Category: Books

  • Knitscene

    I hadn't looked at Knitscene for a while but when a friend brought the winter/spring 2010 issue to knitting group/class a couple of weeks ago I found several patterns I was interested in knitting.

    All three patterns by Connie Chang Chinchio caught my eye:

    Ithaca
     A lovely hoodie, although I never use the hood for more than decoration.

    Tudor henley
     A nice casual knock-around sweater with great wrist detail.

    Geodesic
     An interesting cardigan out of Malabrigo lace.  This attracts me even though I don't usually like cardigans or jackets without fixed closures.

    Then there is more.  

    Shirtwaist
     A lovely lacy top by Teva Durham in cotton and silk.

    Ninebark
     A cute little vest with a lovely multicolor cowl — a dash of color at the face without the dangling ends and shifting folds of a scarf.

    Helleborus
     And another cardigan, this one with a lovely cabled yoke. 

  • Two winter collections from Rowan

    While I am occupied with adding a crocheted border to a "Warm Up America" blanket, I thought I would update my pattern database and share a few recent additions to the pattern library.

    Both of these books are from the fall/winter collections for Rowan, although I just got around to purchasing them in January.

    Purlife winter collection  Both books feature classic, somewhat rustic, what I would call, "country" sweaters, although there are certainly sweaters in both books that could be at home almost anywhere, city or country, depending on one's style.  Or am I completely out of date in thinking that t here is such a thing as "city style" and "country style" anymore?

    The Purelife Winter Collection features sweaters for men and women designed by Marie Wallin.  Since G doesn't want sweaters, I am mostly interested in the women's patterns.   The designs use Rowans British Sheep breeds Chunky and DK wools or Organic Wool DK. There are three patterns in this book which I like, all in DK weight. 

    Windemere  Windemere is a lovely, classic, cabled turtleneck sweater that I think is somewhat elegant, but which I will never knit.  I have, somewhat reluctantly,  come to accept that for the most part I should avoid high turtlenecks sweaters unless they are being worn as layering pieces with other shapes and necklines to add interest.  A simple turtleneck sweater like this is simply not my friend.

    Luckily there are two other sweaters that I am itching to make and wear.

    Ulveston  Ulveston is a lovely tunic with a lace and cables pattern that would be perfect for layering, worn with a shirt as shown here, or with that turtleneck and perhaps a scarf or long necklace.  

    Kendal  The third pattern, Kendall, is not a layering sweater, and although it does have a cowl, the drape makes it much more wearable and flattering.  The illustrated sweater is knitted from bluefaced leicester, one of the natural wools in the British Sheep Breeds collection, which is fitting as bluefaced leicester is a soft  with a nice drape and a bit of luster as well, features to remember when choosing a yarn for this project as it is meant to be worn against the skin.  Softness and the soft luster of the wool add elegance to the sweater.

    Classic Heartland  The second winter book I purchased was Rowan's Classic Heartland which features designs by Martin Storey, using Rowan's aran weight wool-silk blend, Silky Tweed.

    Continuing with my recent fascination with colorwork patterns, two of my choices in this book use stranded colorwork using the fairisle technique.  This means, of course that with the aran weight yarn, they will be toasty warm sweaters, much like the much striped cardigan I am currently working on, although slightly less bulky as I am using an aran weight yarn and a bulky yarn in that sweater.

    Lowri  Considering that I am constantly cold this winter, it is no surprise thought that I am attracted to cozy warm sweaters.

    Lowri fits the bill for warm and cozy, and pretty too.  I love the pattern and the subtle colors as much as I love the deep ribbing.  This pullover is knit to what would be called "mid length" in the Sally Melville book Mother-Daughter knits, and the deep ribbing can be knit to the perfect length so that the colorwork begins at one's "short sweater length" which would give an attractive silhouette and increase the styling and wearing options.  

    I don't know anything about the yarn, although I did see at least one comment on Ravelry that it might work best at a tighter gauge than recommended on the label (19 stitches = 4").  The stranding might help this, but at 20.5 stitches to 4" this is not much tighter.  I might sub a different yarn or a different weight yarn.  Since Rowan's charts tend to be tiny and difficult for my middle-aged eyes to see, I always end up recharting the patter anyway, so it probably wouldn't be that difficult to convert it to DK.

