In the Country of Men by Hisham Matar

I yearned for them, my room, my workshop on the roof, Kareem. What I missed most was the smell of our house. Once, but once, when I was still a boy, I cried and screamed, throwing things as I had done before to stop Baba going on one of his endless business trips. Judge Yaseen acted nobly. He simply shut the door to the room that he had given me in his house, then later sent the maidservant in which a cold glass of sugarcane juice. I buried my face into the sharp lavender smell of the pillow, mourning the familiar: digging my face into her neck, kissing his hand.

One day, young Suleiman sees his father in the middle of Tripoli's Martyrs' Square, wearing black sunglasses. Only, his father is supposed to be on a business trip. At home, his mother does what she always does when Baba is away: she drinks her "medicine" and tells Suleiman stories take from One Thousand and One Nights. The similarity between herself and Scheherazade is not lost on Suleiman's mother, trapped in an arranged marriage, stuck in a room while the man who governs her life goes about his business. But just as Suleiman must confront what that business is, so do the officials of Qaddafi's Libyan government, who begin to sniff around, having recently abducted Baba's neighbor and, as it turns out, collaborator.

What makes In the Country of Men work is not that it tells the story of Libyan resistance through the eyes of a young child; stories that ironize the upheavals of human history in just that way are too common. What I liked about it was that, in several meaningful ways, author Hisham Matar makes young Suleiman a collaborator with the regime that hunts his father. His mother burns their father's books so they won't be discovered; Suleiman, angered on his father's behalf, saves one, which happens to have an incriminating message written in it. A man named Sharief watches the house from a parked car, and Suleiman believes him when he says that he's only looking out for Baba's interests, to the point where he even divulges some of the necessary information the man is looking for. This dynamic is exacerbated by the ways that Suleiman, acting out his fear and anxiety, becomes isolated from his community, mocking his friend and son of the abducted man, as if that mockery could protect his own father. Later, he throws a rock that hits the neighborhood's most physically vulnerable child. That's Suleiman: lashing out from deep anxieties, and harming the wrong people. Part of me expected that In the Country of Men would turn out to be the story of the son of a freedom fighter who grows up to be a torturer for the regime.

It's not that kind of book, thankfully. But neither is it the mawkish or sentimental kind of book that would follow Suleiman's gradual awakening to the truth about the country in which he lives, which would lead to him growing more admiring of and closer to both father and mother. Suleiman plays his small part in the ultimate failure of his father's political work, and the sundering of his family. In the end, the regime is too strong and the family is too small, change is still too far in the future, and Qaddafi's Libya is still Qaddafi's Libya.

With the addition of Libya, my "Countries Read" list is up to 109!

Death in Her Hands by Otessa Moshfegh

There was so much more work to be done. There were people to locate, to question, and how I would do this was unclear. I was not a detective. I had no magnifying glass, no handcuffs. I was a civilian. I was a little old lady, according to most people. I'd have to sneak, I'd have to sniff. I'd have to be a fly on the wall, and overhear what I could, glean, detect things through vibrations. I'd have to use my psychic abilities. Didn't Walter always say I was a witch?

Vesta Gul, an old woman who has just fled to a remote cabin after the death of her husband, is walking through the woods one day when she discovers a scrap of paper. The words written there: "Her name was Magda. Nobody will ever know who killed her. It wasn't me. Here is her dead body." But there is no dead body--only the scrap of paper. Is it the beginning of a novel or a story? Or a confession? Vesta begins to obsess over the paper, which she takes as a call to become a detective, to solve the murder of the mysterious Magda, but her method of investigation is peculiar. This is a woman, after all, who needs help from the librarian to figure out how to Ask Jeeves. Instead, she begins to imagine everything about the case, starting with Magda, whom she imagines as a beautiful young emigrant, to a series of wholly invented suspects: her boyfriend, her lover, her abusive landlady, and a mysterious ghoul, who also might be a police officer, whose name is Ghod.

