Category: Books

Learning What Is Enough

On winter mornings, before the day has decided what it will become, the fields hold a stillness that feels provisional—frost clinging to the grass, fence lines darkened with damp, the land waiting without impatience. It is a good hour for reading slowly, for choosing words that do not hurry ahead of their meanings.

I have begun the year reading Wendell Berry. Now in his ninety-second year, he continues—more slowly, more deliberately—to farm and to write, unchanged in his fidelity to limits: the authority of place over abstraction, the moral claims of the local over the corporate, tradition understood not as nostalgia but as knowledge earned through use and endurance.

I read him most mornings. His work steadies the day. It does not offer solutions so much as orientation—toward what is given, what is sufficient, and what must be borne. Berry has always made room for joy, but never without sorrow, nor for hope without the acknowledgment of failure, including one’s own.

Some of his most influential prose appeared early, when his voice was still finding its public footing. The Long-Legged House and The Unsettling of America argued, quietly and insistently, that culture and agriculture are inseparable, and that when land is treated as commodity rather than community, both soil and people are diminished.

I return often to his poetry, especially A Timbered Choir: The Sabbath Poems. Written on Sundays and largely free of polemic, these poems are acts of attention. They move patiently through the stages of a human life—birth, labor, love, diminishment—offering a sacramental vision of ordinary days lived close to the ground. Among them is Berry’s most widely known poem, “The Peace of Wild Things,” whose calm acceptance of life’s ephemerality offers not escape from anxiety, but release from the burden of false mastery:

“I come into the peace of wild things who do not tax their lives with forethought of grief.”

The peace the poem offers is not consolation so much as proportion. Its discipline lies in relinquishing the anxious reach into the future and reentering creaturely time—where life is finite, local, and sufficient.

That same discipline governs Berry’s essay “Why I Am Not Going to Buy a Computer,” first published in 1987 and often misread as a rejection of technology itself. It is instead a meditation on the moral weight of tools. Berry does not deny their usefulness; he questions their claims. Certain technologies, he suggests, quietly privilege speed over deliberation and convenience over care, reshaping habits of attention until efficiency becomes an unquestioned good.

The good life, in Berry’s accounting, is not optimized. It is inhabited. To live well requires learning the difference between what is necessary and what merely promises ease.

Barbara Kingsolver, another Kentuckian, names this work plainly when she writes:

“I consider it no small part of my daily work to sort out the differences between want and need. I’m helped along the way by my friend Wendell, without his ever knowing it. He advises me to ask, in the first place, whether I wish to purchase a solution to a problem I don’t have.”

Berry’s essay is not finally about computers at all. It is about scale and consequence. It asks not simply what a tool can do, but what it may undo—what forms of patience, responsibility, and mutual care it quietly displaces. It asks how our choices shape our relationships to family, to community, and to the land that sustains both.

Berry still writes with pencil on a yellow legal pad. He still farms, though within the limits age imposes. He still publishes—new poems, even a recent novel. The persistence itself feels instructive.

In a culture bent on expansion and acceleration, Berry’s life suggests another measure of success: fidelity to place, restraint in use, and the long patience required to learn what is enough.

—rj


Why Wendell Berry Still Matters

I’ve been absent from Brimmings for nearly a week, recovering from a serious bout with the flu—the fever lingering for ten days. A chronic cough remains my daily companion.

That hasn’t stopped me from reading—slowly, attentively—six books already this year.

As I’ve previously shared, alongside my annual eclectic reading list, I’ve committed to a topical approach to reading as a way of resisting intellectual grazing and cultivating sustained attention (Topical Reading). I’ve begun with Kentucky sage Wendell Berry, now in his ninety-second year.

I didn’t want to one day come upon his obituary and feel the guilt pangs of having neglected an agrarian pacifist, a champion of the local, often described, without much exaggeration, as America’s “moral conscience.”

