This was a year of learning. Good portions of it were given to reading curriculum samples, blog posts, and books about homeschooling. But I also learned to tend flowers, to keep a nature journal, and I took to writing fiction.
Here is what you should know about me and writing fiction: in college, I played it safe and studied poetry and creative nonfiction*. I am glad I did, because creative nonfiction is what I do these days, both for this blog and for Deeply Rooted. Nonfiction seemed civilized: one could draw on one’s own life, one’s own actual experiences. Fiction seemed too much like the Wild West to me: people went there and died of starvation, or in a bar fight. There was too little structure, I thought, too few rules. No civilized folk to protest, “But it didn’t happen like that!” No sheriff.
But my last quarter of college, I needed to pad my schedule with a few extra classes, so along with Martial Arts 101, I took a fiction writing class. It was wild and a little terrifying at times. But I loved it. The air was clear and invigorating, the grueling travel to a story’s end worth the work.
And then I graduated.
Fifteen years later, I am trying out fiction again. I thought, maybe there’s no sheriff, but there are certainly good, established neighbors around who can teach me a thing or two about survival. I met a few of them this year through some essays on writing, and I read some stunning novels, truly beautiful books. I am now at work drafting some of those mediocre stories you have to write before you get to (here’s hoping) the good ones.
What I am getting at here is: I read a lot of fiction this year and a lot of books about writing it. I read a lot about the other things I’m learning to do, too. And in doing so I found some incredible books, at least fifty-percent of which I’ll read again (at least once). What a year!
* I’m sure some could argue that there’s nothing particularly safe about either poetry or creative nonfiction, or that writing about your own life is infinitely more alarming that inventing lives to write about, but at nineteen, I preferred the known to the unknown. I knew my own life tolerably well, and I had written a lot of middling poetry and song lyrics. And so those genres seemed safest to me.
I started this book when Josie was small. I wanted a big novel, so I got a big novel, and I began to read. But—alas!—I grew painfully bored after a few chapters and, being sleep-deprived, found myself dozing off during passages that were probably important. I shelved Middlemarch with a sigh and thought, Not right now. But this summer I picked it up again, grew bored in the early chapters, dozed off during some important passages, and found myself wanting to quit around the same spot where I had dropped off before, but I pressed on, and I am so glad.
This book is beautiful, stunning, breathtaking—any number of adjectives apply to its slow development of character, perfect pacing, and fitting conclusion. A few chapters from the end I began to realize that Middlemarch would join the ranks of my favorite novels. By the end I wondered if it hadn’t topped the list.
I took Notes From the Tilt-a-Whirl with me on vacation last summer and proceeded to underline and dog ear it heavily—every other passage, it seems, is brilliant and brightly written. Wilson’s thoughts on this world, the wildness of it, were just right for reading on a cabin’s front porch overlooking a lake.
We had a neighbor who kept the best-curated Little Free Library around. After a summer of supplying me with Wendell Berry, Flannery O’Connor and more (and I, in turn, kept it stocked PG Wodehouse, EB White and more), they moved and I mourned. Now it houses the usual department store crime novels and cast-off magazines (alas!).
But before they moved, I found this gem: I knew nothing about the author, only that it was about writing novels, and so I grabbed it. Margot Livesey looks at how writers learn from great writers by reading their stories; she discusses Shakespeare and Flaubert in glorious detail. This is one of my best free library finds to date.
Aimee Byrd’s vision of women in the church is a challenging and uncomfortably convicting one. She both points church leaders to Scripture passages that press us to revisit some of the habits we’ve settled into within the church, and she encourages women to be knowledgeable about Scripture and quick to spot false doctrine.
One of my favorite features of the book was a chapter in which Byrd quotes passages from well-known books marketed toward Christian women and trains readers to ask pointed questions of the text. I’m sure she’ll offend every reader at least once, but in a good way, a way that means she’s prodding at something that needs examination. It is worth noting, though, that she doesn’t do this just to rile people up: her arguments are firmly rooted in Scripture, and her concern is loving, if direct. This book gave me much to ponder.
I read and adored Goudge’s Eliot Family Trilogy last year, but this book was even better. Imagine an LM Montgomery novel set in the English countryside, with an protagonist not in the dawn of life but in its twilight, and you’ll have a pretty good idea of what’s to love about The Scent of Water. I already look forward to rereading it.
In this graceful little book about humility, Hannah Anderson explores why it matters that we know our place as branches to Christ’s vine. She draws on stories from her community in rural Appalachia, and writes of plants and the rhythm of the garden in a way that reminds me of Lilias Trotter’s Parables from the Cross. I loved the way she framed the wisdom of this book within stories and linked it to the outside world.
When I realized that I wanted to teach the girls to keep nature journals, I also realized that I needed to keep one myself—the habit wouldn’t take if I didn’t. So I made myself a little bag of supplies, dug a tiny sketchbook out of my desk, and checked this book out from the library. In it, John Muir Laws explains the concepts behind keeping a nature journal, but he also discusses drawing and painting techniques, explores a number of different mediums, and quietly cracks jokes as he goes.
This quickly became a favorite book, not just because I was new to nature journaling and it was helpful, but because Laws describes certain concepts so clearly that my art skills leveled up more in the few months I spent with this book than they had in the previous ten years. He’s a master at explaining complex techniques in a few short sentences, and the step-by-step drawings throughout this book are worth their weight in gold.
Flannery O’Connor is adept at describing her own work and the work of a writer in a way that cuts to the heart of things. This won’t surprise you, if you’re familiar with her stories. She does cut right to the heart of things. But for a writer trying to write stories that aren’t entirely aimless or bland, O’Connor is a sharp-tongued, discerning, articulate teacher. I am still reading these essays and have been reading them slowly for months, but I feel confident ranking them here because I’ve yet to find one that didn’t send me to my notebook with some new thought to ponder.
Rebecca, by Daphne Du Maurier
Du Maurier’s eerie novel about a young wife haunted by her husband’s deceased first wife is perfect from start to finish. Du Maurier’s eye for detail brings a scene to life with the mention of one fallen moth, one forgotten corkscrew. And the twists and turns of the plot! Egad! This book, too, has joined my list of frequently revisited favorites. (I wasn’t able to photograph this one because I promptly pressed it upon a friend.)
This book is the reason we skipped squash this summer and planted row upon row of flowers. Benzakein runs Floret Farm, a small flower farm not far from where we live, where she grows and arranges gorgeous blooms. In this book, she gives tips on planting, tending, and harvesting her favorites, as well as some ideas for arranging the harvested flowers. Cut Flower Garden was a glorious spring read.
What about you? Which books did you discover this year?
