Book Reviews

Scratch: Writers, Money, and the Art of Making a Living

29430716Manjula Martin collected essays by contemporary writers claiming to shed some light on what it means to struggle as an artist. Each writer approaches the topic in a different way. Some, like the more famous Cheryl Strayed, Jonathan Franzen, and Roxanne Gay offer their thoughts in interview format, whereas others take creative liberties to capture their history as a writer, their journey, and relationship with books. The overarching topic is: money. How much money do artists get and what does it mean? For instance, Cheryl Strayed explains that even though she received a large sum of money as an advance for Wild, it was given to her in installments. She had so much credit card debt, student loans to pay, and two small children. The art world is the only case in which sometimes people expect you to work for free in hopes that “the love of the public” and “followers” is enough compensation, as if you owe the gallery and the publishing house for being published, rather than being paid for your labour and hard work. It’s the only time when you could wake up one morning and think: today I could make zero dollars, or get a $50,000 advance, we’ll never know. It’s hard to imagine that while being on book tour, Strayed’s check bounced when trying to pay the rent.

The opening essay by Julia Fierro for instance focused on the ways in which she felt inferior to her classmates in university as well as at the Iowa Writers’ workshop. How she started hoarding and collecting books she couldn’t afford so she could stay in the ranks of her classmates, and how subsequently this resulted in her avoiding reading altogether for a while. She writes:

“My loan money moved from my bank account to my bookshelf, and not once did I stop myself, look around my apartment at the stacks of unread books–several lifetimes’ worth–and think of Jay Gatsby and his library of pristine uncut books. My fear was too loud. Fear that I was inauthentic, undeserving of a place among my mostly Ivy League–educated classmates who, it seemed, were more well-read than even the gray-haired authors who were our professors.”

Colin Dickey wrote a very interesting essay that was more historical and academic in nature. He cites a lot of Karl Marx, but begins his essay with the way in which Charles Dickens’s work got immediately tainted for him the day he found out he was paid by installment. He writes:

“once we’d been introduced to the economy of writing, everything was tainted….how to trust each word from that point on…money taints everything, why not writing too”

Roxanne Gay discusses how she remains in academic circles at universities, and teaches classes, just because they offer her a steady salary and health insurance. When she broke down her income, she discloses that less than 30% of her income comes from her writing.

I also found that this collection poked at a strange can of worms regarding the Jonathan Franzen-Oprah Winfrey conflict, back in 2001. When it comes up in the interview, and reminds readers about the conflict, some women are referenced (like Jennifer Weiner) who used social media to point out that critics rarely pay the same attention to women authors, as they do to Jonathan Franzen back when this conflict was happening. Franzen responds here with:

“well, I am a male animal, and there’s nothing I can do about that. I can’t stop writing and disappear just because someone chooses to project onto me her grievance with a million years of sexist human history”

What I found strange was that Jennifer Weiner is also one of the essays in here, and it’s written in essay/memoir format whereas Franzen’s is in interview format with the editor. The interview is by far the longest and I felt as if the editor was swooning over Franzen whereas Weiner was “left alone” as it were. In her essay, Weiner writes conversations she never thought she would have to have with herself like

“big-name critics will call your work ‘subliterary,’ and big-deal writers will sneer at the notion that your books deserve even a smidgen of attention in the New York Times…History ought to give me some context. Women’s work has always been devalued, seen as less. ‘commercial’ she asks for what she doesn’t deserve, says the privileged white man, who gets both sales and respect–as if privileged white men haven’t always been the ones to make those judgement, and those judgement haven’t always been in their favor.”

It’s an interesting fight/argument (which let’s face it, it’s about posterity), but it wasn’t why I bought this book.

As a reader interested in the “nitty-gritty of the writing profession” which is what I came to this book for, I did not find those answers here. For one Cheryl Strayed, Roxanne Gay,  Jennifer Weiner, and Jonathan Franzen are all best sellers who made money, got film deals, and some reached critical acclaim. The Franzen-Weiner “fight” was kind of central to me when I looked back.