    Dilys  The other colorwork sweater, Dilys, is knit more tightly, at 22 stitches to 4 inches.  I am sure this is because this sweater is meant for layering and the designer wants a stiffer hand with less drape.   I certainly am attracted to just these qualities in this sweater:  the shape, the layering possibilities.  This sweater combines my love of color, but in a rather sophisticated way, with the short cropped silhouette that I have learned works so well with my long torso.

    This is definitely a must-knit, although I don't see how it will get on the needles before next season.

    Braith  The last sweater is a lovely cardigan with a tailored appeal, Braith. There is nothing fancy here stitch-wise, it is just a classic, simple, wearable cardigan, and probably just what my wardrobe is waiting for.

  • Haiku Knits

    I pre-ordered Haiku Knits from Amazon which means it has been sitting around here for a few weeks now.  I keep looking at it.

    Flickering flame.0 I finally cataloged the patterns I am interested in to my database today and I ended up with 10 patterns out of the 25 in the book.  Many patterns are ones I would make up as shown, others are more inspiration pieces in that I love the shape or the combination of the yarns or the ideas that the design inspires.  These patterns make me want to play with yarn, to master texture and drape and the nature of the knitted fabric, to make the final garment something that is exactly what I want.

    Fisherman's net.0 So I suppose the book is in part a book of dreams, because my knitting impulse is more in keeping with blind following of directions than blazing a trail and designing my own.  But it is also a book of patterns.  Patterns I would love to knit.

    Tonight, because I am tired and have been standing at the cutting/drafting/marking table for hours and I am not feeling particularly eloquent or long winded, I shall share only my three favorites.

    Riverbed.0 Two are made exclusively from Habu yarns, one is a combination of Kidsilk Haze and Habu yarn.  Not all the sweaters in the book call for Habu, but many do.

    Most of the sweaters in the book are not this traditional.  And yet it is the traditional models I share.  Perhaps it is a reflection of my state of mind, of this wanting to create garments that are just right in and of themselves but which also get along well as bit players in a wardrobe.

    Perhaps I am just tired.

  • Anny Blatt Fall 2009

    I'm far enough along in my current sweater that it is time to consider what's next, so I knitted a swatch this morning and blocked it.  I wasn't particularly fond of the swatch unblocked, but the wet it shows more promise. The decision will turn on the hand of the dry swatch. More information will be forthcoming.

    I had originally thought I would start this Anny Blatt sweater next, but perhaps I was a little over-ambitious in how far I would have progressed in my general fitness and weight-loss goals.  I have decided that I would like to wait until I am a little closer to where I want to be before I actually start this project, even though it will not be the fastest knit.  Because it is on tiny needles it will also be a knit that I will not be happy to have rip out and reknit just because it is too big.

    Instead today I will show you a few favorites from the new, Fall 2009 Anny Blatt books, sweaters I would love to knit even though I am well aware that I currently have a backlog of several Anny Blatt sweaters including one that was started and then turned into a tangled mess by the blessed baby cat, Moisés.

    Valliere.0 From Anny Blatt Book 206 there are three sweaters that caught my eye.  The first is this one, Valliere, done in intarsia in three different yarns, all in the same shade.  I adore this; I love the subtlety of the change in texture and color afforded by the different yarns, I love the simple elegant shape (and yes there is shaping in this sweater) and the modified bell sleeves which are not to big.  This sweater falls into the "must knit" category for me.

    Mazarin.0 My second favorite sweater in this book is another intarsia sweater, Mazarin, which is very reminiscent of the lovely intarsia sweaters that I associate with Anny Blatt in the 90s.  I'm just going with what I love here.  I love the deep v-neckline and the fitted shape.  I love the asymmetrical color work.  What I don't particularly love are the pearls and beads sewn on this sweater, not that I have anything against pearls on sweaters (see Mine) just that I don't like the pearls on this particular sweater.  Luckily, they are not required.  I would leave off the pearls and the little intarsia dots running up the front of the sweater and otherwise leave the rest of the pattern alone.

