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How It Feels by Brendan Cowell (2010)

How It Feels by Brendan Cowell (2010)Accomplished Australian television and film actor, screenwriter, playwright, and director Brendan Cowell has turned his creative hand to fiction, with his debut novel, How It Feels. How It Feels examines the sadder aspects involved in growing up and coming to terms with the choices and consequences of one’s actions and the gradual acceptance of adulthood and responsibility, told with a gritty been-there-done-that narrative style.

On the night of receiving their final school results, Neil Cronk and his friends indulge in drugs, booze, violence and, almost but not quite, sex. This is not the final adolescent party before emerging into calm, well-behaved adulthood; this is an evening that has irreperable repurcussions for all involved. This section is told with the vital energy of youth, that feeling of invincibility and that actions have no consequences. Thought much of the focus is on Neil’s sexual failure with his girlfriend, Courtney, the real highlight is Cowell’s sensitive, though uncompromisingly honest, take on male friendship. The friendships between Neil, Gordon and Stuart are refreshingly free of pretension, Cowell transfers the  middle-class, outer suburban male voice and attitude seamlessly onto the page. Though the events of their wayward adventures aren’t of the magnitude of those that will follow, significant changes are already taking place within the characters.

The evening deepened and dipped as everyone packed off into cliques and corners, merging with those they had formed an alliance with over the past one to thirteen years. If adolescence was a war zone then fashion and music were both protection and artillery: they kept us safe and offered us a position to fire ourselves from.

As Neil breaks from his planned life of university and city living and instead studies drama in Bathurst, Cowell brings in some of that pretension that comes with university, and in particular, the Arts. Neil turns from the slightly weedy cohort of his friends to a unrelentingly egotistic and self-involved prick, yet it’s an evolution that makes sense considering the difference between his university crowd and those he left behind. Back home, major changes are taking place, but Neil is too absorbed with the rituals and institutionalized weirdness of his life – seeing it almost as more enlightened than, for example, Gordon going into business. Again, on the eve of graduation and his final performance piece, Neil is shattered by the news of a friend’s death.

As an adult in London with a moderate degree of theatrical success, Neil still maintains a strong connection to those he left behind. This adult section is told in a sometimes disconcertingly fractured way, as the narrative moves between the past in London, the past before the wedding, and the present, it is easy to lose track of where exactly Neil is. Nonetheless, the dramatic events of this section – death, break ups, watching a friend marry your ex-girlfriend, drug use, abuse and recovery – carry great emotional weight.

Told over these three major transitional stages in Neil’s life, How It Feels is a brutal look at masculinity in contemporary Australia. Though there is much to cover in terms of youth, love, loss, heartbreak, success, failure – the running theme throughout is the male experience of contemporary life. Cowell’s narrative voice is strong, at times raw and confrontingly masculine. Issues such as home and the past are deftly dealt with, but what resonates is the connection we have to the place we grew up, despite how far we run from it or how much we try to deny it, and how this place and its people define us. To say this is a strong debut is understating the point, How It Feels is ruthless, wrenchingly felt and truthful, yet not without the necessary light to guide us through.

They gave me another chance, and I am eternally grateful. It is easy to jump out of the village, move to the cities, and spend your time poking fun at the little places we hail from and their routine ways, but deep down inside you know that’s where the real people are, the truly decent souls, and you fight and fight to deny it, until you need them so bad it hurts.

[Disclosure: publisher supplied proof copy from work. How It Feels is released by Picador Australia through Pan Macmillan Australia in November 2010, ISBN: 9781405039291. View the How It Feels book trailer on youtube.]

Running the Books: The Adventures of an Accidental Prison Librarian by Avi Steinberg (2010)

Running the Books: The Adventures of an Accidental Prison Librarian by Avi Steinberg (2010)Frustrated by the direction his life is taking, Avi Steinberg quits his freelance gig writing obituaries and takes a job in the library of a Boston prison. Running the Books: The Adventures of an Accidental Prison Librarian is a refreshing memoir that sheds light on life behind bars whether stuck there by choice or by crime, and on understanding the position of the prison institution in social, cultural and historical terms.