My favourite by far was Colin Dickey. His essay actually focused on the topic. Cheryl Strayed’s article got my attention because of her success, but everyone else kind of fell through the cracks. For one, I didn’t find myself caring about authors I haven’t heard of, but if I did, I would have liked them to discuss the struggle more, rather than the details of biography. This was Spinster all over again, I got biographies I never asked for. I came to this collection looking for financial struggles, what did it mean, how much? What fees did you have to pay? Where did you live? How did you manage? One Goodreads reviewer put it best:

“the essayists tiptoe around pragmatic questions of money to instead navel-gaze about issues of privilege and class. Several of them explicitly repeat the problem this book was supposed to solve: they flatly refuse to discuss specific financial details.” – Amy Rogers 

Mary Ann Cotton — Dark Angel

31290822I recently got immersed in the world of Mary Ann Cotton, branded as “Britain’s first female serial killer.” Although Cotton being “the first” is disputed as there might have been many others before her, she is fascinating nonetheless. Martin Connolly wrote a short booklet on the town he lived in, titled The Potted History of West Auckland. After reading his work, many requested that he write a book about Mary Ann Cotton. Who was she? What do we know about her? Connolly decided to go to all of the possible sources to find out as much information as he can on Mary Ann Cotton. Connolly writes in the introduction:

“When I had brought together all my material and thoughts, I then turned to see what books on Mary Ann Cotton were being recommended. In this, two stood out, Mary Annn Cotton –Her Story and Trial by Arthur Appleton and Mary Ann cotton Dead, But not Forgotten by Tony Whitehead. Arthur’s account has some factual and date errors, but was a good read. It was on reading tony Whitehead’s book that I had a moment of wishing I had started with that particular book. In it, he had amassed a large number of images of birth, death and baptismal records. It would have saved me a great deal of time, energy and money.”

What I enjoy about Connolly’s book is that he frames the structure of Mary Ann Cotton’s life chronologically and in each sequence he tells us what we can know from the facts without interference. He doesn’t make assumptions or tell us what to believe. He collected so many pictures, certificates, and documents simply presenting them to us as images with a brief explanation of where he acquired them. After laying down the entirety of Cotton’s documented life, he presents to us her trial, documents from the trial, letters to and from Mary Ann Cotton whilst she was in jail, and accounts of the day she was hanged with all the details (including how long her body convulsed upon being hanged). After, Connolly tells us who survived Mary Ann Cotton (from people she knew and lived with), and subsequent rural stories that circulated about potential ghost sightings of Cotton. She entered English folklore for quite some time. He also gathered medical recordings of how the doctor examined the corpses to indicate that it was in fact Arsenic poisoning—which was used as ‘proof’ of her guilt. Connolly even covers a brief biography of all the men and women involved in her trial, doctor supporting evidence, and police officers involved in her arrest.arsenic

On one hand I liked being presented with facts/proof around Mary Ann Cotton’s life without biographer interference or flowery language. On the other hand, I found this work lacking in setting the atmosphere. Although Connolly makes a brief mention at the beginning that she came from a mining village with low wages, and death was aplenty; he didn’t quite set the atmosphere of the time. He jumps from one section of her life to the next without much more introduction. I would have appreciated a sensory experience, an induction into this Victorian life to try and understand. Connolly concludes with:

“was she guilty of murders? I struggle to answer this question. It would be anachronistic to try and look at the situation with a modern mind. In that period, many things were black and white in legal terms…to judge her then is difficult…I suppose I arrive at a place where I would bring in the Scottish legal judgment of ‘not proven.’”

That is a pretty dark note to end on (considering the woman was hanged).

DarkAngel_MasterpieceI read the book at the same time as watching the PBS three-episode miniseries called Dark Angel featuring Joanne Froggatt as Mary Ann Cotton. The show helped me with what the book was lacking which was atmosphere. The imagery, and the details in costumes and setting really put things in perspective.

What the show focused more on was Cotton’s seduction abilities. They presented her sexuality as being far more overt than any Victorian character I’ve encountered thus far, which made me think they appropriated a slightly modern take. The book tells us to assume she was at least charming because she managed to lock down four husbands but her seductive abilities weren’t notorious. Something missing from the show though, was the ambiguity and potential innocence that Connolly presented to us in the book. In the television program they pretty much show her carrying spoon-fulls of Arsenic into everyone’s tea, including her four husbands, lover, several step-children, her mother, and best friend. If you ‘judge’ her based on the show you ‘know’ she murdered everyone, whereas if you look at the documents and transcripts of what we actually can know….it’s pretty ambiguous, and certainly doesn’t make the case for a death penalty.

