book-review – Auxiliary Memory

THE ANTIDOTE by Karen Russell

by James Wallace Harris, 12/27/25

There are some conservative Republicans who wish to censor history by forgetting events in America’s past. They worry that such history could make their children feel bad about themselves. They want to remember a past that makes America look great again. Please read Donald Trump’s executive order regarding this issue.

Karen Russell’s latest novel, The Antidote, philosophises why we need to remember everything, even things our ancestors did that make America look bad. Russell uses fantasy to educate us about reality. When my friend Annie first recommended that we read this novel together, the fantasy elements turned me off. As a life-long science fiction reader, I was in the mood to read realistic fiction for a change. The older I get, the more I want nonfiction, but I can’t give up fiction completely.

Throughout the first half of The Antidote, I was annoyed with all its fantastic elements. However, I eventually realized that Russell was using them as a plot device to get her readers to contemplate real history. Eventually, I felt Russell had read a great deal of American history that disturbed her, and she was using her novel to come to grips with why we shouldn’t forget that which many want to erase from American history books.

Memory is the main theme of this novel. Both personal memories and historical memory.

The Antidote makes a case against five crimes our ancestors committed. These tragic deeds explore the dimensions of greed. Each of these historical atrocities has been well-documented in nonfiction books I’ve read over the years. Reading the novel made me ask: Which has more impact, fiction or nonfiction? Listening to The Antidote made me feel closer to the suffering.

How many books have you read that deal with these historical events? Did you learn more from reading fiction or nonfiction?

How did we take land from the Native Americans?
How did we force Native Americans onto reservations and attempt to reeducate them with our culture and values?
How did poor farming practices cause the environmental catastrophe of the Dust Bowl?
How did we institutionalize unwed mothers and steal their babies?
How do we allow the murders of women to go uninvestigated and underreported?

The Antidote is primarily set in the fictional town of Uz, Nebraska, in 1935, between two significant real events, the Black Sunday dust storm (April 14, 1935) and the Republican River flood (May 31-June 1, 1935). The story is told sequentially, but with flashbacks. We hear the story told from many voices. Four primary characters: The Antidote (Antonina Rossi, AKA, the Prairie Witch), Asphodel Oletsky (Del), Harp Oletsky (Del’s uncle), and Cleo Allfrey (photographer), along with two significant secondary characters, a cat and a scarecrow.

Antonina, a middle-aged woman, had been institutionalized at age 15 for being an unwed mother. Her son had been forcefully taken away from her. She makes her living as a vault, or prairie witch. Antonina can enter a trance while another person relates a memory they wish to forget. That process will erase the memory from the teller’s mind and store it in hers. Antonina gives them a written receipt that will trigger that memory, and she can reinstate it at a future time. Antonina does not remember what she vaults. She is paid for this service, but her clients consider her no better than a prostitute.

Asphodel “Del” Oletsky, a fifteen-year-old girl, just five feet tall, is the captain of Uz’s high school girls’ basketball team. Her mother was murdered when she was young, and she lives with her uncle Harp Oletsky. Cleo is a young black woman who travels the country documenting the depression for FDR’s government. The plot of the novel eventually brings them all together.

The novel begins with a roundup of jack rabbits and clubbing them to death. My father was born in Nebraska and was Del’s age in 1935. He told me stories about how the farmers would exterminate the jack rabbits. My mother also went to high school around this time and played basketball. My grandmother was on a basketball team in Indiana at the turn of the century.

My memories immediately made me connect with the story. We remember the good ones, but forget the bad ones.

The story then goes into catching a serial killer of young women. The sheriff even connects the killer to Del’s mother’s cold case. This murder mystery is the apparent backbone of the plot, but it’s not the real story.

The Antidote immediately triggered a memory of an article I recently read, “The Nurse Who Names the Dead” by Christa Hillstrom. The article was about Dawn Wilcox, who created a database to track the number of men killing women. She discovered that femicide goes vastly underreported. One of the truths of Russell’s novel is that she’s writing about evils that have always existed. Can we ever break the cycle?

Dust and evil color this novel with darkness. I listened to the audiobook edition, and it felt like I was watching an old black-and-white movie. I’d call it noir magical realism.