Moshfegh's books are always best when she pulls the reader deep into the psyche of some isolated, alienated person who doesn't quite understand the world around them. Like the protagonists of Eileen and My Year of Rest and Relaxation, Vesta doesn't quite have an outer world available to confirm or disqualify her imaginings, which is what allows them to linger and proliferate. We understand quickly that, in Vesta's case, what she's really doing is processing her relationship with her now-dead husband, whom she never was able to see clearly during his life. In imagining Magda as a beautiful, rebellious victim, she is in a way coming to understand the way that Walter circumscribed her life and her potential. Moshfegh is too talented and too canny to make it a one-to-one comparison--Magda is not Vesta--and yet, thinking on Magda allows Vesta to bounce back and forth between the world of understanding and the world of imagination. What she ends up "solving" is not the killing of Magda, but the killing of her own spirit. Perhaps more obviously symbolic is the dog Charlie, who Vesta considers her one kindly companion, and who ends up turning on her violently.

That said, Death in Her Hands is a little too disinterested in the actual mystery at hand. Any reader who expects that something will ultimately be revealed about Magda or the writer of the page in the woods is in for a real disappointment. Ah, you can almost hear Moshfegh intoning behind the pages, but it isn't Magda who's the true subject of investigation... But the richest and most effective unreliable narrators, it seems to me, become rich through the ironic distance they create with what we assume is the "real" world, and I found Moshfegh's refusal to resolve the mystery of Magda pretty deflating. Instead, Moshfegh offers up a few symbolic sops--gasp! this shopkeeper has the same name as one of the imaginary suspects in Vesta's head!--that felt less than meaningful. Ultimately, I felt this to be one of those books that can never truly satisfy because the real drama, the real tension, is all back somewhere in the past, rather than the present.

Dust and Other Stories by Yi T'aejun

Living submerged by the current of the age is like a spirit living beneath the water. They say that even the mulberry fields turn into blue ocean, but it's simply that all things follow the movement of the general current, and it's not possible to fill the ocean back up by moving pebbles.

In Yi T'aejun's story "Unconditioned," the narrator witnesses a peasant woman filling up a small creek, pebble by pebble. Later, he learns that the spot was once a lake where the woman's son once drowned, closed off now by a dam. Little by little, the woman fills the remaining water with stones to make it vanish, hoping to free her son's spirit from where it lingers in the lake. In the very next story, "Before and After the Liberation," the author's stand-in, Hyon, quotes the paragraph of the story he's just written. Hyon is a moderately successful writer who struggles with the climate of censorship and intellectual repression that marks the Japanese occupation of Korea: his fellow writers take Japanese names, sprinkle their speech with Japanese words, and write in Japanese. Hyon yearns for freedom, and it eventually comes, but the political uncertainty and division of "after the liberation" brings its own contradictions and difficulties. Where can the writer go to write? Where can one go to be free?

The stories in Dust are all about these contradictions, and the competing social orders that constrict full life and self-expression. Yi (according to the back of the book and the scant information I can find on the internet) is known in Korea as "The One Who Went North," having moved from U.S.-occupied South Korea to Soviet-occupied North Korea, where, far from liberation, he was viewed with suspicion and sent into exile, where his fate is unknown. The title story of the collection is a superb piece of anti-U.S. and anti-South Korean propaganda about a Pyongyang book collector who travels to see his daughter in Seoul. It's a highly anticipated trip, and he brings with him a small nest egg to buy books--something that should be easier in the more literary south--but ends up almost immediately hustled into a prison cell by soldiers under the command of Syngman Rhee. Strings are pulled for his release, but he finds himself at a party with a boorish American general whose main characteristics, hilariously, are his love for steaks and whisky, as well as his enormous gut. It must be said: He got us. Americans rule this not-yet-officially-South Korea, buying up everything with their powerful dollar--including Hyon's beloved books--while inflation keeps basic necessities out of the hand of Koreans.

