Skylake Book Club

Book for October 22

From The Washington Post
Death, it turns out, is not proud.

The narrator of The Book Thief is many things — sardonic, wry, darkly humorous, compassionate — but not especially proud. As author Marcus Zusak channels him, Death — who doesn’t carry a scythe but gets a kick out of the idea — is as afraid of humans as humans are of him.

Knopf is blitz-marketing this 550-page book set in Nazi Germany as a young-adult novel, though it was published in the author’s native Australia for grown-ups. (Zusak, 30, has written several books for kids, including the award-winning I Am the Messenger.) The book’s length, subject matter and approach might give early teen readers pause, but those who can get beyond the rather confusing first pages will find an absorbing and searing narrative.

Death meets the book thief, a 9-year-old girl named Liesel Meminger, when he comes to take her little brother, and she becomes an enduring force in his life, despite his efforts to resist her. “I traveled the globe . . . handing souls to the conveyor belt of eternity,” Death writes. “I warned myself that I should keep a good distance from the burial of Liesel Meminger’s brother. I did not heed my advice.” As Death lingers at the burial, he watches the girl, who can’t yet read, steal a gravedigger’s instruction manual. Thus Liesel is touched first by Death, then by words, as if she knows she’ll need their comfort during the hardships ahead.

And there are plenty to come. Liesel’s father has already been carted off for being a communist and soon her mother disappears, too, leaving her in the care of foster parents: the accordion-playing, silver-eyed Hans Hubermann and his wife, Rosa, who has a face like “creased-up cardboard.” Liesel’s new family lives on the unfortunately named Himmel (Heaven) Street, in a small town on the outskirts of Munich populated by vivid characters: from the blond-haired boy who relates to Jesse Owens to the mayor’s wife who hides from despair in her library. They are, for the most part, foul-spoken but good-hearted folks, some of whom have the strength to stand up to the Nazis in small but telling ways.

Book for month of August

What would possess a gifted young man recently graduated from college to literally walk away from his life? Noted outdoor writer and mountaineer Jon Krakauer tackles that question in his reporting on Chris McCandless, whose emaciated body was found in an abandoned bus in the Alaskan wilderness in 1992.

Described by friends and relatives as smart, literate, compassionate, and funny, did McCandless simply read too much Thoreau and Jack London and lose sight of the dangers of heading into the wilderness alone? Krakauer, whose own adventures have taken him to the perilous heights of Everest, provides some answers by exploring the pull the outdoors, seductive yet often dangerous, has had on his own life.

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Book for month of September

Back in America after twenty years in Britain, Bill Bryson decided to reacquaint himself with his native country by walking the 2,100-mile Appalachian Trail, which stretches from Georgia to Maine. The AT offers an astonishing landscape of silent forests and sparkling lakes — and to a writer with the comic genius of Bill Bryson, it also provides endless opportunities to witness the majestic silliness of his fellow human beings.

For a start there’s the gloriously out-of-shape Stephen Katz, a buddy from Iowa along for the walk. Despite Katz’s overwhelming desire to find cozy restaurants, he and Bryson eventually settle into their stride, and while on the trail they meet a bizarre assortment of hilarious characters. But A Walk in the Woods is more than just a laugh-out-loud hike. Bryson’s acute eye is a wise witness to this beautiful but fragile trail, and as he tells its fascinating history, he makes a moving plea for the conservation of America’s last great wilderness. An adventure, a comedy, and a celebration, A Walk in the Woods is destined to become a modern classic of travel literature.

During Sept’s meeting we will discuss a mystery book for October.

Book for month of May

It’s a rare treasure to find a historically imagined novel that is at once fully versed in the facts and unafraid of weaving those truths into a story that dares to explore the unanswered questions. Frank Lloyd Wright and Mamah Cheney’s love story is–as many early reviews of Loving Frank have noted–little-known and often dismissed as scandal. In Nancy Horan’s skillful hands, however, what you get is two fully realized people, entirely, irrepressibly, in love. Together, Frank and Mamah are a wholly modern portrait, and while you can easily imagine them in the here and now, it’s their presence in the world of early 20th century America that shades how authentic and, ultimately, tragic their story is. Mamah’s bright, earnest spirit is particularly tender in the context of her time and place, which afforded her little opportunity to realize the intellectual life for which she yearned. Loving Frank is a remarkable literary achievement, tenderly acute and even-handed in even the most heartbreaking moments, and an auspicious debut from a writer to watch. –Anne Bartholomew

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Book for month of June

In Swedish novelist Olsson’s somber debut, Veronika Bergman returns to Sweden after a childhood following her diplomat father around the world (her mother abandoned the family), and after publishing her first novel titled Single, One Way, No Luggage. She rents a small house in a rural town to work on her second, but in solitude finds herself seized by feverish dreams and paralyzed by the “stillness” of the landscape and the memories of her recently dead fiancé. Reclusive septuagenarian Astrid Mattson, thought by the village to be a witch, takes an interest in Veronika, and the two strike up a friendship based on loss. Against the backdrop of the changing seasons and their small, plangent houses, the two women slowly tell each other their most closely guarded secrets (which concern their mothers and lovers), and venture, tentatively, out of the safety of their routines. Olsson has a clear feel for the emotional wellsprings of both characters, but can’t convert her terse lyricism into a fully realized story. (Mar.)

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