House Made of Dawn by N. Scott Momaday

House Made of Dawn (1968) by N. Scott Momaday tells the story of Abel, a young American Indian. The novel was awarded the Pulitzer Prize in 1969. The story begins in 1945 when Abel returns home after fighting in World War II. He arrives at a reservation in Walatowa, New Mexico to stay with his grandfather, Francisco.

During his time there, Abel has an affair with a woman named Angela after chopping wood for her. During a ceremony on the feast of Santiago, an albino smears Abel with a rooster’s blood. Later, Abel drinks with the elders, and then he murders the albino. Abel is sent to prison.

Seven years later, Abel is released from prison and put under the watch of the Indian Relocation program in Los Angeles. This section of the story is told from Abel’s point of view. Abel becomes friends with Ben Benally, an American Indian who has adapted to relocation. During his time in Los Angeles, Abel has a romantic relationship with a social worker named Milly. This section ends when Abel is beaten up and left for dead on the beach by unknown attackers.

In the next section, Ben describes Abel’s problems drinking and how he lost his job. This narrative is the easiest part to read. Ben often makes guesses about Abel’s motivations or gives clues that explain Abel’s behaviors. This section of the novel also fills in the gaps in Abel's narrative. Ben and Abel make a pact to meet again on the land and to sing the ceremonial song "House Made of Dawn." After a fight with Ben, Abel leaves. He returns three days later, badly beaten. After a short time, Abel leaves Los Angeles to return to Walatowa where his grandfather is near death. When Francisco dies, Abel prepares his body and runs the "race of the dead."

House Made of Dawn has a complicated, non-linear narrative structure. The present, past, myths, and storytelling blend together in the tale. The story juxtaposes the purity of the land with industrialization, and it contrasts Abel’s silence with the verboseness of white men in Los Angeles. In certain sections, the narrative has a sense of verbal sparseness. Momaday conveys Abel’s profound lack of place in this unique and important story.

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The Time Traveler's Wife by Audrey Niffenegger

The Time Traveler's Wife by Audrey Niffenegger was published in September 2003. It's the story of Henry, a time-traveling librarian. He involuntarily hops from one place and time to another. As an older man, Henry visits the past and meets his wife, Clare, as a young girl. While Clare knows Henry from her girlhood on and meets him during different stages of her life, Henry first meets Clare in his mid-twenties. The concept may seem confusing at first, but the book does not take too long to get into. The time and date reference points at the start of each section keep the reader oriented.

If I were writing this review immediately after finishing the book, then I think I would have focused on my interest in the plot. I felt compelled to know what happened in the story. I felt driven to read because of the foreshadowing throughout the book. Since I’ve waited a little while to write down my thoughts, I’ve had some time to think over other aspects of the book and areas where it could have been better. I think the story would make a fun movie, perhaps a better movie than a book.

While the concept of watching a romantic couple cope with Henry’s disorder could have been fascinating, none of the characters were as well-drawn as they could have been. The original premise was not carried out to the full potential because I didn’t feel empathy for either of the main characters. The plot drove the story much more than character development. Sometimes while reading, I would mistake Henry’s narration for Clare’s, or vice versa. Most of the time, the two main characters felt interchangeable. The supporting characters: Gomez, Ingrid, Charisse, and family members all could have been better developed to contribute more to the story.

Another major problem is that Henry is depicted as “good,” while his motivations towards Clare are more manipulative than loving. While he may believe that they are meant to be together, she only feels that way about him because a future version of him has visited her repeatedly (from the age of 6) and told her that they will marry. What is Clare’s choice in this when Henry declares her future is determined?

At the end of the story, Henry could have let Clare go on with her life, but he gives her the hope of seeing him once more. As a reader, I was saddened to think of her waiting alone just to catch a glimpse of him again. It’s not clear why Clare is in love with Henry; is it because she feels she has to be? The author spent far too much time focusing on their great sex life (often crudely described in extensive detail), but there should have been something more that held them together.

As a reader, I felt manipulated into having sympathy for the characters. Clare has, not one, but seven miscarriages, before finally having a daughter. Meanwhile, Henry relives his mother’s car accident and decapitation again and again, and loses his feet to frostbite. I felt toyed with after all that. I would have been thrilled had the book ended with Ingrid shooting Henry, which would have had some meaning. Instead, Henry’s death was foreshadowed for the last third of the book, and it was an accident that made little sense.

