In 2010, a bunch of friends started an impossible book club, impossible as none of us—a wool-shop owner, an editor, a prof, a psychiatrist, a psychologist, a community program head, a Crown prosecutor, most parents or about to be—had time to read. Our meeting rule, more or less kept up: the book had to be published before 1960.
Birds Art Life: A Year of Observation by Kyo Maclear
A few days ago – which will be many days ago by the time you read this – I watched robins, red-winged blackbirds, mallards, and a pair of swallows darting through shadows making them difficult to identify. Birds Art Life is a book I’ve read and re-read, in times of difficulty and in times of relative ease. It always brings me comfort.
I have been reading with fascination The Equivalents, by Maggie Doherty. It is the story of a visionary program instituted at Boston’s Radcliffe College in 1960 that was designed to rescue select, few, women of privilege from the drudgery of American housewifery.
Forster (1879-1970) is one of my favorite novelists, and I particularly like Howards End. The film version starring Emma Thompson, Anthony Hopkins and Helena Bonham-Carter is superb, and it captures some of the subtlety of perception and insight of the novel itself. The same might be said of A Room with a View, also adapted to the screen. Forster’s work shares some similarities with Virginia Woolf’s work, particularly with Mrs. Dalloway and To the Lighthouse. Both novelists are as much concerned with sensibility as with incidents, the building blocks of plot. Though both outlived the Edwardian age—Woolf died in 1941, Forster in 1970—and even though Woolf is commonly spoken of as a modernist, I think there is something Edwardian about both their sensibilities. Both treat emotional states and the shared opinions that typify particular social classes in particular historical periods almost as a painter would do—as colours, tones, atmospheres. Clearly both of them write with something of a poetic feeling.
Except for hip hop or the occasional R&B-inflected jazz, I don’t really listen to much music with vocals. Last year, though, I started listening to the jazz vocalist Cécile McLorin Salvant. Her latest album is Mélusine (2023) but I remain mired in and moved by Ghost Song (2022). I don’t just love her voice, its tone and timbre, I also love her intelligent lyricism, her confident pastiches of different musical eras, her jarring dissections of power in intimate relations, her masterful takes on great artists from Gregory Porter to Kate Bush.