Berry has farmed a 125-acre hilly tract adjacent to the Ohio River at Port Royal in Henry County, Kentucky, for more than forty years. Farming, for him, is not metaphor but moral practice. As he writes, “The care of the Earth is our most ancient and most worthy, and after all our most pleasing responsibility.”

Academically, Berry is no lightweight: a BA and MA in English from the University of Kentucky, a Stegner Fellowship at Stanford, and a Guggenheim that took him to Italy, he taught briefly at New York University before returning—against the counsel of colleagues who believed he was jettisoning a promising academic career—to rural Kentucky and the family farm.

They were wrong.

Berry has since written more than fifty books spanning essays, novels, and poetry. His great theme is stewardship—not management or control, but reverent care. “The idea that people have a right to an economy that destroys nature is a contradiction,” he writes, insisting that economic life must answer to ecological reality.

For the farmer Berry, stewardship begins with the soil: an antipathy to chemicals, a reverencing of the biosphere, and a life lived according to natural rhythms. He is deeply opposed to industrial agriculture, which he regards as a cultural as well as ecological calamity: “Industrial agriculture is not just bad for farmers; it is bad for land, for rural communities, and ultimately for culture.”

Among American environmental writings, the two most salient works I’ve encountered are Thoreau’s Walden (1854) and Rachel Carson’s Silent Spring (1962). Thoreau’s aphoristic brilliance lends itself to endless quotation: “Our life is frittered away by detail… Simplify, simplify,” while Carson’s prose approaches poetry. Her opening paragraphs of Silent Spring remain, to my mind, the finest in environmental literature, exposing the arrogance behind what she called “the control of nature, a phrase conceived in arrogance, born of the Neanderthal age of biology and philosophy.”

I’m only in the early stages of getting acquainted with Berry, but he keeps distinguished company with Thoreau and Carson in his passion for preserving nature’s bounty and the pulchritude of a simplified life lived in fidelity to place and community.

In this sense, Berry reaches back to Thomas Jefferson, whom he quotes more than any other figure: “In my own politics and economics I am Jeffersonian.” Jefferson believed liberty was best secured in small, decentralized communities of independent producers, warning that distant power—whether governmental or economic—inevitably corrodes responsibility and freedom.

Though Berry was an activist who vehemently opposed the Vietnam War and has voted Democratic, his politics resist easy classification. He has lamented that America’s two major parties have grown increasingly to resemble one another.

There may appear, at first glance, to be overlap with libertarianism—his opposition to big government, military expansion, and imperial intervention—but the resemblance is superficial. Libertarianism exalts the autonomous individual; Berry emphasizes communal obligation. “We do not have to sacrifice our economic well-being in order to act responsibly toward our land and our neighbors,” he writes. “Rather, we must do so in order to preserve our economic well-being.”

Berry has his critics. His suspicion of technology strikes some as untenable in a hungry, overpopulated world. Can an aggregate of small family farms feed a wired and burgeoning global population, particularly in parts of Africa?

I find myself grappling with his apparent parochialism. Only a tiny fraction of Americans now farm. What of the rest of us who earn our livelihoods elsewhere? And in an interconnected age, can the local truly stand apart from the global?

Berry would respond that the issue is not technology itself, but dependence. “There is a difference between being technologically advanced and being technologically dependent,” he reminds us—a distinction too often elided in contemporary debates.

Ironically, Berry would fit comfortably in an Amish community. He still plows with horses. He owns no computer, television, or mobile phone, and has no internet access. He writes first in pencil, then types. He uses electricity sparingly, supplemented by solar panels, and his writing studio is without electricity. He walks the talk, living a life rooted—quite literally—in the land. Thoreau would have approved.

An iconoclast, Berry remains well worth reading. Growth, he reminds us, is not synonymous with the earth’s welfare. Economies, like soils, can be exhausted. Big government and industrial systems, he argues, erode local responsibility, foster dependency, and inflame military and international tensions. Rural poverty in places like Appalachia persists, in his view, because urban prosperity has been purchased by the plundering of these regions.

