A GIRL IS A HALF-FORMED THING by Eimear McBride
Coffee House Press, 2014
Having already read Eimear McBride’s sophomore novel, The Lesser Bohemians, I thought I was prepared for A Girl Is a Half-formed Thing. And indeed, I was prepared for McBride’s signature and singular prose style, a terse, choppy sort of stream of consciousness that mimics the incompleteness of thought. It’s a difficult style to warm up to: I’ve heard that listening to this book on audio can help, but personally I tried that and as I’m not an auditory learner at all, I found it much more comprehensible in print. So I think it does depend on your personal preferences, but once you settle into the rhythm of her words, it’s not as daunting as you might expect.
“Him anxious. Not at all like. But I am happy. Satisfied that I’ve done wrong and now and now. What now? Calm sliding down into my boat and pushing out to sin. He’s on the shoreline getting small.”
What I was not prepared for was how utterly gutting this book ended up being. This has to be one of the most intense, visceral, excruciating things I have read in my life – second only to A Little Life, perhaps? Just, don’t pick this up lightly. Trigger warnings for everything. Seriously, everything.
But it’s not just brutal; it’s good. Form, style, and content all dovetail here for one of the most perceptive examinations of the psychological toll of sexual assault that I have ever read. But more than that, this book is a raw and unfiltered look at sex, isolation, terminal illness, and sibling bonds, and though it’s relentlessly internal in its construction, a commentary on growing up as a young woman in Ireland beautifully underscores the entire thing. The protagonist remains nameless, something that I often find gimmicky and unnecessary, but here it works perfectly as a constant reminder of the narrator’s fractured sense of identity as she finds herself defined by the horrifying things that happen to her and around her as a young girl. This is a hard book to recommend as it’s so impenetrable at a glance, and so harrowing once you do get into it, but I think this is a book that is going to stay with me for a long time.
Does it deserve to win? No. This is a hard-hitting yet woefully underdeveloped book whose impact is neutered by its unwieldy pace and execution. It has some great ideas and occasional moments of brilliance, but I’d solidly rank it in last place on this list while evaluating what each of these books is trying to achieve, and whether or not they succeed. Will it win? Probably not, and I blame the Oprah sticker. How commercial is too commercial to win a literary prize? I’d guess that this level of commercial is where the line is drawn. But who knows.
Does it deserve to win? No. This is one of those books that I really enjoyed and appreciated while I was reading it, but, I’ll be honest: it’s ended up being one of the most forgettable things I’ve read all year. Will it win? No. I just don’t think this book makes enough of an impact.
Does it deserve to win? Who knows. If you ask me, no; if you ask most other people who’ve read it, yes. This book fell short for me but I understand its merits. Will it win? It certainly might. It’s an undeniable feminist achievement, and Miller would be the first author to win the Women’s Prize twice, which would be noteworthy.
Does it deserve to win? Good question. This is an incredibly short book, and while it achieves a lot in its short word count it also leaves the reader wanting a bit more. Will it win? I think it has a very good chance. It’s stylish, topical, and more ‘fresh’ than any of the other frontrunners on this list: An American Marriage has Oprah, Milkman has the Booker, Circe has worldwide bestselling acclaim, My Sister has room to make a splash right here.
Does it deserve to win? See, this is tricky. Where I thinks this excels as a Greek mythology retelling, it arguably fails as a feminist retelling, which, no, isn’t a Women’s Prize winner requirement, but it’s hard not to judge women-centric Greek myth retellings through an explicitly feminist lens when you have a prize specifically for books by women. The bottom line here is Achilles: while I understood and respected the inclusion of his POV and its necessity to the story Barker was telling, many, many readers have taken issue with the few chapters we see through his eyes, ultimately arguing ‘if this book is about reclaiming women’s voices, why are we hearing from a man at all.’ I think ‘reclaiming women’s voices’ is a bit of a simplification of what Barker was trying to achieve in this retelling, and a simplification of how deeply entwined Briseis’s story is with Achilles’s, but I do understand the criticism and I think it’s what may ultimately hinder this one from taking home the prize. Will it win? But, I do think it’s a possibility. Pat Barker has had an illustrious career and won the Man Booker in the past, but has never won the Women’s Prize.