So, propaganda. It certainly explains a great deal about Yi's choice to flee the South for Pyongyang. And yet, like all great propaganda, there's a deeper truth that may go unnoticed by those whose agenda is propaganda only: where, exactly, is Hyon supposed to go in a divided Korea, where people have become increasingly pressed between two sides? The tragic final ending hardly seems to absolve the Soviet-sponsored North Koreans; any hope of return, or appreciating the North more, is closed off to the ravished writer.

Yi's stories are subtle things. There's a few murders and grisly deaths, but for the most part, there's little drama or melodrama. Resentments and verbal violence bubble up in ways that show us they were always there, beneath the surface of a Korea under the thumb of a foreign power, and then under the thumb of itself. I appreciated the smallness and subtlety of the stories, though I didn't always feel as if I understood the larger history that comes to bear on the characters. One of my favorites was "Tiger Grandma," a story about a stubborn old woman who is the final holdout in a program to increase literacy in her small Korean village. Many of the stories in this collection deal with small people: peasants, local clerks, fishermen, etc., all caught up in the upheavals of Korean history. In their small way, they struggle against the deadening forces of imperial occupation and political repression, but it's not possible to fill the ocean back up by moving pebbles.

With the addition of North Korea, my "Countries Read" list is now up to 108!

Divorcer by Garielle Lutz

Divorce, I kept forgetting, is not the opposite of marriage; it's the opposite of wedding. What comes after divorce isn't more and more of the divorce. What came after, in my case, was simply volumed time, time in solid form, big blocks of it to be pushed aside if I ever felt up to it, though more often than not I arranged the blocks about me until I had built something that should have been some sort of stronghold but in fact was just another apartment within the apartment in which I was already staying away from mirrors, shaving by approximation, bathing in overbubbled water that kept my body out of sight.

The title story of Garielle Lutz's collection Divorcer begins with a woman leaving her partner and moving in with the narrator. They live a short and fitful marriage--we learn later it was only five weeks--before divorcing him. While signing the papers, the divorce lawyer beckons the narrator below the table, and then reveals his penis. ("No need for you to touch it... But can you at least admit how much you've gladdened it? it's not been glad like this all day. It's a gladiolus. So, Mister Man, what would be a very nice last straw?") A reminder, perhaps, that the old dreary rigamarole of marriage-to-divorce is only one of the many ways that people couple. Yet so many of us do it. We are compelled to marry, compelled to divorce. All of the stories in Divorcer feature narrators going through the process of coupling and then parting. Though in several important ways they are all different--they are men and women, gay and straight--the alienating effects of divorce and separation strike them all.

The second story, "The Driving Dress," begins with a man trying to lose weight to fit into his ex-wife's dresses. (A symbol of isolation and alienation, the need to become self-sufficient, that echoes, I would note, the cafe owner in The Heart is a Lonely Hunter.) Amateur gumshoes might read this, and the small detail in "Divorcer" about how the narrator uses the creams and deodorants his wife has left behind, as foreshadowing of Lutz's own transition in 2021. (I'm sorry to say I saved a few dimes by buying a used copy of Divorcer with a deadname on the cover.) But I think it also points to a richness and fluidity of gender that the novel captures well, the ways that our needs and desires of having and being spill out over the containers of gender and sex. The abstraction of Lutz's language--maybe "abstraction" is not right, but a fleeing from the staid writerliness of the object and the moment--makes it so that the lesbian narrator of "To Whom Might I Have Concerned?" seems like they might be the same as the narrator of "Divorcer," with only that one minor aspect of their identity changed.