Both the book and miniseries kind of gloss over something kind of important. Mary Ann Cotton gave birth to 13 children, 11 of which died. I recently read The Light Between Oceans showing how much damage can be done to a woman’s psyche after losing a single living child, or even experience a miscarriage. To have lost eleven children she gave birth to is so much proof to me that Cotton was certainly not mentally stable. Postpartum depression alone will mess you up, let alone burying so many children of your own. The show and book gloss over it as if it was no big deal, as if it’s to be expected of the time; but even in the Victorian period the death of a child was not so simple. We have records of how much Dickens, and Darwin grieved over the loss of a single child (as fathers). Skipping over this concept to me, is kind of missing the point. I think when people read books on “serial killers” they are intrigued by character and the how they got to be that way. Skipping over the grieving process, and the bodily damage from each pregnancy and subsequent burial of tiny bodies completely hides from the readers and audience what messed this woman up so much (IF she was guilty at all). The presentation of economic circumstances of women at the time and their dependency on men really placed a contemporary feminist angle of how difficult it must have been to lack autonomy and how desperate things can really get.

So if you embark on this grim adventure I recommend reading something about the Victorian period first, and perhaps read the book alongside watching the miniseries so you have a full picture of Mary Ann Cotton. I really did enjoy this narrative altogether. The book is published by Pen and Sword, and the miniseries by PBS.

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Ah, now I get that line from Chicago

Lore by Aaron Mahnke | Review

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I’ve been trying to find ways to bring LORE into conversation, and on this blog several times without deviating from my main topic, unsure how, and then the book came out!  For anyone who doesn’t know the exact content of this “LORE” I will go into detail in the Book Review section. But first, I want to introduce you to all the formats LORE comes in. I’ve officially consumed LORE in every format.

  1. The Podcast

lore-logo-lightFor the month of October I binge-listened to the entire LORE Podcast (still ongoing) and caught up to the latest one. My new job allows for the listening of podcasts and audio books, so Aaron Mahnke has been my “coworker” for the last two months. Needless to say, I loved it. Every episode features a different macabre topic in which Mahnke weaves together several narratives that have been historically recorded and fit the topic. He does an excellent job, and the literary allusions, and pop-culture references are on point. One of the many reasons I adore this project is that it’s highly inter-textual.

LPJ1200S PSDThe podcast won best history podcast last year. The podcast is accompanied by music throughout and occasional commercials. New episodes are released every two weeks on Mondays. If you’re like me and late to the party just be happy. It’s a GOOD party, and you get to binge, which is awesome! The musical accompaniment is by Chad Lawson, who will soon release an album featuring the songs from LORE called A Grave Mistake. 

2. The TV Show

MV5BMjA3ODQwNzM0OF5BMl5BanBnXkFtZTgwMjY5MTczMzI@._V1_UX182_CR0,0,182,268_AL_Just as I was deep mid-podcast, on October 15, Amazon Prime Video released Season 1 of LORE which features six of the most chilling episodes. It was so much scarier seeing these tales performed with live people and seeing the settings (most are set in times different from our own). The costumes and settings really gave another dimension to these little histories. The direction of this season was excellent. The music, mixed with live demonstrations of some of these horrific things, made me far more afraid than I thought I would be (especially since I knew from the podcast how they end). Although I found some criticisms online where people dislike that Mahnke’s voice narrates throughout the show, I found his voice to be comforting when things got scary. He was the familiar constant, and I needed that.

3. The Audiobook

LOREThis was actually my favourite format of the four, which I’ll explain at length below. It maintains the ‘cleanliness’ of the book, but it also has Mahnke’s voice and some musical effects which I loved from the Podcast. I got this from Audible. Although I completely understand why in the podcasts people often take requests for placing ads throughout, it can be a little annoying while listening, but with the audio-book, it was commercial-free and the transitions between topics were so smooth. This audio-book is a reading of the book below.

 

4. LORE: Monstrous Creatures | Book Review

images (1)This book is made of the transcripts from the LORE Podcast mentioned above and edited in such a way that results in a very smooth transition from one tale to the next. The book itself is a mere fraction of what is to be a longer series, published by Del Rey. The second book Wicked Mortals is set for release in May of 2018 and the third book has been announced, but the cover has not been revealed.

