To be honest, I was in two minds as to whether or not I ought to give Nutshell a read. I mean, I love Ian McEwan’s novels – he’s an absolute master when it comes to manipulating the reader’s expectations. But I just had this feeling that this was one literary conceit too far. Hamlet retold from the perspective of an unborn child? Please.
I don’t think I’ve ever been so mistaken about a book before. This is such a masterpiece in terms of the way McEwan turns his source material on its head and also because of the dark simmering wit which runs through the entire novel. Our foetus soliloquizes – because I guess the unborn are natural soliloquists – on the impending betrayal of his father, on his mother issues and on the nature of the world he’s about to be born into with all the verve of an accomplished raconteur. And he’s also something of a wine connoisseur – his mother Trudy is drinking for two – a uterine philosopher and ultimately, like his father, a poet. But this isn’t just one long Shakespearesque monologue. The story also works perfectly as a thriller, and it leaves you guessing right up to the end how on earth McEwan will translate the bloody, corpse strewn finale of Hamlet into a contemporary tale of marital betrayal. Take it from me, it’s worth waiting for.
After reading Nutshell, I decided it was time to revisit Hamlet itself. There’s a great podcast discussing all aspects of the play from the BBC radio series In Our Time here:
Sarah Perry’s latest novel proves to be as elusive a beast as the Essex Serpent itself: a story which coaxes the reader into a literary terrain every bit as shifting and unstable as the salt marshes amongst which it is set.
Following the death of her abusive husband, Cora Seaborne sets about reinventing herself – stretching her wings and re-evaluating her relationship with her friends, and with society in general. Freeing herself from the disapproving gaze of Victorian London, Cora moves to Essex in the hope of scouring the local beaches for fossils. Intrigued by the possibility that a “living fossil” may have been sighted near the village of Aldwinter, with local sightings of a winged sea beast reported, she moves there with her friend Martha and autistic son Frankie.
In truth, if there is any geology to be had in this novel, it is of the personal sort – the gradual chipping away at layers of emotional sediment to discover the uncomfortable truths which Cora – and many of her friends – keep deeply buried. On encountering local Vicar Will Ransome, Cora dredges her own sense of self to make sense of her feelings for him, while Will finds himself torn between the superstitions of his congregation and the foundations of his own religious belief. This is a story which explores the porous boundaries between pleasure and pain, between faith and superstition and between love and hate. Imbued with all the rich ambiguity of a Turner painting, it throws an alternative view of the Victorian age into relief – one in which sexual desire and sexuality lurk just beneath the surface of public consciousness, and are easily implied if not expressed.
Comparisons have been drawn between Perry’s sublime work of Victorian pastiche and Bram Stoker/Dickens. I didn’t quite feel that myself – it doesn’t really function as gothic, or as social commentary – at least not directly. I did, however, find myself thinking about Hardy as I read it: of his pivotal themes of sin and redemption, and of his exposure of the hypocrisies of nineteenth century British society. But what I really find most valuable here, is the uniqueness of Perry’s writing, and the way she gives a voice to characters whose stories are repressed or never heard at all in Victorian literature. A book which very definitely deserves to be re-read.
I’m in two minds about The Bone Clocks. If I hadn’t read anything by David Mitchell before, I’d probably be bowled away by its ingenuity: a story which begins in the recent past and stretches into an apocalyptic future, framed through the perspectives of a set of well drawn and irresistably flawed characters. I’d also have marvelled at Mitchell’s genre-bending antics, flicking with almost casual ease from thriller to fantasy to sci-fi by way of some biting social and political satire. And there is no doubt that the sheer audacity of inventing an entire metaphysical system – a metaworld populated my metalives – would have had me on the edge of my seat.
But there was one problem, which is that Dave’s kind of done all of this before, and he’s done it so much better. He’s done it better by allowing the reader to fill in the gaps, as is the case in Ghostwritten, or by taking a very simple idea but playing it out on a massive scale as in Cloud Atlas. What seems a weakness in The Bone Clocks is that this is where Mitchell sets out his stall. He literally tells us, the readers, what’s going on. Granted, there’s the great opening mystery – a missing child, an apparent double murder, a hint at psychic abilities. But that air of mystery gradually collapses in on itself as we learn about the Horologists and their soul-sucking foes the Anchorites. And worst of all, those mysteries which were so elegantly played out in earlier novels such as The 1001 Autumns of Jacob de Zoet are now revealed, laid bare and somehow lose something in the telling. Laid bare, furthermore, in dialogue which is sometimes more cheap sci-fi flick than Booker long-listed novel.
So while I’m still in thrall to the literary magician that is David Mitchell – a writer capable of creating an entire parallel universe over the course of his writing career – I do wish he’d delivered up his secrets with a little more subtlety in The Bone Clocks. Unless, of course, there are more secrets to be delivered…
“What is a myth?” That is a big question. It would be true to say that I was probably obsessed with it.
This is Sofia, protagonist of Deborah Levy’s novel Hot Milk attempting to establish her place amongst myths. And just as those stories are part of our cultural DNA, so Levy’s narrative creeps under the reader’s skin, stitching and unstitching its plot until Sofia arrives at a position if not of understanding, at least of wisdom, as her name indicates she ultimately must do.
