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A review by julinino19
After Sappho by Selby Wynn Schwartz
4.0
It has been a while since I have read a book that I knew I would have to reread again soon before I even finished it.
THE CONCEPT
The author herself explains that even though this novel is indeed a work of fiction, it could be categorized as something else entirely. It is genre-bending, narrated by a collective voice: We instead of I, Us instead of Me. This voice transcends time, existing in the past, present, and future. The text is written in fragments—we somewhat move along a chronological timeline, but there is a lack of restriction, a fluidity that allows the narrative to move forward and back when necessary.
THE PLOT
One could argue that there is no plot in the more traditional sense. We essentially follow several women (that actually existed) from the early 20th century. These women were writers, painters, actresses, dancers, architects. They were pioneers in their craft, as well as contributors to the feminist movement in their respective countries. Most of these women were Italian or resided in Italy, so Italian politics play a significant role. As we meet each woman, we learn about what they aspired to be and what they eventually accomplished. Their lives intersect, and we watch their relationships unfold. And perhaps at the heart of it all is Sappho—Sappho is why they mesh into one, despite them living separate lives. The collective We begins with Sappho and lives on.
WHY I LOVED IT
1. I am a sucker for anything that feels new. I haven't read anything like this before, and I can't help but admire Schwartz's innovative structure and narrative. It is perhaps a way to honor Virginia Woolf (who we follow in this novel) and her contribution to literature. Woolf is thought of as a pioneer—she redefined what a novel could be by using stream of consciousness as a narrative device. Schwartz highlights this legacy in her book, calling into question what exactly is a portrait? Must it be restricted to paintings? The way Woolf wrote, is that not a portrait? One of the mind, of the self? This is also what Schwartz accomplished; each story told within each vignette was a portrait. Schwartz's imagery mimics paint on a brush. Her lines are decadent, ripe and juicy.
2. Sappho, having been a poet in Ancient Greece, creates a link to her time period. I'd have to remind myself that the women we follow were living in the early 1900's, because I would unconsciously picture them in a Grecian chiton, arms exposed, sandals on their feet. The allusions to Greek myth and Grecian landscape fooled me into thinking I was reading some newly discovered ancient text. This impressed me—Schwartz definitely has an affinity for atmosphere.
3. You could dissect this novel and find many themes, most of them are obvious. But there were some underlying themes that presented more complex ideas.
a) Islands are a recurring element, but what is an island? Land surrounded by water? What can an island mean to someone? An escape, a prison?
b) Language and grammar are often used in metaphor, or to explore the things we have trouble putting into words.
c) Schwartz also cleverly used repetition to bring something full circle after being subtly dispersed throughout the novel.
4. Lastly, I love that I learned about these creatives and how they contributed to their societies, as well as their lasting impact. I found myself googling each woman as she was introduced and was shocked to find out that most of what Schwartz wrote actually happened. The author herself suggests that she wrote speculative biographies, and I find that to be the most accurate description. I got to learn about a niche group from history, while reaping the benefits of gorgeous, lyrical writing? I mean, those are my two favorite things! I wish I could consume history like this more often.
WHAT I DIDN'T LIKE
1. Despite me gushing about this book, and it genuinely impressing me, I also found it rather convoluted at times. I read it over the course of a few days and due to the nature of how the book is written/structured, the timelines and characters were difficult to keep track of. I really think most would benefit from reading this in a day, two days max. After finishing, I tried to go back and see if I could get the storylines and relationships straight and that helped, so maybe this is a book that warrants annotations or sticky tabs as you go along. Having read this as a digital ARC, annotating didn't come easy.
2. My other issue is that I wanted more. I can appreciate the poetic effect created by the vignettes, but I would have felt more satisfied with more detail. Once it was over, I felt a lack in closure.
I cannot wait until this book comes out (01/24/23), because I will be buying a copy so I can go crazy with a pen/highlighter and underline my favorite quotes. This being an e-ARC, I could not share my favorite lines in this review.
