My Favourite Books of 2019

The end-of-year (and end-of-decade) lists have been floating around for weeks now, but I like to wait until the last minute to write my own list. I usually get a chunk of reading done during the holidays at the end of the year, and you never know whether your favourite book of the year will be the last one you read.

Without really meaning to, I raised my reading goals bar by finishing 131 books in 2019. (My previous high was 119 books in 2017; page-count-wise, though, I only just beat my 2016 high by a mere 8 pages.) I originally expected to read 80-ish books, hoping that I’d spend more time writing and read a little slower, taking my time with the books I chose. That didn’t happen. Is that a good thing or a bad thing? I don’t know. I fed myself a steady diet of library books, streaming off my holds list and into my home, nearly half (half!) of them published in the last year or two.

I’m still writing short summaries of each month’s reading in the newsletter, which has prevented me from forgetting about what I read as quickly as I used to. Maybe that made it harder to pick my favourite books this year. So many of them seemed to have more or less the same impact on me — I remember some things about them but they don’t really cling to me. Maybe that’s the effect of reading too many contemporary books — they get a bit flat after a while. And maybe that’s why I don’t have many novels on this list?

Regardless, here we are: my favourite books of the year, in no particular order:

How to Do Nothing, Jenny Odell. How to resist the economy created by social media and our phones, and how to pay attention to the natural world in spite of all the steel and concrete built on top of it.

Braiding Sweetgrass, Robin Wall Kimmerer. An excellent read to follow How to Do Nothing because it’s all about being more aware of nature and about Aboriginal ways of seeing the world and about gratitude and reciprocity and kindness.

The Library Book, Susan Orlean. Exceptional nonfiction about public libraries and reading and Los Angeles and America. I wrote about it earlier this year.

Dear Friend, from My Life I Write to You in Your Life, Yiyun Li. A book about depression and suicide and reading and writing. I also wrote about it earlier this year.

Priestdaddy, Patricia Lockwood. Ugh, this was so much fun to read. It’s the kind of book that makes me ashamed of my own writing. I’m so boring and bland! Nothing I write is funny or interesting!

Normal People, Sally Rooney. I also enjoyed Conversations with Friends, but I enjoyed this one more. Two people wrangling their messy relationship over the course of several years.

Red, White & Royal Blue, Casey McQuiston. I read a bunch of fun romance novels this year, but this was my favourite. Super fun and cheeky with all the British and American politics but also the end made me cry a bit?

On the Come Up, Angie Thomas. An engrossing novel about a tough, complicated teenager trying to navigate her dreams while struggling with expectations from the different worlds she belongs to.

The Two Kinds of Decay, Sarah Manguso. A memoir about illness and recovery. I’ve read a lot of her work but have been saving Ongoingness for later and now, remembering this book, I wonder why I’ve waited so long.

The Art of Dying Well, Katy Butler. I hate thinking about death but it also fascinates me. Probably the same as everyone else. This is a useful book about the practical aspects of death and dying, with lots to think about.

My Year of Living Spiritually, Anne Bokma. There were some things I didn’t like about this book, mostly the quality of spiritual tourism (of which I am guilty myself …), but there was a layer below all that that I really connected to, in part because I have a few things in common with the author.

I’m still hoping, for 2020, to read fewer books more slowly. Fewer books from the library, more books I already own, and more old books — specifically, books published before I was born. In any case, all I really care to do is to keep reading.

Ten Recommendations from Lydia Davis

Adapted from “Thirty Recommendations for Good Writing Habits” in Lydia Davis’ new collection Essays One, here’s a sample of ten recommendations. The one about taking notes is my favourite, but the whole thing is full of gems:

“Always work (note, write) from your own interest, never from what you think you should be noting, or writing. Trust your own interest. I have a strong interest, at the moment, in Roman building techniques, thus my notation above, taken down in the Cluny Museum in Paris. My interest may pass. But for the moment I follow it and enjoy it, not knowing where it will go.

“Let your interest, and particularly what you want to write about, be tested by time, not by other people — either real other people or imagined other people.

