Category: historical fiction

2023 Kerry Group Irish Novel of the Year, Anya Bergman, Author, Book review, Fiction, historical fiction, Literary prizes, Manilla Press, Norway, Publisher, Setting

‘The Witches of Vardø’ by Anya Bergman

kimbofo

Fiction – paperback; Manilla Press; 385 pages; 2023.

In the winter of 1662-63, a total of 20 women died during the witch trials which took place on the island of Vardø, located in the extreme northeastern part of Norway, far above the Arctic Circle. The women had been put on trial for “making pacts with the devil”. Eighteen of them were burnt at the stake and two were tortured to death.

Anya Begman’s novel The Witches of Vardø is a fictionalised account of what happened. The characters are inspired by real people whose experiences are documented in court testimonies.

In writing the book, the author, who lived in Norway for a time, says her purpose was to “raise the lost voices of the women accused of witchcraft with tenderness while invigorating their seventeenth-century history with contemporary resonance”.

Dual storyline

I don’t tend to read historical fiction set earlier than the 19th century, so this novel took me right out of my comfort zone. It reads very much like a fable or old-fashioned tale, with lots of tell and not a huge amount of show, but once I got into the rhythm of the story (it’s a slow burn), I quite enjoyed it.

The narrative comprises two storylines told in alternate chapters from two different points of view. Both highlight the very real dangers of being female in a patriarchal society where men controlled every facet of a woman’s life, restricting them to domestic (and sexual) servitude.

Anna Rhodius, the daughter of a physician and a talented healer herself, was once the King of Denmark’s mistress. She has been banished to Vardø but she’s eager to return to her life of privilege and will do almost anything she can to go back to it, even if that means helping to prosecute other women for witchcraft.

Ingeborg Sigvaldsdatter is the teenage daughter of Zigri, a woman accused of witchcraft when her affair with a local merchant is discovered. Accompanied by Maren, another teenager whose mother has already been condemned as a witch, Ingeborg makes a long and treacherous journey to Vardø to try to rescue her mother who has been locked up in the governor’s fortress.

Anna’s story is told in the first person in a series of letters she addresses to the King, pleading to be reinstated in his eyes; Ingeborg’s is in the third person and takes a wider view, showing how her life was forever altered when her fisherman father and brother were lost at sea, leaving behind a wife and two daughters who were plunged into grief and struggled to find enough to eat.

Their stories are interleaved with folktales, including those of the Sámi people, and the mysterious appearance of a lynx with golden eyes.

Plot-driven story

The Witches of Vardø is a largely plot-driven novel that charts events leading up to and including Zigri’s trial.

It moves at a relatively slow pace and there’s a lot of detail (about Ingeborg’s journey and Anna’s past affair), which sometimes feels laboured. But the writing is atmospheric, chilly and Gothic by turn. The depictions of romantic love and the betrayals that can sometimes come with it are beautifully evoked.

Unsurprisingly, the witch trial that forms the climax of the novel is powerful and violent, but the aftermath, in which Maren and Ingeborg escape to lead lives of their own feels redemptive — and hopeful.

For another take on this novel, please see this review at Theresa Smith Writes.

A lasting memorial

By Stylegar – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=47091822

Just to hammer home the point that the witch trials were a real thing, these photographs show the Steilneset Memorial in Vardø, which commemorates the 91 victims who were convicted of witchcraft and executed in Finnmark in the 17th century. A collaboration between the artist Louise Bourgeois and the architect Peter Zumthor, it comprises a 125m memorial hall (above) and a burning chair (below).

You can read more about the memorial at this Norwegian tourist website (note, it’s in Norwegian but you can translate it) or via this Wikipedia page.

By Bjarne Riesto – https://www.flickr.com/photos/eager/13571909504, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=48501399

This is my second book from the 2023 Kerry Group Irish Novel of the Year shortlist. I am trying to read them all (there are five) before the winner is named at the end of May.

Australia, Author, Book review, Fiction, Fiona Kelly McGregor, historical fiction, literary fiction, Picador, Publisher, Setting

‘Iris’ by Fiona Kelly McGregor

kimbofo

Fiction – paperback; Picador Australia; 464 pages; 2022.

I used to think only two things made girls go wrong, [Sergeant] Armfield says grimly. Men and poverty. Now I know differently. Now I know that some women simply have a streak of evil.

What is a criminal? That’s the big question at the heart of Iris, a voice-driven novel by Fiona Kelly McGregor, which has recently been longlisted for the 2023 Stella Prize.