The book cover and the accompanying illustrations are made by M.S. Corley whose contribution to this work gives LORE yet another layer of talent and atmosphere. His illustrations are so morbid and simultaneously whimsical. I think the two choices for colors: the red and black, relate to the section in the book “Doing Tricks, Shifting Shapes” where Mahnke writes:

“Black and red, for a very long time, were considered bad colors, so if you wanted to describe something as evil, of course it was black or red or both.” (Mahnke, 76)

The content of LORE is made up of vignettes and separate accounts of mysterious sightings, happenings, or experiments done by humans. The range is anywhere from the supernatural to the scientific. All of them are rooted in real recordings and stories, even if at times humans just ‘claimed’ to have seen or done something. Mahnke reminds us with this work, that not too long ago oral testimony is all we really had, and that a lot of people were highly superstitious.

The way he captures these stories is in the same spirit of the Grimm Brothers. He collected and compiled tales of the macabre, but roots each firmly in historical context. I found it very useful to understand why and how certain practices were done in a particular time period. Mahnke references historical figures, other works of literature, and the sources from which one can find the details of each of these records. What I found most exciting is that he brings together stories from all over the world. We are globally united in our  fear of the unknown, death, and the unexplained and Mahnke forces readers (and listeners) to look at that aspect of our human nature. He writes:

“We fear death because it means the loss of control, the loss of purpose and freedom. Death, in the eyes of many people, robs us of our identity and replaces it with finality.”

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Mahnke drawn by Corley

At the 200-year-anniversary of the Brothers Grimm, Harvard professor Maria Tatar—expert on folklore and fairy tales— mentioned that the reason fairy tales are so deeply ingrained in our society and why we love them so much is because they’ve been told and retold so many times that all the boring bits have been left out. What we get now is the final product of a story that has been edited through generations. I think Mahnke’s work captures the same effect through the refining of folklore, and the editing process that these tales have experienced simply by being tested in the format of a Podcast prior to being committed to text. Of course the stories and their content prior to Mahnke’s work on them were refined through oral storytelling. Mahnke sometimes even extends the use of ‘lore’ or ‘folklore’ and appropriates it to other unifying communal activities like sports and how we all share a common language like the “Curse of the Bambino” in baseball folklore for example. Mahnke constantly reminds us of the power of stories:

“no realm holds more explanation for the unexplainable than folklore” (65)

“Given enough time, story–like water–will leave its mark and transform a place.” (127)

I don’t know if I’ve convinced you to give LORE a try if you haven’t, or to experience it in at least one of its formats, but clearly I love it! No one asked me to write a review, this is just me writing about my love for this whole production, because in trying to explain what I love about it, I understand myself better, and what I enjoy about this kind of storytelling. An additional Lore-related video I strongly enjoyed was Aaron Mahnke’s speech here, on how he started out, and what brought LORE to the phenomenon it is today. If you have enjoyed LORE and want to try Mahnke’s other works, here are some of this other works:

Also, this is the official link to all things LORE.

The Light Between Oceans | Review

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I took my time reading this book as I was buddy-reading with the host of “Take Me to the Video Store” We read about five chapters per week as suggested by the Goodreads group. We tried to borrow some questions from the group for discussion and followed their plan. I know this book is widely-read, popular, well-loved, and has even been turned into a movie with Michael Fassbender, but yet again I am late to the party. This was my first time reading it, and I enjoyed it immensely.

imagesThis novel follows Tom, a soldier in World War I who has recently obtained a job off the coast of Australia as a lighthouse  keeper on an isolated island, quite some distance from the main shore. As he spends the first six months in complete silence, all alone, upon his first visit to shore he befriends a woman named Isabel. As they correspond via snail-mail (only when boats would go to and from the island) over time the two decide they love each other and get married. Isabel joins Tom on the island and the two live in romantic honeymoon bliss, taking care of the lighthouse and livestock. Isabel gets pregnant three times and loses the baby, each when she is further and further along. The devastation of miscarriage, inability to become a mother, and concentrated loneliness break Isabel’s spirit quite rapidly. One day a boat washes up on shore. In it they find the corpse of a man, and a living baby. After much discussion, Isabel convinces Tom to break the rules, bury the man, avoid marking this event in the lighthouse log, and to let her keep the baby.  The plot takes a turn from there. We find out about the baby in the prologue, thus it is not a spoiler.

I enjoyed this book for several reasons. The first is the personal reason: how I read it. For the first time since high school I read a novel at a glacial pace. Five chapters per week is not fast, not a lot, and not how I’ve read since University started six years ago. To take it slow with a book, to think about the characters and allowing them to stay with me for eight weeks rather than one or two days was such a strange experience.

