Literary Links

In the rush to harvest body parts, death investigations have been upended

Maybe I just read too many crime novels and watch too many cop shows. Or maybe I’m just gruesome by nature. Yet I often think of exactly this problem when I’m reading a novel or watching a show. A medical examiner needs time to conduct a full investigation (autopsy and lab tests) to determine manner of death (natural causes, accident, suicide, homicide), yet time is of the essence if the dead person is an organ, bone, and/or tissue donor. So who takes precedence, the medical examiner or the transplant team?

This article from the Los Angeles Times also has a local angle for me. If you click through to the article, you’ll see that the photo of a corpse at the top is from the Pierce County medical examiner’s office in Tacoma, Washington—my home town. The reason for this is probably that Melissa Baker, a former investigator in the Pierce County medical examiner’s office, filed a whistleblower complaint in 2015. She is quoted in this article:

“One of my biggest concerns … was the mere fact that someone could potentially get away with murder because evidence has been bungled, lost or not collected,” she said.

While most of this article focuses on Los Angeles County and California law, many of the issues it brings up are informative for anyone interested in what happens after someone dies. I found the graphic labeled “How much is a body worth?” particularly eye-opening.

ADAPTING ADULT BOOKS FOR YOUNG READERS

Adapting books for young readers can mean a variety of different things. It can mean adding pictures, changing slurs to slightly less harsh words, or cutting out passages that may seem a little boring to young readers. There are many great books adapted for young readers that come out of this process, and it is a helpful way to introduce kids to new historical and contemporary figures that don’t have as many books for all reading levels as, for example, Abraham Lincoln.

Here’s an interesting article about adapting nonfiction texts for younger (say middle-grade) readers. Such adaptations can contribute to providing children with diverse life stories and new paths of encouragement—for example, Life in Motion, the memoir of pioneering dancer Misty Copeland. “Being able to choose a book with a picture or drawing on the front that looks like yourself is still a privilege, and should not be taken for granted.”

American Gothic: The Woman Who Escaped the Asylum

This excerpt from Nightmare Factories: The Asylum in the American Imagination by Troy Rondinone focuses on two images of Woman that pervaded the 19th century: the woman in white, the angel of the house; and the woman in black, representing woman’s roles as caretaker and moral guardian of society. “Both images are archetypes, two sides of a rubric of femininity that simultaneously empowered and smothered the 19th-century female.”

In “a culture that demanded that women know and accept their place . . . the asylum became a tool of discipline in the gothic world of sentimental fiction.”

What Greta Gerwig Saw in ‘Little Women’: ‘Those Are My Girls’

Cover: Little Women by Louisa May Alcott

Greta Gerwig’s film adaptation of Louisa May Alcott’s Little Women will debut on Christmas Day 2019. In this article Amanda Hess writes that Gerwig’s treatment is “less an update than it is an excavation” of a novel that portrays the March sisters as “posed unnaturally in the conventional narratives of their time.” 

‘A Walk in the Woods’ vs. A Walk in the Woods: On Reading as a Substitute for Experience

Jacob Lambert learns a lesson:

Reading is an incredible thing, but it’s a poor substitute for life. I’m amazed, and embarrassed, that I’ve had to learn such an obvious lesson. Yes, adulthood is tiring, children will suck you dry, and it’s easy to stay inside. But I remember now: though I packed The Grapes of Wrath on that long-ago, six-week drive, I read almost none of it. And I didn’t miss it at all.

© 2019 by Mary Daniels Brown

“Monsters, villains, and antiheroes are largely just like us”

Monsters, villains, and antiheroes are largely just like us—with one key difference. They have the power to fulfill self-interests because they live beyond the dictates of morality. They care little for how their actions affect others, so nothing is forbidden. For them, it’s not a matter of “Should I do this?” but “Can I do this?” And whether that means seeking vengeance or stealing the crown or setting fire to an entire city, these characters can and do act on their desires, regardless of the consequences. Their depravity—their freedom—allows us readers to explore the darker side of our own natures in a safe way. Because even though we might fantasize about eviscerating our enemies, we don’t actually want to.

Shelby Mahurin

Literary Links

Learning to Write Mysteries the Mystic River Way

Angie Kim’s recently published debut novel Miracle Creek is one of the best books I’ve read in a long time. Dennis Lehane’s 2001 book Mystic River is a novel I still remember well even after all these years. Coming across this article, in which Angie Kim explains teaching herself how to structure the novel she wanted to write by rereading Mystic River multiple times, felt like a reunion with two old friends.