Based on the real-life story of Iris Eileen Mary Webber (née Shingles), a petty criminal in 1930s Sydney, it’s written in the vernacular of the time and depicts a violent underworld of sleaze, drugs and destitution.

Here, in the Depression-era slums, Iris makes a living through sex work, shoplifting and, later, an elaborate scam in which she defrauds businessmen for “unpaid invoices”. But she also teaches herself the piano accordion and does short stints as a busker.

Her story is told in exacting detail and is based on the public record — court documents, police reports, gaol records, census data, newspaper items and so on. It took the author nine years to write (she published other books in between) and she claims it is a story “suspended between the possible and the probable” — in other words, it’s rooted in fact, but elements have been fictionalised.

A resilient woman

Iris is a terrific character — feisty, determined, quick-thinking and resilient in the face of ongoing hardship — so I can see how McGregor might have been drawn to telling her story.

She grows up in country NSW, gets married to a man she doesn’t much like, finds she can’t fall pregnant to him and eventually, in a pique of rage, shoots him during an argument. From there she goes on the run, and her life takes a dramatic turn when she lands in Sydney and is “rescued” by a woman who runs a “house of ill repute”.  With no education, no family support or social welfare to fall back on, Iris must get by as best she can.

And that’s how her life of criminality begins because she has to survive somehow. But does that make her a bad person?  McGregor doesn’t cast judgement; she just tells the tale and lets the reader draw their own conclusions.

She depicts Iris as a quick-witted, creative and high-spirited woman, who is kind and has a strong sense of community, often paying off other people’s debts when she has the money to spare. But she lives in a rough, dangerous and deeply misogynistic society. This danger is only heightened when she falls in love with another woman and has to hide her queer identity from the rest of the world. Criminality, it would seem, infects every aspect of her life.

Detained in custody

Iris’s bawdy, defiant story is told in the first person as she awaits trial in Long Bay State Reformatory for Women. Her rich and flavoursome backstory is told in alternate chapters so we know the outcome of her crimes from the beginning — that is, she gets caught and arrested — but we don’t know all the detail until it slowly comes to light. The fun of reading the book is following her journey from innocent country girl to desperate city crim.

Did I like this book? I’m not sure. I feel ambivalent about it. I loved the vernacular voice, the period detail and the descriptions of Depression-era Sydney (the city is like a character in its own right). But the narrative is too long.

And while I understand McGregor is charting Iris’s experiences, the cyclical nature of her life — trying to better herself then resorting to crime to make ends meet, a pattern that keeps repeating over and over  — didn’t hold my attention.  Another writer might have edited the timeline for dramatic effect, but I guess that wasn’t McGregor’s goal.

Iris has also been reviewed by Lisa at ANZLitLovers and Kate at Booksaremyfavouriteandbest.

If you liked this, you might also like:

‘The Suitcase Baby’ by Tanya Bretherton: A riveting true crime story about an impoverished Scottish immigrant convicted of the murder of her three-week-old baby in Sydney in 1923.

‘My Mother, A Serial Killer’ by Hazel Baron and Janet Fife-Yeomans: Another riveting true crime book about an Australian woman who murdered her husband in the 1950s, then killed two other men she knew.

‘Foals Bread’ by Gillian Mears: A novel set in rural NSW in the 1920s and 30s and written in the vernacular of the time about a feisty female who becomes a showjumping champion.

‘Iris’ doesn’t seem to have been published outside of Australia. Try hunting down a copy on bookfinder.com or Book Depository, or order it directly from Australia via the independent bookstore Readings.com.au. Shipping info here.

Author, Book review, Fiction, Frank Moorhouse, historical fiction, literary fiction, Penguin, Publisher, Setting, Switzerland

‘Grand Days’ by Frank Moorhouse

kimbofo

Fiction – paperback; Penguin Australia; 736 pages; 2018.

Grand Days, by the late Australian writer Frank Moorhouse (1938-2022), is the first in a trilogy of (chunky) novels exploring the life and times of Edith Campbell Berry, a young Australian woman making her mark in diplomatic circles on the world stage.

First published in 1993, but set in the 1920s, this novel charts Edith’s early career at the newly created League of Nations, in Geneva, Switzerland.