    Achery.0 I am also rather fond of this sweater, named Achery.  I have been wearing more stripes, and horizontal ones at that lately, which is not such a bad look, especially as my torso above the hipline is my slimmest part.  I like the stripes but mostly I like the hem and sleeve finish combined with the stripes, although generally this sweater seems more like "summer" to me but perhaps that is because I see it more in "summer" colors. 

    Certainly the colors shown are not for me, which is a shame in one sense as I would love to use the yarn, Lady Blatt, which is a combination of camel, silk, and cashmere.  Alas Lady Blatt does not come in 4 colors flattering enough to my complexion to make this sweater; there are three colors I would use, but I haven't convinced myself that there is a 4th color that fits my vision of the thing.  Not to worry, there are many other yarns in the universe and my lusting after Lady Blatt is probably best confined to a smaller project than an entire sweater.

    Myrica.0 I'm still fretting over the whole turtleneck issue, and whether I should invest in more turtlenecks from a style-perspective.  From a practical perspective they are fabulous as they keep the neck and chest warm and look a little more sleek than a scarf.  I suppose now that I think about it, I am never giving up turtlenecks, unless perhaps, my neck collapses and my chin rests on my collar bones and I don't see that happening. 

    Which brings me to the lovely Myrica from Book 207. I love the cables that increase in width as they move up the torso, bringing the eyes upward, the godets that flare over the hips, the lovely lattice at the neck and cuffs.  When I was first looking at this book I also happened to be trying on sweaters and I was convinced I wanted to unravel a favorite, now too large, cashmere sweater to make this.  But I have come to my senses.  Not about unravelling the cashmere, that will be done as it is a lovely sport to DK weight yarn, but in terms of using it for this sweater.  The cashmere is too soft and fluffy, and this sweater will look better with a yarn that shows the cables more crisply.

    Melonie.0

    Last, there is the lovey Melonie.  I suppose this is a more standard, classic, ladylike sweater in a fairly popular stitch pattern, but that doesn't make it less lovely.  Certainly it is the perfect shape, with a lovely V-neckline that always looks good on me.  It is a sweater that would be perfectly at home over skirts or pants either casual or more tailored and therefore fits my idea of a perfect wardrobe basic.

  • More Mail

    David Page Coffin's new book arrived today.   I spent most of my free time today looking at it, reading bits of it, and looking at it some more.

    Trousers

    If you haven't done so already, Buy This Book.

    I am going to need to make some pants soon enough.  I was thinking I wasn't quite ready for that yet as my attentions are still somewhat running toward scatter-brained.  

    This should really help me focus my thoughts.  I have a lot to think about and a lot to absorb.  It should be fun.

  • Norah Gaughan 5

    Cormorant I am still sewing the beads on Mine; it is a slow and meticulous process, at least for me.  The fall knitting magazines are really starting to come  in now though, so of course I am looking and dreaming.

    I ordered the Norah Gaughan fall book because I  have loved every previous book (except perhaps volume 4, in which there is only one sweater I want to knit).  I am glad I did because I could really happily knit almost everything in this book.

    When I look at this book, and go back and look through the previous volumes as well, I wonder why I even bother knitting anything else.  

    Heron Well, that resolve only holds up until I look in my closet or look at the next knitting book.  But I do know that I really need to knit some of these sweaters. 

    The book is divided into two segments.  The first segment, Fly Away, emphasizes draping and interesting shapes. 

    The first three sweaters have particularly caught my attention.  Cormorant, shown above, and Heron (left) are fabulous cardigans and I can so easily see myself wearing these although Heron, knit with Peruvia Quick, is knit with an awfully bulky yarn and I am inclined to think that although it would knit up quickly, it would get far less wear than Cormorant,  which is a much more versatile weight.  

    If I am going to knit only one of them, it would be Cormorant.

    Anhinga I also love this pullover, called Anhinga and think this would be a sweater that I would just pull on again and again.

    The second segment of the book is called “Bright Women” and shows much more traditional structured garments which have been knit in bright colors.

    I actually think most of these patterns are versatile and wearable, but of course there are a few which I am particularly attracted to.