In 2013, President Barack Obama awarded Berry the National Humanities Medal.

In 2015, he became the first living writer inducted into the Kentucky Writers Hall of Fame.

That same year, the Library of America published a boxed set of his work—an honor accorded to only two living American writers at the time.

Berry may be impractical. He may be impossible to scale. But he leaves us with an uncomfortable and necessary reminder: care, once abandoned, is not easily restored—and neither are the land, the culture, nor the communities that depend upon it.

—rj

Fifty Morning Pages: Showing-up to Read

The other day I posted on my Brimmings blog a new method I’ve devised to inspire myself to read more—specifically, to aim for 80 books a year, assuming an average length of 300 pages. That works out to 24,000 pages annually, divided by 365 days.

I didn’t linger long over the arithmetic. What mattered was putting the idea immediately into practice. I set a daily goal of 50 pages, read first thing in the morning. For me, any attempt at habit formation has to be anchored in time. Once the day’s interruptions begin, resolve alone is no match for contingency.

Experience has taught me that it takes roughly four to six weeks of daily repetition for a habit to take hold. Once anchored, the reluctance to break a streak becomes a force in its own right. Acquiring a new habit, I’ve found, is less about willpower than about showing up.

The results have been gratifying. In the past two weeks I’ve finished two books, one of them nearly 600 pages. Fifty pages a day takes me about an hour. I could read faster, but speed isn’t my aim. I underline, annotate, argue with the text. I’m not a passive reader; I want to engage—agree, disagree, extend.

At this pace, I’ll read roughly 18,250 pages a year. Divided by 300 pages per book, that comes to just under 62 books annually. Not 80—but what a start. If I can raise my yearly total from my long-standing average of 20–25 books, I’ll consider the experiment a success.

Quantity, of course, is not an end in itself. The real aim is access to the best fiction and nonfiction available, the works that challenge and enlarge the mind. Increasingly, I’ve been drawn to cluster reading, concentrating on subjects where I feel thin or want deeper understanding.

What excites me most is the daily result: fifty pages read before the day properly begins. The reward is immediate, and reward, as we know, is integral to habit formation. Each book brings with it a flood of ideas—fuel for writing, and an invitation into community with others who share similar intellectual and aesthetic appetites.

—rj

Read Eighty Books a Year: A Reader’s Arithmetic:

Stephen King reads sixty or more books a year. I’m lucky if I reach twenty—and the disparity bothers me more than I care to admit. Not because I value quantity over quality, but because there are simply too many books I want to live with, too many voices I want time to answer back to.

Time flows from us like a running faucet. Time is our common currency granted daily. How do we spend it? It comes down to our priorities.

King has been candid about how he does it. He treats reading as a necessity, not a luxury, reading every day for two or three hours, sometimes more. As he puts it in On Writing: “If you don’t have time to read, you don’t have the time (or the tools) to write.”

That rings true for me. When I write, it’s almost always in response to what I’ve read—to extend an argument, disagree with it, enthuse about it, or share it with others.

King refuses to slog through books that fail to engage him. He abandons them without guilt. Interest propels reading; boredom kills it. And he always has a book with him—reading while waiting, traveling, between tasks, or before bed. Those fragments accumulate.

The numbers themselves are demystifying. Suppose your goal is eighty books a year with an average length of 300 pages. That’s 24,000 pages annually. Divide by 365, and you arrive at roughly 66 pages a day. At a moderate pace of about 40 pages per hour, that comes to around an hour and forty minutes of daily reading.

That’s doable.

My final tip is one that has helped me most: read in clusters. Choose a topic that genuinely interests you and commit to five or six books in that area.

Reading a single book from a wildly eclectic list can feel shallow; focused reading builds momentum, deepens understanding, and increases motivation.