What makes these stories so incredible, really, is the language. Lutz is one of those few writers--Joy Williams is another--who demands that you take every sentence slow, read every word, because every word is a shock and a surprise. The prose is full of misprisions, words used incorrectly but somehow perfectly, and neologisms: sloppage, quillwise, rumpus-assed. Turn the page and find a brilliant, strange sentence: "The sister's kids smelled like pets." Sentences that take an unforeseeable turn: "All she did, I think, was take one gracious, simple, short-lived piss while I stood by." Sentences that go on and on, in wonderful swervings: "To cut things short: she was mortally thirty and was drown now to the uncomely, the miscurved, the dodged-looking and otherwise unpreferred, so my body must have naturally been a find--breasts barely risen, putty-colored legs scrimping on sinew, knees that looked a little loose, teeth provocative and unimproved." After all this time, it's amazing to find that there are writers out there who can write in ways that you've never thought possible, or even imagined.

A Sand County Almanac by Aldo Leopold

Conservation is a state of harmony between men and land. By land is meant all of the things on, over, or in the earth. Harmony with the land is like harmony with a friend; you cannot cherish his right hand and chop off his left. That is to say, you cannot love game and hate predators, you cannot conserve the waters and waste the ranges; you cannot build the forest and mine the farm. The land is one organism. Its parts, like our own parts, compete with each other and co-operate with each other. The competitions are as much a part of the inner workings as the co-operations. You can regulate them--cautiously--but not abolish them.

Aldo Leopold's A Sand County Almanac is one of those books that stands at the heart of the modern conservation movement. You might stretch it back further to Walden, but there is a kind of awakening in conservation--indeed, a kind of invention of the idea of conservation itself--that is invented in the mid-twentieth century, and A Sand County Almanac is one of its pillars, perhaps alongside only Silent Spring. It's interesting to read now, because much of what is there seems so familiar to us now, but I found there was a great deal in it that still felt fresh and invigorating. 

A Sand County Almanac is essentially named after the first of several parts. The first, titular section, is a series of essays that follow the months of the year at Leopold's humble farm in "Sand County," which is really the area around Madison, Wisconsin. The fields flood, the birds retreat and return, ice and snow form, wildflowers grow and die. The pleasure of this section is like the pleasure of exploring a landscape with someone who knows it very well, down to the smallest organism, and who knows moreover how that organism fits into the whole. One of the most impressive things about it is Leopold's ability to narrate backward from the state of a landscape: what assemblages of plants and animals indicate clear-cutting, or flooding, or different kinds of farming and harvesting. One of the most fascinating moments, in fact, is when he describes sawing down an old lightning-blasted tree, going through each ring and describing what was happening in the landscape of Wisconsin at that time, back hundreds of years. It's a nice reminder that history is more than just human history, that the landscape, too, has its own history, and it's a history that is legible to those who know how to read it.

The next section, "The Quality of Landscape," is arranged geographically, rather than annually, and takes the reader through a series of well-observed vignettes from Wisconsin to Iowa and Illinois, all the way down to New Mexico and Arizona, where Leopold was a forester who helped establish the Gila Wilderness, and even into Chihuahua and Sonora. But the most interesting stuff in the whole book, I thought, were the more polemic essays that come after, where Leopold lays down his theories of conservation, including the idea of a "land ethic." Leopold, a believer in progress, argues that human history is an exercise in developing superior ethics, that move from nationalism into democratic equality, and that the next necessary ethic that man must develop is a "land ethic" in which he recognizes himself as part of a larger ecosystem. Probably Leopold would be outraged by much of what we've done to the earth (how hard it is to read these old conservationists who had no idea what were doing to the climate), but I wonder if he'd see this as an idea that's been easily and widely accepted. Of course, we have our reactionaries, and they're definitely in charge right now, but it's crazy to read A Sand County Almanac and understand just how little purchase this kind of thinking really had.