    Potter

    I like the cardigan, Potter, with its double-breasted ribbed front that is so reminiscent of a pea coat.  

    Curie

    I also really like the pattern called Curie with its interesting patterning and sport-weight yarn (shown in red). I think the different patterns, and the band dividing it will also give me some fitting options, allowing for a little bust shaping, and taking a little length out of the mid back.

    Goodall

    Goodall is just a classically nice cabled sweater  that looks like it would be fun and fairly fast to knit as well as a great sweater just to wear.

     

  • Fall Rowan

    I've been looking at Rowan 46 for a few days now, and it is not surprising that there are several patterns I quite like. I am always attracted to thick warm woolly sweaters which is slowly becoming problematic as the winters lately seem increasingly mild.  I always said that I would be one of those old ladies rattling about a drafty old house in Maine; my choice in sweaters, at least, seems to confirm this predilection.

    Rowan1 I think I have learned not to say "these are the patterns I am going to make" although I may or may not make all of them at some point or another.  I haven't even started the sweaters I intended to make from Book 45 as I am still finishing up sweaters from last summer.  These are simply the designs I love without regard to where I would wear them now, whether they fit in my life now or at some undetermined future time, under some as yet unknown future conditions.  
    They are all sweaters I love, that fit my style, and that I can imagine myself wearing in spirit.  

    The first sweater pictured, Stockport, should not be surprising.  I love the shape.  I love the yarn, Cocoon, so soft and cuddly and light.  Of course I love the way they've styled it here which gives me ideas, but I can see wearing this little sweater layered in several ways. If I do manage to make it soon, I can see myself wearing it for one of our late September or early October Sunday afternoons in the Berkshires.
    Rowan2 And this sweater, Rona,  may seem a bit out of character to some, it does to G anyway, but I adored it the instant I opened the magazine as it is the second sweater shown, in a glorious two page spread.

    Again I admit to being attracted by the styling, as well as the color choices on this one, soft muted colors that I could wear well.  

    Although my initial reaction was something along the lines of "I love that" followed by "Granny Squares, I would never have thought" that too is some disingenuous  as I have a summer cardigan made from granny squares that I have had, and adored, for years.  It was purchased a long time ago, back when it still took me nearly a year to finish a sweater, and it may or may not survive the cuts when my ongoing closet clean-out finally gets to the sweater closet.

    But this sweater would definitely survive were it already knitted and I can already imagine it with certain wardrobe basics.

    Rowan4 I always have a weakness for those thick warm, country weekend sweaters which is not at all surprising as I live a kind of country-weekend life.  This pattern, called Benbecula, reminds me of crisp autumn days and chilly winter afternoons by the fire.  I see it with jeans and boots, perfect for all those days that are cool enough to need something but not cool enough for a heavy sweater or jacket, open and with short sleeves the layering options are fabulous. 

    Rowan6

    Burghley is another thick, fall sweater that I can imagine just living in.  This has a little more presence, with the feel of a jacket as well as a cardigan.  It is knit from wool cotton, much more versatile than a thick wool, which may be more appropriate for autumn days or late/winter early spring, and perhaps even for cool indoor environments as well.  I may not live in a drafty old castle, but modern houses with walls of glass have their own insulation issues.

    Rowan3I am also wildly attracted to  Stronsay.  Granted it is a men's sweater and even the smallest size would be pretty loose and bulky.  I know that what I am attracted to here is the idea of this sweater, and of course the colors used in the original which are so perfect with the soft grays and greens and that pop of autumnal rust.

    This I can see wearing, at least I can see some ideal of this sweater on me, although I am as yet undecided as to whether I would just go for the straight "boyfriend sweater" sweatshirt effect,  which would be great to wear out raking leaves or shoveling snow, or traipsing around mucky country paths in sturdy boots and jeans, or if I would modify the pattern to employ that luscious plaid in a sweater that was perhaps a little more fitted.  When I do decide what is perfect, this looks like a sweater that could rival Rogue as one of my favorite winter hoodies.
    Rowan5 Cheadle jumped right out as a sweater that is perfectly "me".  I love the unusual cables which run from side to side, and I love the cropped length as well.  This sweater is also much more adaptable, at least to me.  I can see it dressed up a bit or down, moving beyond fields and barns and country estates.    My only question is whether it is suitable for my  more
    busty, middle aged shape, but I am inclined to think that the sweater can be tweaked to fit, and the appropriateness is all in the details of fit and how it is worn.  I have been very happy lately with these short, waist to high hip length sweaters with shorter sleeves, worn as layering pieces with something longer underneath.  They seem to add interest and break up the expanse of the long torso, pulling the eye up to my long neck and away from my short legs.  