Steinberg, thankfully, recognizes that he is not the main focus of the story, but also knows when it is appropriate to insert himself, his past, his family history into the text, that is, when it illustrates, through the personal stories, a larger issue within the prison walls. These stories stretch from his Orthodox Jewish upbringing, to a mysterious grandmother and teaching a creative writing class to his prisoners. Though Running the Books lacks a strong overarching thesis, it doesn’t suffer from this lack of direction. Instead there are moments of redemption, justice, and yes, even beauty, in the minutiae of the stories Steinberg finds in day to day life in prison. Some of his musings on communication in prison, the power struggles between inmates and staff, and the privilege of names are thought-provoking.

For days I kept imagining the fate of the world’s misplaced letters. I started noticing them everywhere. [...] When I looked around the world, I couldn’t see these letters. But I became aware of their indirect presence. They contained life’s great subtexts, embedded between the lines of cell phone conversations of strangers on the bus, in the hazy motive of a coworker who told me she was taking a “metnal health” day off after receiving a difficult email from her mother. These notes were virtual, folded up, hidden, like letters tucked into books of the prison library. A kite, barely visible in the sky, bound to a person by an almost invisible string. Even the unsent ones are very much present. Especially the unsent ones.

Strangely though, and this could totally just be the effects of watching too many HBO prison shows, Steinberg witnesses very little actual violence within the prison library. His one potentially violent encounter happens on the outside, in the free world, when he is mugged my an ex-con who recognizes him. But the most heinous act of violence that Steinberg reports is an officer letting off fart bombs in the library. I wonder how much of this is self-censorship, respect on behalf of the institution he represented or if he just didn’t witness these things in the prison library. It just struck me as somewhat strange, given how much free reign the prisoners seemed to be given within the library.

Some of the inmate stories are genuinely effecting, though the conclusion of many of them are unrelentingly sad, too often ending in untimely death. The story of a prisoner who connects with Steinberg to create a life plan to host his own cooking show, the female prisoner who wants Avi’s help to reunite her with her long lost son. Steinberg never sees these people as just criminals – though he does have something of a crisis when he discovers the crimes of a prisoner he has been bonding with and ponders the implications of this relationship – but as trapped humans whose only chance at personal redemption can be found within the library.

Diana had said that the library wasn’t complicated, that it was just a place for people to pass time with books. Perhaps that was true back in the old days, when the prison would simply deliver books to inmates in their cells, a practice that had lasted hundreds of years. But the library was different: it was a place, a dynamic social setting where groups gathered, where people were put in relation with others. A space an individual could physically explore on his own.

Like Scott Douglas’ Quiet Please: Dispatches from a Public Librarian, Steinberg recognizes the function of a library as something beyond a repository of knowledge. Instead, these libraries always perform a communal, social function in giving equal footing and access to all those who desire it. Even when the community is made up of the so-called undesirables of society, the opportunity for creating their community and finding their place with in it must be important in such isolation. While Running the Books is not without fault, the lack of cohesive direction does diminish the overall power of the book somewhat, many of the stories held within offer insight and a greater understanding of the incarcerated and those that work with them.

[Disclosure: Review copy provided through publisher through the Shelf Awareness newsletter (some of those galley request adverts do ship internationally it turns out!). Running the Books: The Adventures of an Accidental Prison Librarian is published by Nan A. Talese/Doubleday through Random House, released on 19th October, 2010. ISBN: 978-0-385-52909-9. The New York Times recently published a brief excerpt - "A Prison-Library Reunion."]

The Alcoholic by Jonathan Ames and Dean Haspiel (2008)

The Alcoholic by Jonathan Ames and Dean Haspiel (2008)Graphic novel The Alcoholic by Jonathan Ames and Dean Haspiel follows Jonathan A, an alcoholic writer coming to terms with his addiction and how it effects his relationships, his behaviour and his overall attitude. While Jonathan A bears more than a passing resemblance to the scribe, I’m not interested here in the blurred line between fiction and non-fiction in The Alcoholic. The story is too compelling, the compassion too strongly felt, and Jonathan A’s failure too obvious. Hiding from police in the sand beneath a boardwalk after being caught in the back seat of a car with a cat-loving midget, Jonathan A looks back over his life – a close friendship in high school with Sal, how he started drinking, a failed romantic relationship with a woman he names after whichever city she happens to be living in and a tender relationship with his great aunt Sadie.