Does it deserve to win? Yes, yes, unequivocally, yes. This is one of the strongest books to come out of 2018, one of the most daring and fiercely original books we’ve seen in years, and it deserves all of the accolades. Will it win? … I don’t know. If it weren’t for its Booker win, this would be a no-brainer, but a book has never in the past won both the Booker and the Women’s Prize. It would be a historic first, but would the Women’s Prize judges just feel like they’re piggybacking off its recent success?
Winner prediction: My Sister, The Serial Killer. I think it’s a strong candidate that examines themes that the prize has always valued – the delicate line between upholding and subverting gender roles, primarily – and it’s arguably the most original choice on this not terribly original list.
Which book would you guys like to see win, and which do you think will take home the prize? Comment and let me know!
This really was a list of halves for me: half of the list I really enjoyed, half I felt strongly ‘meh’ about. Half I read before the longlist announcement, half I read after. And I think that’s why I’m feeling largely underwhelmed: not only was the half of the list that I read before the longlist announcement far superior in mind (you can see that breakdown here), but even though I enjoyed so many of these books individually, a solid half of the list felt a bit like a waste of my time. And naturally I didn’t expect to love everything, that’s just statistically impossible, but I did hope to find a few gems that I wouldn’t have picked up in a hundred years if it weren’t for reading this list.
Because that’s the thing – the books I expected to like, I ended up liking (with a couple of exceptions – looking at you, Remembered). The books I expected to dislike, I ended up disliking. Nothing really challenged me or took me outside my comfort zone only to reward me for my efforts, which tends to be my favorite kind of bookish discovery while reading prize lists. So I think that’s ultimately what I feel like I’m missing; that one book that made this self-imposed project worth the effort. Because all of those books in my 5 star category I had already read before this list was announced.
So, I don’t know. Am I disappointed that I read the longlist? Not particularly, especially as I had a very fun Women’s Prize group chat that gave me some interesting discussion fodder as well as a place to air my grievances when it was taking me 2 months to get through Swan Song. But was I hoping to get something more from this whole endeavor? Sadly, yes.
But the other thing I wanted to talk about was the actual content of the longlist. As a lot of people have pointed out, one of the noteworthy things about this list is how many of the books have a ‘partner,’ so let’s run through that:
Circe & The Silence of the Girls: very literal Greek mythology retellings that take a traditionally male dominated story and reframe it through a feminist lens.
Circe & The Silence of the Girls & Swan Song: feminist retellings in a broader sense, reclaiming women’s voices.
Milkman & Bottled Goods: women under surveillance living under strict governmental regimes.
Remembered & Praise Song for the Butterflies: slavery and rape in historical fiction that are underscored by a note of resilience.
An American Marriage & Ordinary People & Normal People: relationships crumbling under the strain of contemporary life and the inability to communicate with one’s partner.
The Pisces & Freshwater: incisive commentary on womanhood and a revitalization of their respective genres (romance and bildungsroman) by introducing a theme of magic.
Lost Children Archive & Ghost Wall: children and parents, the relationship between the individual and society, commentary on how the past has shaped the present.
Ghost Wall & My Sister, The Serial Killer: short and punchy novellas with commentary on gender roles.
Number One Chinese Restaurant & Remembered: family sagas.
Circe, The Silence of the Girls, Freshwater, Remembered, Praise Song for the Butterflies, An American Marriage: Books about Big Issues: rape, slavery, immigration, incarceration, etc.
The reason I’m bringing up the content and all the overlap is because I’m always curious about what exactly goes into the decision to put a book on a longlist: how much are these books being evaluated in isolation, and how much are they being judged collectively? Because it seems significant that with a few exceptions, these books only have one lone thematic partner: was Washington Black left off because they felt they’d already ticked the slavery box; was Everything Under left off because they felt they couldn’t have three watery magical realism books? Was Severance left off because futuristic zombie dystopia would have been too much of an oddball compared to the rest?