    Perhaps I am just deluding myself.

    Rowan8 Since I live in sweaters 9 to 10 months of the year, I do also need some indoor sweaters and it is always nice to find hand knit patterns that are light enough, simple enough, and interesting to knit enough that I might actually make them.

    Claremont is one example here.  The shape is good for me with its short length and waist emphasis, as well as the face framing color.  This is a shape I wear well, and I love the argyle pattern.  The soft full sleeves are lovely and feminine, and best of all, for those of us who are seem unable to avoid dragging our sleeves through everything, are the nice long narrow cuffs.  I have always been attracted to the idea of a leg of mutton sleeve done well, a stye also hinted at by the current popularity of short sleeve sweaters layered over turtlenecks or long sleeve tees, such as Cheadle, above.

    Rowan7 Last but not least,  I love the simple stripes of Thorington.   It seems I will never outgrow my love of turtlenecks and how can I resist a turtleneck of kidsilk haze and kidsilk shimmer.

    Yummy to knit. Yummy to wear. Dressy enough to wear to dinner. Soft enough that I might never want to take it off.

  • Reading about Music

    21VPpAGDeSL._SL500_AA160_ I finished reading The Rest is Noise this morning and it is a really fabulous book which I thoroughly enjoyed reading.  I spent a long time with it, not because it was at all difficult, but more because it was such a joy…..

    Hmmm.  I seem to be saying that a lot of late.

    I was just a teeny tiny bit disappointed that the last quarter of the 20th century seemed to get short shrift, at least in the number of pages devoted to it, but then "classical" and "pop" seem like such archaic terms to me today, that an adequate discussion of the last 20 or 30 years would probably take an entire book in and of itself.

     I was particularly struck by this quote from the epilogue:

    "At the beginning of the twenty-first century, the impulse to pit classical music against pop culture no longer makes intellectual or emotional sense.  Young composers have grown up with pop music ringing in their ears, and they make use of it or ignore it as the occasion demands.  They are seeking the middle ground between the life of the mind and the noise of the street. Likewise, some of the liveliest reactions to twentieth century  and contemporary classical music have come from the pop arena, roughly defined."

    And this reminds me of a talk by Leon Botstein, given several years ago at the opening concert of one of the Bard Music Festivals, I don't remember which one, but it was a 20th century composer, possibly Schoenberg. Basically Botstein said that this music (whatever it was) was easy for members of his generation (or my generation and younger) and what is truly difficult for those of us who grew up listening to the 20th century, particularly the latter half of the 20th century, is the music of Haydn and Mozart.

    This overlapping of influences and sounds is so much a part of life, and perhaps I am truly just not enough of an intellectual, that it seems difficult to completely separate out the threads of Schoenberg and Stravinsky from Reich, Adams, Talking Heads, Takemitsu, Björk, Coltrane, and Lou Reed.  I am not speaking literally here, just jumbling together the thoughts that come out of my mind.  I hope you understand.

    But the music of Mozart or Beethoven,of Haydn or Brahms, much as I adore it, now that is something different.  Oh they provide a sort of background.  We have all heard the melodies.  But to listen, to sit back and actually listen to what they produce – that requires a completely different kind of mental attention, one that perhaps our forebears were more readily trained.  Is it that our ears are different? Or have we formed different mental synapses?

    Now I need to go listen to some music.