Thanks so much to NetGalley and W.W. Norton & Company, Liveright for this ARC in exchange for my honest review.
THE CONCEPT
The author herself explains that even though this novel is indeed a work of fiction, it could be categorized as something else entirely. It is genre-bending, narrated by a collective voice: We instead of I, Us instead of Me. This voice transcends time, existing in the past, present, and future. The text is written in fragments—we somewhat move along a chronological timeline, but there is a lack of restriction, a fluidity that allows the narrative to move forward and back when necessary.
THE PLOT
One could argue that there is no plot in the more traditional sense. We essentially follow several women (that actually existed) from the early 20th century. These women were writers, painters, actresses, dancers, architects. They were pioneers in their craft, as well as contributors to the feminist movement in their respective countries. Most of these women were Italian or resided in Italy, so Italian politics play a significant role. As we meet each woman, we learn about what they aspired to be and what they eventually accomplished. Their lives intersect, and we watch their relationships unfold. And perhaps at the heart of it all is Sappho—Sappho is why they mesh into one, despite them living separate lives. The collective We begins with Sappho and lives on.
WHY I LOVED IT
1. I am a sucker for anything that feels new. I haven't read anything like this before, and I can't help but admire Schwartz's innovative structure and narrative. It is perhaps a way to honor Virginia Woolf (who we follow in this novel) and her contribution to literature. Woolf is thought of as a pioneer—she redefined what a novel could be by using stream of consciousness as a narrative device. Schwartz highlights this legacy in her book, calling into question what exactly is a portrait? Must it be restricted to paintings? The way Woolf wrote, is that not a portrait? One of the mind, of the self? This is also what Schwartz accomplished; each story told within each vignette was a portrait. Schwartz's imagery mimics paint on a brush. Her lines are decadent, ripe and juicy.
2. Sappho, having been a poet in Ancient Greece, creates a link to her time period. I'd have to remind myself that the women we follow were living in the early 1900's, because I would unconsciously picture them in a Grecian chiton, arms exposed, sandals on their feet. The allusions to Greek myth and Grecian landscape fooled me into thinking I was reading some newly discovered ancient text. This impressed me—Schwartz definitely has an affinity for atmosphere.
3. You could dissect this novel and find many themes, most of them are obvious. But there were some underlying themes that presented more complex ideas.
a) Islands are a recurring element, but what is an island? Land surrounded by water? What can an island mean to someone? An escape, a prison?
b) Language and grammar are often used in metaphor, or to explore the things we have trouble putting into words.
c) Schwartz also cleverly used repetition to bring something full circle after being subtly dispersed throughout the novel.
4. Lastly, I love that I learned about these creatives and how they contributed to their societies, as well as their lasting impact. I found myself googling each woman as she was introduced and was shocked to find out that most of what Schwartz wrote actually happened. The author herself suggests that she wrote speculative biographies, and I find that to be the most accurate description. I got to learn about a niche group from history, while reaping the benefits of gorgeous, lyrical writing? I mean, those are my two favorite things! I wish I could consume history like this more often.
WHAT I DIDN'T LIKE
1. Despite me gushing about this book, and it genuinely impressing me, I also found it rather convoluted at times. I read it over the course of a few days and due to the nature of how the book is written/structured, the timelines and characters were difficult to keep track of. I really think most would benefit from reading this in a day, two days max. After finishing, I tried to go back and see if I could get the storylines and relationships straight and that helped, so maybe this is a book that warrants annotations or sticky tabs as you go along. Having read this as a digital ARC, annotating didn't come easy.
2. My other issue is that I wanted more. I can appreciate the poetic effect created by the vignettes, but I would have felt more satisfied with more detail. Once it was over, I felt a lack in closure.
I cannot wait until this book comes out (01/24/23), because I will be buying a copy so I can go crazy with a pen/highlighter and underline my favorite quotes. This being an e-ARC, I could not share my favorite lines in this review.
Thanks so much to NetGalley and W.W. Norton & Company, Liveright for this ARC in exchange for my honest review.