The Little Stranger by Sarah Waters

I just finished reading The Little Stranger by Sarah Waters and I enjoyed it so much I wanted to tell someone about it! It's a ghost story set in Britain in the 1940s. The members of the Ayres family, who have had money for generations, are struggling to keep their ancestral home in shape. Their struggles are narrated by a local doctor, who is the son of one of the family's maids. He arrives at the house serendipitously, but becomes increasing entangled in the family's troubles. Ms. Waters has crafted wonderfully rich characters, and the plot really draws you into their world. This book especially appealed to me in its handling of the genres of the gothic, historical fiction, and mystery. Booker shortlisted, 2009.

Modernism and the Harlem Renaissance by Houston A. Baker, Jr.

In this monograph, Houston Baker argues that the Harlem Renaissance does not constitute a "'failure' to produce vital, original, effective, or 'modern' art in the manner, presumably, of British, Anglo-American, and Irish creative endeavors" (xiii). Instead, Baker makes the case that African American art, starting with Up From Slavery works against the minstrel mask to create oratorical mastery from "inside the while world's nonsense syllables" (25). I found Baker's readings of Paul Laurence Dunbar's poetry and Charles Chesnutt's The Conjure Woman and his insistence on the importance of finding a way to convey sound persuasive. Finally, Baker contends that the "mastery of form" and the "deformation of mastery" constitute two strategies employed by various artists as they work against the mask of minstrelcy to create the Harlem Renaissance.

Romancing the Shadow: Poe and Race edited by Gerald Kennedy and Liliane Weissberg

This collection contains nine chapters on various aspects of race in Poe's work. The Narrative of Arthur Gordon Pym is frequently discussed, as are "Murders in the Rue Morgue," "The Gold Bug," and "Hop Frog." While the authors have many different views about how Poe works with race (Terence Whalen proposes that Poe espouses an "average racism" and avoid polemics in order to be popular with a large audience, whereas other readers find Poe to be deeply racist and to be taking stances on slavery through readings of stories and texts that aren't explicitly racialized), I found Whalen's, Rowe's (Poe and imperialism), and Kennedy's (Poe and Douglass) chapters to be the most persuasive. Many of the chapters have a strong cultural studies slant and are as much about the antebellum US as they are about Poe. Many chapters also respond to Morrison's Playing in the Dark and the challenges it makes to find the Africanist presence in Poe.

The Origins of the English Novel by Michael McKeon

After a very anxious introduction justifying a dialectic approach to the history of the novel, added for this new edition, this book begins with Ian Watt's The Rise of the Novel. Although McKeon finds Watt's argument (that the novel, identified by its use of formal realism) relatively persuasive, he contends that Henry Fielding's texts work against this argument: these works owe more to romance than to formal realism. In response, McKeon takes a new perspective. He claims that the novel rises out of the culture trying to work out its relationship to the categories of truth and virtue. He identifies a dialectical process with a double reverse (that is, romance, then empiricism, and then skepticism), and, in the first half of his book, shows how this framework applies to the question of truth (addressing 18th century concerns about fiction and genre) and to the question of virtue (ought a novel to provide moral instruction). Then, in the second half of the book, McKeon gives readings of Don Quixote, Pilgrim's Progress, Robinson Crusoe, Gulliver's Travels, Pamela, and Joseph Andrews, fitting these works into the framework he established in the first half. There's a lot in here about the relationship of the novel to romance, and McKeon tends, in the first half, to start very early (with Classical literature) and give a rapid and spotty overview until he reaches the 17th century. I found his reading of Robinson Crusoe very persuasive.

Artists in Crime by Ngaio Marsh

I thought this murder mystery was quite enjoyable. I liked seeing Alleyn fall in love (and seeing his mother, as well). The plot itself was a bit off--it felt like the detectives were doing a lot of clean up work and the guilty party was quite clearly indicated for most of the book, until a quick twist at the end. I thought Dame Marsh handled the twists and managed the artists fairly well, for the most part.

The Mighty Queens of Freeville by Amy Dickinson

I thought that this memoir was quite funny and engaging at times, and that Ms. Dickinson managed to avoid one of her habits that most annoys me in her column (that is, scripting responses as a form of advice). I do think that there were moments when the author was trying to have it all. For example, in the prologue, as she described her ex-husband offering to help her mother before their marriage, she notes that the ex-husband (almost viciously denied a name in a book that names most of the other characters, including her current romantic interest) didn't get it, and complains about having to go outside, in the cold, with no warm clothes, to fix his shoddy job of cutting down a tree. I'm not sure why she had to go outside herself, and why she couldn't take a moment to find gloves and a coat. This ancedote sums up my complaints with the book. I did enjoy her style and I thought most of her stories were reasonably well selected.

The Story of Edward Sawtelle by David Wroblewski

I really enjoyed reading this book. I thought Mr. Wroblewski did a good job of adapting the Hamlet story to Wisconsin dog breeders. Although the matches to the play are pretty close, they certainly don't overshadow the story at hand. I thought that Almondine was absolutely luminous. I appreciated that Mr. Wroblewski did not tie up all the loose ends. This book was a long read, but well-worth the time.