Happy Labor Day!

Yes, Labor Day was actually a few days ago, but the residents of Tzer Island celebrate holidays at their convenience. A new review will appear on Monday. Probably.

The Archer by Shruti Swamy

Published by  Algonquin Books on September 7, 2021

Like many stories set in India, The Archer is about contrasts of privilege. While the story involves (and is promoted as) a woman’s quest to improve herself as a dancer, it is more fundamentally a relationship drama involving a wealthy man who weds a poor woman over his family’s objections and imposes his family’s expectations upon her. That drama is set against the backdrop of Bombay in the 1960s and the social restraints imposed by Indian society upon women.

Vidya was raised in a chaali, a communal, gossipy group “where children were largely left to their own devices, with a distracted eye of some mother glancing out from time to time over each child, and come suppertime a child could be fed in any house it visited.” Vidya’s father traveled for work and was usually absent from the home. Her mother died (by means that Vidya’s memory has suppressed) when Vidya was young, leaving Vidya to be raised by her father and giving her the duty of raising a younger brother who becomes entirely dependent upon her. As a boy, Vidya’s brother is the family’s more important child. Vidya’s assigned role — a role she eventually rejects — is to take care of the home and to assure that her brother’s and father’s needs are met.

As a girl, Vidya wanted to play the tabla, a drum that only boys are allowed to play. Her mother told her, perhaps prophetically, that if she asks why she isn’t allowed to do something, she will always be unhappy. Vidya’s grandmother tells her that “sometimes god puts a soul in the wrong body” and that Vidya should have been a boy with her “restless” and “unsatisfied” nature. Boys can find an outlet for their restlessness but, as a girl, Vidya is fated to get married and live in her mother-in-law’s home. Vidya tells her grandmother that she will never get married. Fate, circumstances, social pressure, and even love all make it difficult for Vidya to keep that promise.

Vidya’s true calling, she believes, is to be a dancer. Much of the novel explores Vidya’s love of dance, her perseverance in dance lessons despite a strictness from her instructors that almost borders on cruelty, her relationships with those instructors and her occasional performances.

In her first-person narrative, Vidya also describes her decision to leave home and to attend college. Vidya’s only true friend is a student named Radha, another woman whose soul is in the wrong body. Vidya’s relationship with Radha illustrates another taboo that limits the choices both women are allowed to make.

Vidya narrates her eventual marriage to Rustom, a young man who comes from a prosperous family and who seems attentive and kind, a man whose values appear to be more western than traditional Indian in his regard of women as (almost) equal partners in a marriage. Since Rustom’s family holds Vidya in little regard (she doesn’t meet their standard for social class, refined manners, or skin color), their only real expectation is that she produce a male child that they fully intend to raise.

Like many stories from India, The Archer is notable for its depiction of the clash between ancient traditions that favor the upper classes and encroaching western notions of fairness and equality. Vidya’s defiance of her husband, father, in-laws, teachers, and society is commendable, but her defiance is at war with her feelings of inadequacy, promoted by a culture that views her gender and dark skin as liabilities. Only when she becomes lost in a dance does she feel at peace with her nature, allowing her to “move deeper into my body as the world became sharper.”

Vidya lives her life in conflict, proving the truth of her grandmother’s observation that she cannot reconcile herself. Vidya wants one thing and settles for another. Her plans to become an engineer, to never marry, and to always dance are at odds with the life she must live. At the end of the novel, Vidya makes a choice between dependence and independence. The choice is not one that will make her happy, at least not in the moment, but there may be no choice that will produce immediate happiness. She instead bases the choice on how she believes her conflicts can be reconciled for the best, and maybe that’s the long distance route to a happy life.

The novel’s title comes from a character in an epic story from ancient India, a gifted archer who sliced off his thumb so that he would never be better than his teacher. When a dance teacher explains the story’s relationship to dharma, Vidya doesn’t understand it. By the novel’s end, she understands how to relate the story to her own life. I can’t say I ever quite got the point, but Vidya is clearly smarter than I am.

