How to capture that? The problem with dailiness—how to write the day when it escapes us. It was the problem at the center of the work I was trying to write, although I was unsure whether I was really trying to write it. Never have I felt more emptied of the possibility of writing but more full of it at the same time. When did I realize I was suffering not from writer’s block but from refusal?
Drifts shows its “refusal” from beginning to end: it is the record and the result of Kate Zambreno refusing the subtitle of the book, which is a novel. “Is it a novel, though?” I kept asking myself, as I read. I get it, that’s the point: Drifts asks (Zambreno asks) us to ask, what is a novel, anyway? what does it look like to refuse the artifice of form (and narration and coherence and plot and all the other usual constituent elements of fiction)? what if instead of seeking unity you settled for fragments, what if instead of momentum you embraced meandering, what if you turned always inward, never outward? For people who like this kind of book, Drifts is definitely the kind of book they will like. I didn’t much like it, which won’t surprise anyone who has followed this blog for long. Novels in fragments usually strike me as cop-outs. Yes, it’s hard to finish the thing: to complete the thoughts, find the form, shape the narrative, make something solid out of fleeting impressions, make art out of experience, rather than recreate it. That’s the novelist’s job! So do your job: don’t put the unfinished pieces out into the world and excuse them on the grounds that experience, too, is fragmented and incoherent and random. I live that way: must I read that way too? Other readers love such fictions, though, including many readers whose insights I value highly. That’s what keeps things interesting!
There were definitely things about Drifts I did like. I liked learning about Rilke (I would have liked, better, a unified essay about Rilke); I enjoyed May Sarton’s scattered presence (I would have liked, better, an essay focused on Zambreno’s interest in Sarton). I liked the sense of what it might be like to be in Zambreno’s head—until I got tired of it, since it’s not a particularly restful or happy or illuminating place and being in my own head is hard enough these days, thank you very much. I got tired of the insistence on how hard it is to write, to be a writer, to write a novel. It started to seem unbearably self-absorbed, self-indulgent, solipsistic, all this moping around and lamenting and oversharing. “Think of Trollope!” I wanted to say. “Get out of your head and just tell us a story!” But of course that is not the kind of novel Zambreno is interested in.
I’m sounding more negative than I felt about the book as I read it. There were many moments in Drifts that interested me and others that moved me and others that upset me (I wasn’t prepared for the discussion of and image from Sarah Charlesworth’s series Stills). I found myself wondering why Zambreno didn’t just write it Drifts as memoir, rather than autofiction. I find it distracting reading works that refuse (that word again) to decide or clarify what they are, and perhaps my expectations would have been different if the pitch itself had been different. Still, the title gave fair warning, even if, arguably, the subtitle misled. I’m glad I finally gave Zambreno a try: now I know that she’s not for me. I’m not absolutely refusing to read anything more by her, but unless her other books are of a wholly different sort, I’ll let them drift away.
I’m just back from a long-awaited, oft-postponed visit to Vancouver. I came back with more books than I left with: no surprise there! A couple of them are ones I claimed from my mother’s ‘donate’ pile (one of my undertakings was to help her sort her many – many! – books so that the ones she wants most to read and reread are actually on shelves and the others eventually make their way into the hands of other readers); a couple of others were just too good to pass up when I spotted them on the bargain books shelves at the UBC bookstore; and one, Bach’s Sonic Tapestry, is by and inscribed by an old family friend.
I have read a fair amount of poetry in my life, for pleasure and for work. One of my very oldest books is an illustrated edition of Robert Louis Stevenson’s A Child’s Garden of Verses, and I went through a phase as a tween where I thought reading Poe’s “The Raven” or Alfred Noyes’s “The Highwayman” aloud was the height of literary engagement; around the same time, I was given an anthology of Romantic poetry, which (read obsessively but selectively) confirmed my youthful predilection for angst and pathos. Mostly I read fiction, though, so it remains surprising to me that it was a poem—Robert Graves’s “The Cool Web,” specifically—that turned me into an English major (thank you again, 
Since I became an English professor myself, my research and teaching has primarily focused on fiction, but I actually consider poetry the highest form of literary art, and I always look forward to the chance to work through some examples with my students, something I rarely get to do except in first-year courses or when I teach our ‘theory and methods’ course on close reading. Once upon a time we had a full-year Victorian Literature course, which meant plenty of poetry and even (rarer still) some of the period’s great “sage” writing, and today sometimes I get to teach our survey course on British Literature from 1800 to the present: hooray, more opportunities for poetry! I also regularly assign as much of Aurora Leigh as I dare in my seminar on the Victorian ‘woman question.’ (If you’re curious about how I approach these courses, 
When I teach poetry, something I often remark is that even the most skeptical among us tacitly acknowledges its power and value on special occasions—weddings, for example, and funerals. There is something about poetry that we need, not just at those times but especially at those times. I knew this already in theory but only really understood its truth when Owen died. Lines of poetry that I had read many times before became new to me, in terrible but also beautiful ways; I reread them over and over, and also sought out (and was offered) more. Sometimes the words brought comfort, but more often they offered confirmation: yes, this, this is how I feel, this is what I would say myself, if I could. I have found some passages of prose that bring the same relief, but it is still poetry I turn to when the grief is hardest to bear. I copy passages into my journal and save screen shots, an ongoing commonplace book of sorrow. I don’t necessarily think that this is the best way, the best reason, to read poetry. It can feel solipsistic; I wouldn’t want it to be the only way I (or anyone) read poetry. I wouldn’t want these to be the only poems I read.