  • We: Reflections on reading past and present

    0380633132.01._SX140_SY225_SCLZZZZZZZ_ 0449213943.01._SX140_SY225_SCLZZZZZZZ_ 0140440178.01._SX140_SY225_SCLZZZZZZZ_ 5ce81bb0e50af9c592f6d5a5367434d414f4541

    I’ve had a
    “bad back” since I was 11 or 12 years old, when I was diagnosed with scoliosis,
    although for the most part it doesn’t bother me that much.  It is just something that is there, in
    the background, mostly ignored.  I
    remember when I was typing up the transcription in G’s office, and he would see
    back patients who would complain bitterly that their life was ruined because
    they could no longer roll over in bed, they had to wake themselves to change
    position.  I have not been able to
    roll over since I was 16, when I had a Harrington rod installed in my
    back.  On my back I am somewhat like
    a turtle that has been upended, although eventually I can right myself.  I wake up, change position, and go
    right back to sleep; I’ve been doing this most of my life so I suppose I was
    not very sympathetic.

     

    Occasionally
    however, my back does act up a little bit.  I did something early in the week, trying to wrest the top off
    of the pool chlorinator I believe, and spent the first few days of the week
    pretty much on my back as both standing and sitting were excruciating.  Yesterday my low back was better but my
    neck was stiff and I could only look down – perhaps convenient if one is
    walking the streets of Paris – but other wise not particularly enjoyable or
    productive.  I’m not really
    complaining about these days, I actually have far fewer back spells than I did
    when I was younger, and the down time did give me ample time for reflection.

     

    One of the
    subjects that caught my wandering attention concerned a book I had been reading
    last week, WE by Yevgeny
    Zamyatin.  I was actually
    re-reading We, and finishing
    it reminded me of my teens, when I first encountered this book, and the strong
    impression this book and several others made on me at the time.

     

    Why this
    book?  Well, as I was lying down
    looking at the ceiling, I recalled that I had discussed this book, among
    others, during a college interview, and my father, who was with me during the
    interview, was shocked and appalled. 
    Reading the book now, in my 50’s, I was reminded of that interview and
    the shock on my father’s face.

     

    The books I
    discussed in that interview at Rice University were: We, Inside the Third Reich, All Quiet on the Western Front,
    and Pere Goriot.  

     

    Why these
    books?  They all challenged the
    idea of who I was and my view of the world, even as they struck people who knew
    me as books I most definitely would NOT
    enjoy.  I remember a friend being
    surprised that I was so involved in Albert Speer’s memoir, pointing out that it
    was not the kind of book he would expect me to enjoy, and for the most part it
    was atypical:  I read fiction and
    nonfiction, but really preferred happy sunny stories, fantasy, and good-versus-evil
    sagas where good always won.  This
    fit with my bouncy happy outer self, which is the greater part of myself, but
    not the whole.

     

    I read All Quiet on the Western Front
    when I was 14.  I remember
    finishing it in class, I don’t remember which class, although I do remember the
    classroom itself; it was one of those classes where the teacher had us do our assignments
    during class time and I had worked far ahead of the rest of the class.  This was one of my “bad habits” that
    would plague my teachers throughout most of my time in high school, culminating
    in senior year “pre-calculus” where I did all the problems in the book in the
    first six weeks, correctly to my teacher’s consternation, and spent the rest of
    the year quietly and subversively reading books of my own choosing. 

     

    Remarque’s
    book shocked me; I had nightmares for weeks. I was plagued not by the physical
    horrors of war, but the emotional horrors of war, the idea that war could
    destroy all hope.  This book
    changed how I looked at authority and cultural identity and history. We were
    still at war with Vietnam, some of my classmates had siblings in Vietnam, some
    of them wanted the war to end, some of them wanted to go off to war
    themselves. 

     

    I had a
    quotation from this book pasted above my desk throughout high school and
    college:

     

    “I know
    nothing of life but despair, death, fear, and fatuous superficiality cast over
    an abyss of sorrow.  I see how
    peoples are set against one another, and in silence, unknowingly, foolishly,
    obediently, innocently slay one another.”

     

    It is a
    common quoted passage, although I did not know it at the time. I saved it
    exactly because it represented the antithesis of my own experience, my own
    hope, and it struck me that the tenor of a life could change so irrevocably,
    how blindly and hopefully people set out to follow what they believe to be
    right, and how cruel and unjust are the paths of history, of civilization, of
    power. I believed that everyone should have to read this book, that the mere
    act of reading it could change everything. I was still quite young.