It’s an enormously detailed look at office politics and corporate life through the lens of a headstrong and idealistic 20-something woman whom we might now dub “before her time”. Indeed, the novel could be described that way, too, because it takes an enlightened approach to 21st-century issues including gender fluidity, female agency and independence, sexual politics and “internationalism”.

It first came to my attention via the three-part ABC TV program ‘Books That Made Us’ (screened in 2021) when it was the only book mentioned in the first episode that I hadn’t heard of ( I had already read most of the others). I’m not sure why this one passed me by — I was working as a part-time bookseller when it was published so I must have sold copies of it — but I rather suspect that even if I had taken the time to read it I would have been too young and naive to appreciate it at the time.

Fast forward 30 years, and I’m in a much better place to value (and recognise) the richly detailed world that Moorhouse has created, with its focus on the minutiae of office life, the never-ending internal politics between rival colleagues and departments, and the failed idealism at its heart.

But the novel is much more than just a historical glimpse of “corporate” conduct: it’s also a wonderful coming-of-age story about a 26-year-old woman working out who she is, what she wants from life, falling in love and discovering sex.

A journey to a new life

When the book opens, we meet Edith on the train from Paris to Geneva en route to her new post at the League of Nations, an intergovernmental organisation designed to uphold world peace following the end of the First World War. (The history of the ill-fated League, which was disbanded in 1946, and later inspired the formation of the United Nations, is expertly woven into the narrative which includes real people, identified by their real names, and is largely based on documentary sources.)

In the train’s dining car, Edith meets Major Ambrose Westwood, unaware that he will become the single-most significant figure in her life, both at the League, where they become colleagues and allies, and at home, where they become secret lovers participating in a “sexually adventurous underworld” (as the blurb on my edition describes it).

In each gloriously named chapter (for example, How Edith Berry Campbell Berry Ate Six Courses and Practised the Seven Ways in the Dining Car on the Train from Paris to Geneva, or The Tenets of Civilisation and Various Wonders Not to Be Talked Of) is like a self-contained story in its own right, which serves to move the narrative forward set-piece by set-piece. And from this, we see how Edith slowly transforms herself from a naive employee to an invaluable staff member — despite getting into various tricky predicaments with the serious potential to backfire — and inches her way up the career ladder, all the while figuring out her love life and building a solid circle of friends.

She goes through some pretty icky and challenging experiences but always manages to come out the other end stronger and more resilient than ever. But she’s also manipulative, with a head for scheming, which is probably why she is able to survive the internal machinations at work so adroitly. Not much seems to bother her. And even when her mother dies, back home in Australia, she seems remarkably unfazed by it.

Highly recommended read

Did I like this book? Yes. And no.

It’s too long and parts of it dragged. Sometimes it was a struggle to pick it up after I had put it down, and it took me the best part of three weeks to read.

But there was so much of it I enjoyed.

  • The heady idealism of everyone working at the League, including Edith’s deep belief that she’s doing important work for the world
  • The scheming and shenanigans and internal bickering in the office, which is so realistic even by today’s standards
  • The depiction of the Geneva nightlife, the glamourous parties, the seedy clubs
  • The history of the League and the people that worked there (the appendices detailing “who’s who” and some of the working practices are enlightening)
  • Edith’s transformation from a naive young woman to a woman of the world, even if she makes some dubious decisions along the way
  • The Australian abroad aspects, which will resonate if you have been an ex-pat for any length of time
  • The biting satire that underpins the storyline, but also the many wonderful laugh-out-loud scenes
  • The forward-thinking attitudes held by many of the characters

There are two more books in the series — Dark Palace, which won the Miles Franklin Literary Award in 2001, and Cold Light — which I will look forward to reading in due course.

For another take on Grand Days, please see Brona’s review at This Reading Life.

‘Grand Days’ doesn’t seem to have been published outside of Australia. Try hunting down a copy on bookfinder.com or order it directly from Australia via the independent bookstore Readings.com.au. Shipping info here.

Author, Bono, Book review, Books in translation, David Whish-Wilson, Elena Ferrante, Fiction, Fremantle Press, historical fiction, Hutchinson, literary fiction, memoir, Music, Non-fiction, Publisher, Text

Three Quick Reviews: Bono, Elena Ferrante & David Whish-Wilson

kimbofo

Three weeks into the new year already, and I’m conscious of the fact I still have a few reviews from 2022 to write up. In the interests of expediency — and to alleviate my increasing sense of guilt — here are my quick thoughts on a trio of books I read last year.