I admit, I had to push myself to keep listening for the first half of this book. I was just put off by the fantasy elements. But the characters grew on me. And by the middle of the story, I was hooked. The last half of the book often made me teary-eyed. For most of the novel, I felt Russell was too writerly, but when Harp gives his big speech near the end, I must say I was quite impressed with the writing and the description of the riot and storm.

Throughout this story, I kept thinking about the Oz books by L. Frank Baum. Uz almost sounds like Oz. Plus, the story has a tornado and a talking scarecrow.

I wanted to connect the elements of this story with all the nonfiction books I’ve read that back up its fictional history. Especially, The Worst Hard Time: The Untold Story of Those Who Survived the Great American Dust Bowl by Timothy Egan, plus the Ken Burns’ documentary, The Dust Bowl. However, I can’t remember where I read about the other issues in this book. My mind is getting old and tired.

My friend Linda and I often talk about how humans repeat the same crimes throughout history. In recent months, we’ve focused on how greed is the primary driver of evil. As you read The Antidote (if you do), think about how greed motivates people to do what they do. We’re all greedy to a degree, and that might be a survival mechanism, but there seems to be a point when more greed makes us evil. I see that everywhere.

I’m also watching The American Revolution by Ken Burns. It brings up many things that some Republicans would like the world to forget. Like I said, we don’t change. But we should ask, what are we doing now that people in the future will wish to forget that we did?

The Antidote by Karen Russell was on 11 best-books-of-the-year lists for 2025.

JWH

Can Rereading THE WONDERFUL WIZARD OF OZ Help Me Remember What It Was Like to Be Ten Years Old?

by James Wallace Harris, 12/5/25

While watching Wicked, I struggled to recall the excitement I felt when I first read the Oz books at age 10 back in the summer of 1962. I wanted to know whether the fantasy world Wicked created matched the one L. Frank Baum created in his fourteen Oz novels.

The barrier to making this comparison is memory. Memories are highly unreliable. Plus, we overwrite our memories every time we recall them, so am I really remembering 1962, or just the last time I thought about reading the Oz books as a kid?

Like most of my brain excavations, I have to rely on logic and deduction instead. I also look for corroborating evidence. I spent many days on this problem, and here are my results.

The Oz books were the first novels I discovered on my own. For various reasons, I concluded this was the summer between the 5th and 6th grades. My family lived on base at Homestead Air Force Base, and I found the Oz books in the children’s wing of the base library. They were old and worn.

The first novel I remember is Treasure Island by Robert Louis Stevenson, which my mother read to me in the third grade. I started using libraries in the fourth grade, but read nonfiction books about airplanes, space travel, cars, and animals.

I remember roaming up and down the fiction section at the base library and discovering the Oz books. I had no idea who L. Frank Baum was, nor did I have any idea when they were written. I didn’t know about copyright pages or genres. I saw “Oz” on the spines and connected those books to the 1939 film, The Wizard of Oz, which I had seen on television every year since the 1950s.

I did not know the word fantasy. I doubt I understood the concept of fiction. In other words, these books were an exciting discovery. To compound that excitement, they were all set in the same fictional universe. They were my Harry Potter books. L. Frank Baum had tremendous world-building skills.

Analytically, I know that at ten, I didn’t know much about the world. My vocabulary was limited. And I was unaware of most concepts and abstractions. My previous beliefs in fantasy – Santa Claus, the Easter Bunny, and the Tooth Fairy had caused me great embarrassment in first grade when a girl called me a baby for mentioning them. I was five, she was six.

In other words, I knew Oz did not exist, even though Baum created so many wonderful details to make it believable. I remember wanting Oz to exist, but I knew it didn’t. I don’t think I grasped the idea of fantasy at that time. All I knew was that the books created an artificial reality in my mind that was mesmerizing.

Watching Wicked and then rereading The Wonderful Wizard of Oz this week let me compare the two versions of Oz, but I couldn’t compare my initial reactions. Wicked is quite colorful, creative, and contains many elements of the original stories, but it no longer worked on me as the Oz books had in 1962. And that’s to be expected, since I’m 74, long past the age for fairytales.

My quest changed. I now wanted to know how my ten-year-old self saw the world. Rereading The Wonderful Wizard of Oz gave me very few clues.

My contemplations led me to some ideas, though. I have damn few memories of life before age five. I have zillions of memories dating from age five to twelve. I started thinking about them, and a revelation came to me.