For Leopold, exercising this "land ethic" begins with cultivating the kind of visual acuity and sensitivity that's so impressive in the first part of the book. "Like all real treasures of the mind," he writes, "perception can be split into infinitely small fractions without losing its quality. The weeds in a city lot convey the same lesson as the redwoods; the farmer may see in his cow-pasture what may not be vouchsafed to the scientist adventuring the South Seas. Perception, in short, cannot be purchased with either learned degrees or dollars; it grows at home as well as abroad, and he who has a little may use it to as good advantage as he who has much." Good words worth remembeiring.

The Dangers of Smoking in Bed by Mariana Enriquez

I got up and ran to the kitchen to get the gloves I used for washing dishes. The angel baby followed me. And that was only the first sign of her demanding personality. I didn't hesitate. I put the gloves on and grabbed her little neck and squeezed. It's not exactly practical to try and strangle a dead person, but a girl can't be desperate and reasonable at the same time. I didn't even make her cough; I just got some bits of decomposing flesh stuck to my gloved fingers, and her trachea was left in full view.

I really enjoyed "Angelita Unearthed," the first story in Mariana Enriquez's collection The Dangers of Smoking in Bed. In the story, a young woman digs up some small bones in her yard. Her father is skeptical, but her grandmother insists they are the bones of her sister who died as a baby, and whom she dug up and carted to this new house many years ago when they moved. When the baby's spirit appears, it appears as a baby of rotting flesh with many demands: it pesters the protagonist until she returns to the house where she was born and buried. I liked how physical the ghost is, not diaphanous or bodiless like so many other ghosts: in the scene above, the protagonist literally tears chunks of flesh out of her, though her essence seems unharmed. Taking the ghost baby back does not seem to quell its restless spirit; it follows the protagonist still, until the protagonist realizes that she, too, can torment her tormenter: "I made her run after me on her bare little feet that, rotten as they were, left her little white bones in view."

Unfortunately, I didn't really like the other stories. Most of them struck me as the kind of one-note ghost story that's never quite developed past the initial idea. There's promise in some of those ideas, like a story in which a beloved goth musician who commits suicide is exhumed and devoured by his most devoted teen fans, or "Where Are You, Dear Heart?," about a woman whose fetish is listening to arrhythmic heartbeats, and the man with the cardiac conditions who lets her torture his heart with pills and drugs. There's some interesting social commentary lurking here, as in the (too) long story "Those Who Came Back," in which abused and disappeared children begin returning all over Argentina. (That they come back different is a given for anyone who's ever seen a zombie story or read Pet Sematary.) I was interested in another story, "Rambla Triste," which dealt with overtourism in Barcelona, and features a hellish neighborhood that literally traps locals while letting tourists pass through.

The stories, with their focus on the macabre, and especially on teen girls--and, OK, a little because of the Latin American setting and context--reminded me of Monica Ojeda's Jawbone, but for the most part, they struck me as too predictable, too safe, and not scary enough. Their tight, sort of predictable structures resemble the kind of ghost stories you might tell at a bonfire, but they don't have the kind of freewheeling horror that anything can happen, as Ojeda's novel does. 

Lanark by Alasdair Gray

Now he saw that Hell was the one truth and pain the one fact which nullified all others. Sufficient health was like thin ice on an infinite sea of pain. Love, work, art, science and law were dangerous games played on the ice; all homes and cities were built on it. The ice was frail. A tiny shrinkage of the bronchial tubes could put him under it and a single split atom could sink a city. All religions existed to justify Hell and all clergymen were ministers of it. How could they walk about with such bland social faces pretending to belong to the surface of life? Their skulls should be furnaces with the fire of Hell burning in them and their faces dried and thin like scorched leaves.