This year, for example, I’ve chosen to immerse myself in Kentucky sage Wendell Berry—two biographies and three of Berry’s own books. Depth, it turns out, can be the best catalyst for volume.

—rj

Small Changes, Big Results: Lessons from Atomic Habits

I’ve finally bitten the bullet and started reading James Clear’s Atomic Habits, the celebrated bestseller that has sold over 25 million copies and been translated into more than sixty languages.

I rarely read self-improvement books—not because I’ve arrived at perfection (far from it), but because I gravitate toward literary and intellectual works, and leisure time is finite. Still, Atomic Habits begins with such clarity and momentum that I can already tell it will be a quick read for me—simply because I can’t put it down.

The title itself hints at the premise: small, almost imperceptible changes that compound over time. Baby steps, if you will, that quietly evolve into daily discipline and, eventually, a better self. I’ve long believed that we can’t really make friends with the outer world until we make friends with ourselves, and Clear’s approach aligns with that idea.

Go to bed a little earlier, away from blue screens. Make your bed when you rise. Keep your bathroom tidy. Simple acts, but ones that generate momentum and a sense of self-respect. Want to read more? Start with a single page. Avoiding exercise? Take a five-minute walk. Clear gives modern life to an ancient axiom: “The longest journey begins with a single step.”

This is one of those books I’m reading with a journal nearby, interacting with the text—even if only a paragraph at a time. That, too, is a habit I know would enrich my life, but one I’ve too often postponed.

The irony is that when we fail to act on habits we know would improve our lives, the result isn’t neutrality—it’s to sour on ourselves.

Being up in years, my gray matter has shifted. Memory doesn’t cooperate the way it once did. There was a time I could glance at a list of twenty French or German words and walk away minutes later with them securely lodged in mind. No longer.

That frustration nearly convinced me to abandon my desire to read in Italian. But Atomic Habits reframed the problem: it isn’t the goal that matters so much as the process—where I am today versus where I was yesterday. Incremental steps still count. And so I persist with Italian, imperfectly, patiently.

It’s time for breakfast now—but not before I make my bed.

—rj

Reading Recommendations For 2026


Welcome to my 8th Annual Annotated Book Recommendations.

As always, I try to select the very best reads, drawn from authoritative sources, books generally regarded as canonical, as well as works endorsed by critics of the first rank. I also aim for balance through stimulating titles across a range of interests.

Since this list begins as my own, it includes books I should have read long ago.

The hardest part is limiting worthy candidates in order to arrive at a manageable list of ten to twelve works of fiction and nonfiction. Ultimately, this list is yours—to read from, to browse, or simply to keep in mind.

Happy New Year!

Fiction:

Achebe, Chinua. Things Fall Apart (Achebe’s landmark novel that explores British colonial and missionary intrusion, destabilizing a rich and complex Igbo society.)

Berger, Thomas. Little Big Man. (A novel challenging the mythology of the American West and the reliability of historical truth.)

Broch, Hermann. The Death of Virgil. (One of the supreme masterpieces of the 20th Century dramatizing the poet Virgil’s final hours, debating burning the Aeneid manuscript, fearing art’s complicity in fostering illusion rather than truth.)

Butler, Octavia. Parable of the Sower. (An African-American writer of eleven science fiction novels, Butler may have written the most relevant dystopian novel of our time. Published in 1993, the setting is thirty years later. Christian nationalism has usurped the government, the US is corporately run, states and cities restrict immigrants, the gap grows between rich and poor. Southern California is on fire. The fallout of not heeding climate change is horrific. Change is life’s constant. We adapt, or we perish.)

Colette. Claudine at School. (Colette’s first novel, partly autobiographical, depicting adolescent rebellion and the interplay between transgression and innocence.)

Dazai, Obamu. No Longer Human. (An exploration of social estrangement in a rapidly changing post-war society.)