I would like to read more poetry, and to read more different kinds of poetry better. You’d think this would be easy, and of course the steps themselves are simple enough, but the feeling of not “getting” it (which I have, cumulatively, spent many hours trying to train my students out of) does get in the way of my good intentions. Lately, therefore, I’ve come up with a little game I call “Poetry Serendipity”: every time I go up into the stacks of the university library, I take different routes on my way to and from whatever section I am specifically visiting and, as I wander, I scan the shelves for names I recognize or (more random and risky, but also more fun) for those tell-tale slim volumes that you just know must be poetry collections. Sometimes I have a few names in mind, so that if I notice I’m in the (say) contemporary American section around names starting with M or P, I can look around for (say) W. S. Merwin, or Marge Piercy. I sign out a few books, bring them home, and browse them without purpose or pressure. If I like something, I pause and reread; if I don’t connect, I close the book and move on without shame or regret—sometimes from very famous poets! I haven’t had many big successes, but pretty often I find at least one poem I like enough to copy out. Along the way I think I am learning something about myself as a poetry reader. I like form, or the feeling of it; I like clarity, sometimes (though not always) simplicity; I like concrete details; I like ideas but not elusive abstractions; I like moments in time, poignant or reflective; I like calm, and melancholy, not exultation; I do not like religion (with rare exceptions). Yet somehow I also like many poems that meet none of these specifications.
Practically from our first meeting, she’d been after me to write a recovery journal. I told her I don’t write, I draw. She said this would be for myself only. I could share it, but only if I chose to do so. The idea being to get clarity and process some of my traumas. On that particular ball of yarn I didn’t know where to start. She suggested pinpointing where my struggles had started with substance abuse, abandonment, and so forth . . . I’ve made any number of false starts with this mess. You think you know where your own troubles lies, only to stare down the page and realize, no. Not there. It started earlier. Like these wars going back to George Washington and whiskey. Or in my case, chapter 1. First, I got myself born. The worst of the job was up to me. Here we are.
Kingsolver jumps right into the action, and really, it never stops, for the next 500+ pages. Demon Copperhead is a rush of narrative—a copious, colorful, fast-moving torrent of words. Although it is clear by the end of the novel that it is, like the original, retrospective, it has none of the layers of David Copperfield, which is complicated and enriched by foreshadowing and dramatic irony. It is perhaps surprising, given his reputation for exaggeration and hyperbole, that, on my reading anyway, Dickens is by far the more subtle and nuanced author of the two. Kingsolver (or, properly, her first-person protagonist Damon Fields) just keeps going and going and going, a kind of tireless Energizer Bunny of grim revelations about the hardships of life for a child born in poverty in Appalachia and growing up through the worst of the opioid crisis. At a time when the idea that fiction should have a purpose is (in elite circles, anyway) often dismissed as incompatible with real art, Demon Copperhead is, unapologetically, a fully committed ‘social problem’ novel: it has more in common, in that respect, with Mary Barton, or even with Bleak House, then with David Copperfield, which is, as its opening line tells us, a story about moral development—an individual story, a Bildungsroman. Its action is always, more than anything else, about David’s character, and especially about his tender, loving heart.