Kim writes that she also studied novels by Kate Atkinson, Laura Lippman, Tana French, and Chris Bohjalian: “I loved how [these novels] used the mystery frame to immediately pull their readers into the narrative and propel them forward, but how they forced us to slow way down as we went deep into the psyche of the narrators.” She wanted to create in her novel the same degree of immersiveness she found in those models. Her success in doing so is what makes Miracle Creek such a powerful novel.

HOW TO DETERMINE THE READING LEVEL OF A BOOK

For parents wondering how to choose books appropriate for their children, Katherine Willoughby takes a look at “all of the various ways educators, librarians, and book publishers level and categorize books for young readers.”

WHY FICTION IS THE PERFECT TROJAN HORSE TO DISCUSS ETHICAL DILEMMAS

Kira Peikoff explains one of the benefits of reading fiction:

we need fictional outlets like television, movies, and books. Far from being superficial add-ons to life, they help us to live life. Storytelling is the oldest form of virtual reality. Through the safe haven of fiction, as we watch characters go through their own turmoil, we may encounter our own deepest fears and flaws, our highest hopes and strongest convictions. We may find inspiration, learn profound lessons, and gain the strength to overcome our own conflicts. In rare cases, we may even find ourselves rethinking our entire perspective.

‘All crime writers are asking is for a little respect’

Bert Wright, writing for The Irish Times, tackles the question of why crime fiction is so often spoken of as inferior to literary fiction. “All crime writers are asking is for a little respect but too often it is not forthcoming.”

“Whatever the truth of the matter, crime fiction is on an irresistible roll and no amount of splenetic wind-baggery can make the slightest dent in crime fiction’s hard-earned self-esteem.”

CAROLYN KEENE AND THE MYSTERY OF THE REAL NANCY DREW AUTHOR

You may have heard that Carolyn Keene was the original Nancy Drew author and that Harriet Stratemeyer Adams later wrote additional novels published under Keene’s name. But Annika Barranti Klein explains that the real story isn’t quite that simple. Read the complex story of who really wrote and published all the novels in this popular series.

 The Talented Patricia Highsmith’s Private Diaries Are Going Public

Now this news is worth waiting for: Liveright Publishing plans to publish hundreds of pages from Patricia Highsmith’s personal diaries as a single volume in 2021. This article describes Highsmith as:

a literary figure whose sharply observed psychological thrillers, including “Strangers on a Train” and “The Talented Mr. Ripley,” became cultural touchstones. She was a secretive, often prickly woman who remained a cipher even to her friends and lovers, and a trailblazer who wrote one of the first mainstream novels depicting two women in love. But she could be blinded by her own bigotry and espoused racist and anti-Semitic views.

The diaries—“56 spiral-bound notebooks, totaling some 8,000 pages”—were discovered after Highsmith’s death in 1995, tucked behind sheets and towels in a linen closet of her house in Switzerland.

© 2019 by Mary Daniels Brown

6 Degrees of Separation: 1 Woman and 6 Others

It’s time for another adventure in Kate’s 6 Degrees of Separation Meme from her blog, Books Are My Favourite and Best. We are given a book to start with, and from there we free associate six books.

This month we begin with a classic, Alice’s Adventures in Wonderland by Lewis Carroll.

1. Another book with the name Alice in the title is Lisa Genova’s first novel, Still Alice. Previous fiction about Alzheimer’s disease had explored the condition from the perspective of relatives and/or caregivers, but in this 2007 novel Genova portrays the condition from the point of view of the patient.

2. A woman’s name also appears in the title of Margaret Atwood’s novel Alias Grace. This novel is based on an 1843 case in which Grace Marks was convicted of murdering her employer and his housekeeper/mistress but had no memory of the event. The novel explores the experience of Doctor Simon Jordan, an emerging specialist in the growing field of mental illness, who tries to help Grace remember what happened.

3. Elizabeth Strout chose a woman’s name as the title of her novel Olive Kitteridge, which won the 2009 Pulitzer Prize for Fiction. Through a collection of several vignettes the novel portrays Olive, a retired school teacher, as others in her small town in Maine see her. Strout returns to her titular character in Olive, Again, published on October 15, 2019.