I can also see the appeal for readers (myself included). After so many books with intricate plots, exciting ‘effects,’ twists, layers upon layers of magic systems, military combat, and cliff hangers with plot twists upon plot twists it was so nice for a book to focus in on a simple setting with two main characters. I felt like time stood still and I enjoyed every minute at the lighthouse. Like Tom, I too felt like I was getting away from it all. Stedman invites you to listen to the wind and the waves, to experience the isolation and loneliness but in a way that is similar to a vacation rather than forced exile.

There are several themes explored in this novel that are worthy of discussion. The first is the effect of War on people (on an individual level and as a community). PTSD for soldiers (or Tom) is only the beginning. Isabel lost brothers, other people lost children. Reading about the characters in Isabel’s home town and how they dealt with the effects of war and loss of beloved family members opened my eyes to the varying levels of grief.

The second theme explored at large is that of motherhood. This novel follows what it means to be a mother from conception to child instruction. The horrors of miscarriage described in the early chapters, forcing Tom (a regular man who went to War) to look at the bloody mess that is pregnancy and miscarriage, particularly for Isabel who really wants a baby was a very interesting contrast. It was intriguing to see Tom become horrified at the sight and compare it to the battlefield. In addition, we see themes of nature vs. nurture, does one own a child because she gave birth or does one own one because she/he/they raised it?

This book had me asking “what is the right thing to do?” at almost every step of the way. Every moral conundrum in this novel is such a grey area, where the right thing to do is not clear and simultaneously you cannot blame any of the characters for their choices. Every action is justified, and somehow it’s not okay for everyone involved.

I loved this book, and I strongly recommend it, particularly if you are looking for something calmer. You won’t be able to forget this lighthouse.

Big Little Lies | Review & Discussion

19486412I am not going to lie, I watched the show before reading the book. There were some questions left unanswered for me, and the book supplied the answers I was looking for. I recommend both. The show was really well done. There are two changes between the text and film and they are regarding Madeline. Unfortunately I can’t really discuss them without giving things away so I will do my best to explain what this book is about. The plot revolves around three women who are very involved in their children’s lives. The three women are ‘suburban moms’ only they are in an extremely wealthy neighborhood in California. Madeline is the social glue and a feisty character who likes to get involved in people’s lives. She has an ex husband with whom she shares her older daughter, and two children with her new husband Ed (the show has only one kid). Celeste is her best friend–who used to be a lawyer but is now a stay-at-home mom taking care of her twin boys–she is absolutely gorgeous. Celeste’s life looks absolutely perfect from the outside, and she strives to maintain the perfect public perception. Her gorgeous husband, her perfect house, everything just right. We find out early on that Celeste and her husband have a problematic relationship. They abuse each other physically and sometimes it escalates–always ending in sexual intercourse. “Our dirty little secret” as Celeste puts it. The third main heroine is Jane. She is a single mom and only 24 years old. She got her son Ziggy (named after Ziggy Stardust) after a one night stand. All the women are united in that, their children go to the same school. There are other characters around like Renata the CEO business woman power mom who does it all, and other parents mentioned/interviewed who are woven in and out of the main plot, as well as Bonnie–the perfect holistic, yoga, vegan, healthy-oriented woman who is currently married to Nathan, (Madeline’s ex-husband). All the peripheral characters play a role but the main focus is on Madeline, Celeste, and Jane.

We find out early on that there has been a murder, but we don’t know who died. The parents are interviewed by the police as we go along.

What I wrote so far covers the “plot” and “characters.” What I really want to discuss is why I love this narrative. I found it to be highly empowering. Moriarty takes 5 kinds of moms: divorced sharing (used to be single) mom, career mom (Renata), Mom who used to have a career (Celeste), single mom (Jane), and Free Will non-controlling mom (Bonnie). Madeline and Renata are more ‘helicopter’ parents than the others  but Jane spends most of her time with her son too.

The different kinds of mom and womanhood portrayed by Moriarty in this novel is innovative because we often see moms portrayed as either horrible and/or absent….or this sort of “Mrs. Darling” perfect mom who sings lullabies and reads to her children. The kind of mom achievable only if you have a very supportive partner, a housekeeper, household staff, and a lot of free time. In the 21st century these are hardly achievable for an average woman with an average income. I liked that the three main women were strong together by giving each other advice, helping each other out, and were loyal to their group while simultaneously being protective over their children when it came to it.