They include an Irish memoir, an Italian novella and an Australian historical crime novel. They have been reviewed in alphabetical order by author’s surname.

‘Surrender: 40 Songs, One Story’ by Bono

Non-fiction – hardcover; Hutchinson Heinemann; 560 pages; 2022.

As a long-time U2 fan, I have a love/hate relationship with Bono. In fact, I did not expect to like this book at all, but I found it surprisingly enjoyable and entertaining. The man can certainly write. The text is ripe with metaphors and allegories, and while it is occasionally a little heavy on the spiritual side of things, for the most part, it is laugh-out-loud funny. Who knew the egotistical, sometimes tub-thumping Bono had such a delicious sense of self-deprecating humour!

As the subtitle suggests, the memoir is structured around 40 U2 songs, which allows the author to arrange his story thematically and to write about episodes in his life without the constraint of a chronological narrative (although it is, loosely, chronological).

The bits I liked best? His honesty about his upbringing (his mother died when he was 14) and the complex relationship he had with his father; the way he writes about his wife, Ali, whom he clearly loves and admires (in many ways, the book is a love letter to her); and his funny tales about famous people which often show him in a poor light when he could so easily have told this stories in a boastful manner.

I especially loved his deep dives into his philanthropy and activism, going behind the news headlines to explain what this work fighting against AIDS and extreme poverty means to him, why he does it and what he has learned along the way — not only about himself but about the (long, slow) process of campaigning for political and social change.

If reading more than 500 pages is more than you can bear, I’m told the audiobook, which includes the U2 songs mentioned in the chapter titles, is excellent (Bono narrates it himself). Alternatively, there’s a playlist on Spotify or head to YouTube to watch (multiple) recordings of his promotional book tour, such as this one, at Washington National Cathedral (fast-forward to 10-minute mark to skip the religious stuff). That said, his appearance on The Late Show with Stephen Colbert is probably the best and his performance of ‘With or Without You’ is stunning.

‘The Lost Daughter’ by Elena Ferrante (translated by Ann Goldstein)

Fiction – paperback; Text Publishing; 144 pages; 2015. Translated from the Italian by Ann Goldstein.

Here’s another book I wasn’t expecting to like but found myself completely enamoured by.

I read My Brilliant Friend, the first in the author’s wildly popular Neapolitan tetralogy, many years ago but I didn’t like it enough to follow up with the rest in the series. But this standalone novella, purchased secondhand for the princely sum of $3, was in a class of its own. Indeed, The Lost Daughter was one of my favourite books of 2022.

The story provides a dark glimpse of motherhood and the ties that forever bind women to their children. It is narrated by Leda, a 40-something divorced mother of two adult daughters, who goes on holiday to the Italian coast for the summer. While there she gets drawn into the world of a family whose menacing machinations she doesn’t quite understand. When she steals the doll of a young girl, she sparks off a chain of events that have unforetold repercussions.

The narrative backflips between the escalating tensions of the present day and Leda’s past as a young promising academic struggling to reconcile motherhood with her marriage and career. It’s written in sparse, hypnotic prose yet somehow manages to convey a sense of urgency and danger. I ate it up in a few hours and still think about it. The film adaptation, starring Olivia Colman, is excellent.

‘The Sawdust House’ by David Whish-Wilson

Fiction – paperback; Fremantle Press; 304 pages; 2022.

David Whish-Wilson’s The Sawdust House is a vividly entertaining, multi-layered story about convicts, boxing, journalism, identity and reinvention. It is set in 19th-century San Franciso where a specially convened committee is doing its utmost to rid the city of Australian criminals.

Based on a real story, it is framed around Irish-born ex-convict James “Yankee” Sullivan (Wikipedia entry here), a renowned bare-knuckled pugilist, who is being held in prison by the Committee of Vigilance.

The book’s structure is highly original: it tells Yankee’s story using the device of an interview with Thomas Crane, an American newspaperman, in which the journalist’s thoughts and queries alternate with the prisoner’s responses. From this we learn of Yankee’s daring escape from an Australian jail, his trek to America, the great loves of his life — women, boxing, booze — and his dream of opening his own public house, The Sawdust House of the title.

It’s a rollicking great story, written in the vernacular of the time, and one that has a ring of authenticity about it.

David is a local writer, so ‘The Sawdust House’ qualifies for my ongoing Focus on Western Australian Writers reading project, which you can read more about here. 