The Alcoholic covers the cycles of addiction, from rehab and jeopardizing career and relationships, to relapse. However, it never seems to knowingly address the element of self-destruction; the sadness of this cycle is evident to the reader, and while Jonathan A never romanticizes his addiction, he never fully condemns it either. This is no easy morality tale, it is the story of a man struggling with substance abuse. The human aspect, the frustrated relationships and the constant lies, lends The Alcoholic a truly touching sentiment. His relationship with his elderly aunt Sadie is sweet, the unrequited affections of Sal hurt. The distinction between these characters and Jonathan seems to be that they are willing to put their feelings on the line, to express themselves to him – whereas he is continually in conflict with himself. So many unanswered or unmade phone calls, the best of intentions never followed through.

For years I had thought that my best friend in the world hated me and in turn I hated myself because of this rejection. I had been telling myself a lie for six years, except I hadn’t known it was a lie.

Dealing with his habit and a neighbour who has lost her husband in the wake of September 11 gives The Alcoholic a stronger socio-political context, and thankfully this is never used by A as an excuse for drinking. It merely makes him aware of a larger reality beyond himself and the bottle. The storytelling, and the self-deprecation, make it difficult to not become involved in Jonathan A’s story. There are some cringe-worthy moments of scatalogical humour which brings the focus away from the melancholic navel-gazing, while at the same time representing the complete lack of control over the addict’s body and its urges.

Haspiel’s artwork is greyscale, maintaining stark realism even during the most comic, and the most touching, moments. Through the shifting timeframe, Haspiel’s artwork is clear enough that we can recognize the characters despite alterations in their appearance over time. This prevents the narrative itself from getting too burdened by the non-linear movement of time, Haspiel’s artwork grounds us with the characters – their story, not the passing of time, is what is important. Haspiel is also really amazing at capturing the inherently comic drama of desperately rushing, and sometimes for Jonathan A, failing, to find a toilet.

But here’s how I would summarize my general world-view: resigned, defeated, and heartbroken. My usual stance is: “I’m wrong and you’re wrong.” I don’t think anybody knows what the hell is going on. It’s all too confusing.

The Alcoholic works against perpetuating the myth of the romantic hard-drinking writer hero. It shows us the considerably less romantic aspects of this life: the desperation, the melancholy, the loneliness, the failure to recover. Yet, as stated, this is more than a simple morality tale. There is real humour here. One page you may be laughing at Jonathan A, the next you are deep in despair alongside him. I’m not going to make an trite comments on how this reflects the rollercoaster emotions of alcoholism, because I’m not qualified to make such a comparison, but The Alcoholic makes the cyclic behaviour more understandable beyond the easy path of righteous indignation.

Book Loot: Week Ending October 3rd, 2010

Vase de fleurs à la fenêtre by Paul Gauguin 1881New books this week:

The Pinter volume, sadly, arrived slightly damaged from the Book Depository. Enough to make me contact them and politely complain. The good folk at BD were kind enough to offer me a partial refund, which I thought was a good option. And then I used that refund to buy more books. Control, restraint, these concepts are foreign to me when it comes to book buying.

Posted on Start Narrative Here this week:

E-reader reviews:

I haven’t made a decision yet, but I have been thinking about it. Here’s what some of my favourite book blogging ladies are saying about their e-readers:

Anyone else care to share more thoughts, feelings, persuasive arguments for or against e-readers? Is it the way of the future for reading and for publishing or just a temporary response to a larger problem of obsolescence of traditional forms of literacy in the technological age? Start Narrative Here: asking the easy questions on your Sunday night.

Image credit: Vase de fleurs à la fenêtre by Paul Gauguin, 1881.

An Eye on Carson McCullers: September 2010

Carson McCullers and Edward AlbeeTo break from the routine of constant book reviews, here’s a round up of Carson McCullers news and points of interest for the month of September.

