAY overwritten (the audiobook probably exacerbates this, but to no fault of Max Meyers, who does a great job).

The insertion of Adam Hassler as a character provides a lot of intrigue and tension, and Crouch deftly interwove that element into the book. I do have to say that I approach the third installment with some trepidation as I enjoyed the not-knowing when it came to Hassler, and I'm hoping that the third book does not rely on tired tropes.

The ending is an excellent cliffhanger and has the intended impact -- I will absolutely finish the series.

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Serious About Series Challenge 2025 - January

2025 #3 Grading for Growth (Clark/Talbert)

 

Grading for Growth by David Clark
My rating: 5 of 5 stars

David Clark and Robert Talbert's Grading for Growth is a truly useful book for anyone designing a course, full stop. Even those who may wish to stick to traditional grading structures (or have to, due to mandates), can benefit from thinking about the four pillars (as defined by the authors) of alternative grading: 1) clearly defined standards, 2) helpful feedback, 3) marks indicate progress, 4) reassessment without penalty. The challenge comes in fighting the pre-conceived notions of what letter grades stand for and their import.

The book offers some background on alternative grading: SBG (standards-based grading), specifications (specs) grading, and ungrading, although SBG gets pride of place in the authors' own assessment strategies. Because of this, sometimes it can be a bit blurry when they are talking "standards" as a pillar, or SBG as a specific system--especially later in the book. Chapter 5 does address standards-based grading quite specifically, and chapter 6 is devoted to specs grading, so the frameworks are fairly clear, but those new to these systems might benefit from additional reading, such as Linda B. Nilson's Specifications Grading.

The most significant part of the book (for me) was the Chapter 11 Workbook. I'm reminded of a wonderful professor I had for Macroeconomics in college. I was on the verge of failing her class--a first for me, and I came to her office in tears, one or two days before the final exam. She wrote out a schedule for my next 24 hours, specified exactly which carrel in the library I was going to sit in, when I would be taking breaks, eating, and sleeping. That list held my hand through studying for this final exam I thought I would surely fail. I didn't fail, and I passed the class with a very low grade, but I passed. What does this have to do with Chapter 11?

Well, it is truly a step-by-step guide to course design. It says it is a workbook for alternative grading, and certainly that is the focus, but the process the authors lead us through is a beautiful example of backward design. Now many teachers I know (myself included) always think that our learning outcomes are tied to our assignments, but I fully admit that my intentionality in making sure that's the case hasn't always been optimal. Administrative mandates about "phrasing" rather than helping faculty make the connections between outcomes and assessments haven't always helped either. About two years ago, I started numbering my course's learning outcomes and placing that number next to the various assignments. This was just something that made sense to me as I started to feel like LOs were becoming frivolous rhetoric--at least for the students. I didn't know that I was starting the process that undergirds alternative grading. Each of the 9 steps is clearly explained, with a time estimate for each step, as well as a continuous case study featuring "Professor Alice" and her "First Year Seminar" course that you review before working with your own course. Again, some of what's included might seem like basic common sense, but I suspect many instructors skip some steps here and there, and I know that I've certainly come up with coping strategies when I've not thought something through as well as I might. Steps 1-8 are doable in an entire day (and that's suggested), but I found it more effective (given my cognitive load preferences) to spread it out over several days, which allowed me to be fresh. The authors stress that one shouldn't spend TOO much time because essentially everything is fundamentally a draft. Most helpful to me were Step 3: Make A Prototype of the Marking Methods and What the A and C (D in my case) represent and Step 5: Build one Assessment and rehearse the Feedback Loop. Given my time constraints and the way I tend to think, I did sort of mush steps 6-8 together a bit, but perhaps those more disciplined can compartmentalize better. Whether one is designing a brand new course (which I think added to my inability to isolate those latter steps) or redesigning an existing one, this chapter is invaluable.

Chapter 12, "How to Do it," is also very useful, taking us out of the grade book and into reality, and reminding us of the big picture, e.g. building trust and promoting buy-in. The book can be used somewhat piecemeal, I suppose, although I think there is much to be gained by reading the chapters on large classes and lab classes, even if those scenarios are not directly applicable to one's own courses.

The authors, who have an absolutely terrific Substack of the same name (Grading for Growth), are humble and intentional. There is no smug grandstanding, or hyperbolic claims. Well-balanced in theory and practical advice, the book is one of the best I've read about teaching (in general). It models the collegiality that should be encouraging instructors to invest intentionally in their course assessment. While the authors don't specifically address UDL (Universal Design for Learning), the four pillars certainly intersect with the concept of building "expert learners" (old UDL guidelines), and "learner agency" (UDL 3.0 guidelines). Iterative work and feedback loops are at the heart of it all, and the spirit of the book is in keeping with the "plus-one" approach in Tobin/Behling's Reach Everyone, Teach Everyone (West Virginia University Press, 2018). If you are a teacher who has been feeling a bit "meh" about your courses, read this book. You'll find something to take with you. And do you yourself a favor, start reading it a month prior to your course (or at least get to Chapter 11). Learn from my mistakes.