“This is why writing workshops can be a little dangerous, it should be said; even the teachers or leaders of such workshops can be a little dangerous; this is why most of your learning should be on your own. Other people are often very sure that their opinions and their judgments are correct.”

The third recommendation in particular, to be mostly self-taught, validates my own approach (not that I couldn’t use a good writing workshop now and then):

“There is a great deal to be learned from programs, courses, and teachers. But I suggest working equally hard, throughout your life, at learning new things on your own, from whatever sources seem most useful to you. I have found that pursuing my own interests in various directions and to various sources of information can take me on fantastic adventures: I have stayed up till the early hours of the morning poring over old phone books; or following genealogical lines back hundreds of years; or reading a book about what lies under a certain French city; or comparing early maps of Manhattan as I search for a particular farmhouse. These adventures become as gripping as a good novel.”

Another Draft, Courtesy of National Novel Writing Month

At the end of October, inspired by some fellow writers, I decided to use NaNoWriMo — National Novel Writing Month: a challenge wherein writers the world over attempt to complete a 50,000 word novel in 30 days — to rewrite the novel I’ve been working on for a while now. I’d made very little progress in months, so the idea was that NaNo would get me back into it and, just as importantly, get me back to writing every day.

And it worked, because now I have a new draft. I ended up writing an average of 1800 words a day, anywhere between 300 and 800 words in the morning and then another 1000 to 1400 words in the evening. On my best day, I wrote just under 2200 words.

A challenge like this is really useful to get quickly back into the habit of writing. The momentum of something new and yet familiar (since I already knew something about my story and characters) helped get me over that initial hump of getting started, and then the rest was simply stubbornness (and a constant awareness of my word count) to make sure I got my words in for the day.

The daily word count goal was exactly the kind of motivation I needed. When I used to write every day in a single morning session, I could maybe write 1000 words, but usually less, so I didn’t think it was going to be easy. (Unlike lots of people, though, most of my non-working time is my own, so I have it much easier than most.) But I found that most days it didn’t take much to get there — mostly just sitting down with my laptop, opening the document, and continuing where I left off, no matter how unequal I felt to getting down what was supposed to happen next. Near the end of the month, there were a few days where I had the fleeting thought about not bothering to get to 1667 that day because I was tired and just wanted to go to bed (at, you know, 8pm) and was ahead of my overall goal anyway, but then I would look at the little graph of my daily progress on the NaNo Stats page and power through.

I wrote this entirely as a fresh draft and only went back to my old drafts and notes to remind myself of the names of minor characters. I kept a small list of scenes at the end of the document that outlined where I still had to go. It was helpful to see where I was heading next and steer myself in that direction. The story went to a few unexpected places, but I think what this draft did more than anything else was narrow the timeline (from a whole summer down to one week) as well as the setting and story enough to spend more time with the (many!) characters themselves and figure out what was going on with them.

One of the best things I did with this draft was not write about anything from the perspective of the character who appears at the centre of the story. Previously he’d gotten quite a bit of his own page time, but I could never settle on how to portray him. For this round, I decided I wasn’t going to get into his head at all. I like that it forced me to figure out how to show who he is from the perspective of other characters. I didn’t get it right, but I liked the path it started me down, narrowing my focus a bit and letting me spend more time with other characters.

The next stage is a bit of a black hole, of course, because I’m terrible at revising. So far I plan to write out the outline of what I have, compare it to the outlines from my last couple of drafts, and try to create a bit more structure on which to hang the material I have spread out over some 150,000 words. There are elements I can bring together, and there’s a lot to throw away. And then, maybe, in bits and pieces, I’ll get some other eyeballs on it? I’m thinking a lot about why I’m still reluctant to let other people read it and trying to put into words what I want (and don’t want) from early readers. It’s scary but it’s good.

Some additional reading about NaNoWriMo to get thinking about next year: 20 years of NaNoWriMo, two vital reminders for writing a novel, why word count matters, and the best writing advice for NaNoWriMo.

