I try to plan my reading, but usually end up not following the plan at all… other than in its broadest intentions, ie, alternating male/female writers, for example… Which I only just managed to do here. Ah well.
A River Called Titash, Adwaita Mallabarman (1956, Bangladesh). Good books don’t always made good films, and great films are not always made from great books. Nonetheless, A River Called Titas by Ritwik Ghatak is one of my favourite films, so I had high hopes of the novel from which it was adapted. From what I’d read the novel was held in high regard, which is always a good start, although apparently not enough to be still in print in English in the twenty-first century. And since I couldn’t find a copy of its original 1950s Penguin release, I ended up with a university press edition… which actually proved a bonus as it included footnotes and appendices that added to the reading experience. A River Called Titash is mostly autobiographical – Mallabarman, who died in 1950, the novel was published posthumously six years later – was born and grew up in a Malo village on the River Titash, which is an offshoot of the Meghna River in the Chittagong District of Bangladesh, which is basically just one giant flood plain pouring into the Bay of Bengal. Obviously, I read A River Called Titash as the source text for A River Called Titas… and the most obvious difference seems to be that the film confused the Titash and Meghna. True, some of the story takes place on the latter river, but the film implies it all does – although it does follow, in broad stroke, the same story. A fisherman from a Titash village defends a young woman – actually only fifteen years old in the novel – during an attack on her village by pirates. So she is given to him by her family in marriage, they consummate their union, and and the next day set off in his boat for the trip home where the actual marriage ceremony will take place. En route, while anchored at night, pirates sneak aboard and kidnap her. But she escapes and ends up at a third village. She doesn’t know her husband’s name, or the name of his village. (Nor did the husband learn his bride’s name – in fact, she’s never named in the novel, and referred to only as “Ananta’s mother” – and saw her face only on a handful of occasions.) She has a son, Ananta. Some time later – in the novel Ananta is four, in the film he’s considerably older – mother and son have finally learnt the origin of the lost husband and make their way to his village. But the husband had lost his mind shortly after his bride was stolen. So the “widow”, as she has to pretend to be, ekes out an existence while trying to reconnect with her insane husband. I absolutely adore Ghatak’s movie, and this novel is equally fascinating. It provides more detail, indeed, it’s been described as just as much an ethnographical text as it is a novel – it is set, after all, in the first two or three decades of the twentieth century, and documents a way of life long since lost (although I think some remnant of it was still around when the film was made in the 1970s). In one respect, reading the novel was especially helpful as it put some of the events in the film in context, and explained why the characters behaved as they did. A fascinating read, and likely to make my top five of the year.
Snowdrift and Other Stories, Georgette Heyer (2016, UK). I do love me some Heyer, so I was a bit excited when I discovered a new collection of her short stories had been published. In the event, Snowdrift turned out to be a retitled Pistols for Two, which I already own and have read, but with the addition of three previously uncollected stories. On the one hand, these stories are lots of fun and Heyer was a dab hand with the prose. On the other… well, it’s all about entitled nitwits, and bears as much likeness to real history as, well, the Bible. It’s fun reading about Corinthians and Nonpareils and headstrong mistresses who Adventure, but they’re all aristocracy and there’s only one story in this collection, and new to it too, in which any one from the working class has any agency. Heyer is frothy and witty and fun, but the tribulations and concerns she invariably writes about no sensible person cpuld honestly give a shit about in this day and age. In one story, for example, an impressionable young woman (sixteen or so, I think) has learnt that her irresponsible brother has been challenged to a duel by a regular Man in Grey (lots of Heyer’s story follow the plot of The Man in Grey). So she tries prevent this but accidentally stumbles into the orbit of a supercilious noble (in his thirties) who promises to see her brother comes to no harm. He is, of course, the challenger, and only a complete idiot would fail to spot it. And it is only the fact he has the hots for the hothead’s teenage sister that saves the day. The problem with most Heyer stories is that you can change the words a little, without being inaccurate, and the plots would sound really skeevy. “Jaded thirtysomething chats up teenager in pub on way to arranged marriage… only to discover teenager is his proposed partner.” “Eloping teenagers mistake thirtysomething roué for irate brother hot on their heels, but when they realise their mistake teenage girl goes off with roué instead.” I had thought when reading A River Called Titash I could overlook the young ages at which girls were married off as a cultural thing from more than 100 years ago, only to realise that Heyer valourised something similar happening in the UK a hundred years before the events of Mallabarman’s novel. A River Called Titash at least has the advantage of being an historically correct ethnographical novel by a member of that culture, whereas Heyer wrote about a tiny sector of Regency England society more than 100 years afterwards. Still, they are fun, and I’m not about to give up my Heyer collection any day soon.