The plot may seem be familiar to readers who have encountered similar stories. While the novel does not stand apart from other entries in the field, I appreciated Shruti Swamy’s unwillingness to force a happy ending upon Vidya. In the current century, Vidya might have more choices. In her time and place and given her circumstances, she needs to make choices that work for her, even if no choices will allow her to put her soul into a body that will allow her to live as she pleases.

Swamy’s prose captures the rhythms of dance, sometimes spinning, speeding up and slowing down, progressing and retreating. She is an observant writer, and while I could have done with fewer observations of red or yellow or blue saris, she captures the atmosphere of a Bombay that is divided between the cultured silence of the privileged and the chattering voices of the chaali. The Archer should capture the attention and perhaps the hearts of readers who appreciate honest stories of women who find a path to some form of independence, even if the best available path is not the one that fulfills their dreams.

RECOMMENDED

Late City by Robert Olen Butler

Published by Atlantic Monthly Press on September 7, 2021

Robert Olen Butler’s new novel explores the harm caused by a parental or social insistence that “real men” must behave in a way that allows the world to witness and appreciate their manliness. More broadly, Butler suggests that harm is done whenever people of either gender are made to deny their true selves.

While the novel’s title may have more than one meaning, the obvious reference is to the late city edition of a newspaper — the edition that comes at the end of the news day, the one that reports all the day’s events, when it’s too late to add anything new. After 115 years, Samuel Cunningham is at the end of his life, looking back at key events as if they were a series of news stories, the late city edition that recounts all of the news of a life that’s worth reporting.

Sam recounts those stories from a nursing home bed, where he resides as the last living veteran of the First World War. He reviews significant episodes in his life because it is finally time to die. A gender-fluid God (“don’t concern yourself with pronouns,” God tells Sam) is in the room as Sam approaches death, forcing him to give an accounting of his life, to voice his regrets and admit his mistakes, to gain an understanding of his relationships with his parents, wife, and son before God determines Sam’s eternal fate. Since the story is told from Sam’s perspective, whether or not God is actually present or the manifestation of a dying delusion isn’t important. Real or imagined, God is a device that prompts Sam’s self-critical evaluation of his life.

On its surface, Sam has lived a fine life. He grew up in Louisiana, where his father taught him to hunt with a rifle. Seeing his father abuse his mother but being too afraid to intervene, Sam lies about his age and joins the Army as World War I begins, sneaking off in the night, saying goodbye only to his mother, protecting her with a postcard to make his father believe that she had no advance knowledge of his plan.

Using the hunting skills he learned from his father, Sam becomes a sniper. He kills more than a hundred men, envisioning one of them as his father, a vision that doesn’t stop him from pulling the trigger. Sam learns that war is about “millions of men being forced to become somebody who has to dig a hole in the ground and then go down in it or jump up out of it and die a ferocious, savaging death when you just want to be a farmer or a teacher or a sale clerk or a guy stoking coal in a tramp steamer.” People not being allowed to be who they want to be, and how that denial of self-determination harms society as much as the individual, is one of the novel’s key themes.

Sam befriends a man who gives comfort to wounded soldiers in the trenches, hugging them and even kissing them when they believe they are being held by their mothers. When it comes time for Sam to do the same for his friend, Sam needs to ask himself whether he is capable of that kind of intimacy.

At the war’s end, Sam moves to Chicago, a destination far from Loouisiana. He has long loved newspapers and has a talent for writing, his only talent apart from killing. He finds a room in the home of a war widow, earns a job as a cub reporter at a progressive newspaper by writing a sensitive piece about the city’s race riots, marries and has a son. In another key scene, when his son is eleven, Sam explains that being a man means having the courage to kill other men to protect a country. That discussion, a few years later, motivates Sam’s son to join the Navy just before the US enters World War II.

From the end of the war until Sam’s visit from God, shortly after Trump’s election, Sam lives with the consequences of how he shaped his son’s life. It is only at the end of Late City that Sam comes to understand the truth about his son, to understand the harm to which he has contributed by failing to love him unconditionally and with his whole heart. He has a similar revelation about his wife, about how his and society’s expectations shaped the woman she became.

