>Christina Stead: The Man Who Loved Children

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I have no idea why Christina Stead’s amazing novel The Man Who Loved Children: A Novel
(1940) is so unknown and rarely read or discussed. Without setting this as a  goal, Stead’s novel is a feminist manifesto of an incomparable and breathtaking power. This book could be handed out to students instead of an entire course on the history of gender relations. No amount of numbers, figures and historical data could give a fuller understanding of the tragedy of female existence before reliable birth control.

Samuel Pollit, the main male character of the novel, is obssessed with the idea of having children. He baselessly believes himself to possess valuable intellectual and personal characteristics that he wants to pass on to posterity at any cost. He professes to love his 7 children but doesn’t invest much effort into feeding or clothing them. These burdens fall on the shoulders of his wife Henrietta (or Henny, as everybody knows her).

Henny hates her husband. She hates her life and she hates her body that keeps producing children, the children that chain her forever to the man she despises. There is a suggestion that in the early days of Henny’s and Sam’s married life Sam raped his wife to achieve the central goal of his existence: making her pregnant.

The contrast between the lives led by Henny and Sam is striking. Having seven children doesn’t prevent Sam from travelling the world, participating in scientific expeditions, pursuing hiis social and intellectual interests, etc. The children adore him because their father isn’t burdened with much work and can spend a lot of time playing with them and making up stories and adventures for them. Henny, however, has none of these things to brighten her life. She has to worry constantly about putting the food on the table and keeping the whole family out of financial ruin. She is miserable, angry, loud, and unkempt. She beats the children and they hate and fear her.

Henny experiences her own body as a prison, as a dark force that keeps her subjugated to the man she hates: “Look at me! My back’s bent in two with the fruit of my womb; aren’t you sorry to see what happened to me because of his lust? . . Didn’t he fix me up, pin me down, make sure no man would look at me while he was gallivanting with his fine ladies? . . What do I care, Jinny? You’re a mother yourself. Haven’t you done the horrible thing three times yourself for a man?” As you can see, Stead’s novel is brutally honest. There is no mellifluous bleating about the joys of motherhood. For a woman who has absolutely no control over her reproduction, childbearing is “the horrible thing” that pins her down and locks her forever in the prison of  her physiology.

I cannot recommend this beautiful novel highly enough. It’s a heartbreaking, cruel, painful and messy text. And you will never be sorry you read it.

P.S. Here I want to add a very pertinent quote from a discussion at Hugo Schwyzer’s blog (thank you, Anonymous reader, for bringing it to my attention): “Whatever the exact figures, childbirth has probably killed more women than any other single cause in human history. Until very recently (a miracle two millenia ago in Palestine notwithstanding), the only possible cause for pregnancy was heterosexual intercourse. So if childbirth kills women, and sex causes pregnancy, then by the logical transitive property, heterosexual intercourse has been, not so indirectly, the most lethal of all human activities for one-half of the population. To put it even more bluntly, men have killed far more women by ejaculating inside of them than they have by any other method.” You can go here for the rest of this insightful post.

>Sarah Langan’s The Keeper: A Female Horror Novel

>The Kindle store of Amazon has become my favorite online place after my own blog. They often offer books absolutely for free so that people can get acquainted with new authors. This is how I came across The Keeper, a debut horror novel by Sarah Langan. The genre of the horror novel has always been very productive for female writers. Mary Shelley’s Frankenstein and Charlotte Bronte’s profoundly feminist Jane Eyre set a very high standard for the writers who want to create a work belonging to this genre.

Initially, a was a bit leery of this novel. I was afraid that this debut work would be a disappointment and a waste of time. I have to read a lot as part of my job, so taking on a new novel by a writer I know nothing about means taking time away from more pressing readings that need to be done. However, I am definitely not sorry that I read this book.

Langan is great at descriptions of everyday life in a small town in Maine. A disillusioned, washed-out teacher who is drinking himself into an early grave, a high-school girl trying to come to terms with abuse within her own family, a mother trying to avoid the knowledge that her husband abused his own daughter, the slow disintegration of life in the town that inhabitants of Bedford attribute to its being haunted: this is all narrated with a great economy of artistic means and produces a very powerful impression.

Where Langan fails, however, is in the creation of horror scenes. She is a powerful realist writer but for some reason Langan must believe that adding horror scenes will make her book more powerful. That doesn’t happen. I almost abandoned the book at the very beginning when I encountered a very sloppy and overdone horror scene. It seems like the author watched many bad Hollywood movies and is guided by the imagery they suggested to her. Often, you can practically see the writer attempting to create a text that could be turned into a movie. This, of course, doesn’t make for good writing. Everything is exaggerated, to the point of becoming obnoxious. These insistent and extremely ornate horror passages come into a sharp contrast with the beautifully simple prose of the rest of the novel. Stranngely, Langan understands the power of understatement everywhere except in the horror scenes. If she had paid closer attention to her famous predecessors in the genre, she would have noticed that the atmosphere of horror is best created not through detailed descriptions of blood and gore but by a mere suggestion of something scary lurking in the background.

Another problem I had with the book were the chapter titles that reminded me of the way TV show episodes sometimes are named: “The Husband of the Woman Who Jumped Out the Window (Fall from Grace)”, “Guy Walks into a Bar”, “Excruciatingly Tight Acid-Washed Jeans.” This seemed completely out of place in a novel like The Keeper. I am happy that I didn’t see the table of contents before I started reading the book (thanks to the Kindle it’s possible to skip the table of contents), or I wouldn’t have even begun the novel.

I’m not sorry I read http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=00FFFF&fc1=000000&lc1=0000FF&t=clasblo-20&o=1&p=8&l=as1&m=amazon&f=ifr&md=10FE9736YVPPT7A0FBG2&asins=006087290X, but unless Langan decides to turn to what she does best – a straightforward realist narrative – I don’t think I’ll read another novel by this author.

>Olive Kitteridge

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The great thing about being a tenure-track faculty member is that you have tons of time to read for fun. Thanks to my Kindle (which always informs me of exciting new books at very accessible prices), I discovered a great book titled Olive Kitteridge: Fiction by Elizabeth Strout, a wonderful author I never even knew existed.

Olive Kitteridge is a collection of stories bound together by the figure of Olive, a powerful, unbending woman who victimizes her husband and alienates her only son. The stories cover a period of 30+ years and depict the central moments in the lives of Olive and her neighbors, inhabitants of Crosby, Maine.

This book is an exploration of the topics of life and death, the loneliness we experience in and out of human relationships, lack of understanding between parents and children, husbands and wives.

At times, the book is melancholy, sad and even heartbreaking. Sometimes, it is also extremely funny. I strongly recommend it to anyone in search of good English prose.