Before age five, I theorize our minds are like LLMs (large language models). Those AIs can take in information and react to it, but they are unaware of the world. After five, but before puberty, we develop some self-awareness, but it’s very limiting. It isn’t until around twelve or thirteen that we start thinking for ourselves.

Here’s my main bit of evidence. As a child, my mother told me about God and took my sister and me to Sunday School and church. I just accepted what I was told. But when I was twelve, I started thinking about what they were telling me about religion. I didn’t buy it. I considered myself an atheist by 1964, when I was thirteen, maybe fourteen.

In my thirties, when I was working in a library, I came across an article that said that some librarians in the 1950s felt the Oz books gave children unrealistic expectations about life, and pulled the books from their shelves.

When I read that, I knew it had been true for me. The Oz books led me to science fiction, a genre that also inspired unrealistic expectations regarding the future that have proven to be unrealistic.

Here’s the thing: I was being told two fantasies at age ten. The first was from The Bible, and the second from the Oz books. Looking back, I see that my young self began to reject religion at age ten because I preferred the stories from L. Frank Baum. I wasn’t aware that I was comparing two fantasies; I just preferred one over the other.

Then I discovered science fiction. Concurrently, I was also discovering science. That gave me the illusion that science fiction was reality-based. When I consciously rejected religion, I thought I was choosing science. However, in recent decades, I’ve realized I had substituted science-fictional fantasies for religious fantasies.

I realize now that the Oz books had the power of Bible stories on me at age ten. The reason why so many people are true believers as adults is that they were programmed as children. Wicked doesn’t have that kind of power over me today. I can’t remember what that power felt like, but I do remember that for a few weeks in 1962, the ideas in the Oz books set my mind on fire. Rereading The Wonderful Wizard of Oz did not reignite that fire because I’m no longer a believer in anything.

I’ve often wondered if I hadn’t been lied to about Santa Claus, the Easter Bunny, and the Tooth Fairy, and thus had not experienced humiliation at discovering they were lies, and if I also hadn’t discovered Oz books, would I have accepted the Bible stories as truth as a kid and believed them now?

JWH

Reading at 13 vs. 73

By James Wallace Harris, 10/19/25

At thirteen, I read books entirely differently than I do now at seventy-three. I think everyone does, but it’s not apparent why. Our memory gives us the illusion that we’ve always been the same person. But if we think about it, there is plenty of evidence that we couldn’t have been.

I’ve been thinking about the difference between my younger reading self and my older reading self while writing a review of The Foundation Trilogy by Isaac Asimov for my other blog. Every so often, I reread a book I read as a teenager. For some books, it’s a nostalgic return to a familiar, comfortable place. For most books, it’s just vague recollections.

My first realization from trying to reconstruct my reading mind at age 13 was to remember that I read very fast. I consumed books like potato chips. Reading was like casually watching TV. Words just flowed past my eyes, and I didn’t always pay attention to every word. I just read to find out what happened.

I have a fond memory of reading The Foundation Trilogy, but a limited one. I liked the idea of a galactic empire in decline. However, the only chapter I can remember is the first one, “The Psychohistorians.” It wasn’t until decades later that I learned that the trilogy was a fix-up novel based on nine stories running from short stories to novellas.

Thinking about it now, I realize that most of the ideas in the book didn’t mean much to me at 13. I had not studied or read about the Roman Empire, Asimov’s inspiration. Actually, I probably didn’t know what an empire was either. Nor did I understand all the references to nobility, aristocracy, and politics.

As a teenager, I mostly read science fiction books. I did read some popular science books too. My awareness of the world and my vocabulary were limited. However, I didn’t know that. And I wasn’t the kind of person who looked up words I didn’t know. What’s weird is that I was a kind of know-it-all.

One way to judge my teenage brilliance was that my favorite TV show at the time was Gilligan’s Island. When I catch that show today, I can only assume I was brain-dead back then.

I’ve tried to reread The Foundation Trilogy twice now. The first time was in 2015, and now in 2025. In both cases, I could only finish the first book of the trilogy. I loved the first story, but with each additional story, I detested them more.

At first, I thought that Asimov’s most famous books were just bad. But I’ve known people smarter than me, and just as old, who say they still loved the Foundation series. One woman in our reading group said the Foundation stories were a great comfort to reread. And I recently heard that twenty million copies of the series have been sold.

Not only was my current reading self different from my younger reading self, but I’m out of step with millions of readers. This got me thinking about the different modes of reading.