     

    Later, when
    I was reading We, it struck
    me that the emptiness of the soul and despair that I saw in Remarque, was also
    present in Zamyatin.  In this
    wonderful utopia, freed of the cruelty and passion of human life, cruelty was
    still present, but it was robed in a cloak of virtue. In D-503’s world the
    individual life is as empty and without hope as Paul’s life after he survives
    the killing fields, and the way in which the soul is stripped from a man is no
    less shocking.

     

    There is a
    certain commonality between Speer’s memoir and Zamyatin’s fiction, in that both
    Speer at D-503 initially extol the praises of their respective worlds.  Speer is practically besotted with
    Hitler, worshipping him as a hero, and only gradually becomes disillusioned.  Both write memoirs, which serve to
    explain and attempt to justify their experiences.  Speer’s is autobiographical, written after the fact, and
    undoubtedly paints a picture tainted by the infallibilities of memory as well
    as a human need for self justification and redemption. D-503’s “journal” is of
    course, a work of fiction, but even so D-503 writes it proclaiming his honesty while
    also self-editing for how things might be perceived by others – this is after
    all, a journal he intends to be read. 
    D-503 begins by singing the praises of his perfect society. He cannot
    imagine the more “primitive” world that came before, but he too changes,
    develops a soul, begins to doubt. 

     

    Both Speer
    and D-503 appear to be very naïve, and they probably are naïve in some sense:
    at any time humans have a great capacity toward self-deception and blindness.  And yet both come out with some degree
    of redemption in the eyes of their respective societies.   Speer, one of the few Nazis who
    expressed guilt or remorse, is given a prison sentence and escapes death, and
    has a chance to redeem himself further by writing a book.  D-503 returns to his society of order
    and the mind and turns in his co-conspirators, dispassionately, and a bit
    sanctimoniously, watching as is former “love” is tortured.  Both know how to adapt to the world and
    come out on the winning side.

     

    But how do
    these books relate to poor old Pere
    Goriot
    ? 

     

    At that
    fateful college interview, having mentioned that I was an avid reader, I was
    asked which books made the greatest impact on me and why.  These were the books that came to
    mind.  Pere Goriot was only the most recent of them.  My father was most appalled by my choice
    of Pere Goriot (he had not
    read We) because he saw it as
    a book about a parent who does everything for his children and is subsequently
    abandoned by them.

     

    That was not
    completely the point that I was making, although it did play a role.   Pere Goriot was also not the man
    he believed himself to be, and he created for his daughters the lives he wished
    he had, not necessarily what would make them happy. Having achieved his goal,
    he was surprised to learn that this did not necessarily endear him to these
    same daughters, for whom he had sacrificed everything.  He was a classic of example of “getting
    what one wishes for, but not liking what one gets”.  No one in this novel comes out smelling like rose.  Neither does Speer, or D-503.

     

    In Pere Goriot I saw the tragedy of
    every family, of parents dreams for their children, of the children who were
    perhaps too successful of embodiments of their parent’s aspirations.  In Speer I saw the dangers and tragedy
    of greed and ambition.  In D-503,
    and in Paul, I saw the tragedy of every man, trapped in our own small bubbles
    of the world, far to often oblivious to the greater forces that have the power
    to shape and destroy our lives.

     

    I am sure my
    reflections today are formed by the decades of thought and experience that has
    intervened since that interview.  I
    do not remember exactly what I thought at 17, but I know I was attempting to
    put a form to these nascent thoughts.

     

    I do
    remember watching my father’s face turning red and then purple as I spoke about
    Pere Goriot, about D-503, and the other characters.  Perhaps it is only now, in my 50s that I can begin to
    appreciate the shock of a parent watching his fledgling child take flight in
    ways previously unexpected. 

  • Reading Update

    It has been a long time since I did a book update:

    51aVhIoIycL._SX106_ The House of Dimon by Patricia Crisafulli.  Was not particularly good but I gave it an okay rating on Goodreads because it was a quick reading and interesting reminder that all is not what it seems on the news and from the mouths of our legislators.  Ms. Crisafulli writes with almost breathless adoration and there is little in this book that is not available from clippings in the WSJ, other papers, and company reports.  Still it is timely, a quick read, and a  reminder that not everyone was so caught up in the finance bubble that they were blind to the risks and excesses taking place. 