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2025 #2: Bird by Bird (Lamott)

 

Bird by Bird: Some Instructions on Writing and Life by Anne Lamott
My rating: 5 of 5 stars

I've read many books about writing. I honestly cannot remember how or why this audiobook wound up on my list, but I'm so glad it did. While much of Lamott's advice is geared toward writers of fiction, the book is invaluable for anyone who writes (or frankly, reads). And if you want to get caught up in the eccentricities of broccoli as metaphor, that's fine, but...please, allow yourself to enjoy the comedy. Some of it is fairly irreverent and may not land 100% in 2025 social mores, but most of it is a lot less offensive than a lot of what comes flying out of the mouths of stand-up comedians. If you've understood life's absurdity through grieving someone close, you'll get it. Lamott's reading is perfect--think Lily Tomlin's character "Frankie" without the woo-woo stuff. And in between the quips and the sometimes a-bit-too-long tongue-in-cheek tirades, lo and behold--there are some sound lessons about "...being militantly on your own side," and how you don't want to "look at your feet to see if you're doing it right--just dance!". Lamott learned through trial and much error perhaps the biggest lesson of all: "being enough was going to have to be an inside job." Mic drop.

Proponents of mindfulness will value Lamott's observations such as: "You get your intuition back when you make space for it and stop the chatter of the rational mind." That seems key to a lot of art and creativity, not just writing. Truly, one of my favorite read-by-the-author audiobooks (sharing company with Anthony Bourdain reading Kitchen Confidential and Stanley Tucci's reading of Taste), and Lamott keeps you laughing while you nod your head in affirmation of the book's wisdom. If you find yourself in a slump (of any kind), give it a listen. Lamott's tell-it-like-it-is isn't doom-and-gloom, but instead very life-affirming. I've got a post-it note on my monitor now that reminds me: "bird by bird!"

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Follow The Leader Challenge 2025 1A ---> Discarded Image by C.S. Lewis

2025 #1 Call Us What We Carry (Gorman)

 Happy New Year. This might have been the perfect book to pick back up at the end of 2024 and to finish in these early days of 2025. I also want to note that I am partaking in two challenges this year: a 25 for 25 Follow the Leader Challenge (technically this means my next book title should start with the letter Y) and a "serious about series" challenge wherein I read one book a month that is a sequel, or part of series. I'm also dedicating 2025 year to working with my stash. I own far too many unread books.

Call Us What We Carry by Amanda Gorman
My rating: 5 of 5 stars

On the front flap of the dust jacket, the book reads:

This book is a message in a bottle.
This book is a letter.
This book does not let up.

This book does NOT let up, indeed. "What place have we in our histories except the present?" (123) Gorman asks in "War: What, Is it Good?" The book is a memoir, largely of the pandemic. But to read it is remember that it was more than Covid-19. It was a reckoning. It was a nightmare and a dream. It tested all of us, not all in the same ways.

Gorman's gifts with language are woven through poems that rhyme and poems that don't, pieces of prose by Corporal Roy Plummer (1896-1966) interspersed with Gorman's verse, a list of scenes to make up a filmic "Monomyth" that narrates the crumbling of normalcy beginning in December 2019 in Wuhan, through apocalyptic brushfires in Australia, through the murder of George Floyd, ultimately to emerge/submerge into the Unordinary World:

"We are not all heroes, but we are all at least human. This is not a
closing, but an opening, a widening--not a yawn but a scream, a
poem sung. What will we admit of & into ourselves. There is no such thing as "all over" and "all done". (191)

The short poem "Anonymous" on 180 features white letters on a black mask, an emblem so charged with meaning in this Unordinary World.

The title of the collection, Call Us What We Carry, truly captures a sense of the book as a whole, and is not just a reference to the penultimate poem "What We Carry" nor the poem "Call Us" (34) wherein we find that exact line. Naming and carrying both feature in much of the work, as does navigation and light.

There are seven sections of the book: Requiem, What a Piece of Wreck is Man, Earth Eyes, Memoria, Atonement, Fury & Faith, and Resolution. These titles become more like beacons as you read through the collection and pick up the various threads. For example, in the poem "Lucent", which is the first piece of "Earth Eyes", the meditation on lumen, lucent..."Our requiem as raptus" (60) reminds us of the role of light in a requiem Mass (luceat eis, lux aeterna) but also how "perhaps it is we who make/Falsities of luminscence--" (61).

In the middle of the book, in a piece called "Pre-Memory", Gorman reminds us:
"Storytelling is the way that unarticulated memory becomes art, becomes artifact, becomes fact, becomes felt again, becomes free."

Yes, the book does not let up, nor should it. We need to feel again. We need to be free.

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Follow the Leader Challenge 2025 1B -->Yellowface by R.F. Kuang