I think the most basic mode is just to let fiction flow over you. You read whatever pleases you. And you don’t think about why.

Then, as we age, we become more judgmental. We learn more about life and reading. We develop a process of natural selection by rejecting what we don’t like. We don’t think much about why we don’t like what we don’t like. We just evolve into a reading machine that knows what it likes.

Two other reading modes are: English teachers or literary critics. These are very critical modes, and often they take the fun out of reading. I think as I’ve gotten older, my reading habits have taken on a bit of these two modes. While in them, it’s all too easy to shoot Asimov down.

However, I’ve discovered another mode recently when I read “Foundation” for the fourth time. “Foundation” was the first story published in the series in 1942. While reading this story yet again, I kept admiring Asimov for where he succeeded and not where he failed.

In my rereadings, I’ve always come to the series wanting to love it. And I’ve always been disappointed by how much I didn’t. But with this reading, I worked to think like Asimov. What was he trying to do, and how did he go about doing it?

I’m in the process of documenting this for my other blog, Classics of Science Fiction. I’m writing this now because the other post is going to take a long while to complete.

I never would have put this much effort into reading a story when I was a teen. Or any time before I was 73.

One reason I dislike this story in recent years is my skepticism. I don’t believe humans will ever travel to the stars, much less form a galactic empire. Another reading mode I’m trying to develop is to read with the mind of a person from when the story was first published.

Trying to read like Asimov thought and how science fiction fans felt in 1942 is difficult. I’m reminded of Samuel R. Delany’s concepts of simplex, complex, and multiplex that he described in his story Empire Star. I started out as a simplex reader and eventually evolved into a complex one. Now I’m moving into a multiplex reader.

Multiplex thinking often involves holding contradictory viewpoints. I really dislike the Foundation stories. But if I work at it and look at them in just the right way, I can like them too. It’s hard. It’s a Sisyphean struggle learning to admire something that triggers so many annoyances, but I’m working on it.

JWH

Should I Overcome My Prejudice Against the Undead?

by James Wallace Harris, 6/24/25

I truly dislike vampires. Ditto for zombies. (Although I sometimes like ghosts.)

My short story reading group is discussing the stories from The Best Fantasy Stories from Fantasy and Science Fiction, edited by Edward L. Ferman. I must admit I also have a prejudice against fantasy in general. On the other hand, I want to participate in the group. I want to be positive in my comments. I don’t want to constantly whine about my annoyance with the common themes of the genre.

The second story up is “My Dear Emily” by Joanna Russ. It was first published in the July 1962 issue of The Magazine of Fantasy and Science Fiction. (You can read the story online.) F&SF provided my favorite genre magazine reading while growing up. I’m so fond of this periodical that I’ve collected an almost complete run of issues from 1949 to 1980. So, how can I be so prejudiced against fantasy?

I imprinted on science fiction when I first discovered reading. I consider science the only cognitive tool for understanding reality. Fantasy is based on magic and the love of the magical. Magic and science are polar opposites. I’ve never understood why people love fiction about beings that never existed. I will admit that science fiction is about beings that might exist, but are probably no more realistic than fantasy creatures.

My first impulse after reading “My Dear Emily” was to post this comment to the group: “Mediocre vampire story obscured by dense prose.” But would that be fair? Joanna Russ is a well-respected writer, even outside of science fiction. Within the genre, she is known for writing such classic feminist SF as The Female Man. Does “My Dear Emily” anticipate second-wave feminist themes in this 1962 story?

The story is set in 1880s San Francisco. Emily is returning from school in the east and bringing her friend Charlotte with her. Russ says, “They had loved each other in school.” Russ was a lesbian, but the story doesn’t appear to go in that direction at first, although in 1962, we might have been only expected to read between the lines. Emily and Charlotte do sleep in the same room.

Emily has returned to San Francisco to her father and Will, a man she is engaged to marry. Charlotte laughs at Emily’s endearing words about Will, and Emily wonders if God will strike her down for being a hypocrite.

However, Emily comes under the influence of Martin Guevara, a vampire. Why bring in the undead? We have the beginning of a good story with hints that Emily loves Charlotte but must marry Will in 19th-century America. My standard theory about why there are fantasy elements in literary stories is that it was easier to sell to genre magazines than get published in literary magazines. Literary magazines paid in free copies, but were usually a dead end for a story. “My Dear Emily” has been frequently reprinted in genre anthologies, earning additional payments and readers. In other words, would-be writers had a strong incentive to add fantasy or science-fictional elements to their stories.