Photo credit: Carson McCullers and Edward Albee, from the Billy Rose Theatre Collection at the New York Public Library Digital Gallery.

Killing Yourself to Live: 85% of a True Story by Chuck Klosterman (2005)

Killing Yourself to Live: 85% of a True Story by Chuck Klosterman (2005)I’m one of those sentimental old fools who expects the writing between the covers to somehow relate to the cover blurbs. Not praise as such, as that’s all subjective anyway, but I expect the cover copy to be related to the actual content of the book. So when I read that Chuck Klosterman’s Killing Yourself to Live: 85% of a True Story was about a cross-American road trip seeking out the places where rock stars have died and the legendary status attributed to leaving a pretty corpse, I was excited. I was there. I was ready to delve in to the murky world of glamourized tragic deaths and rock hero icons. On assignment for Spin magazine, Klosterman sets out across America on a three week trip from the Chelsea hotel where Sid Vicious stabbed Nancy Spungen, to the greenhouse in Seattle where Kurt Cobain shot himself.

When I say that Killing Yourself to Live isn’t really about a cross-country road trip to visit death sites, I don’t mean that the conceit works as a microcosmic context for some larger concept or reflection on life and death. I mean, yes, Klosterman goes on said road trip, but it is so rarely discussed or meditated upon that it seems merely a convenient excuse for working out past romantic failures through a first person narrative. Any actual thoughtful conclusions about celebrity death culture or failed relationships comes much too late, and seems forced out to beat a pushing deadline, to be considered truly insightful.

Ignoring what my expectations of Killing Yourself to Live were, Chuck Klosterman’s voice is witty, pop culturally aware and occasionally even poignant, and yet any criticism I could very reasonably make of this book – the unfailing egotism of the author, the self-aware posturing, the over-reliance on pop culture as life metaphor – is pre-emptively built into the text itself. It’s as if Klosterman is placing an impossible distance between himself and the unaffected reader. “See,” he points “I’m totally aware of my own limitations, so there’s really no need for your to point them out to me.” This technique of shutting down potential criticism places, prevents  truly engaging with Klosterman’s narrative and instead just settling in as a peanut-crunching spectator.

That all said, a lot of Klosterman’s misadventures on the road are fun to read, in a “how do you even get into that situation?!” kind of way. His voice is, if meandering and obsessive, compelling. I just felt continually frustrated by Killing Yourself to Live, in that I just didn’t care about his relationship history with these women, no matter how richly told. There were enough positive aspects in the writing here to encourage me to seek out Klosterman’s other books, but unfortunately Killing Yourself to Live is indulgent navel-gazing rather than cultural commentary.

The Shallows: What the Internet is Doing to Our Brains by Nicholas Carr (2010)

The Shallows: What the Internet is Doing to Our Brains by Nicholas Carr (2010)My initial reaction to Nicholas Carr’s The Shallows: What the Internet is Doing to Our Brains was something like “Pfft, yeah right, as if the Internet is making us stupider and less attent…hey look! A video of a boys choir singing like cats hahaha!” However, I did come to this book as both as a reader – that is someone who can sit down for hours with a book without distraction – and as someone who has grown up with the Internet. Concerned over his increasing inability to concentrate on reading, Nicholas Carr sets out to investigate how the Internet and widespread use of digital technologies is changing how we read, the ways we pay attention and changing the very structure of our brains.

The Shallows is set up with a brief introduction to the concept of neuroplasticity, that the brain is constantly changing and adapting to new circumstances, both positive and negative. Good and bad habitual behaviour changes the way our brains work, strengthening our bond with, or reinforcing, that behaviour. Carr shows us how the research on the topic has gradually been accepted, challenging as it was to the deeply held notion that the brain is stable, completely set in its ways past a certain age. This section delves into the scientific research that led to these conclusions, but never alienates the non-scientific reader with jargon and technicalities.

