Oh Lucy! The author who stirred a little controversy and broke everyone's arm with her brilliant giant quacking tome, which was shortlisted for the Booker Prize in 2019, is back! And she is justifiably mad as hell because “Patriarchy has trashed the place.” But, while her anger is deadly serious, there's an immensely funny tone to these essays as Ellmann's vitriol touches upon everything from the pollution of the oceans to men's love of pizza to the current pandemic to Doris Day. The humour arises because “In times of pestilence, my fancy turns to shticks”. And that's what these essays are: a critique of the state of the world as Ellmann sees it after a year of lockdown reading the newspapers and going online. She is somewhere between a feminist comedian, a sage scholar and your drunk aunty at the family barbecue. She sometimes seems like Mrs Duszejko in “Drive Your Plow Over the Bones of the Dead” come to life. She does not filter herself and she is not polite. And why should she be? As Ellmann states: “These people hate us! These people are trying to kill us. I don't know why we're all so goddam nice about it, but nothing is ever done about the way men carry on.”
No one who has read “Ducks, Newburyport” will be surprised by the content or preoccupations expressed in these essays which focus on everything from old movies to the YouTube videos of “Morning Routine Girls” to Laura Ingalls Wilder. Although the narrator of that epic novel was a character most decidedly not Ellmann herself, much of the endlessly rolling thought process and references were clearly from Ellmann. We see a sensibility shaped by what she has consumed praising the heroes she sees as fighting the good fight and lambasting the criminals guilty of upholding corrupt systems. The title essay opening this collection sets the right furiously-comic tone because it's an absurdist take on how the physical world around us is constantly failing, falling apart and working against us. Then follows her fury about the people and governments who are similarly letting us down. Most of her anger is directed at America “The US is now the worst boy scout jamboree in history. Or jerk circle” and men who “have wrecked everything of beauty and cultivated everything putrid on the face of the earth. Not all men, of course, yeah, yeah, yeah. I know I'm generalising. But it's for a good cause: sanity.” Crucially, I think this is the point and joy of these essays. They are a cathartic release from all the tension. I certainly don't agree with all of Ellmann's opinions, but I sympathize with many of them.
Ellmann's scattergun approach has mixed results. Her assertion that “misogyny can be lethal” can't be overstated. It should be obvious and her ability for pointing out these facts when we've been conditioned by the patriarchy not to see them is important. Her solutions are radical. She feels “The American 'experiment', now over, needs to dispose of itself in an equitable manner. Time to give the whole place back to the indigenous peoples and ex-slaves who suffered the most, and see if they can fix it.” She asserts men should gift all their wealth to women. She suggests renaming Manhattan to Womanhattan. These propositions aren't meant to be practical – although I'm sure Ellmann would seriously like to see them happen. But her alternate reality is a balm when both polite discussion and endless twitter spats fail to instigate any substantial changes in our society. But Ellmann's targets don't always need the pummelling she gives them. Her critique of the “shamanic performance' of young female YouTubers primarily shows she's spent too long hate watching these videos. As a YouTuber myself I know that there’s certainly a lot of frustratingly shallow and self-absorbed behaviour exhibited there, but there’s also some engaging conversation and charitable acts. Similarly, dear old Agatha Christie is eviscerated along with most crime novelists. Towards the end of the book Ellmann addresses some of the public criticism she faced around Booker time for her opinions on writers and mothers. Upon this book's launch an essay not included in this collection titled 'Crap' was conveyed by the publisher in 257 tweets and earned a fresh round of mockery directed at Ellmann. The point is you either enjoy this raconteur's manner or you don't.
Personally, I ate these essays up like popping candy and let them fizz on my tongue. I especially enjoyed Ellmann's evaluation of how writers use physical description to convey character. She cites how this is successfully done by Dickens and Marilynne Robinson, but she deliciously drags EL Doctorow by contrasting his character descriptions of men and women stating “Is he even 'handsome'? We don't need to know. Men don't have to be good-looking; they do the looking.” Perhaps the most interesting and successful essay in the collection is 'Three Strikes' where Ellmann self-consciously plays upon the style of Virginia Woolf's “Three Guineas”. It's a searing critique of male oppression delivered with voluminous footnotes. I think perhaps Ellmann's writing is best when she sets herself constraints within the form that she's writing. The definite rhythm that is quickly established in “Ducks, Newburyport” is partly why it's so successful and makes its endless stream of complaints and preoccupations delectable. This collection largely succeeds in distilling the author's frustration about how we deserve better than the leaders we must live under and the systems we must live within. Ellmann wearily acknowledges towards the end of the book that “I recognize I'm fighting a losing battle – going up the down escalator” but I'm so glad she continues to march on and doesn't allow herself to be silenced.