I also like that no one in this book is “happy.” There is no perfect scenario. No one is 100% fulfilled, and the suburban, ‘rich-life’ boredom, turns into cattiness and cliques. Everyone is trying to find an outlet to fulfill their lives aside from their family and children–the helicopter parents use the children as that outlet.

I particularly admired the ways in which Moriarty depicts variations of rape and abuse. She shows what it feels like, and the subsequent ‘PTSD-like’ symptoms post-rape; how these symptoms differ, how they are handled, and how an abuser never does it just once. It’s a powerful message. Sometimes I get lost in Moriarty’s little details (school drama and children talk) I almost forget the gravity of some of the big themes embedded in the plot. Lastly, she shows the ways in which children become miniatures of their parents in the way they imitate behaviour patterns, rather than being a certain way because of genetic predispositions. Madeline’s child Chloe is a social glue just like Madeline. Ziggy is quiet but a good kid, just like Jane. Skye, Bonnie’s child, is peaceful and calm.

I think this book is certainly a perfect one for a book club because there is so much to discuss and so many details. I definitely recommend this to everyone.

Author Spotlight: Caitlin Doughty

 “The Order is about making death a part of your life. That means committing to staring down your death fears- whether it be your own death, the death of those you love, the pain of dying, the afterlife (or lack thereof), grief, corpses, bodily decomposition, or all of the above. Accepting that death itself is natural, but the death anxiety and terror of modern culture are not.” – The Order of the Good Death

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“The Funeral of Shelley” by Louis Édouard Fournier

Caitlin Doughty is one of the most wonderful women I stumbled upon on YouTube, and I am so glad I did. Since I was five years old, I’ve had many encounters with death. Born and raised in Romania, open casket funerals and three-day wakes in the home are followed by so many practices that I can say I was very much involved with the handling of many human corpses from death to burial. Washing the corpse, preparing food and serving it to more than half the town, kissing the corpse’s forehead, guarding it night and day for three days, and covering all the mirrors in the house in a black shroud for the whole time the corpse is in the house were all perfectly normal requests in rural Romania. Most importantly, death was (and is) very much a part of daily conversation. In the West however, bodies are hidden and even worse: death is hardly discussed. I constantly feel like a morbid weirdo (in Canada) talking about something that had been a huge part of my childhood and the many ways in which it confronted me to question my life, and prepare for my inevitable death. When I encountered Caitlin Doughty on YouTube it was like meeting a long-lost friend.

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Caitlin Doughty

Doughty was born and raised in Hawaii and after witnessing a death at the age of eight she became fascinated with the topic. She studied the medieval period at University, and after attending mortuary school, apprenticed at a crematory in Los Angeles. Becoming more and more familiar with the practices of embalming, cremation, and funeral practices in America, Doughty began to notice some red flags regarding the funeral industry. Funeral home directors taking advantage of mourning family members by pushing upon them caskets worth thousands of dollars (all to make money of course, and so the people cutting the grass don’t have to go over uneven ground), pushing embalming practices, as well as presenting these topics in a light that make the remaining family members believe it is legally enforced. Imbuing bodies with toxic chemicals, and incorporating them in non-biodegradable caskets have damaging consequences for the environment. In addition, taking bodies away and hiding them from the moment of death hardly allows the family to process the death of a loved one. Lastly, people disengaged from discussion about and around death live in a constant dread. Thinking of human remains boxed in a rigid casket six feet under as a possibility (at least for me) is really quite frightening.

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Doughty’s first book

When I heard that one could be buried in a pod in fetal position organically decomposing beneath a tree–it was the first time I got excited about my death (weird to say out loud). Just the thought that with my body I could nourish the Earth, and live in a different form in a ‘Sacred Forest’ makes me happy. But not just me, ‘many’ according to Caitlin want to become trees and have an organic death in different forms. She gave two TED Talks focusing on The Corpses that Changed My Life (which in text format–with far more details–became Smoke Gets in Your Eyes and Other Lessons from the Crematory) and most recently: A Burial Practice that Nourishes the Planet which is a summary of what she now encourages: a natural burial. Caitlin herself repeats that what she is suggesting is not ‘her idea,’ ‘new,’ or ‘an invention’ because it’s a practice that has been done in different forms all over the world, and in history. She now works on advocating for an environmentally friendly burial, a burial practice that respects the wishes of the dead person, and most importantly on educating the public about their options, their rights, and the opportunities available. Doughty became the founder of The Order of the Good Death.  If you click on the title you can find more about it from the website itself, run by a large team advocating for educating the public on ‘the good death.’ There are links there that can lead you to other books written on topics like ‘death,’ or ‘ghosts’ which are academic in nature. Caitlin’s YouTube channel “Ask a Mortician” is absolute gold! In videos ranging from 4-10 minutes Doughty tackles topics like “What happened to the dead bodies on Everest?” “How is Vladimir Lenin’s Body Preserved?” or “What’s the deal with La Pascualita?” — seriously I binge-watched 5 years of YouTube in a week.

