The book was selected by the evening’s host, Jack, who set the mood with
Cape Codder cocktails and Cape Cod chips before leading us fully into New
England with clam chowder, Johnny cakes, and a hearty Guinness beef stew.
Dessert—a memorable Old Rasputin chocolate cake—provided a fitting finale
before discussion began.
Our Review and Discussion of The History of Sound by Ben Shattuck
Jack opened the conversation, noting how much he enjoyed the short story
format and the subtle ways several stories were connected. He admitted,
however, that readers needed to brace themselves emotionally before starting
each story, especially the final piece involving recording cylinders (“Origin
Stories”). Jack appreciated Shattuck’s writing style—clean dialogue, no long
sentences—and singled out the interaction among the three friends heading to
the cabin in “August in the Woods” as particularly effective.
Glenn enjoyed the book overall but questioned why the Winslow notes in The
Journal of Thomas Thurber ended before the murders were resolved, feeling
the conclusion came too abruptly. He also appreciated “The Auk,” especially its
exploration of an extinct bird and the weight of loss it carried.
Stan liked the collection but found that the abundance of short stories
made it difficult to latch onto a single character or storyline.
Larry felt the book was uneven. Some stories, like “Graft,” drew him in,
while others, such as “Radiolab,” felt more contrived. He noted a recurring
theme throughout the collection: the pivotal moments in life where choices
permanently alter one’s path. He cited “Graft” as a prime example, where a
young girl’s decision to scar her face reverberates throughout her life,
forcing reflection years later when she encounters a young boy in a museum.
Larry also mentioned characters who linger in regret, wondering what might have
been—such as the young gay man who never follows up after a transformative
summer encounter.
Terry appreciated the short story format, finding it allowed him to
suspend disbelief more easily. He enjoyed the ambiguous endings and admired how
Shattuck subtly knitted storylines together across the collection.
Andrew found the book charming, describing it as a blend of parables and
O. Henry–style surprise endings. He highlighted stories like “Graft” and
“Tundra Swan,” both of which explore how seemingly small decisions carry
long-term consequences—whether a self-inflicted scar or stolen trees that are
never put to use.
George also liked how the stories were connected but found the shifting
timelines—sometimes spanning over a century—confusing.
Tom admitted he had only made it about a third of the way through the
book but said that so far he was enjoying it, with “Graft” standing out as his
favorite.
Doug found the collection uneven but engaging. He noted that it’s
uncommon for short story collections to be linked in this way, and for him the
book felt like climbing a ladder—each story an extension of the opening poem.
Doug especially liked how Shattuck blended themes of nature and the arts and
enjoyed spotting the small “Easter eggs” that tied stories together, such as
the grafted apple tree from “Graft” reappearing in “Tundra Swan.”
Dan, the final reviewer, said the book wasn’t his favorite. He struggled
with the frequent jumps in time, particularly in “August in the Woods,” where
the narrative suddenly leaps forward seven years. Despite recurring settings
and references, Dan found the new characters and storylines disorienting and
felt the collection was hard to follow as a whole.
The MBC was especially pleased to welcome two infrequent attendees, Peter
and George. It was great to reconnect—Peter newly retired (again) and George
visiting family. Though Peter hadn’t had time to read the book, his presence
added to the evening’s convivial atmosphere.
