This book features a scene that perfectly mirrors my own thoughts as a young girl. It involves Daisy, the focus of The Stone Diaries, languishing in bed due to a long-term illness. During one of her many hours in a dark bedroom, she comes to realize how fixed she is in her life, in the present, even as she feels completely outside her body and alien on Earth. Moments like this come to me every so often, as I realize how strange and wonderful it is to even exist, and seeing those reflected back at me in writing was a comfort. After reading that passage, I knew I would easily grow to love this novel the further along I got in Daisy's life.

Of course that wasn't surprising, really. Carol Shields wrote one of my favorite opening chapters to a book in Larry's Party--it describes the days of young Larry after he's accidentally taken the wrong jacket from a diner he frequents; feeling the fancy wooden buttons and silky pockets of the jacket make Larry evaluate his life, and realize he loves and wants to marry his girlfriend. Shields excels at painting portraits of personalities living in decisive and crystallizing moments. She even opens The Stone Diaries with such a portrait of Daisy's father, and it is those moments that stick in my brain, more than Shield's fascinating structures.

However, I should mention the unique structure at play here. Shields tells us Daisy's life story through secondary sources and unidentified narrators, and thus generates a mosaic that complements the images of flowers and stone that dominate the woman's life. Daisy's search for meaning may never have been expressed outside her own head as clearly as on that day in her dark bedroom, but the detailed sum of Daisy's accomplishments as a wife, mother and career woman make the reader see that all her extraordinary moments of self-reflection were packed into every act Daisy completed, making her remarkable, as we are all in the end, since the paper trails and family connections result from seeing how uniquely special our very existence is.

Zelfs de hoofdstukken die bestaan uit briefwisselingen zijn net zo vol leven als de rest. Waar ik bij ‘De wand’ mezelf compleet kon verplaatsten was dit boek af en toe te passief daarvoor. Net geen vijf sterren dus. Het openingshoofdstuk is een meesterwerk op zich, die krijgt er wel vijf.

PULITZER PRIZE WINNER: 1995
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As with pretty much all the Pulitzer Prize winners, I thought the format/style here was really interesting. I liked the concept of following a character around from birth-death, with each chapter a different chapter in her life. Generally enjoyable, but I didn't *love* it, and never really managed to feel all that invested in the characters. This is a common critique of mine, but this book suffers from a (mild) case of making it seem like adult life is depressing as fuck and nobody is truly happy. I also found the narrating/POV to be a little bit confusing and inconsistent.

I liked the style of this book and how the style changes as the character evolves. It is an interesting study of the way a person's outlook changes as they grow older and lose their youthful innocence. But it was just too bleak for me to really enjoy it. It's like a biography of a mostly unhappy life.

Welcome to the life of Daisy Goodwill Flett, a seemingly ordinary woman born in Canada in 1905, who follows the path laid out for her almost all the way through the twentieth century, taking in, and sometimes struggling with, the changes that come with the times, especially for women. Daisy's story is broken up into sections that take us through the experiences and feelings associated with each stage of her long life from Birth to Death, via Childhood, Marriage, Love, Motherhood, Work, Sorrow, Ease, and Illness and Decline.

This is what I would call a 'quiet book' - not to say that momentous things do not happen in the life of Daisy, because they do, but it is written with an almost distant lyrical reflectiveness that serves to remove you a step back from the intensity of feeling a life such as Daisy's would normally evoke. It's almost like looking through a dusty scrapbook of photographs, fragments of journals, newspaper cuttings and letters that give you a glimpse into the life someone has led, rather than being at their side for the duration of the story - and the inclusion of an incredible fictional photo album and family tree all add to the effect.

The scrapbook feeling is enhanced by the way Carol Shields tells Daisy's story through the eyes of her friends, family and acquaintances for almost the entire book, with our main character practically in the wings for most of the time. We largely get to know her from the accounts and assumptions of others, rather than through her own consciousness, which I found rather intriguing. So on the rare occasions when the point of view actually does shift to Daisy herself the moments are particularly telling about the woman we thought we knew.

One of the things that really comes across in this book is the clever use of letters in moving the story forward. This is not an epistolary novel, although letters are used on and off throughout the text, but our author knows just how and when to use them to the best effect - especially in the Work section of the book, which is is entirely made up of letters of various sorts. I don't think have ever read a chapter of a book that conveys the impact of the events we are hearing about on our protagonist in this way as well as Carol Shields does here - without ever once showing a letter from Daisy herself. It's brilliant.

This is the kind of book that somehow gets under your skin and you find you are unable to look away for a moment. There is so much about Daisy's story that resonates about the human experience, particularly the parts about middle age and later life. I easily managed to finish this in two sittings, and it leaves you with a lot of things to think about, primarily from the times when we get to see into Daisy's own mind and can appreciate the stark differences that sometimes exist between her inner thoughts and the way others see her - especially her feelings of frustration over an unfulfilled life.

I did find it a rather sad book overall, even though it is not without is moments of love, joy and absurdity, although interestingly this did not detract in any way from the pleasure it gave me in reading it, because it is so beautifully written - but I think Carol Shields says it best herself, so I will sign off with her own words on the matter here:

"I did believe, as I wrote the final chapter, that I had written a sad book. From its inception I found myself writing the phrase 'I am not at peace'. When I got there, finally, on the second-to-last-page, I was reluctant to register those words. My wont had always been to find harmony and reconciliation, but the phrase pressed on my consciousness - and my conscience. Finally, I committed it to print. I've learned to live with that hard choice."

I loved this book, the way it was written, the story.
It tells the life of Daisy Goodall, but in some way the main character always remains a mystery. The different parts are mostly espisodes from her life or the lives of her relatives, quite often they are very factual. There are only descriptions, the emotions have to be guessed at.
To me it was the story of an ordinary woman, like many others who lived through most of the 20th century. The way Carol Shields told it, it became clear to me how many of these women we see and how litte we can know about them. It is very telling that there are quite a few photographs in the novel of various characters, but none of Daisy.