4. Elizabeth Is Missing by Emma Healey sports a woman’s name in the title. Like Still Alice, this novel, winner of the 2014 Costa Book Award for First Novel, portrays a character suffering from dementia. That character, Maud, may forget why she came into the room, but she’s certain that her friend Elizabeth is missing. Could her scattered memories hold the answer to a 70-year-old unsolved mystery?

5. Elizabeth Is Missing is from my shelf of books to-be-read that present fictional portrayals of older women. Another book on that shelf, and one that also contains a woman’s name in the title, is Three Things About Elsie by Joanna Cannon. As 84-year-old Florence lies on the floor waiting to be rescued after a fall, she thinks about her past life with her long-time friend Elsie. The dust jacket copy promises a tale of love and friendship couched within a mystery.

6. This chain ends with another novel from that same TBR shelf, What Rose Forgot by Nevada Barr. This novel apparently is an edgier thriller than the previous two. When Rose finds herself in an Alzheimer’s unit in a nursing home with no memory of how she got there, she executes a plan to find out who wants to put her away and why.

From a couple of Alices through Grace, Olive, Elizabeth, Elsie, and Rose, we’ve gone through a sequence of novels that all feature a woman’s name in the title. This was so much fun I hope I get to do it again some time.

© 2019 by Mary Daniels Brown

Literary Links

Why Some People Become Lifelong Readers

Joe Pinsker looks at the question of “why some people grow up to derive great pleasure from reading, while others don’t.” Here’s no surprise: “a chief factor seems to be the household one is born into, and the culture of reading that parents create within it.”

How Reese Witherspoon became the new high priestess of book clubs

“Since Reese’s Book Club launched in 2017 in partnership with the actress’s media company, Hello Sunshine, it has become an industry phenomenon with the power to catapult titles to the top of the bestseller lists.” According to the article, “Reese really picks the books.”

The Loser-Spy Novelist for Our Times

James Parker, a staff writer for The Atlantic, praises English novelist Mick Herron on the publication of his latest novel, Joe Country. “Mick Herron writes about the broken spies sworn to protect today’s broken England,” the article’s subtitle proclaims.

“Like John le Carré—with whom he has been much compared—Herron is obsessed with that area of human experience, that area of the human brain, where paranoia overlaps with an essential, feral vigilance.”

Read Editor Carmen Maria Machado’s Intro to The Best American Science Fiction and Fantasy 2019

cover: he Best American Science Fiction and Fantasy 2019

Here’s another look at the age-old, ever-recurring question of the distinction between literary fiction and genre fiction.

This omnivorous selection of stories chosen by series editor John Joseph Adams and World Fantasy Award finalist Machado is a display of the most boundary-pushing, genre-blurring, stylistically singular science fiction and fantasy stories published in the last year. By sending us to alternate universes and chronicling ordinary magic, introducing us to mythical beasts and talking animals, and engaging with a wide spectrum of emotion from tenderness to fear, each of these stories challenge the way we see our place in the cosmos.

Orphans and their quests

Harvard Ph.D. candidate Manvir Singh discusses what he calls the sympathetic plot, which pervades world literature and controls how we respond to stories. One common trope of the sympathetic plot is the story of orphans, “parentless protagonists [that] are everywhere.”

© 2019 by Mary Daniels Brown

Books I Wish I Could Read for the First Time Again

Recently I came across the article 14 Books You Wish You Could Read for the First Time Again. Off the Shelf editors asked members of their Facebook group which books they wish they could read again for the first time and published some of the responses.

I agree with these titles from the article:

  • 11/22/63 by Stephen King  
  • The Poisonwood Bible by Barbara Kingsolver  
  • A Man Called Ove by Fredrik Backman  
  • Eleanor Oliphant Is Completely Fine by Gail Honeyman  
  • Rebecca by Daphne du Maurier

Examining the Off the Shelf list made me consider exactly what qualities make me want to reread a book. Often it’s the enjoyment of seeing how a writer makes a particular story work—the mechanics of getting plot and character to mesh to produce a satisfying whole. Sometimes it’s the experience of spending time with characters who feel like real people, and other times it’s seeing how characters react to situations that we hope we’ll never have to face in real life. Usually it’s the emotional realization that, although we are all individuals, we all share a common humanity. 

Many times rereading a book is more pleasurable because I already know, in general terms, what’s going to happen and who I’m going to meet along the way. Yet there are still some books that I wish I could read again with fresh eyes.