Where to start with Lanark? The beginning, maybe, but which beginning? An epic novel by Alasdair Gray--author of the novel that became the Lanthimos movie Poor Things--Lanark is split into four books, ordered 3, 1, 2, 4. The "outer" books are the story of Lanark, a man who wakes up to find himself in the strange, grotesque city of Unthank, where the sun never shines, controlled by a shadowy "Institute" where he soon finds himself a patient, growing scales and feasting on human flesh. The two "inner" books are a realist coming-of-age story about one Duncan Thaw, a clear stand-in for Gray himself, growing up in the lower-middle class of Glasgow and struggling to pursue a life of art and love. It's implied that Thaw and Lanark are the same person, but the exact mechanism of the transition is never really explained. Perhaps Unthank is the Glasgow of the afterlife, but if so, that means nothing good for Duncan Thaw.

Thaw is a sensitive kid, prone to bouts of depressive hysteria. His parents become accustomed to "curing" him by throwing him into a bathtub full of ice to shock him to his senses. Except for a brief exile to the Highlands during World War II, his life must be fashioned in the context of Glasgow, a gray industrialized city where beauty and passion seem in short supply. Thaw seems to feel more deeply than his peers; he excels in English but struggles to make himself care about mathematics, and so he stumbles toward an uncertain future. More than anything, he's frustrated by the attentions (and lack thereof) of girls, who are easily incorporated into his worlds of personal fantasy and dreaming but more difficult in real life. In Book 3, Thaw lucks into an art school scholarship, but this, too, is too repressive and prescriptive for his yearning for self-expression. He flunks out because, instead of doing his final project, he takes a commission painting a mural in a humble parish church. The mural balloons into a project of years, as Thaw tries to paint the entire story of creation. It attracts the attention of critics, but no money, and the parishioners, unable to use the church space, hate it. There is no space, Gray suggests, for the true artist in the social scene, which makes other demands: the demands of industry, capitalism, clergy, etc. Thaw's failure sends him into a manic episode where he possible, but maybe not, kills a young woman who spurns him.

I recently read Alistair Moffat's History of Scotland, and I noticed that Thaw's story draws in sneaky ways from Scottish history: he makes a rich friend at art school with the name of Kenneth McAlpin, the name of the legendary first king of Scotland;  another associate, more pointedly, is named Macbeth. A decorator that helps him in the parish church is named Rennie, like Charles Mackintosh Rennie, the modernist architect who designed the Glasgow School of Art. Someone more knowledgeable about Scotland than I might be able to pick apart the references and assemble them into a kind of interpretation, but for me, it made it clear enough that Gray thinks of Lanark as reflecting Scottish history at large.

The Lanark books are--weirder. The first takes place mostly at a hospital run by a mysterious institute. (Lanark arrives at the hospital by leaping into a mouth-shaped hole in the ground and being swallowed.) The hospital treats people who, like Lanark, have "dragonscale," a condition where they grow scales and slowly become lizard-people, then combust. Lanark is cured, but he discovers that those who don't make it become food for the other patients. This is a big theme in the novel--"man," Gray writes, "is the pie who bakes and eats himself." By making an annoyance of himself, Lanark is allowed to leave with his lover, Rima. The fourth book finds him back in Unthank, a place he despises and wants to leave, but with which he becomes increasingly entangled. Unthank, we discover, is due to be sacrificed for its "human energy"; the local administrators cow Lanark into acting as a delegate to the assembly in Provan (a version of Edinburgh) and speaking out for them. Time in this strange world moves more quickly than in ours, and Lanark finds himself over the course of what feels, in a narrative sense, like weeks or months, growing to old age. Rima has a son, Alexander, in a matter of days, then leaves Lanark; the next time Lanark sees him, he's a teenager, then a grown man.

Unthank is Glasgow; that's clear enough. But the strange, speculative recasting of the Duncan Thaw sections as "Lanark" has the effect of universalizing the story, even as it remains rooted in its specific Scottish cultural context. Man is the pie that bakes and eats himself, and the forces that threaten Unthank, and the people that Lanark has come to love in his short time in this strange world, are the same forces that threaten the world that That lives in: the rapacious demands of corporate interests, the disinterest of elected figures, a greedy idolization of economic progress, the disposability of common people. In the book's epilogue (which comes before the end, rather than after it) Lanark meets a man who claims to be the author of the book we're reading. The author and the reader control Lanark's life as surely as the social forces he battles--though there are hints, too, that Lanark has ways of escaping his creator's control. During the conversation, the author-figure (who is not named Gray, but is Gray) diagnoses the problem as being too little love. It seems a startling simplification for this enormous, inventive, complicated, perhaps over-complicated novel, but who can say it's not true?