After reading all of these books, I’m left with the impression that this year’s longlist feels a bit too curated. I feel like the judges had certain salient themes in mind that they wanted to see represented on the list, and weren’t willing to stretch too far outside those parameters. Of course, this could all be coincidental, maybe the judges truly believe that these 16 books are the ‘best’ books by women published in the last year. I just… find that doubtful.
I think the bottom line is that when I saw the shortlist, I saw a few daring choices on there – Freshwater, The Pisces, Bottled Goods – and erroneously concluded that it was going to be a daring list, which I think is partially why I’m disappointed that it ended up feeling so safe. ‘Safe’ is a word I kept coming back to while talking about the shortlist, but after finally finishing the longlist, it seems relevant here too.
So that’s it from me – please do let me know your thoughts on the longlist, shortlist, or any and all things Women’s Prize. I’ll post my winner prediction closer to the winner announcement!
REMEMBERED by Yvonne Battle-Felton
Dialogue Books, 2019 (UK)
Well that was… underwhelming. I had been saving this book for last in my Women’s Prize longlist read through, hoping to end the list on a high, but that sure didn’t go as planned. To be honest I don’t even have a great reason for disliking Remembered as much as I did, because objectively, I think this book is perfectly fine, it’s just… not much more than that.
I have to first express my annoyance at this book’s marketing, which I’m certainly not holding against Yvonne Battle-Felton, but it was frustrating nonetheless to be expecting a book about 1910 Philadelphia and ending up with a book about US Civil War era slavery, which isn’t even mentioned in any professional summaries that I’ve read of this book. What begins as a story about an African American man driving a streetcar into a shop window quickly devolves into an extended flashback of the family’s history, and though we return briefly to 1910 a few times, that narrative thread is only really picked back up in the last 5 pages. So, just know what exactly you’re signing up for.
But the fact that this book ended up being about slavery isn’t the problem, at all, it’s just that the execution comes up short of what it’s trying to achieve. At a slim 288 pages, this book is lacking the heft needed to successfully pull off the multi-generational family saga formula. The flashbacks just zip along without landing on any kind of emotional resonance, and the newer generation’s narrative doesn’t really thematically dovetail into the backstory beyond a very bare-bones parallel. Everything about this was disjointed and poorly paced, and I didn’t find myself emotionally affected by any of it in the way I arguably should have. So while this wasn’t a great note to end on, Women’s Prize-wise, it did end up being emblematic of a large part of this list for me: a brilliant set-up whose execution felt more like a first draft than a finished novel.
SWAN SONG by Kelleigh Greenberg-Jephcott
Hutchinson, 2018 (UK)
Much like Swan Song‘s subject, Truman Capote, Kelleigh Greenberg-Jephcott’s novel is at times charming, at times vicious, and at times insufferable. Despite the fact that it took me over a month to get through this and I was complaining about it for a lot of that time, Swan Song actually does have a lot to recommend it. Its first person plural narration is particularly well done as Greenberg-Jephcott attempts to reclaim the voices of the women whose social lives Truman Capote effectively destroyed with the publication of his salacious story La Cote Basque 1965 (the first chapter of Answered Prayers, which was eventually published unfinished, posthumously). In stealing the real life stories of his close circle of friends for his planned novel, Capote faced extensive backlash and was unable to repair his lost friendships, which ultimately haunted him until he died. It could have been a gripping tale of betrayal and a searing commentary on the kind of symbiotic relationship with high society that both made and destroyed Capote’s career, but while it had its moments, it sadly falls short.