From there Carr looks at how technologies in the past have shaped the way we think and act, from maps and clocks changing perceptions and understanding of space and time, to the formation of the alphabet and the onset of cultural privileging of literacy over oral culture. These “intellectual technologies” had far reaching effects on us beyond their original intentions. This history lesson did feel like a rehash from Maryanne Wolf’s Proust and the Squid: The Story and Science of the Reading Brain, but it worked as a reminder of the evolution of the written word on the brain.

The bond between book reader and book writer has always been a tightly symbiotic one, a means of intellectual and artistic cross-fertilization. The words of the writer act as a catalyst in the mind of the reader, inspiring new insights, associations, and perceptions, sometimes even epiphanies. And the very existence of the attentive, critical reader provides the spur for the writer’s work. It gives the author the confidence to explore new forms of expression, to blaze difficult and demanding paths of thought, to venture into uncharted and sometimes hazardous territory. “All great men have written proudly, not cared to explain,” said Emerson. “They knew that the intelligent reader would come at last, and would thank them.”

The Internet, Carr argues, remains a literate culture, but profoundly different from the printed page. It combines all previous media streams – sound, film, images, print – whereas previously they had all developed separately. This multitextual medium has seen a change in our attention, immersion and experience of media. Digital media, not just the Internet but that is Carr’s primary focus here, is not conducive to deep thinking and cohesive understanding, and it is effecting our perception of human memory. Metaphors of the brain as a computer have misled our understanding of our memory itself, memory is alive, computer mechanics are not. Memory involves new synaptic growth, it is a continuing process that is reinforced through repetition. Carr presents the arguments of those that champion the technology – the “computers free up our memory and allow us to concentrate on more human things” argument – and then carefully sets up an argument that entirely refutes these claims with specific neurological and psychological studies.

The central argument is that we are becoming more intelligent, more adept in the ways the internet demands of us, but in different ways. Scanning, skimming, browsing and multitasking are becoming the dominant modes of reading online and these methods don’t allow our brains to fully comprehend or to deeply consider what we read. New technologies come to define us but also see the weakening of the human tool it replaces or assists (and this is true of non-digital technology too) and the Internet is changing how we perceive and use memory, emotion and intelligence. I found a study on academic research citations rather interesting, it showed that more recent “Internet age” research has a narrower scope than other “paper based” research – that is that when search engines prioritize prevailing opinion, researchers generally only follow along those lines. While more information is thought to be available to us now, the ways we use it, and the tools we used to sort through it, may be damaging our understanding of that information.

Carr’s argument is a compelling one, but the ending of this book seems to come out of nowhere, and just as I was beginning to really connect with the ideas he puts forward. Though his reasoning and logic is convincing throughout, this conclusion, or lack thereof, was comparatively weak. Carr is not the internet-phobe luddite I was expecting, and he doesn’t suggest we stop using the medium absolutely, just that we seek to understand it and the changes it places on our neurological patterns. And yes, The Shallows has convinced me to take action, to get out of the cycle of checking email, checking Twitter, checking stats, checking Google reader and then starting all over again. To actually turn the computer off when I’ve checked everything, to step back from that idea of constant immersion. It may not make much of a difference, but it is the first step.

Book Loot: Week Ending September 26th, 2010

New books this week:

The Kerouac letters, volume one of two, was a lucky find. I was browsing my Book Depository wishlist and saw that it had gone out of stock, so I checked it on booko.com.au to see if anywhere else had it in. Turns out an Australian vendor had it in for the princely sum of $3.95. That my friends is what we call a score.

Reviews Posted on Start Narrative Here this week:

Getting rid of your books

This weekend, frustrated while going through my bookshelves  – “argh how can someone have so many books and nothing to READ?” – I decided to start getting rid of some of my books. Ones I know I’m never going to read again or already have double copies of. I thought about putting them on BookMooch but the range of books available to swap them for (which goes against the point of getting rid of books in the first place, I suppose) seemed pretty dire. Lots of mass market paperbacks I have no interest in, the ones you see hundreds of copies of at op shops anyway. So scratch that idea. I’m thinking of maybe going the eBay route, though it’ll take a lot of energy and effort, maybe it will be worth it? My tentative plan is to start reading more of the books I already own and haven’t read yet, and keeping them around only if they turn out to be an absolute favourite. This plan is barely twenty four hours old, so who knows how or if I’ll stick to it.