It’s notable to me that the rest of her acknowledgments are to people who helped with expertise related to social problems (“foster care and child protective services . . . logistics and desperations of addiction and recovery, Appalachian history” etc.) – not to Dickens or David Copperfield. It isn’t that David Copperfield is 
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What I missed most of all in Demon Copperhead was the melancholy tenderness that suffuses David Copperfield, and the way Dickens shades David’s highs and lows with his profound understanding of both the necessity and the heartbreak of losing our childhood innocence. The David that worships Steerforth and adores Dora is so loving and lovable: he is wrong, of course, in both cases, but Dickens is so good at making us feel to our core the cost of outgrowing mistakes like these, of becoming someone too savvy and knowing and suspicious to follow our hearts without question.
They belonged here. Of course. It was obvious. They belonged here and they should be here. Why not? Why on earth not? Why should she and Polly leave the Point to a land trust rather than to the people who had loved it the longest? Her heart pounded. It had taken her her whole life to see it, but now that she did, nothing could be as clear. The simple truths are always hidden in plain sight, only veiled by the complications of the human mind.
Agnes, in contrast, has to get out of her own way, to stop guarding her secrets and make space in her life for love and forgiveness. This means reckoning with a traumatic incident from her past, which we learn about through the device of a long series of letters she wrote to her dead sister, which she eventually decides to share with the novel’s third protagonist, Maud Silver, an ambitious young editor eager to convince Agnes to write a full and frank memoir.
It was a strange teaching term, at times hard, awkward, and demoralizing, but also at times invigorating, engaging, even restorative. This is true of every term, I suppose, but I really felt this emotional ebb and flow this time, probably because I am still grappling with what it means to carry on with my “normal” life after Owen’s death: I can’t really take any aspect of it for granted, and the more normal things seem in the moment the more 
I have always worried that students who attend irregularly are missing out on that broader learning experience, and also that sporadic attendance can become a self-fulfilling prophecy because if you just show up occasionally, you might not recognize the value of what we are doing or know how to join in to get the most out of it. The most obvious policy response is to require attendance, and I do believe in a version of “if you build it, they will come”—if you mandate it, they will (maybe, eventually, hopefully!) start to see the value of it. Mandatory attendance creates its own problems, though, from the administrative burden of recording it (especially with large classes) to the difficulty of having and applying fair policies that take accessibility and other issues into account and don’t lead to constant wrangling over what counts as a “legitimate” absence. For many years now I have not required or graded attendance, though I do always take attendance, so that I have some sense of who is or isn’t showing up and can reach out to anyone who seems like they might be in trouble. Before COVID, I also experimented with a range of different in-class exercises for credit, using them both for low-stakes practice at key course objectives and to “incentivize” being present. I think this is the approach I will go back to next year.
Another reason to return to more in-class work is the relentless encroachment of AI. Other people have written well about what it means for those of us whose life’s work is helping students learn to read, think, and write better, and about what we can and can’t, should and shouldn’t, do in response. (See 
Actually, I kind of love the idea that the novel’s narrator “would rather have tea than everything else in the world” (me too!)—but of course this is absolutely not a passage from the novel; it’s just a jumble of nonsense. Students are already willing to put in a remarkable (to me) amount of effort “hiding” or “fixing” material they have copied from other sources, to conceal their reliance on it, but I doubt most of them are up to the task of getting crap like this into passable form. Mind you, to know it’s crap, they would need at least some familiarity with the novel: what shocked me with the ChatGPT cases I had this term was that they included quotations that were simply not in the actual assigned text, and the students didn’t even notice. As students get more familiar with the bot’s limitations, they may (may!) find it is actually less work (and less risk) to just do the reading and assignment themselves.
Next term: what a thought. A year ago the very idea of being back in the classroom was completely overwhelming. It seemed impossible, unthinkable. “How do they do that?” I puzzled as I reflected on 
And then, just like the cemetery cats, the sun reached as far as my room, reached under my sheets. I opened the curtains, and then the windows. I went back downstairs to the kitchen, boiled the water for the tea, and aired the room. I finally returned to the garden. Finally gave fresh water to the flowers. I welcomed the families once again, served them something hot and strong to drink.
It isn’t that Violette isn’t warm or compassionate: reflecting on the demands of her strange job, which include assisting and often comforting those who come to bury or visit their loved ones in the cemetery she oversees, she says “for a woman like me, not feeling compassion would be like being an astronaut, a surgeon, a volcanologist, or a geneticist. Not part of my planet. Or my skill set.” She has been “destroyed,” though, and as a result has retreated into herself, leaving love and happiness to others—until things change and she resolves that “unhappiness has to stop someday,” even unhappiness stemming from a grief as intense as hers for her dead daughter Léonine.