My first issue with Swan Song is how ungodly long it is, which naturally leads to all of my other criticisms, being that this book overstays its welcome in every conceivable way. All of Greenberg-Jephcott’s party tricks wear thin after not very long, the worst offense probably being Capote’s characterization – he’s constantly infantilized and reduced to a caricature in a way that starts to feel more spiteful than constructive after not very long. He’s referred to as ‘the boy’ even as a grown man, his height and voice are incessantly referenced, he’s described as ‘elfin’ or even more derogatory synonyms on just about every page, and after a while it’s like… what’s the point of any of this? The bottom line is established early: Truman Capote was capable of extreme kindness and extreme cruelty. This book just revels in the latter in a way that never convincingly dovetails with the voices that are purportedly being reclaimed with this retelling.
Because that’s the other issue at the heart of this: I love the concept of reframing a traditionally male-dominated narrative by using women’s voices – it’s a concept that’s carried through many of my favorite Greek mythology retellings quite soundly – but here it falls flat, because Greenberg-Jephcott never makes a convincing case for why this is a story that need reclaiming. A bunch of high society women have affairs and sail around on yachts and they’re betrayed by their close friend but… so what? This books feels like an elaborate revenge fantasy that’s so mired in gossip and cattiness that it loses its thematic heft.
But, like I said, it’s not all bad: Greenberg-Jephcott’s writing is lively and charming, the style is inventive (elements of poetry and screenwriting are incorporated), the research is admirable, and maybe it’ll appeal more to a different kind of reader, but I’m afraid I just struggled to care.
My friend Chelsea was visiting this weekend, which naturally meant she was subjected to a lot of my last minute excitement about the Women’s Prize in the hours leading up to the shortlist announcement. At one point she asked me what my nightmare shortlist would look like, and I had to think about that one for a minute, but since I only really didn’t get on with three of the books (Chinese Restaurant, Swan Song, and Praise Song) I erroneously declared that unless all three of those made it, I’d probably be happy with anything.
Well, none of those three made it, and I am livid. In fact, two of my absolute favorites (Milkman and The Silence of the Girls) made it, and I am livid. My average star rating for these six books is 4 stars, and I hate this shortlist.
Because it’s not about these six titles on their own; for the most part these are good, competent, entertaining books – it’s about the shortlist as a whole. And the impression I’m getting from this list is that the judges aren’t particularly interested in daring, innovative fiction; they care more about marketability and crowd-pleasing.
And here’s where I have to clarify that I’m not saying this out of literary snobbery; I’m not suggesting that the most accessible titles can’t also be great, enjoyable books. But the aim of the Women’s Prize is ostensibly to award ‘the best’ novel written by a woman in the past year. And no, true objectivity is never going to be possible, and we could have a whole conversation about that. In fact, I think this is the reason why I’m rarely incensed by longlists, even ones that don’t inspire me; taking a list of 200+ eligible books and whittling it down to the ten or fifteen ‘best’ is such a fool’s errand that I’m always more interested in seeing the judges work with the list them come up with than I am about lamenting notable exclusions. In fact, my general excitement about this particular longlist is well-documented here. Yes, there are exceptions, but I think that for the most part, the judges came up with a remarkably solid group of sixteen books. It’s what they did with that list that I’m trying to wrap my head around.
I remain unconvinced that the sheer amount of breadth and depth navigated in Ghost Wall, Freshwater, The Pisces, Normal People, and Lost Children Archive is reflected in any of the titles that made the shortlist, with the one exception of Milkman, the impact of whose inclusion is neutered through no fault of its own, but because it already won the 2018 Man Booker Prize.