Do you get rid of your old books? How? Donate them to a library or hospital? Stick them in a box and place them on the curb with a sign saying “FREE BOOKS”? Pass them out to unsuspecting strangers (“hello sir, you look reasonably well-adjusted, here’s some J.G. Ballard to help undo all of that for you!”)?

http://booko.com.au/

The Taqwacores by Michael Muhammad Knight (2005)

The Taqwacores by Michael Muhammad Knight (2005)Earlier this year at the Melbourne International Film Festival, my favourite film was a documentary, Taqwacore: The Birth of Punk Islam (Omar Majeed, 2009), that explored the combination of the Muslim faith and punk music. I was struck by the passion and energy that reignited the classic punk sound, it was a music that felt had some deeper necessity than the usual haircut and tattoo brigade. Though the film did sometimes digress from the cross-country journey of Muslim punk bands on tour, the power of the music stuck with me. And, lest anyone try to tell you that fiction has no cultural power anymore, the entire scene was inspired, or at least given a name, by a self-published – originally distributed as photocopied versions given out at mosques – novel that gave the alienated and confused the possibility of reassessing their religion through punk music, Michael Muhammad Knight’s The Taqwacores.

Yusef is a straight-laced Muslim who moves into a sharehouse in Buffalo, New York with other Muslims, pleasing his parents in the process. However, the house is populated by a variety of punks who question their religion while remaining devoted to it. They search for a new meaning for their faith in a contemporary America. Jehangir is Yusef’s guide through the unknown world of punk subcultures and this form of Islam so different from his parents. Jehangir is the mohawked West Coast punk traveller, having seen it all and heard it all and desperate to bring it to the East. He brings the idea of taqwacore, Muslim infused punk, to his housemates with tales of band shenanigans and powerful ideas. Also in the house is the stoner Fasiq Abasa, militant straight-edge Umar, tattooed Amazing Ayyub and burqa wearing riot grrl Rabeya.

Through the use of familiar punk stereotypes, Knight is able to bring their wildly different perspectives to their religion, filtering the religion through these recognizable cultural stereotypes. This allows the characters to argue and fight over issues such as pre-marital sex, drug use, alcohol, tattoos, female sexuality and the Quran. They may not be as devout as some, but they take their religion seriously while breaking all the rules. Yusef is largely an observer in this world, mostly conservative with no subcultural capital to speak of, but it is precisely this blankness that lets him be influenced by both sides of the cultures – he is transformed by the powerful ideas he finds in Islam, and questioning of authority he sees in the music and subculture of punk. The Taqwacores examination of issues in contemporary Islam at times reads like a manifesto, but never an indoctrinate one. Its characters are too diverse, their need to question authority too deeply instilled to allow that:

I stopped trying to define punk around the same time I stopped trying to define Islam. They aren’t so far removed as you’d think. Both began in tremendous bursts of truth and vitality but seem to have lost something along the way – the energy, perhaps, that comes with knowing the world has never seen such positive force and fury and never would again. Both have suffered from sell-outs and hypocrites, but also from true believers whose devotion had crippled their creative drives. Both are viewed by outsiders as unified, cohesive communities when nothing could be further from the truth.
I could go on but the most important similarity is that like punk, as mentioned above, Islam is itself a flag, an open symbol representing not things, but ideas. You cannot hold punk or Islam in your hands. So what could they mean besides what you want them to?

For the uninitiated like myself there is also a lot to learn from The Taqwacores about Islam culture. A glossary at the back provides translation of many of the culturally specific Arabic terms used, though strangely not all of them. The rituals and routines of Muslim life is lovingly described, even as the characters intend on breaking these rules. The story itself covers all sorts of narrative ground: road trips, coming of age, “let’s put on a show” to the journey of the doomed rebel hero. This mish-mash of fiction genres does become something of a problem as at times it seems like that while our characters are evolving, the story itself does not. However, like the best punk music, what The Taqwacores lacks in structure and traditional form it more than makes up for with an urgent energy and vital passion that demands attention.