What I felt left with was a good, engrossing read. While not liking the characters, I still couldn’t put the book down. At the same time, I am left with mixed feelings because something was missing, and I know the book could have been a great one.

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The Handmaid's Tale by Margaret Atwood

The Handmaid’s Tale by Margaret Atwood is a dystopia written in 1985 that magnifies and exaggerates social trends to a dangerous end. This book was very difficult for me to read, but I am so glad that I read it. It’s a story every woman should read. It will chill you; it will scare you; it will make sure you don’t take anything for granted.

The protagonist of The Handmaid’s Tale is named Offred. She is a handmaid in the Republic of Gilead. Her sole duty is to bear the offspring of the Commander. Women are not allowed to have money or hold jobs, and they have designated duties based on their fertility. Once Offred had a job and a family, but after a political coup, she was separated from them, and her life was changed forever. The reader follows Offred’s experiences, shares her memories, and tries from her limited perspective to find some hope to hang on to.

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On Fortune's Wheel by Cynthia Voigt

On Fortune's Wheel (1990) by Cynthia Voigt is the second novel in her Kingdom series, which is set in the medieval period. It’s the story of Birle, a headstrong young girl who is the daughter of an innkeeper. To escape her life at the inn, Birle has promised to marry a huntsman named Muir. Though her parents believe Birle is making a poor choice, she takes longer to realize it.

Birle’s adventure begins when she hears a noise outside and rushes out to stop a thief. This thief is actually a young Lord named Orien, who is escaping from his family. Orien and Birle are swept off together to a new land, and they are captured, separated, and enslaved. Birle is sold to a philosopher; she does the housework and helps the philosopher with his book on herbs and medicines. Meanwhile, Orien’s owners are not as kind. Birle tries to plan their escape home.

The story takes place a generation after Voigt’s Jackaroo, a book I read years ago. I did not realize that Voigt had written other novels set in “the Kingdom.” In all, these books include: 1) Jackaroo, 2) On Fortune's Wheel, 3) The Wings of a Falcon, and 4) Elske.

The Kingdom series was since re-published with new titles: Jackaroo was re-published as The Tale of Gwyn, On Fortune's Wheel was re-published The Tale of Birle, The Wings of a Falcon was re-published as The Tale of Oriel, and Elske was re-published as The Tale of Elske.

On Fortune’s Wheel is a quick read and a good young adult story. Birle grows up through her adventures into a strong, steady, and decisive woman.

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The Turn of the Screw by Henry James

The Turn of the Screw is a ghost story by Henry James, which was originally published in 1898. The novel opens with a group of friends who are telling ghost stories. After hearing a ghost story involving a child, a man named Douglas proposes to tell the group a true story about two children. Douglas asks the party to wait for a manuscript to be delivered to him. He explains that the story was written by a woman who was once his sister’s governess and that it describes events in her life. Douglas was in love with the governess. She is now dead, but members of the group realize that Douglas still has strong feelings for her.

Days later, the manuscript arrives, and the story begins. The entire story is told from the point of view of the Bly governess. Because of this narrative construction, the reader must evaluate the honesty of the story. It reminded me of the narration of Emily Bronte’s Wuthering Heights.

The governess takes a job caring for two children at Bly. The one condition of her job is that she must never speak to the Master of the house about the children, who are his niece and nephew, Flora and Miles. The governess agrees to these bizarre conditions and falls in love at first sight with the Master. She befriends Mrs. Grose, the housekeeper.

When ten-year-old Miles is expelled from school, he joins his eight-year-old sister at home. Soon, strange events begin occurring. The governess sees two ghosts, Peter Quint (the former gardener) and Miss Jessel (the former governess). The governess takes it upon herself to protect the children from the ghosts and believes the ghosts and children are communicating with one another. But through her actions, will the governess help or hurt the children?

I think the greatness of this story is how mysteriously vague it is. It left me with so many questions. Is the governess crazy? Are the children crazy or possessed? Are there really ghosts? When the governess speaks to the children, do they know which "he" and "she" the governess is asking them about, and vice versa? I wondered if the characters understood one another, and how much of the conversations were one-sided. The governess makes many presumptions. For instance, she never asks why Miles was expelled from school. At first, the governess believes Miles is an angel and then she later thinks he’s a demon, but how much did the boy’s behavior really change?