I also remain unconvinced that the bold, nuanced, elegant, thoughtful explorations of a number of relevant themes in any of the aforementioned books are worth sacrificing for the sake of two Greek myth retellings and two depictions of crumbling marriages. Because that’s the elephant in the room with this shortlist: the baffling repetition. Circe and The Silence of the Girls both attempt to reclaim the voice of an overlooked woman from Greek mythology, retreading their familiar stories through a feminist lens. An American Marriage and Ordinary People both tell the stories of ill-fated married couples navigating racial injustice and patriarchal oppression, trying and failing to save their relationships that are crumbling due to both internal and external factors. In both cases, the two books accomplish the same thing. Which is why I don’t understand how the judges can pit them against each other and not evaluate their strengths and weaknesses against one another in a way that isn’t afforded with the more apples and oranges pairs on this longlist (how do you compare the sprawling, satirical romp that is Swan Song to the brief and magical Bottled Goods?) But with these four books, the judges had the advantage of their inherent structural similarities to allow them to compare and contrast. Ordinary People is better than An American Marriage. The Silence of the Girls is better than Circe. That’s just my opinion, of course, and I know many people disagree. But if I were on that panel, I would have made my case for the former of each pair advancing and not the latter.
But the aim of this post isn’t really to whine about my faves being excluded, though that’s naturally going to be a part of it, but it more comes down to a question that Elle raised in her incensed and eloquent reaction post. What exactly is the point of any of this? As we’ve established, ‘the best’ book by a woman is a somewhat unattainable ideal, but shouldn’t the judges at least try to strive for that? We don’t need a panel of judges to choose the most sellable, most widely appealing book; we have Goodreads and Oprah and the New York Times for that. I want a panel of judges to show me a shortlist of books published this year that each has done what no other book has managed to do, and the inclusion of two sets of eerily similar titles undermines that entirely.
Anyway, you all know how much I love Milkman – it was my book of the year in 2018 – but because of its Man Booker win, there were four titles that I would have preferred to have won the Women’s Prize for the increased exposure: The Pisces, Freshwater, Normal People, or, in my opinion, the most baffling exclusion and my own personal winner, Ghost Wall.
But I guess at this point I’m back to rooting for Milkman.
What do you guys think of the shortlist? I know I just tore it apart, but if you love it, please don’t be afraid to tell me! Literary prizes are hardly life and death, much as I may forget that at times. I’ve seen a few positive reaction posts that I’ve loved – it’ll take more than one shitty shortlist to kill my enthusiasm for this prize.
BOTTLED GOODS by Sophie van Llewyn
Fairlight Books, 2018
I think Bottled Goods is an interesting, impressive book in a number of ways, but I can’t help but to feel a bit underwhelmed by it. It tells the story of Alina, a young woman living in 1970s communist Romania, whose family comes under surveillance when her brother-in-law defects to the west. Blending a quotidian story with elements of Romanian folklore, this book is a unique, magical creation that I think will satisfy a lot of readers despite its brevity.
But while I was particularly intrigued by its ‘novella-in-flash’ premise, it turned out that the whole flash thing kind of ruined it for me. Each of these chapters is brief – some are a few sentences, some are two or three pages – and each jumps the narrative ahead several weeks or months with no preamble. I hadn’t realized just how much I appreciate a consistent pace and flow in storytelling, but I guess it makes sense, because I’ve noticed over the years that my reading speed gradually increases the further into a book I get; at the very beginning, before I’ve been pulled into the narrative, my mind wanders easily and I find myself rereading the same passages over and over. That’s what kept happening to me with this book – it’s only 190 pages, and rather tiny pages at that, but it took me probably six or seven sittings to get through it, because the jolting pace made it particularly difficult for me to care about any of it.
But anyway, all of that has more to do with me as a reader than what this book does or does not offer. I think it offers a lot: it’s a perceptive commentary about a young woman living under an oppressive governmental regime, an interesting counterpart to Milkman on the Women’s Prize longlist (though I think Milkman is the stronger novel in just about every conceivable way). And I did find its unique style both paradoxically stimulating and distracting; hopefully it will fall more toward the stimulating end of the spectrum for a lot of readers. Finally, I know that everyone who knows me was worried about my reception to this book as soon as the words ‘magical realism’ entered the summary, but I actually didn’t mind that element – I’m not sure it added anything that couldn’t have been achieved with more literal storytelling, but it was an interesting way to comment on the lengths one goes to in order to escape an oppressive government. So on the whole, not really the book for me, but a solid book nonetheless.