    I found it timely just as a reminder that intelligent people don't have to believe what is coming out of the mouths of businessmen whose companies are in trouble, or in fact, the Government, which thinks it is doing the country a favor and covering its own ass.

    51v46sUYy2L._SX106_ I had been waiting to read Elizabeth George's Careless in Red, waiting for the mass market paperback so that I could add it to the collected Thomas Lynley stories on the shelf, and I snapped it up as soon as possible and plunged right in.   First off, I can only say that Elizabeth George's portrayal of Lynley's grief is spot on.  It seems that she has a good handle on how people experience grief, and also on the personality of her character, because Inspector Lynley's grief over the death of his wife, and the way he experiences it and copes (or fails to cope) is so completely sympathetic and convincing.  

    I found this novel very satisfying and well researched and quite fun to read.  I had a few quibbles with some of the characters, but there are many characters, and the main ones were beautifully realized.  An enjoyable read that I am happy to have added to my collection.

    51-oVEUbT0L._SX106_ I reread two books in May, Jane Brocket's The Gentle Art of Domesticity is always a favorite for dipping into when I have a few moments and is still enjoyable.  I also used her recipe for flapjacks although I had to modify it slightly to work with the type of gluten-free oats I am able to find locally.  I now have a yummy sweet treat for those moments when I just am overcome with a need for something sweet.  For my purposes, her variation on the classic worked better than those I found on the recipes I found on the web.  I wasn't looking for the recipe, it just cropped up at the right time, and I am grateful.

    263fb6742875a0c592b37634377417941414141 My copy of Peter Gay's Weimar Culture was given to me by my father when I was in high school.  I read it at the time, but it was perhaps a little more scholarly and dense than what I was looking for at that time.  I read it again in college and then I appreciated the fact that it although it is quite scholarly there are times in the book when it is quite imaginative and gripping, unlike many historical tracts I had to read for coursework.  I read it again this time after encountering a quote from Mr. Gay in Alex Ross's The Rest is Noise which I am still reading.  I was happy  to read the book again and it reminded me of aspects of Weimar culture that I had forgotten, or missed the first time around.  Well worth rereading.

    13745443 Most recently, I finished reading Sarah Water's The Night Watch.  I truly enjoyed this book. The writing is precise and perceptive and the dialo g is just beautifully done. Too many "period" novels end up sounding like a set piece or a play but these characters just sound like themselves, the worn, sad even, marginal characters they are. It is not a novel filled with lush melodramatic scenes and prose, and although the slow revelation of the characters works like a mystery, opening with the sad aftermath and then revealing the beginnings, it does not have the pace of a mystery novel. The writing is rather austere, fitting for the period, and the characters, and reminds me more of Elizabeth Taylor and Elizabeth Bowen, although the comparison is not direct, more in the general attitude of the prose.

    The plotting is beautifully done, and the technique of having the story move backward in time, works because the author is master of a tightly rendered plot. It all seems to work, and slowly, as one reads the book, beginning in 1947 with the characters that seem normal and yet also so tentative, as if they haven't quite found their bearings, one moves backward to 1944 and 1941, and the characters are further revealed, peeling away the layers of trauma and connection. The story opens with Kay, and one doesn't really realize how much of the story centers around her, that she is the one character that touches everyone, for what one sees initially is an almost empty shell of a woman, a butch dyke who had found her perfect element in the war, acting as a man, driving an ambulance, and now founds herself unappreciated and out of touch with society.
    The story ends with Duncan, and his story is the weakest of the lot, especially in its beginnings. Much is hinted at and never explained. I felt frustrated at the end, thinking "Is this all that happened?" and thought something more was needed. But I also think that this is precisely the story of Duncan, all potential and promise, and lack of execution. Duncan can never live up to anyone's expectations, including his own, just as the horrors of the war brought opportunities that can never be repeated, where for a moment people can throw off their inhibitions and the role society deems appropriate, but it is only for a moment and then the moment is lost, leaving only the aftermath.