511i6HQoG+L._SX328_BO1,204,203,200_The support from viewers of her work for The Order of the Good Death on Patreon, and encouragement from a large number of people reading her first book, motivated Doughty to travel to several countries, and some American States to learn about their burial practices–Indonesia, Bolivia, and California among them. On October 3rd of 2017 her book From Here to Eternity was published by W. W. Norton & Company. In this book, Doughty dedicates a chapter to a different location and examines how the role of death fits into the larger conversation, how burial practices are carried through, and how/what we can learn from them.

The book is accompanied by wonderful illustrations executed to perfection by Landis Blair. His artwork is dark and highly atmospheric. Blair himself is a member of The Order of the Good Death. 

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Illustration by Landis Blair

If you are fortunate enough to live in the United States, Doughty will be going on a book tour very soon, and the dates have been listed HERE. If you are near one of them I highly encourage you to go. I must emphasize that no one asked me to review this book or promote Doughty, this is what I would genuinely recommend, and what I genuinely enjoy/believe in. I am grateful that people like Doughty exist. I highly recommend her books, her YouTube channel, and her message.

I will close off as Doughty always does on her channel:

“and remember: you WILL die.” 

 

 

The Biophilia Effect | Book Review

“Everyone feels the need deep inside to be close to nature. We have roots, and they definitely did not grow in cement.” – Andres Danzer

“The biophilia effect stands for wilderness and the conception of nature, for natural beauty and aesthetics and breaking free and healing. That is what this book is about.”

clemens

51RnoLAew9L._SX331_BO1,204,203,200_Austrian writer Clemens G. Arvay wrote in this book every argument for why humans must co-exist with the natural realm.  The term ‘biophilia’ originates from Greek, meaning: ‘love of life or living systems’ and was coined by psychotherapist and philosopher Erich Fromm. Edward O. Wilson introduced the “biophilia hypothesis” claiming that it is “the human urge to affiliate with other forms of life” and that is our deeply rooted connection with nature in the web of life.

Arvay explores in this book the history of ‘biophilia’ in literature and philosophy starting with the Abbess Hildegard Von Bingen (1098-1179) who wrote “there is a power in eternity, and it is green.”

Arvay continues by incorporating medical and scientific studies which show that people who live close to a forest have stress reduced by as much as 30% living the same lifestyle as those in the cities. He writes:

“Plants heal without having to be processed….they heal us through biological communication that our immune system and unconscious understand”

He dives deeper by explaining how plants, like insects, communicate using chemical substances and we are just another cohabitant in the ecosystem benefiting from this communication.

What I enjoyed about this book was how Arvay describes nature and how he backs up each statement with a study. I never thought about the symbiotic relationship between a mushroom and tree roots for instance, and how the mushroom in turn provides the tree with water and nutrients from the soil. Arvay also presents readers with several relaxation and visualization exercises. He teaches readers how to be hyperaware when walking through a forest and take in all of the forest’s energy while telling yourself “I am a part of the woods.”

He urges readers to:

“take this visual language of your soul seriously.”

Arvay doesn’t try to sell products, services, or anything other than to encourage a love for the forest and for people to go outside and benefit from what nature has to offer. He makes an argument for the forest by presenting the history we as humans have with it, how deeply rooted our ‘biophilia’ truly is, and how we need it now more than ever.

Arvay is an advocate for clean eating and has written other works in the past on forgotten vegetable varieties, regional small-scale agriculture, and connecting philosophy with nature. I personally enjoyed this book, and I would recommend it to anyone who enjoys reading nature books like Thoreau’s Walden, or Muir’s Essays on Wilderness.

This book will be released in February 2018 by Sounds True Publishing.