Keegan, Claire. Small Things Like These. (Shortlisted for a Booker, an Irish novella of ecclesiastical hypocrisy and moral resistance. Several critics call it “a perfect book.”)

Kipling, Rudyard. Kim. (While some have dubbed Kipling’s renowned novel as imperialist, it deserves reading for its multi-layered narrative, vivid in its vignettes of India, suspenseful as a story of espionage, and morally significant as a tale of spiritual quest.)

McCarthy, Cormac. All the Pretty Horses. (McCarthy may be our greatest novelist since Faulkner, writing a mesmerizing prose. This novel tells of Texas teen cowboy John Grady Cole’s quest to continue a vanishing way of life in Mexico, only to encounter danger, betrayal, loss, and a quest for justice. Winner of National Book Award for Fiction 1992, and National Book Critics Circle Award for Fiction 1992.)

Morrison, Toni. Beloved. (An American classic, based on the true story of Margaret Garner, an enslaved Kentucky woman escaping slavery who, recaptured, kills her child rather than have her live in slavery. Morrison delivers in rendering slavery’s horror.)

Powers, Richard. Bewilderment. (Featuring a widowed father raising a neurodivergent son with a passion for animals in a next generation world devastated by climate change and species loss, Powers’ intense lyrical narrative probes the infinity of the universe juxtaposed by human limitation).

Pullman, Philip. The Book of Dust. (Pullman’s new fantasy work is a sequel trilogy to that of His Dark Materials, expanding on Lyra’s world, her separated daemon companion, and a corrupt Magisterium that governs religious and political thought. A masterpiece you won’t want to finish.)

Rhys, Jean. Good Morning, Midnight. (Through interior monologue, Rhys’s novel captures the yearnings of a middle-aged woman in a patriarchal world that enforces women’s dependency on men, but esteems youth and beauty foremost.)

Simenon, Georges. Pietyr the Latvian. (A good place to begin reading Belgian mystery writer Simenon, whose inspector Jules Maigret probes the arrival in Paris of a notorious criminal. Filled with twists and psychological depth, you’ll want to read more Simenon, who wrote 75 Maigret novels.)

Tartt, Donna. The Goldfinch. (A terrorist bombing at the Metropolitan Museum of Art kills 13-year old Theo Decker’s mother. In the confused aftermath, he steals a 17th c. painting, “The Goldfinch.” A story of survival, the painting symbolizes resilience, the ability of art to sustain a traumatized life. Pulitzer Prize winner, 2014).

Wells, H. G. The Time Machine. (A landmark science fiction read, mirroring the anxieties of the Victorian era: a stark meditation on entropy—biological, social, and moral—and on the uneasy faith in progress that defined the late nineteenth century).

Non Fiction:

Becker, Ernest. The Denial of Death. (A critique of Freud’s limitations and profound meditation on mortality’s central role in shaping civilization.)

Cassidy, John. Capitalism and Its Critics. (Rather than a polemic, denouncing capitalism, Cassidy features a myriad of proponents as well as critics, resulting in an informed primer for understanding current debates about markets, globalization, and the future of work.)

Damrosch, Leo. Storyteller: The Life of Robert Louis Stevenson. (In his short life of 44 years, the often invalid Stevenson, nonetheless, produced novels, poems and novellas that continue to excite the popular imagination. Damrosch avoids hagiography in this fully rounded portraiture of the great storyteller.)

Frank, Edwin. Stranger Than Fiction. (Frank, the editor of the New York Review of Books Classics Series, discusses forgotten or overlooked books that may be more culturally informative than celebrated canonical works.)

Hoare, Philip. William Blake and the Sea Monsters of Love. (A compendium of visionary poet and engraver Blake’s influence on other artists and thinkers, from Derek Jarman to Iris Murdoch to James Joyce to the pre-Raphaelites. )

Kolbert, Elizabeth. The Sixth Extinction. ( A timely, thoughtful analysis of drivers of past species extinction and those of the present in which evolution is now principally influenced by humans.)