Arriving in the Spanish resort of Almeira, Sofia accompanies her mother Rose who seeks a diagnosis for the paralysis which affects her legs and sometimes her entire body. But in fact it emerges that Sofia is as much in need of a cure as her mother – a cure that will free her from her own psychological paralysis, for Sofia has become a prisoner to her mother’s whims and to her own personal sense of failure.
Trained as an anthropologist, Sofia uses her awareness of myth, of kinship ties and cultural encryption to make sense of the people she encounters. But such categorisation of human behaviour proves inadequate in comprehending her love for the powerful German seamstress Ingrid Bauer, or her relationship with her absconded Greek father, Christos. Ultimately, it is a much keener sense of reality and of the deep, deep ties which bind us together which promises to release Sofia from her limbo. This is a study in self-liberation, couched in achingly beautiful prose. It is the first book by Deborah Levy that I’ve read, but it certainly won’t be the last.
Oh Ian McEwan, the big tease – master of the great turnaround, the twist that has his readers jumping from their seats, hurling the book across the room in amazement. A twist you instinctively know must be coming, but which nevertheless fails to shock. You think you’ll see it before it hits, and then at the very last moment, McEwan pulls the rug out from under your feet.
But it’s not the twisty-turny aspect of McEwan’s narratives which gives them their sap. It’s rather the handle he has on his characters’ moral tuning: the way he gradually raises the emotional temperature until the story is, to overcook a metaphor, on the boil. As Serena Frome agonises over her role in Sweet Tooth, an MI5 operation aimed at wringing political purchase from cultural endeavour, so does the reader.
Posing as the representative of a foundation which supports the work of young artists, Serena offers young novelist Tom Haley a stipendium which will enable him to give up his work as an academic and focus purely on writing his first novel. The rightist bent of Haley’s short stories is considered another potential weapon in the cultural war against communist propaganda. And the fact that Serena then falls in love with her mark prevents her from warning him of the potential trap into which he is about to fall as a dupe of the secret service.
One suspects that McEwan also had a lot of fun while writing this book, with his knowing references to the ‘up and coming’ authors of the 1970s, like Martin Amis, or the ‘new-fangled’ Booker prize. But at its heart, this is a novel which has very serious things to say about artistic integrity and the precarious relationship between politics and literature. And fundamentally, it’s a love story, and a beautiful one at that. Reading Sweet Tooth was yet another reminder of just how adept McEwan is at calibrating the vagaries of the human heart.
I read this book with a tiny bit of sick hovering at the back of my throat. And it’s kind of hard to reveal why that is, because to do so would be to give away the central twist of this story. But let’s just say, I’m assuming that Michel Faber is a vegetarian.
Seriously, it’s an irresistable story, and Faber succeeds in melding a whole set of genres – sci-fi, thriller and gritty satire – to produce what is a truly satisfying read. It turns the world on its head, it disturbs, unsettles and demands a lot of empathy from the reader for the protagonist, Isserley. It’s a book that interrogates our definitions of humanity, and prompts a whole set of questions about how we structure society, how we determine beauty, and of course how we, as ‘human beings’ impact on our environment.This is all relayed in a muscular prose which perfectly reflects the way Isserley is at once revulsed and enchanted by the world around her.
My only issue with Under the Skin, is that it hinges on one central conceit. Faber leaves sufficient ambiguity in his narrative to allow that twist to operate. Even so, as a reader I found myself querying the extent to which it works. Isserley’s reluctance to examine her own past or values is understandable from a psychological perspective, but as a reader I wanted more ‘fill-in’ here.
Apart from that, loved this book. It fascinates, shocks and enthralls on just about every level, and by the time it reaches its climax, you know there really is only one place left for Isserley to go.
Warning – contains spoilers!
It’s hard to think of a more ambitious literary project than Room. To address such sensitive issues through the eyes of a five-year-old child is a challenge very few writers could carry off. But Emma Donoghue succeeds, and ultimately Jack proves the best narrator imaginable, as a kind of insider/outsider figure: witness to the crimes perpetrated against himself and his mother without fully understanding them. For Jack, life in Room is normal – it is Outside which is unreal. Consequently, his experience of Room enables him to explore what freedom really means. Once beyond its confines, it is the media, clinicians and society in general which all impose their own expectations on Jack and Ma, limiting them in new ways. And so, in this respect, the story invites us to rethink our attitudes towards imprisonment from a whole new set of angles. As Ma angrily says:
“…the thing is, slavery’s not a new invention. And solitary confinement – did you know, in America we’ve got more than twenty-five thousand prisoners in isolation cells? Some of them for twenty years…As for kids – there’s places where babies lie in orphanages five to a cot with pacifiers taped into heir mouths, kids in prisons, whatever, making carpets till they go blind…People are locked up in all sorts of ways.” (293)
What I took most from the book, however, was its focus on the victims rather than their kidnapper. To be honest, it might be difficult to imagine such an horrific crime were it not for the widely documented precedents of Josef Fritzl or Fred West. In media reports of such cases, the victim is so often obscured – a pale wreck of a human being if they survive, a mere corpse buried in a shallow grave if they don’t. But Donoghue’s book reverses that perception. It is ‘Old Nick’ who becomes the half-seen, shadowy figure lurking behind the scenes of this novel. Ma and Jack are the real focus – their suffering, their developement, and their triumph against the odds. That is what makes Room such a life-affirming story, and ultimately such a compelling read. You want to know that, in spite of experiencing the greatest evil imaginable, it is possible not just to survive, but to flourish. Spoiler: it is.