For that reason, here, in no particular order, are a few books I would add to this list:

  • All the King’s Men by Robert Penn Warren  
  • A Little Life by Hanya Yanagihara  
  • “The Lottery” (short story) by Shirley Jackson 
  • Cloud Atlas by David Mitchell  
  • Disturbances in the Field by Lynne Sharon Schwartz  
  • A Constellation of Vital Phenomena by Anthony Marra  
  • Gone to Soldiers by Marge Piercy  
  • Lillian Boxfish Takes a Walk by Kathleen Rooney  
  • Before I Go to Sleep by S.J. Watson  
  • The Secret Life of Bees by Sue Monk Kidd  
  • We Were the Mulvaneys by Joyce Carol Oates  
  • Mystic River by Dennis Lehane  
  • L.A. Confidential by James Ellroy 

How About You?

What makes you want to reread a book? And what books do you wish you could read for the first time again?

© 2019 by Mary Daniels Brown

Literary Links

WHEN MURDER COMES HOME

Psychologist J.L. Doucette also writes mystery novels. When a body was found buried in the back yard of a house formerly owned by her grandmother, Doucette began to “question my choice of genre as if by writing about murder I was somehow complicit in bringing violence into the world.”

The 50 Greatest Coming-of-Age Novels

The great power of fiction originates in the universality of the particular stories it tells. Since growing up is something we all must do sooner or later, coming-of-age novels are among the most prevalent and most affecting of all.

cover: Middlesex

Here Emily Temple offers her list. I agree with some of her choices: Middlesex by Jeffrey Eugenides, To Kill a Mockingbird by Harper Lee, The Catcher in the Rye by J.D. Salinger, A Tree Grows in Brooklyn by Betty Smith, The Bell Jar by Sylvia Plath, Jane Eyre by Charlotte Brontë, Great Expectations by Charles Dickens, The Adventures of Huckleberry Finn by Mark Twain, A Portrait of the Artist as a Young Man by James Joyce, Cider House Rules by John Irving. 

Cover: The Art of Fielding

But there are a lot more I would add: The Whistling Season by Ivan Doig, Hotel on the Corner of Bitter and Sweet by Jamie Ford, A Crime in the Neighborhood by Suzanne Berne, The Art of Fielding by Chad Harbach, Special Topics in Calamity Physics by Marisha Pessl, The Life We Bury by Allen Eskens, My Cousin Rachel by Daphne du Maurier, The Extraordinary Life of Sam Hell by Robert Dugoni.

How about you?

Are there other novels you’d add to this list?

Audiobooks or Reading? To Our Brains, It Doesn’t Matter

I hope we can finally put this tiresome argument to rest, thanks to these study results from the Gallant Lab at UC Berkeley published in the Journal of Neuroscience.

HOW READING ROBERT CORMIER’S DARK YA HELPED ME SORT THROUGH MY TEACHER’S DEATH

Fiction writer Brenna Ehrlich describes how the dark, brooding fiction of Robert Cormier helper her, as a teenager, get through the brutal murder of local teacher. 

The Goldfinch: can a film solve Donna Tartt’s most divisive book?

cover: The Goldfinch

While The Goldfinch was a bestseller and won the Pulitzer prize for fiction, it divided critics. One challenge to film-makers is its length (864 pages in the current paperback edition; well over 300,000 words). It was called “Dickensian” by some admiring reviewers, but the largest Dickens novels rely on highly elaborate plotting and a large cast of characters. The Goldfinch offers neither of these.

I loved Donna Tartt’s novel The Goldfinch, but a lot of people did not. The film version will be hitting theaters soon, and I’m eager to see it. But, as this article discusses, many are wondering whether this novel can be made into a satisfactory movie. 

© 2019 by Mary Daniels Brown

5 “You Can’t Go Home Again” Novels

Feature image by Hermann Schmider from Pixabay
fancy scroll

Recently my husband and I traveled back to our neighboring hometowns for a family funeral. We’d been back for visits periodically, of course, but we haven’t lived there for 50 years. 

