Baking Cakes in Kigali by Gaile Parkin

Baking Cakes in Kigali by Gaile Parkin, 2009

This book has already been discussed and reviewed very extensively. It is a good read, convincingly written so that you can, or imagine you can, hear the Tanzanians and Rwandans speaking. It invites comparisons with Alexander McCall Smith’s Number One Ladies’ Detective Agency books, but is in a way much more serious, being set in post-genocide Kigali, with the multiple problems of “truth and justice”, Aids, malaria, orphaned street-children, and more.

A very telling aspect is how the various characters work together to rebuild Rwanda, at a very local and personal level.

Angel, the central figure, makes cakes to order. Each chapter is broadly built around a different cake, and the Cake Order Form, is one of the devices that unite the narrative into a whole. Angel also has a habit of polishing her glasses when she needs time to think; and making hot steaming mugs of sweet, spicy tea.

Parkin clearly draws very extensively on her own experience as an HIV-Aids counsellor in Kigali. What is conspicuous by its absence is any coherent notion of marriage or of the value of morality, continence, chastity or faithfulness. In the many incidents and discussions in the book which touch on weddings, marriage, and couples, there is no understanding of marriage and love as self-giving.

Certainly, Angel and Pius are faithfully married, and Angel refers with deep disapproval to the way a young woman called Linda dresses: “she had never seen a man look at Linda’s face; there were always other parts of her body that were asking more urgently to be observed.” Angel has good values, but does not reflect on them. She and Pius are Catholics, but they know that some Catholics, even nuns and priests, took part in the killing in 1994. “In Rwanda we’re simply Christians. I’m nervous of attending just one church here, of listening to just one priest. Because how can we know what is truly in that priest’s heart after so many showed that love and peace were only words in their mouths? So we attend a different church every second week; in between, we still attend our local Catholic church” (p.85).

At the very start of the book, Angel explains that when she and her husband got married (they are now grandparents), they were “pioneers” of contraception, and were careful to have only two children “so that we could afford to educate them well.” In the event, their children, having had children of their own, both lost their respective spouses and died before the start of the book, and Angel and her husband Pius are now starting all over again, bringing up their five grandchildren as their own children. The book does not point the moral, but it is actually a clear instance of how wrong-headed it is to contracept in order to have fewer children and hence more money.

A fairly important figure in the book is Jeanne d’Arc, who, having been orphaned and gang-raped during the genocide at the age of eleven, has been a prostitute for the past seven years in order to support herself, her two sisters, and a small boy they found abandoned. Angel is able to help Jeanne d’Arc in many different ways, finally putting her in touch with someone who can teach her to sew to be able to earn her living in a “safer” way. But, at the same time, she jokes with someone else about Jeanne d’Arc and her “business”. Perhaps she develops more compassion for Jeanne d’Arc in the course of the book.

Angel is able to help people in many ways in the course of her business. One often has the impression that the author had a list of themes she wanted to bring in, and worked through them – FGM, the mayibobo (street children), truthfulness to oneself and to others, Catholicism in Rwanda – chapter by chapter, through the book.

Overall it is a good read, ideal for provoking enjoyable discussions, which need to take each theme a lot deeper, with a lot more informed input, than the book itself is able to do.

Tara Road by Maeve Binch

Maeve Binchy, Tara Road

The discussion about Tara Road focused mainly on four points: Characters; quality of writing; what value there might be in reading a well-told story with bad morals; and whether we would recommend it to other people. It’s only fair to say that opinions on all four points were very diverse! What follows is a bit of a summary, leaving out all the debating.

The characters provided plenty to talk about: everybody disliked and despised Danny Lynch for his all-round cheating – basically the person he was in love with was himself –, and Rosemary Ryan for pretending to be Ria’s friend while having an ongoing affair with her husband; it was hard to understand how anyone could be so steely and selfish.

Some people thought Ria was excellently drawn and others felt she was too naïve to be true; it was noticeable that the house-swap enabled her to change conclusively and face life in a way she had never done before.

For more than one reader, the catastrophically inappropriate schoolboy Brian was a favourite. Colm Barry was intended to be a sympathetic and attractive character, but there was too much missing that one would want to know about him, as though time or space constraints had forced the author to leave, or cut, parts of the story out.

At least one reader felt that all the older-generation Irishwomen – Nora Johnson, Danny’s mother, Martin Moran’s mother – were depicted as poor-spirited and bitter. We talked about that generation of Irish people – women – in Catholic parishes in England: a generation of talented women, hard workers, unbelievably generous with their time and efforts, who have found that there is no-one to take over from them because their children, the next generation, are totally different and have no intention of following in their footsteps in any way at all.