In the Company of Men by Veronique Tadjo

At night, I have nightmares. I dream I'm still among the sick. The tent's a furnace. In the middle of the day, the sun's beating down on the canvas. I gasp for breath, my head buzzes, I don't have any protective suit on--I'm naked, in fact, and the virus has infected me. My gums are bleeding, my soul leaving my body. I can feel it slipping away through my navel... I wake up with a start.

Ivorian author Veronique Tadjo's In the Company of Men details the 2015-2016 Ebola epidemic of West Africa through numerous eyes. The novel is structured as a series of monologues by implicated figures, some you might expect, others that might surprise. It begins with a doctor, struggling to make it through a day in the highly contagious atmosphere of a tent hospital, a nurse, a young girl who survives the disease, making her immune and a perfect volunteer, a man separated for the last time from his fiancee. But Tadjo also gives a monologue to none other than the disease itself, who of course pleads innocence--it's man who's to blame, really, selfish and greedy and having isolated himself from the natural world that produces both the disease and healing. The voice of Ebola is balanced out by that of the bat who enabled transmission from the animal world to the human one, and who speaks on humanity's behalf. These arguments are adjudicated by the Baobab, the great tree who anchors the novel, watching the progress of human life.

As Tadjo illuminates, a disease like Ebola needs more than just virulence to spread. There's human cruelty and paranoia, as with those who exile their own families, refusing to look out for them even after the disease is cured, or the countries that harden their borders and even turn to armed conflict. But it's a story of human resilience as well, of people who come together at great risk to themselves in order to keep others alive. In its final judgment, the Baobab tells us that it agrees with the bat, not the disease: "in its desire to absolve itself," Ebola "considers only Man's faults." This approach, which transforms the disease, the bat, and the tree into characters from a kind of medieval passion play or Greek philosophical treatise, works--but the novel suffers, I thought, when it turns the same methods to human beings. There's too much pressure to make the doctor all doctors, the nurse all nurses, the suffering patient all patients. They end up seeming more like avatars than real people.

Child of God by Cormac McCarthy

He came up flailing and sputtering and began to thrash his way toward the line of willows that marked the submerged creek bank. He could not swim, but how would you drown him? His wrath seemed to buoy him up. Some halt in the way of things seems to work here. Se him. You could say that he's sustained by his fellow men, like you. Has people the shore with them calling to him. A race that gives suck to the maimed and the crazed, that wants their wrong blood in its history and will have it. But they want this man's life. He has heard them in the night seeking him with lanterns and cries of execration. How then is he borne up? Or rather, why will not these waters take him?

Child of God begins with Lester Ballard, a no-account rustic of Sevier County, Tennessee, being dispossessed of his land and house. He starts a fight with the auctioneer--the first violent moment in a book full of them--but it's no use. From that point on, Lester is set free into exile, wandering the woods and mountains of the Great Smokies with just his rifle. He's condemned and little-liked, but for a while, he doesn't seem much worse than any of the "characters" who get told about in backwoods stories, or the dumpkeeper who names his daughters after words he finds in a medical textbook: Urethra, Cerebella, and Hernia Sue. But when Lester discovers a pair of lovers in a car on top of the mountain, having mysteriously died mid-coitus, he discovers that there is a certain kind of woman who cannot deny his sexual advances (unlike Hernia Sue) and he goes on a killing spree, taking the corpses of the women he kills back to a remote cave where he defiles them.