Looking back, most of the motivations, especially those of the children are coaxed. For instance, at the lake, is Flora really possessed and ugly, or is she just scared of her freakish and unrelenting governess? The children may be biding their time until their Uncle arrives, thinking that the governess mails their letters and that he's busy. Meanwhile, the governess has hoarded their letters.

I wondered how the governess identified the ghosts. Mrs. Grose recognized Peter Quint upon hearing his description, but the governess pounced on the idea and furthered it rapidly. The governess also leapt at the idea of Miss Jessel being one of the ghosts with little rationale. One thing that I found odd was the episode involving crying on the steps. The governess first sees Miss Jessel cry there, and later she cries in the same location. What did this repetition mean? Was it to show how similar Miss Jessel and governess were in temperament and position, or did it serve some other purpose? Is Miss Jessel simply the governess's idea of herself or what she could become?

The governess's love of the Master is also inexplicable. Does she truly feel his love is reciprocated through his disinterest? Does Mrs. Grose understand that the governess is in love with the Master? In addition, the governess was so worried about Miss Jessel and Peter Quint controlling the children, but she did the same thing. The governess was definitely strange, but it's impossible to argue that the children were not. They were equally strange.

In the closing scene, did either Miles or the governess name Miss Jessel? I wasn't sure who said it. The use of "he" and "she" leave almost any scenario possible.

After I finished the novel, I came up with a strange idea in trying to connect the prologue to the main story. I began wondering if Miles was really Douglas and if Miles did not die at the story’s conclusion. I went back to the prologue and re-read it. I was surprised that there was no return to the story-telling group at the end of the story, and instead, the tale just ended. Douglas's description gives the impression that he was in love with the governess, putting his impartiality into question. He mentioned that the woman was his younger sister's governess, which made me wonder if his younger sister was Flora and if he was still-alive Miles. Of course, I may be over-reaching. The main purpose of the prologue may have been to put distance between the reader and the governess, and the use of the manuscript could have been a contrivance to tell such a long story.

Another thing puzzled me about the governess. After such a horrid experience, would she really want to seek a new position as a governess ever again? I surely wouldn't. I wonder also at the conditions the governess agreed to. She committed to go to an isolated house and raise two children she had never seen without ever being able to contact their only relation. Why would someone agree to that?

In reading theories online, one reader said that they believed that Mrs. Grose was in fact the children’s mother from an affair with the Uncle, and that the governess had taken control of the children from their mother by making her inferior in her own home. Stemming from this, it was suggested that Mrs. Grose was conniving to make the governess mad by planting ideas in her mind. Though I did not see this during my reading, I thought it was an interesting take.

The Turn of the Screw is one of those books that leaves you with many questions and an eerie feeling. It’s the type of book that demands re-reading.

Related Reviews:
Daisy Miller by Henry James
The Aspern Papers by Henry James

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Advice for a Young Investigator by Santiago Ramón y Cajal

Santiago Ramón y Cajal (1852–1934) was a Spanish scientist. He made groundbreaking discoveries on the anatomy of the brain and nervous system. For his pioneering scientific research, Cajal received the Nobel Prize in Physiology or Medicine in 1906 with Camillo Golgi.

Three drawings by Santiago Ramon y Cajal from the book Comparative Study of the Sensory Areas of the Human Cortex (1899). Public domain, via Wikimedia Commons.

Cajal made many beautiful and detailed studies of the microscopic structures of neurons and the brain. One example, shown above, are his detailed drawings showing a comparative study of the areas of the human cortex. The left panel shows the Nissl-stained visual cortex of a human adult. The middle panel shows the Nissl-stained motor cortex of a human adult. The right panel shows a Golgi-stained cortex of a 1 1/2-month-old infant.

In Advice for a Young Investigator (1897), Santiago Ramon y Cajal provides encouragement for scientists, particularly new investigators. Many parts of the book were humorous, in particular the characterizations of scientists and the impediments in the way of scientific progress. Cajal wrote his advice for an audience of male scientists (he considers women helpmates). However, ignoring the sexism of the time, Cajal’s advice and teachings can be applied by women scientists too.

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