The question arose of why Danny turned out the way he did: was it because his parents seemed incapable of family relationships and had no “parenting skills” whatsoever, and so he had had no proper family upbringing?

It was felt by some that the characters were shallow stereotypes, a neatly-chosen range of stock figures with which to decorate the stage, and that there was simply not enough depth in them to make a satisfying read.

The quality of writing: like all Binchy novels it’s popular fiction. It makes exciting reading, and Binchy manages to keep all the characters before our eyes, with short episodes, conversations and events, moving rapidly from one to another all the time. 

The introduction of Marilyn, and her story, halfway through the book, is very well done indeed by means of the telephone conversation.

The mirroring between Ria and Marilyn is too obviously contrived for art: each simultaneously goes through a sense of anger towards the other, and then each simultaneously discovers a highly significant fact about the other’s life, which she realises she can never tell the other about; each then reacts by feeling protective and positive towards the other.

On the other hand, there are sentences here and there throughout the book where the reader feels, “She just dashed this down meaning to go back and write it properly later, but then forgot…” Plus what we said about   the character of Colm Barry above.

Why read a book like this – easy reading, good story, about people with really bad morals? For people who read it uncritically, just for entertainment, there is a lot in it that would be really harmful, simply because it presents really wrong choices and situations as ordinary – the way everyone lives, the things everyone does. So people are helped to accept and do these things themselves and never see anything wrong with them. That is the way immoral literature, at the highbrow, middlebrow and lowbrow levels, has been working for the last century or so, and has done a huge amount of harm to society.

But if you read Maeve Binchy critically, it can, we thought, be very useful too. In the first place, it helps to put ourselves in the places of the many people we know who do live in that way and understand where they are at. Secondly, you can ask yourself, “At this point, this person made a really bad choice. What would have been a good choice for him or her to make? What could have helped him or her to make it? What would have been some likely results?” A very useful exercise indeed in many ways!

Would we recommend this book to anyone else, and if so, to whom and what for? It turned out that none of us would recommend it just as a good read. It would be an entertaining and relaxing book to read, for instance, while convalescing - but there are plenty of other books which are equally entertaining, more relaxing, better written, and without the unpleasantness of this one. It has its usefulness only as a critical teaching tool in the right hands.

20 October 2009 - The Picture of Dorian Gray

Woodlands Book Club has been going for a year now. October's meeting was about Oscar Wilde's The Picture of Dorian Gray. Before settling down to discuss it, we debated the book for next month and decided on C. S. Lewis, 'Till We Have Faces": it is out of print, but available on Amazon and abebooks.com second-hand.
Dorian Gray is short but enormously interesting. One member had been to see the recent film when it came out, and did not recommend it at all - too dark and vicious; the message of the book was distorted.
Wilde's preface to the book - ending on the statement that "all art is quite useless" - is deliberately provocative, an inverted way of expressing "Art for art's sake". The opposite view is expressed in the "Letter to Artists" written in 1999 by John Paul II: http://www.vatican.va/holy_father/john_paul_ii/letters/documents/hf_jp-ii_let_23041999_artists_en.html
John Paul II sees art as being at the service of mankind, a way of expressing the goodness and especially the beauty of creation at all levels, and communicating it to others.
By contrast, Wilde's philosophy and way of life was essentially self-centred and self-seeking. He was the leader of the 'aesthetic' movement at the end of the 19th century (which started in decadence and was parodied in Gilbert & Sullivan's operetta 'Patience').
In the book, the ideal that is presented is to seek beauty and experience pleasure - not happiness, as Gray says towards the end. His 'search' for beauty is described in great detail in Chapter 11, which is key to the whole book. Surprisingly, many bookclubbers had skipped Chapter 11 because it didn't have any action!
A question that comes up repeatedly is one person's influence on another: Lord Henry Wotton is delighted at the way he is able to mould the young Dorian Gray. Gray himself is shown to have a progressively more destructive influence on the people who follow him. He ends up by refusing to admit his influence - read responsibility - on anyone.
We discussed which of the three main characters of the book was actually Oscar Wilde - Dorian Gray, Basil Hallward and Henry Wotton. Different bookclubbers had identified one or other of the three as Wilde when we were reading, and this coloured our interpretation of it. Presumably all three were Wilde.