Each time we visit, I feel a distinct sense of dislocation. The adage “you can’t go home again” is true for two reasons:

  1. Your hometown is not the same place as it once was.  
  2. You are no longer the same person you used to be.

Most “you can’t go home again” novels I can think of involve small towns. I grew up in a small town in New England. With only one elementary school in the town, I knew all the kids in the same grade with me, and I knew just about everybody, and all their siblings, in the entire school as well. Our parents all knew each other, and many of us had grandparents who knew each other. Some of the roads in the town were named after prominent multi-generational resident families, such as Lyons Road. Janie Lyons was a couple of years younger than me, and her mother and my mother had gone to school together.

All of this intergenerational overlapping within the same limited geographical boundaries makes privacy nearly impossible. Anybody who had a deep, dark secret in their past that they wanted to keep hidden would have to leave such a small town and start a new life somewhere else. This is probably why the protagonists of “you can’t go home again” novels come predominantly from small towns rather than from big cities. And it’s also probably why most such novels have at their heart some damning action or traumatic event from the past.

Here are five “you can’t go home again” novels that illustrate the Big Three of mystery/thriller tropes: secrets, lies, and betrayals.

fancy scroll

All the Missing Girls by Megan Miranda

cover: All the Missing Girls

In this prototypical “you can’t go home again” novel, Nicolette Farrell returns to the home town she left 10 years ago to help care for her aging father who exhibits early signs of dementia. Now engaged and working in a city, she returns to the place where everyone knew her as Nic and remembers that she, her brother, and her hometown boyfriend were involved in the unexplained disappearance of her best friend back then. 

Soon after Nic returns, another girl vanishes under similar circumstances, and suddenly Nic and those around her are once again under suspicion. To understand what is happening now, Nic begins to try to understand what happened to her friend all those years ago. But does she really want to know the answers to all the questions that her previously unexamined memories turn up?

The Dry by Jane Harper

cover: The Dry

In Harper’s stunning debut novel, federal investigator Aaron Falk travels from Melbourne back to the small Australian farming community where he grew up to attend the funeral of his childhood best friend, Luke Hadler, and Luke’s wife and six-year-old son. The Hadlers were shot in their home, with only infant Charlotte left alive. The working theory is that Luke, under significant financial pressure, killed his wife and son before turning the gun on himself. 

But Aaron doesn’t believe Luke would have killed either his family or himself. Back in their teenage years, Aaron and Luke came under suspicion for murder, but the case was never solved. Now Aaron begins investigating the Hadlers’ murders, wondering if this case could be related to that earlier one. What he learns solves both cases and explains why Aaron’s father moved his teenage son to Melbourne, a lifestyle change that young Aaron hated and resented.

 Sharp Objects  by Gillian Flynn

cover: Sharp Objects

Before Gillian Flynn wrote Gone Girl, she wrote Sharp Objects, the story of troubled reporter Camille Preaker. Camille has just returned from a stay at a psychiatric hospital to her job at a city newspaper when two young girls are murdered in her small, rural home town. When her editor tells her to go visit her family and report on the crime, Camille tries to get out of the assignment, which will reunite her with the domineering, narcissistic mother who never loved her and the much younger half-sister whom Camille barely knows.

But keeping her job depends on her compliance, so Camille goes back to the poisonous environment she’s been trying all her life to escape. The assignment forces her to experience some of her childhood pain all over again but also suggests she may begin to find a pathway toward healing.

The Lying Game by Ruth Ware

cover: The Lying Game

This novel (my least favorite of Ruth Ware’s novels so far) illustrates a variation on “you can’t go home again” novels: the return not necessarily to home, but to a place where a significant childhood action or event occurred. The crucial location here is Salten, a girls’ boarding school in a small English village near the cliffs of the English Channel. Four girls—all misfits for various reasons—meet here as teenagers and form an exclusive clique. They alienate everyone else by their constant lying game, unending attempts to pass off outlandish claims as true. The main rule of the lying game is that they are never to lie to each other.

Seventeen years later three of these women, now in their 30s, receive a text message from the fourth, Kate: “I need you.” The three women, all living near London, drop their professional and family lives to run back to Salten, no questions asked, to help Kate. The novel then proceeds in two separate strands, one the present time and the other in the past, the year the girls spent at school together. Kate is still living in the home she shared with her father, the school’s art instructor, during that year, and much of the backstory focuses on how much idyllic time the four girls spent together in that house, a kind of surrogate home for the other three with unstable family lives, before their antisocial behavior got them all expelled.

As the complex mystery unfolds, the changed situations of the adult characters strain relationships formed around such a tenuous bond so long ago. As the women come to understand how both their schoolmates and the village residents viewed them back then, they discover that they truly can’t go home again.

