–David Vann on Sara Baume’s Seven Steeples ( The New York Times Book Review) In that way, too, in lacking sustained drama, the author is a poet.” Instead, they are beautiful, subtextless nothings. But I wish all these descriptions could have been anchored in drama and activated to mirror interior lives. She is a poet who elevates the novel, on a linear level, to something higher. We know the minutiae of these lives in absolutely exquisite physical detail, but only in physical detail … Baume’s descriptions of landscape are lovelier than I can express you simply have to read them yourself.
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And though we are told that ‘Bell and Sigh had been thoroughly infected by each other’s way of speaking …īy their seventh year, they spoke in a dialect of their own unconscious creation,’ we never hear an exchange of dialogue between them … Ultimately, the author seems to have fallen into a dangerous trap: being caught by an idea … It’s just not true that two people can become one, and the novel feels limited by this conceit, which has the effect of shutting out the reader entirely. By the end, Bell and Sigh have become one, ‘a sole life,’ undifferentiated. But in Seven Steeples, there is absolutely no conflict between these two characters. Usually, landscape indirectly illustrates the interior life of the characters and furthers the drama. But what’s strange is the utter lack of subtext.
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Line by line, Seven Steeples is one of the most beautiful novels I have ever read.
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“Decay and neglect are the constant themes, and the descriptions are gorgeous. Seo on Anne Gray Fischer’s The Streets Belong to Us, Francesca Wade on Julie Phillips’ The Baby on the Fire Escape, and Ben Sandman on Adrian Shirk’s Heaven is a Place on Earth.īrought to you by Book Marks, Lit Hub’s “Rotten Tomatoes for books.” This week’s treasure trove of terrific reviews includes David Vann on Sara Baume’s Seven Steeples, Lucas Iberico Lozada on Rafael Bernal’s His Name Was Death, Sarah A.