At the Speed of Light, Simon Morden (2017, UK). This is the second of the four novellas published recently by NewCon Press. It opens with a man waking up on board a spaceship, ignorant of his surroundings or his purpose. And, it is eventually revealed, not entirely human. I admit it, I sighed. This is a cliché. But I know Simon – although I don’t know his writing – and I should not have been so quick in jumping to conclusions. Because when the situation is finally revealed, in the third of the novella’s three sections, that opening section makes perfect sense and is actually quite clever. A spacecraft which can travel at a substantial percentage of the speed of light has accelerated out of control until it is now travelling fractions of a percentage less than c. Then the AI which controls the spacecraft notices a second one travelling in formation with it. And it realises this new spacecraft was sent by a planetary system the AI had travelled through, but since the AI had been in a fugue state at the time it had not noticed the communication attempts by the system’s inhabited world. The plot develops logically from there. It’s not Mundane SF by any means, although it initially pretends to be (an FTL drive pops up toward the end). The physical effects of travelling at very close to the speed of light are handled especially well, and although the novella is structured as an opening puzzle followed by a long extended info-dump as the narrator works out what’s going on, it’s a very good example of its type.
Ghosthunt, Jo Clayton (1983, USA). I picked up the first seven books of this nine-book series at a Swecon because Clayton was not a name known to me at the time and I thought they’d make suitable review material for SF Mistressworks. This series was apparently very popular in the late 1970s and early 1980s but has since been forgotten, and having now read them I’m mostly happy with that state of affairs. When you read forgotten or obscure sf, there’s always the hope you’ll stumble across a lost masterpiece; and it’s certainly true I’ve found some forgotten female writers of sf, or books by female sf writers, from past decades who deserve far more of a reputation than they currently have – anything by Marta Randall, for example, and Judgement Night by CL Moore should rightly be considered one of the classic space operas. But a lot of books vanish into obscurity for very good reason. The Diadem series has its high points and its low points, but its lows are pretty damn low, and even when it manages to be inventive progressive space opera it only just clears the bar. The series improved as it progressed, but not by a great deal. Still, there are the last two books to go – copies of which I will have to track down. My review of Ghosthunt will appear shortly on SF Mistressworks.
The Conspiracy & Other Stories, Jaan Kross (1991, Estonia). In an effort to widen the geographical spread of my reading, I picked a bunch of writers from random countries to try. One of them was Jaan Kross from Estonia. I’ll admit to knowing nothing about Kross, or indeed Estonian literature, when buying the book; and, to be honest, I’m not a great deal wiser now. Kross apparently specialised in historical fiction set in Estonia’s past, and his best-known work is the Between Three Plagues trilogy set in the sixteenth century. The stories in The Conspiracy, however, are set shortly before, and during World War 2, in German-occupied Estonia, and are told in the first person by Peeter Mirk, a stand-in for Kross himself. The stories are rich in period and place detail (so much so, each stories has end-notes… even though some of the glossed terms are later explained in the narrative). In one story, Mirk persuades an old university friend to desert the German not-so-voluntary Hilfswilliger levy corps, only for Mirk’s plans to see his friend off to Finland fall apart, but so putting his friend in his debt that the friend takes a stupidly risky route of his own choosing and dies in the attempt. In another, Mirk is attempting his own escape from Nazi-occupied Estonia, but the boat he is aboard is caught by a German patrol boat. Mirk has with him the manuscript of his first novel, which is highly critical of the Nazis. He throws his suitcase overboard, but the Germans manage to retrieve it. But there’s nothing in the suitcase to identify the owner (not even a name on the manuscript), except for… a collectible book given to him by a friend in lieu of payment for a debt moments before they boarded the boat to Finland which has an ex libris sticker giving that friend’s name. If Mirk says nothing, then his friend will be executed… There are half a dozen stories in the collection, and they’re well-written and interesting. I doubt I’ll dash out and buy something else by Kross to read – have you seen the size of my TBR? – but at some later date I might give something else by him a go.
1001 Books you Must Read Before You Die count: 129