As a cemetery keeper, Violette is surrounded by other people’s death and mourning: a connoisseur of funerals, she believes you can understand and maybe even judge someone’s life by the send-off they get. She records every one in her notebook: the weather, the coffin, the flowers, the family and friends, the speeches. She knows her quiet neighbors’ birth and death dates and often much of the story of what came in between; she tends affectionately to their graves, watering, weeding, cleaning. Her work and thus the novel is a provocation to think about the many ways people live and then die. “Death,” as Violette observes
It’s a long list, two pages, and even though it’s not Owen’s list, I couldn’t (can’t) stop crying as I read it, because it’s so true that part of what you are grieving is that future, the one you pour your hope, your effort, your time, your love, your heart into as a parent. Thankfully, Perrin avoids easy, inadequate clichés about consolation, the kind of implicit or explicit messages that hurt rather than help. There is no 
In fact, there’s quite a lot going on in Fresh Water for Flowers, and although overall I really enjoyed the novel, I did wonder sometimes if it needed quite so many elements. Violette seemed like enough to me, although I suppose it would be harder to appreciate the journey she makes from death back to life without the rich ambience the novel provides, in which life and love and loss and death and humor and tragedy and pain and beauty are constantly mingling and the sheer variety of human character and experience is a recurrent motif. Every chapter begins with what I saw as epigraphs, but which are referred to in the discussion questions at the end of the novel as “epitaphs,” which surprised me and then made perfect sense, even though many of them are not quite the kind of thing you’d actually carve on a tombstone. It’s a novel that immerses us in death, but in the spirit of inviting us to think about life. Violette’s specific path from the darkness back into the light felt a bit pat to me, a bit too easy and romantic, but maybe that’s what novels are for, at least some of the time. In the book of life, after all, as the epigraph / epitaph for Chapter 5 reminds us,
Griffith brings the same dedication of detail to the fight scenes, which are brutal but also fluid in a way that reflects Peretur’s mystical connection to nature and especially to animals, including the horse she rides in a dramatic test bout with Lanza (better known to most of us as Sir Lancelot). And she brings a commitment to another kind of historical accuracy: inclusion. “This could not be a story of only straight, white, nondisabled men,” she explains;
April comes and April goes, whether you want her to or not. In the teaching term, it is always a blur of a month—a bit out of control, like rolling down a hill. I used to welcome the feeling—the exhilaration of finishing up, the anticipation of summer—but this year it is just one more reminder of how relentlessly, and how strangely, time passes.
The other books I read all of in April (I’m assuming I won’t finish another one by Sunday) were Elspeth Barker’s O, Caledonia and Martin Riker’s The Guest Lecture. It’s hard to imagine two books with less in common! I enjoyed O, Caledonia a lot, although it is strange and wild and—I thought—a bit random, almost artless: as I read it, I was often surprised, even confused, by it, uncertain why this was what was happening or this particular detail was in it. Yet it felt unified, nonetheless: maybe that strangeness itself unifies it! Its fierce protagonist Janet takes the “not like other girls” trope to an extreme: she’s equal parts compelling and appalling. It has something of the flavor of We Have Always Lived in the Castle.
March was a rough month. For one thing, I had more academic integrity hearings stemming from a single assignment than I’ve ever had in one term. It was an exceptionally disheartening experience, especially given the lengths I have gone to in my introductory class to reduce the risk for students of just trying to do the work for themselves: this is the class in which I’m using specifications grading, meaning there is really no risk involved. As I plaintively reminded the class as it became clear just how widespread the problem was, the class is designed to make it safe to be wrong, safe to be confused, safe to be learning. But if you don’t actually do your own writing, you strip the whole process of its meaning. Plus (as I pointed out to many students in the actual hearings), if your uncertainty leads you to copying other people’s writing, you will never build your own skills and your own confidence: you will never find out that you can in fact do the work, and get better at it.
Easily the best novel I read in March was Claudia Piñeiro’s Elena Knows. This was recommended to me last year when I was (as I so often am) casting about for new ideas for my two mystery fiction courses. I started it then but had to abandon it, as a novel about suicide and a mother’s grief was not an experience I could bear. I kept it on my mental TBR, though, and I’m glad I tried again, because it really is exceptional: slight but fierce and complex, with its overlapping interests in disability, ageism, misogyny, and autonomy. I think it would be a really interesting book to read in my course on Women & Detective Fiction, even though in many ways it is not really a mystery. It is certainly about a crime – or, crimes, if you think socially and systemically – and there is an investigation, even if there isn’t a detective, or evidence, or any of the other conventional elements.
Novel Readings 