Child of God is a gross book. It seems pointedly designed to poke at our last taboos, like necrophilia. Lester, as he draws further away from society and further into himself, becomes only more foul: he makes no distinction between adult women and young girls; he starts wearing their dresses and fashions wigs for himself out of their scalps, etc., etc. Like many of McCarthy's other books, the focus here is on human violence and depravity: where they come from, how they're possible, etc., etc. In other novels, McCarthy seems to me to recognize a kind of mystic evil that comes from outside of human nature--think of Ed Todd, lamenting at the end of No Country for Old Men, what the world is slouching toward, or of course the symbolically or perhaps literally immortal figure of the Judge--but here McCarthy pointedly notes that Ballard is a "child of God, just like you or I." Ballard's depravity is set in the context of other violence, other audacities, including the story of the proto-Klan "Whitecappers" that the Sevier County sheriff proudly reminisces on having run off. This, McCarthy says, is human nature--or at least one version of it.

For such a nasty book, it can be very funny. I'm still laughing at "Hernia Sue." And one of the best moments comes toward the end, when Ballard, having been caught by the sheriff and forced to lead him and his posse to the location of the bodies, wriggles away down a hole in the cave and leaves the posse unsure about how to get back to the surface. Ballard himself gets lost and nearly dies, makes his way out, turns himself in at the hospital, gets locked up in the asylum, dies, and has his remains inspected by medical students "like those haruspices of hold perhaps saw monsters worse to come in their configurations." But if the students find anything monstrous or unusual inside the brain of this necrophiliac serial killer, they don't say.

The Mushroom at the End of the World by Anna Lowenhaupt Tsing

The privately owned mushroom is an offshoot from a communally living underground body, a body forged through the possibilities of latent commons, human and not human. That it is possible to cordon off the mushroom as an asset without taking its underground commons into account is both the ordinary way with privatization and a quite extraordinary outrage, when you stop to think about it. The contrast between private mushrooms and fungi-forming forest traffic might be an emblem for commoditization more generally: the continual, never-finished cutting off of entanglement.

Anna Lowenhaupt Tsing's The Mushroom at the End of the World is a deep dive into the informal economy that produces the matsutake mushroom. Prized by consumers, especially those in Japan and Eastern Asia, the matsutake grows in forests from Oregon to Yunnan to Finland. Where it is picked, it is picked by loose "assemblages" of people operating on the margins of official society. In America, that often means Southeast Asian immigrants, Hmong and Lao, among others, as well as white survivalist types who embrace the notion that mushroom hunting offers a kind of freedom from the demands of normative society. Tsing's thesis, as far as I can tell, seems to be that this is a kind of economy that is not capitalist, that emerges from a kind of commons, but that these non-capitalist modes of economic activity are quickly and summarily subsumed by the capitalist economy. I don't know about that--but maybe I mean that literally, because the economic angle here isn't exactly my forte.

In general, I expected the book to be more about mushrooms, and less about economic and social theory. But I did enjoy how Tsing manages to bring together many modes: straight reporting about the matsutake pickers, of course, and economic theory, but also ecology and social history. In the growth of the mushroom, which relies on mutualistic assemblages so vast it's hard to isolate the fungus into specific, isolated species, she finds a powerful metaphor for the commons. As a result it's hard to say what kind of book this is, though I think a general reader might find its more theory-laden sections difficult.

One thing that struck me: The matsutake, as Tsing describes it, actually thrives best in the most ecologically ruined forests. In America, that means in forests of opportune lodgepole pines that emerge in the wake of clearcut ponderosas. This points to something that Tsing describes as "salvage," that I'm not sure I quite understood, but which has something to do with the way that the ruins of capitalist activity are reinscribed into informal economies. In that sense, there's an interesting kind of circularity to the economy that Tsing describes: it thrives in the wake of capitalist ruin and excess, transformed into an informal economy that is then reinscribed into the formal economy by buyers and wholesalers.