Kowalski, Gary. The Souls of Animals. (A Unitarian Universalist minister writes a grounded study in the emotional life of animals. If animals have souls, i.e., capacity for love, loyalty, grief and empathy, it follows humans must reassess their ethical relationship to its animal kindred.)

Nossack, Hans Erich. The End. (Nossack revisits Hamburg shortly after its 1943 allied fire-bombing. A discerning narrative in restrained prose, The End focuses on human trauma rather than physical destruction, measuring its limits in the aftermath of catastrophe.)

Osnos, Evan. The Haves and Have-Yachts. (A tour of America’s cordoned places where the rich congregate, enjoying amenities unknown to the wider public, possessors of most of the nation’s wealth. How did they accumulate it? What do they want? What do they fear?)

Prideaux, Sue. Wild Thing. (The first biography of Gauguin to appear in thirty years, Prideaux attempts to separate the myth from the realty, loving his art, but not his misdeeds.)

Raffles, Hugh. The Book of Unconformities: Speculations on Lost Time. (A profound, geological distillation across epochs of violence, loss, and extinction that become metaphor of human rupture inflicted by dispossession, environmental change, and the long reach of capitalism.)

Sanbonmatsu, John. The Omnivore’s Deception: What We Get Wrong about Meat, Animals, and Ourselves. (A leftist cultural critic, Sanbonmatsu argues on ethical grounds for abandoning a meat economy, which he links with other forms of social injustice; but then how do we feed billions of people without meat? Sanbonmatsu makes a cogent argument meriting thoughtful appraisal.)

Stein, Gertrude. The Autobiography of Alice B. Toklas. (An essential read in the making of Modernism in the arts, Stein poses as her life long partner, reminiscing Stein’s influence on avant-garde figures such as Picasso, Matisse, Hemingway and Pound.)

Thurman, Judith. Colette: Secrets of the Flesh. (Thurman’s definitive biography of French novelist Colette, exploring not only her life events, but the social and psychological dynamics that continually shaped her identity.)

Books I Read in 2025

Byatt, A.S. Possession.

Defoe, Daniel. Moll Flanders.

Grant, Richard. Dispatches From Pluto: Lost and Found in the Mississippi Delta.

Haruf, Kent. Plainsong.

Hemingway, Ernest. A Moveable Feast. 

Knaussgaard, Karl Ove. My Struggle. Bk. 1.

Knausgaard, Karl Ove. My Struggle. Bk. 2.

Knausgaard, Karl Ove. My Struggle. Bk. 3

Knausgaard, Karl Ove. My Struggle. Book 4.

Kristof, Nicholas. Chasing Hope.

Landon, Brooks. Building Great Sentences: How to Write the Kinds of Sentences You Love to Read.

McCarthy, Cormac. All the Pretty Horses.

Mitford, Jessica. Hons and Rebs.

Rufo, Christopher F. The Cultural Revolution: How the Radical Left Conquered Everything.

Salina, Carl. Alfie and Me: What Owls Know, What Humans Believe. 

Sontag, Susan. Regarding the Pain of Others.

Sumption, Jonathan. The Challenges.

Woolf, Virginia. Diary, 1918-41.

My Passion for Literature: Reading’s Gifts

My fierce love for books has its ancient beginnings as a seven year old, sprawled on a Philly tenement floor, enthralled with a Christmas gift, Twain’s Huckleberry Finn.

Moments ago I rediscovered this passage from France’s Michel Houellebecq, who has this special capacity to rattle the cages of accepted opinion—daring, provocative, forthright—writing novels you simply don’t walk away from.