The Chalk Man by C.J. Tudor

cover: The Chalk Man

This novel illustrates another variation on the “you can’t go home again” formula: Sometimes you can’t go home again even if you never left in the first place. 

In 1986, 12-year-old Eddie and his friends rode bikes around their English village. To stave off boredom they developed their own secret code, chalk stick figures they used to send messages to each other that no one else could understand. This was great fun—until a mysterious chalk man message appeared and lead them to a dead body.

Thirty years later, Ed still lives in the same village. When he and a friend each receive a letter in the mail containing a chalk figure, they think it must be a prank. But when another death occurs, Ed realizes that to save himself, he’ll have to figure out what happened in the village all those years ago.


© 2019 by Mary Daniels Brown

Literary Links

The Edgar Awards Revisited: The Suspect by L. R. Wright (Best Novel; 1986)

The Edgar Awards Revisited, a series in Criminal Element, looks back at award winners not only in their own right, as outstanding novels, but as representative of the their time.

In fact, looking back on 1986, The Suspect may have been the least progressive choice, thematically or structurally, for the Edgar that year, its whydunnit format notwithstanding. Simon Brett’s A Shock To The System features a similar format but, as the British precursor to Bret Easton Ellis’ American Psycho, was perhaps considered as outre as its fellow nominee, Paul Auster’s metaphysical detective story, City Of Glass.

10 GREAT BOOKS THAT DEFY ALL GENRE LABELS

cover: The Warehouse

Rob Hart, author of the recently released novel The Warehouse, writes:

Recently I heard a pretty good explanation of the difference between a mystery and a thriller. A mystery is about what happened, and a thriller is about what’s going to happen.

But beyond that distinction, how do librarians and publishing professionals decide into which of many, many inter-related categories a given novel should be slotted? Readers of literary criticism know that the distinction between “literary fiction”—the high-brow, highfalutin stuff—and “mere genre fiction”—the low-brow, inferior stuff most of us love—is a perennial topic of discussion. But Hart here proclaims, “I really am a fan of mixing genres.” He offers a list of books that do just that: “I don’t know exactly what to call, other than very good books.”

On the Growing Influence of Barack Obama, Literary Tastemaker

While we may not be seeing an Obama book club any time soon, the former president provides a rare male voice in a largely female-dominated literary space helmed by the likes of Oprah [Winfrey] and Reese Witherspoon. Covering a wide range of genres, topics and authors, Obama’s recommendations certainly aren’t aimed specifically at male readers, but his voice has helped redefine a literary space often associated — however problematically — with a stereotypically “feminine” vision perhaps best embodied by Witherspoon’s Hello Sunshine book club.

Says Kayla Kibbe, “Obama’s book recommendations read less like an endorsement from a former world leader than a conversation with a close friend who would gladly lend you their own paperback.”

Reading in a Boom Time of Biographical Fiction

Biographer, poet, critic, and novelist Jay Parini addresses the rise of historical fiction over “the last few decades.”

A student of mine recently said to me in frustration: “I just can’t get interested in ‘made-up’ lives.” And I must admit, my own tastes have shifted over the decades away from invented lives. I think I speak for many when I say that it’s biographical novels—which are centered on actual lives and circumstances—that have found a more secure place in my reading (and writing) life.

And here’s why:

Fiction offers the one and only way we have to get into the head of somebody not ourselves. If this person is someone of interest for one reason or another, there is all the more reason to want to know them and their world more deeply.

And there is a truthfulness in fiction that is simply unavailable to the academic biographer.

Recalling a Time When Books Could Give You Indigestion

cover: What We Talk About When We Talk About Books

Jennifer Szalai discusses What We Talk About When We Talk About Books by Leah Price, an English professor at Rutgers University. The book is not so much about literary history or literary criticism as about the book as physical object and the experience of reading.

The knot of ambivalence contained in this book is appropriate, considering that her subject — “the history and future of reading” — is too enormous and various to speak with a single voice. Recalling an injury that a number of years ago made it hard for Price to read, she says her story “has that most bookish of structures, a happy ending.” This is Price the Book Historian talking; Price the Literary Critic seems to have a different and darker take. Later, reflecting on the desire to see fiction as therapeutic, she wonders how we might prepare for “that most literary of endings, an unhappy one.”

© 2019 by Mary Daniels Brown