Hey everyone,
I started writing this book club 8 years ago.
So it’s been 96 straight issues till this one. Just getting started! I’d love to do 1000. I was born September 1979 so that means I’ll hit the final issue March 2091 at a spritely 111.
We’ll still be emailing, too, me and you. We won’t let it go. Everyone will be telling us to just blink it to each other’s storage, but those are the same people who told us we should “really get on TikTok.”
Anyway, I’m joking. But thanks. For the sanity, for the conversations, for the safe space, for the never-ending chatter about books. I love your endless suggestions and replies and love this secret hiding place we can duck away from everything for a while.
Neil
PS. Invite others to join us here.
1. We The Animals by Justin Torres. For the last few years a haunting spectre loomed at the front of bookstores. I am of course speaking of the “Trending On #BookTok” table with its seeming never-ending foisting of Colleen Hoover and James Clear. No offense to Colleen and James—love those guys—but after 5 years it just felt … boring. That’s why I was excited to walk into the holiday-bedazzled downtown Toronto flagship Indigo and see they’d collapsed the #BookTok table for some new ones:
The Signed Editions table! The Ann Patchett Picks table! The Yuval Noah Harari table! I walked up to the New York Times ‘100 Best Books of the 20th Century’ table and felt immediately smug for having read a few on display like ‘Cloud Atlas’ (6/2019) by David Mitchell, ‘Tomorrow, and Tomorrow, and Tomorrow’ (10/2023) by Gabrielle Zevin, and ‘Lincoln In The Bardo’ (4/2018) by George Saunders. Then I did that un-smug thing of looking for something new. A silhouette of three young boys Peter Panning across the sky caught my eye and I picked up this flimsy quarter-inch 2011 debut novel by Justin Torres (b. 1980) and flipped to the first paragraph where it fishhooked my eyes:
We wanted more. We knocked the butt ends of our forks against the table, tapped our spoons against our empty bowls; we were hungry. We wanted more volume, more riots. We turned up the knob on the TV until our ears ached with the shouts of angry men. We wanted more music on the radio; we wanted beats; we wanted rock. We wanted muscles on our skinny arms. We had bird bones, hollow and light, and we wanted more density, more weight. We were six snatching hands, six stomping feet; we were brothers, boys, three little kings locked in a feud for more.
Light, fire, energy, intrigue. The first of the nineteen short, unnumbered chapters sets a near-impossible high bar for pace and a certain sepia-tinged-electricity but the rest of the book keeps punching up and smacking it. Steve-Malkmussy-titled chapters like “We Wanted More,” “Wasn’t No One To Stop This,” and “Big-Dick Truck” confuse then reveal in little tales all carefully strung together. Take the 4-page “Big-Dick Truck” which shares the story of the family car breaking down and Paps finally heading to the city while the boys wait outside “snapping the yellow dandelion heads off their stems and streaking them down our arms, painting ourselves in gold, waiting for him to return.” Paps shows up in a brand new truck and thrills the neighborhood kids with its “bench seat,” “skinny, two-foot-long gearshift that came up from the floor,” and “massive side mirror jutted outward like elephant ears.” But then there is trouble:
Ma came out and stood on the stoop, looking tired and pissed. Her eyes were red and her mouth was set, puckering in on itself. She held her boots in one hand, then let them drop in front of her and sat down on the first step.
“Well, mami?” Paps asked.
“How many seats does it have?” she said, picking up a boot and jerking at the laces.
“It’s a truck,” Paps mumbled. “It don’t got seats, it got a bench.”
Ma smiled at the boot, a mean smile; she didn’t look up or look at anything besides that boot. “How many seat belts?”
The neighborhood kids started to climb down and sneak away, all the excitement receding with them like a tide.
“Why you gotta be like that?”
“Me?” Ma said, then she repeated the question, “Me? Me? Me?” Each me was louder and more frantic than the last. “How many fucking kids do you have? How many fucking kids, and a wife, and how much money do you make? How much do you earn, sitting on your ass all day, to pay for this truck? This fucking truck that doesn’t even have enough seat belts to protect your family.” She spat in the direction of the driveway. “This fucking big-dick truck.”
Damn. Again and again he pulls this off. And you gasp and laugh and shiver and wince and feel pressure in your chest and wetness in your eyes. You are right there with the boys in fistfights, empty fields, cold basements, and inside sleeping bags on dim polished office floors. Exquisite, haunting, enchanting, lyrical, tough, raw, pure. Highly recommended.
2. Bowling Alone by Robert Putnam. This is one of those books I have been hearing people talk about for years and which was sitting on some dusty shelf in my brain with a label like “The OG Book on Loneliness” or “That Dissolution-of-Community Book.” But I didn't really know much about it until now. And I have to say: it’s kind of what I thought but something much more statistical and inconclusive, too. The book reads like a lovable supernerd decided to spend a year of their life in the mid-90s chasing down a phone book’s worth of endless stats about anything that could, might, or might not affect what we think of as community, connection, and culture. And then he read it all and made graphs and maps and takeaways and added his own sort of uniquely proffered insights in a hand-stitched-together way. The conclusion comes early on page 27:
For the first two-thirds of the twentieth century a powerful tide bore Americans into ever deeper engagement in the life of their communities, but a few decades ago—silently, without warning—that tide reversed and we were overtaken by a treacherous rip current. Without at first noticing, we have been pulled apart from one another and from our communities over the last third of the century.