I had read his Submission several years ago, an initial novel that launched his fame. His take on literature, a dying indulgence in a digital age, is poignant with meaning for me, for literature has surely been among life’s greatest gifts to me:

“…the special thing about literature, the major art form of a Western civilization now ending before our very eyes, is not hard to define. Like literature, music can overwhelm you with sudden emotion, can move you to absolute sorrow or ecstasy; like literature, painting has the power to astonish, and to make you see the world through fresh eyes. But only literature can put you in touch with another human spirit, as a whole, with all its weaknesses and grandeurs, its limitations, its pettinesses, its obsessions, its beliefs; with whatever it finds moving, interesting, exciting, or repugnant. Only literature can grant you access to a spirit from beyond the grave—a more direct, more complete, deeper access than you’d have in conversation with a friend” (Submission).

I have not found a more eloquent articulation of my own passion for literature and think often of what I would have missed had I not been introduced to literary reads—above all, to see past the literal text and be transported into a galaxy of resonance where words could mean beyond themselves, open new vistas, shaping life, capable of numinosity, a sense that life exceeds appearances, infinite in its labyrinthian corridors, a non-ending conversation with what is, has been, and will endure.

On Reading A.S. Byatt’s Possession: A Serendipitous Find

I’ve been reading A. S. Byatt’s Possession, published in 1990 and now hailed as a contemporary masterpiece.

Each year, I compile a carefully chosen list of books I hope to read. Possession was among them, though I can’t quite recall how I first came upon Byatt.

It has turned out to be an inspired choice—a rare literary mystery centered on a scholarly quest to uncover a suspected love affair, pieced together from newly discovered letters between the Victorian poet Randolph Henry Ash, modeled on the married Robert Browning, and poet Christabel LaMotte, inspired by Christina Rossetti.

If such a relationship can be proven, it would mark a major coup for the novel’s modern-day protagonists, Roland and Maud, who join forces to solve this academic puzzle.

I won’t be a spoiler; I’m still reading, mesmerized by Byatt’s creative brilliance. Drawing on her vast knowledge of Victorian literature, she invents letters, diaries, and poems that feel astonishingly authentic—plausible echoes of Browning and Rossetti themselves.

There’s also a compelling counterpoint: as Roland and Maud pursue their literary investigation, they, too, seem to fall in love. And the suspense deepens with rival scholars competing to uncover the same secret.

Possession won the Booker Prize and became an international favorite, translated into more than thirty languages. A film version followed—all of which amazes me, as I wouldn’t have expected a novel so steeped in academia to achieve bestseller status.

Byatt, an academic for many years and fluent in several languages, left teaching in 1983 to write full time. Gifted with formidable imagination, she could also be intimidating in her intellectual precision and resistance to literary fashion. Critic, novelist, short-story writer, and essayist, she produced twenty-five books and, in 1999, was made a Dame Commander of the Order of the British Empire (DBE) for her services to literature.

Her prose is detailed, introspective, and resonant—at times, poetic. More than any writer I’ve read, she possessed an extraordinary gift for mimicry, able to write convincingly in many voices.

I’ve especially liked this passage, though there are many others:

It is a dangerous business, reading of the passions of the dead. We try on their feelings, like garments, and for a moment we seem to stand in their light — and yet, as we close the book, we find ourselves once again alone in our own darkness, aware that our borrowed flame is only memory’s trick.

She is the writer’s writer.

As Jay Parini wrote in his 1990 New York Times review, “Possession is a tour de force that opens every narrative device of English fiction to inspection without, for a moment, ceasing to delight.”

–rj

What Happens When I Read James Baldwin

There are many excellent Black writers, deserving of their fame, but it’s James Baldwin I keep returning to for his wisdom, sensitivity, and eloquence.

Whenever I read him, I find cleansing—a washing away of grievances, the soothing salve of empathy for those visited by life’s unfairness, the unanticipated gifts of seeing with new eyes and walking in another’s shoes.

Reading Baldwin, I find connection. Suffering is never isolated; it is universal:

“You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who ever had been alive. Only if we face these open wounds in ourselves can we understand them in other people” (The Price of a Ticket, 1985).

—rj