Late City isn’t a story about toxic masculinity. Sam is a decent but misguided man, a product of his time who, by rejecting racism, is a better man than many of his peers. He doesn’t want to hurt anyone. He truly loves his wife, even if he gives more attention to his career than to her. He wants to observe the world and report it rather than being part of it. But Sam could have been more than decent. He could have been a helper, not just an observer. He could have been more open and accepting.

After Sam learns those lessons by considering his life in retrospect, the novel’s final pages give Sam a small opportunity for redemption. That's a sweet and touching moment.

The story concentrates on Sam’s life from the First to the Second World War. The years that follow feel rushed, although they do bring Sam’s wife and marriage into sharper focus.

I caught myself holding my breath during a few tense moments in Late City. At other points, I was genuinely moved by the story. I disagree with the New York Times reviewer who called the novel outrageously sentimental. It isn’t a literary sin for authors to make readers feel something. Obvious emotional manipulation for its own sake is a drag, but the emotional response that Butler induces comes from a place of honesty. I did not feel manipulated by forced sentiment. Rather, I empathized with Sam’s belated realizations that, at three or four times in his life, he was less of a man than he should have been, no matter how many enemy soldiers he managed to kill.

The novel’s honesty extends beyond Sam’s examination of his own life and becomes a commentary on a society that forces good people to lose their own identities by conforming to standards imposed by others. Perhaps readers who cling to antiquated standards will deny the truth or the beauty of Late City. Readers with open minds might appreciate this heartfelt story of the mistakes a decent man can make during a long life.

RECOMMENDED

Revelator by Daryl Gregory

Published by Knopf on August 31, 2021

As horror novels go, Revelator is creepy rather than frightening. The horror does not manifest as a vampire or demon or any other destructive entity that seeks to enslave or destroy the human race, although the possibility that such an entity might reveal itself underlies the story. For most of the novel, the entity that places Revelator into the genre of horror fiction doesn’t threaten anyone except the series of children who serve it, and it probably doesn’t intend to hurt them. Only at the novel’s end do we learn the true nature of those children and of their relationship to the entity they serve.

Alternating chapters focus on the life of Stella Birch in 1938 and 1948. Stella’s family has long resided in a mountainous area of Tennessee that is about to become part of a national park. Inside the mountain lives an entity Stella calls Ghostdaddy. Others in her family call it the God of the Mountain.

A long line of Birch women, all born to absent fathers, have communed with the Ghostdaddy. They enter the mountain and receive the word of Ghostdaddy. Since they are apparently recipients of the mountain god’s revelations, a religion has grown from the communions. The religion was not founded by the women who actually commune with Ghostdaddy, but by a man who purported to have a better understanding of the revelations than the women who receive them. For each new generation of women, the word of the God of the Mountain has been transcribed in a series of books, accompanied by commentary furnished by a male family member who believes he better understands the god’s true meaning.

Stella is a child in 1938. She wants to read all the books of the women who came before her, but her Uncle Hendrick won’t allow it. Hendrick has appointed himself the current interpreter of the God of the Mountain’s words, as spoken through the Birch women. Hendrick would like Stella to produce as many revelations as possible, but her mother Motty doesn’t think Stella is ready. Hendrick defers to Motty as the oldest surviving Birch woman. Stella has her own mind about things and discovers truths about Ghostdaddy before Motty is ready to reveal them.

In 1948, Stella returns to the mountain because Motty has died. Sunny becomes the next Birch girl to commune with Ghostdaddy. Stella wants to shield Sunny from that experience while Hendrick wants to keep Sunny to himself. He’s moving the family religion to a broader audience and needs new revelations to cement his position. Struggles eventually ensue between Stella and Hendrick, between Stella and Sunny, and between Stella and Ghostdaddy.