Action vs. Motion in James Clear’s Atomic Habits

I’m reading Atomic Habits by James Clear, because I can’t get enough of books about self-improvement. Many of the ideas and stories in the book were already familiar to me, but there is one idea in particular I keep thinking about — the difference between being in motion and taking action. Clear writes:

“The two ideas sound similar, but they’re not the same. When you’re in motion, you’re planning and strategizing and learning. Those are all good things, but they don’t produce a result.

“Action, on the other hand, is the type of behavior that will deliver an outcome. If I outline twenty ideas for articles I want to write, that’s motion. If I actually sit down and write an article, that’s action. ….

“Sometimes motion is useful, but it will never produce an outcome by itself. It doesn’t matter how many times you go talk to a personal trainer, that motion will never get you in shape. Only the action of working out will get the result you’re looking to achieve.

“If motion doesn’t lead to results, why do we do it? Sometimes we do it because we actually need to plan or learn more. But more often than not, we do it because motion allows us to feel like we’re making progress without running the risk of failure. Most of us are experts at avoiding criticism. It doesn’t feel good to fail or to be judged publicly, so we tend to avoid situations where that might happen. And that’s the biggest reason why you slip into motion rather than taking action: you want to delay failure.

“It’s easy to be in motion and convince yourself that you’re still making progress. … Motion makes you feel like you’re getting things done. But really, you’re just preparing to get something done. When preparation becomes a form of procrastination, you need to change something. You don’t want to merely be planning. You want to be practicing.”

I’m so guilty of being in motion but not taking action when it comes to writing. Especially lately, with the novel. Ugh. I like to pretend that thinking and planning or staring at the open document without touching its contents counts as work toward getting it done. In a way it does help, but not nearly as much as actually changing the words around to making things better or getting down some new words.

When I was younger, writing and posting online almost every day, I never had a problem with springing into action. I would handwrite notes and drafts all day long at school and in the evenings I’d type it up and get it online. I’d spend hours and hours every week writing fan fiction and journal entries and bizarre little stories. But then I finished high school and got a full time job and took classes in the evening, and I learned to only ever put ideas into motion — writing them down to save them for later — because I didn’t have time to let them take over my life the way they used to.

For a long time, putting an idea into motion but not taking action on it was a good thing, because it kept me focused on the things I needed to get done. I’m still in that mode most of the time — worried about an idea distracting me from other things, so just putting it into motion and then setting it aside for later. But later is now! My life is different now, and I have the time. It’s easy enough to start moving, but taking action seems scarier, somehow threatening, still something to avoid. But I need to turn it around — too much motion and not enough action threatens my writing life.

Not taking action is about fear of failure, as Clear says, but it’s also about fear of being overwhelmed. I wish I could immerse myself in writing the way I used to, but life now is nothing like it was in high school. I’m afraid of the desire to get lost in a story because I’m afraid of having to let it go and return to the real world. (I have this with reading sometimes too, not just writing.) Motion is safe; action is scary.

I keep thinking that I’ll never get back to the volume or confidence in my writing that I used to have, that feeling of churning things out and being content with the outcome, but maybe, with practice, I can.

Elena Ferrante on Biographical vs. Literary Truth

Elena Ferrante, in response to a question about writing with sincerity:

“The most urgent question for a writer may seem to be, What experiences do I have as my material, what experiences do I feel able to narrate? But that’s not right. The more pressing question is, What is the word, what is the rhythm of the sentence, what tone best suits the things I know? Without the right words, without long practice in putting them together, nothing comes out alive and true. It’s not enough to say, as we increasingly do, These events truly happened, it’s my real life, the names are the real ones, I’m describing the real places where the events occurred. If the writing is inadequate, it can falsify the most honest biographical truths. Literary truth is not the truth of the biographer or the reporter, it’s not a police report or a sentence handed down by a court. It’s not even the plausibility of a well-constructed narrative. Literary truth is entirely a matter of wording and is directly proportional to the energy that one is able to ­impress on the sentence. And when it works, there is no stereotype or cliché of popular literature that resists it. It reanimates, revives, subjects ­everything to its needs.”

It’s not about what happened or who it happened to; it’s all about how you tell the story. As usual, another fabulous interview from The Paris Review, well worth the read.