The Stars in the Bright Sky by Alan Warner (2010)

The Stars in the Bright Sky by Alan Warner (2010)When I read Alan Warner‘s The Sopranos back in June, I was very much taken with his group of rebellious schoolgirls and their misadventures in the city, and in particular, Warner’s ability to show a great amount of compassion and understanding for his less than perfect characters. The recent sequel, The Stars in the Bright Sky, brings the girls together again, this time in their early twenties and preparing to jet off on an international holiday together. A series of mishaps see Manda, Finn, Kay, Chell, Kylah and newcomer Ava stuck in Gatwick airport, spending their nights in swanky hotels and guzzling more than a few drinks.

As with The Sopranos, The Stars in the Bright Sky is a character driven novel. These are the same girls from the port, their behaviour sometimes ludicrous, their attitudes brash and their emotional outbursts frequent. For all their negative characteristics, it is difficult not to warm to them, as they struggle along the paths their lives have taken them. Whether they are still stuck in the port, like Kylah and Chell, or with a young child to an absent father, like Manda, or escaped to university like Finn and Kay, they’re all trying to assert their identity. And it is within a group such as their own that the positives and negatives of their personalities are most evident.

Though Manda was a key figure in The Sopranos, her small-mindedness and domineering personality bringing tension to the group, here her personality is the primary element of emotional clashes. Manda is loud, she is brash, she is excessive, almost to grotesque proportions. There are a number of incidents where her actions seem ignorant of the rules of hygiene and personal safety. She talks, endlessly, about herself and her opinions. She is the character that hasn’t, and probably never will, leave the confines of the port town for good. In a way, she reminded me of a less vindictive version of Rhiannon from Rachel Trezise’s Sixteen Shades of Crazy. However, for all her thoughtless actions and spiteful words, Manda’s brand of viciousness seems considerably less threatening than it did as a schoolgirl. Her lack of intelligence and worldliness shows, and the other girls are better prepared, mentally and emotionally, to deal with her ignorance. Some of her actions would push the closest of friends to breaking point, but these girls are loyal to her despite her faults. She frustrates the reader as she dominates conversations and ruins the serene mood of the holidayers, but that’s also what makes her such an enjoyable character to read.

Chell’s smaller voice said, ‘But girls. The stars is still there even in the daytimes. Just you can’t see them. And it’s the night that shows the stars. Like Kylah. She’s a star now and we all know it, but one day she’ll show up brilliantly. And all of us. I just know it. The stars are still up, shining just for us all girls.’ Chell’s voice had dropped to a whisper.

Particularly interesting is the group dynamic of the girls, however focused on Manda’s ego it can be. The narrative falters when the girls separate – a long sequence of a drug binge lacks the dynamic of the larger group. Unlike in The Sopranos, where the girls personalities seemed to be overshadowed by the group itself, here they seem to each bring something to the group, something unique. I was surprised by the lack of information on Orla’s death between the novels, especially as it seems to be an event that played a large part in Manda becoming who she is. The group dynamic is altered somewhat by the introduction of Finn’s university friend, the glamourous, rich and sophisticated Ava. Her background is so different from what we know of the girls, yet she manages to include herself in their gossip, their discussions and their hedonistic activities. The somewhat late revelation of her drug problem felt a little forced, and signalled the novel’s weakest point.

Although I imagine the slang-ridden, gossip fuelled dialogue of these novels aren’t going to appeal to everyone, it continues to amaze me that Alan Warner so accurately captures the voice, the thoughts and the nuances of being a woman from a lower socioeconomic class. Morvern Callar also displayed his talent in this cross-gender realm, albeit with a much darker story. Cinematic images of mundane beauty are another highlight of The Stars in the Bright Sky, like getting caught in a hedge maze in a thunderstorm, or sitting slumped on suitcases waiting for check-in. Female friendship is something that is mostly plagued by petty bitchiness, or defined around a male character, but here it is warm and empowering without ignoring the problems of jealousy or spite. The nature of international airport culture and larger world affairs are mere backdrop for the minutiae of everyday life for these young women, and it is the genuine warmth of their strong friendships that gives The Stars in the Bright Sky its true heart.