Daryl Gregory adds color to the story by giving Stella a role in the family moonshine business with her Uncle Abby. She also has a quasi-romantic relationship with a preacher’s son. Something strange happens when Motty slaughters pigs, but you’ll have to read the book to understand it. All of that background helps Gregory portray Stella as an interesting and sympathetic member of a strange backwoods family.

The backwoods tendency to invent bizarre religions and to sucker others into believing them is a key component of the story. It might also be a thinly disguised commentary on the negative impact that backwoods religions have on their adherents. The backwoods church that most of the characters attend before they learn about the God of the Mountain doesn’t allow women to speak. On the other hand, the God of the Mountains is a real entity that demands a form of worship, even if it isn’t much of a god. Unsurprisingly, all of Hendricks’ interpretations of the god’s “revelations” prove to be completely wrong. Such is the nature of fringe preachers.

Stella views herself as a monster. If people knew what she is capable of doing, others might see her that way too. The reader will more likely view Stella as someone who had to play the hand she was dealt, and who played it with courage and compassion.

If Revelator isn’t particularly scary, the story’s creepiness — the ending, in particular — offsets the absence of chills. The atmosphere is appropriate to a horror novel, the story has a good pace, and the depiction of backwoods religion adds to the story’s interest.

RECOMMENDED

In the Watchful City by S. Qiouyi Lu

Published by Tor.com on August 31, 2021

The Gleaming, like the Force from Star Wars, is a connective energy shared by all living beings, although only a few have the ability to access its power. Anima, a node in the city of Ora, has that ability. Ær job (æ being the pronoun that Anima uses to describe ærself) is to watch over Ora and protect its inhabitants, a job made possible by ær ability to (1) access the Gleaming, and (2) transfer her consciousness to animals and control their movements while æ inhabits their bodies.

Anima’s ability to body-hop might make her a valuable protector if she kept a gorilla handy, but she’s usually jumping into birds and lizards, critters that contribute little value to a rescue. Anima is frustrated when she tries to prevent a suicide by drowning and learns that it isn’t easy to herd a school of fish. A node named Enigma needs to remind her that she can’t protect everyone and that her real duty is to “create a society that provides for its citizens . . . where no one is invisible, where we can meet the needs of every one of our people” by “protecting our sovereignty.” Just how hopping into dogs and frogs might accomplish that lofty goal is unclear. It seems very much like an excuse to maintain a surveillance state, but the purpose of surveillance is equally obscure.

Anima is a node in Ora, a city on a world with squirrels and geckos that might be Earth but for its two suns and the Skylands. Nodes can “fold the Gleaming” and thus look through the eyes of anyone who is infused with the Gleaming, but only nodes in the inner sanctum can body jump. While Anima is jumping among animals, her body rests in an amniotic bath that apparently moisturizes her skin. Anima’s jurisdiction as a protector of Ora ends at the “aerospace border” that separates Ora from the Skylands above. Like much of the novel, the Skylands are too underdeveloped to add anything but question marks to the story.

A visitor named Vessel escapes Anima’s notice, a feat that should be impossible, when he enters Ora with a collection of mementos. Each memento comes with a story. Vessel relates some of those stories to Anima. A fish scale, for example, leads to a story about a woman’s moral dilemma as she decides whether her personal comfort should be derived from the exploitation of mermaids. A cup inspires that story of an athletic competition that sparks a riot. A marionette controller leads to the story of a man who tried to bring his dead brother back to life. The stories, each complete with a teaching moment, are more interesting than the novel that surrounds them.

Vessel wants a memento from Anima, but she attaches a condition to her willingness to part with it. Like so much else in the novel, Vessel’s reason for needing Anima’s memento to complete his collection is unexplained. Anima’s decision concerning her contribution of a memento is the story’s final dramatic moment, but it is underwhelming. What will Anima do? is a less important question than Do I care? S. Qiouyi Lu’s enviable prose stye fails to overcome the story’s failure to amount to much, but some of the internal stories are worth reading for their standalone value.

RECOMMENDED WITH RESERVATIONS