Would I even be writing this essay, or have read “My Dear Emily,” if it hadn’t had a vampire in it? However, does Joanna Russ intend Martin Guevara to be meaningful in this story or just an in with the editor at F&SF?

Martin Guevara offers to get Emily out of her engagement to Will, but he exerts power over Emily, taking physical control of her. Emily already seems to know that Martin is a vampire. Did she know him before she left for school? And she leaves her house and finds me. How did she know where he lived?

On my second reading, this story seemed less murky, but it suggests things that aren’t explained. Emily tries to kill Martin with a silver cross, but he isn’t vulnerable to the power of that symbol. In fact, he isn’t affected by several of the classic defenses used against vampires. Martin tells Emily, “We’re a passion!” about his kind, and “Life is passion. Desire makes life.” He says desire lives when nothing else does.

The story becomes more about vampirism. But is it really? Russ’s prose is far from explicit. Is the story a vampire fantasy or one of lesbian liberation? Are Will and Martin two poles of masculine power?

This story did not need a vampire. But to get published in F&SF, it did. Fantasy obscured the real intent of this tale.

Why does pop culture love the undead? Do they really add anything valuable to fiction? Or, are they just popular stock characters? At best, they might be symbolic, but isn’t that symbolism usually ignored?

JWH

STONE YARD DEVOTIONAL by Charlotte Wood

by James Wallace Harris, 4/12/25

Stone Yard Devotional is about how reality puts the peddle to the metal when life gets all too real. Stone Yard Devotional reads like a memoir, a diary, but it’s classified as a novel. The book was nominated for several awards.

The entire time I was listening to this book I wondered if Charlotte Wood was the unnamed narrator, however after reading “‘The shock was so deep’: Novelist Charlotte Wood on the experience that changed everything” in the Syndney Herald, I realized the novel was only inspired by her own life. Wood and her two sisters were being treated for breast cancer, while she was contemplating mortality and drafting this book.

I have no memory of how I discovered Stone Yard Devotional by Charlotte Wood. The cover and title intrigued me for sure. Maybe it was because it was shortlisted for the 2024 Booker Prize. The audiobook was part of my Spotify subscription, so I gave it a try, and I’m glad I did. It’s not the kind of book I normally read, but it’s wonderful to read if you’re getting old.

The story begins with the Covid pandemic. The narrator separates from her husband, ghosts her friends, and hides out in a guest house of a religious order, even though she is nonreligious. She wants to be alone. But after her initial stay, she returns to the order to live with the nuns. I was never sure if she joined the order or not. I have often thought the monastic life has certain appeals.

The story is about the narrator’s observations while living a contemplative life. These include the death of her mother, the remembrance of childhood, studying the nuns, working in the garden and kitchen, and the guilt of living with a woman she and her classmates horribly bullied as a child. The narrative is simple, like meditation.

The setting is Australia, which is exotic to me. As a kid I wanted to live in Australia. Over the course of the novel, there is a plague of mice that invade the convent. The mice are so numerous that they cover the roads in gray fur. At first, I thought Wood added this element to give her tale some excitement, but I researched and found that her part of Australia they did have a mice plague of Biblical proportions in 2021.

That made life in the convent extremely inconvenient. The mice ate electrical insulation, throwing daily living in the convent back to the 19th century. The illustration for the book’s review at The New York Times might have been another reason I read this book.

Much of what the unnamed narrator contemplates throughout the novel is what everyone thinks about as they get older. The fear of declining health and death, the regrets, the desires for wanting to have done things different, the desires to connect with others while also wanting to pull away, the changes we see in ourselves and others, the appeal of nature and living simple. Wood’s story explores all of that and more, triggering the reader to think about their lives.

Charlotte Wood was born in 1965, so she’s fourteen years younger than me. However, her battle with cancer has likely aged her perception on life. At 73, I’ve been thinking about the things in this novel for years. But I don’t know if everyone who collects social security meditates on these issues. Stone Yard Devotional is a great title for this novel. Even though the narrator said she was an atheist at the beginning of this story, getting old and dealing with people who die, pushes you to be spiritual even without a belief in God.

JWH