Australia, Author, Book review, Fiction, historical fiction, Jay Carmichael, literary fiction, Publisher, Scribe, Setting

‘Marlo’ by Jay Carmichael

kimbofo

Fiction – paperback; Scribe Publications; 160 pages; 2022.

If we believe that one of literature’s aims is to give voice to the voiceless, to tell the tales of those unable to write it themselves, then Jay Carmichael’s novella Marlo has hit the bullseye.

This short, sharp, powerful story is set in Melbourne in the 1950s at a time when homosexuality was punishable by law and seen as a medical condition (and therefore “curable”) rather than as an identity.

Carmichael explains in his Author’s Note that “there’s a gap in what we today can know and understand about how life was lived as a male homosexual under societal scrutiny and persecution during mid-century Australia”.

To fill that gap he has imagined what it was like to live in fear of being branded a “sexual pervert”, of being outcast from family and friends, of being beaten up by strange men, of police entrapment, and “of arrest, exposure, infamy, and disgrace”.

Anonymous city life

The story is told in the first person by Christopher, a young gay man, who has fled his small repressive town in rural Gippsland — the Marlo of the title — to try living in the city where no one knows his name — or his preference for men.

But Chris is shy, quiet, not particularly sociable and far from worldly-wise. He moves in with Kings, an old school friend, who has no idea of Chris’ sexual orientation, winding him up about “birds” and “sheilas”, and begins working as a car mechanic.

When he meets Morgan, a young Aboriginal man, in the Botanic Gardens, a renowned gay beat, he befriends him and escorts him home on the train. An exchange of correspondence occurs over a few weeks and the pair fall in love.

Finding his place in the world

Meanwhile, Chris is introduced to a homosexual cafe, hidden away in downtown Melbourne, where he struggles to find his tribe — “these aren’t my people” — and continues to feel out of place and out of step with the rest of the world.

For Morgan, an Indigenous gay man, the struggle is even more difficult. Originally from NSW, he must carry ID papers with him, to prove he’s exempt from the Aborigines Protection Act, because he has a white father and can move freely about. He calls this a “dog tag” and is embarrassed by it, never more so than when he courts Christopher at the zoo and the pair are accosted by a policeman who orders them to leave but not without first checking Morgan’s papers.

The zoo visit was meant to be so raucous, with children chasing pelicans and mothers chasing children and fathers sweating by the snakes, that Morgan and I would be invisible. Our invisibility would have allowed us to wander, to find common ground. But common people […] disliked two men like us walking across their ground; even worse, when one of us was even less like them.

Quiet dignity

Marlo is written in beautiful, restrained prose and conveys a mood of poise and quiet dignity. The text is accompanied by striking black and white photographs, many of them courtesy of the Australian Queer Archives, which evoke a certain mood and capture time and place so magnificently.

I really enjoyed this evocative novella. In reclaiming a previously untold history, the author has created a bittersweet story that is as much about growing up and navigating a complex world as it is about living an authentic life under constant fear of exposure.

For other takes on this book, please see Lisa’s review at Anzlitlovers, and Brona’s review at This Reading Life.

The title will be released in the UK  in paperback on February 9, 2023; a Kindle edition is currently available in the UK and US.

If you liked this, you might also like:

‘Fairyland’ by Sumner Locke Elliott: a thinly veiled memoir based on the author’s first-hand experience struggling to keep his homosexuality secret while growing up in Sydney in the 1930s-40s.

‘Gents’ by Warwick Collins: an unusual tale about three West Indian janitors working in a central London toilet block that is frequented by cottagers. It explores many big themes, including homophobia, racism and religion.

I read this book for Novellas in November (#NovNov22) hosted by Cathy at 746 Books and Rebecca of Bookish Beck. And because it’s by an Australian writer, it also qualifies for Brona’s #AusReadingMonth. 

20 books of summer, 20 books of summer (2022), Australia, Author, Book review, Fiction, historical fiction, Julie Janson, literary fiction, Magabala Books, Publisher, Reading First Nations Writers, Reading Projects, Setting

‘Benevolence’ by Julie Janson

kimbofo

Fiction – Kindle edition; Magabala Books; 356 pages; 2020.

Julie Janson’s Benevolence tells the story of the early days of European settlement in Australia but with one important twist: it’s told through the eyes of a young Aboriginal girl.

Written as a rebuttal to Kate Grenville’s The Secret River*, a novel that dared to talk about frontier violence from a white perspective, Janson uses a First Nations lens to tell the other side of the story.

The author, who is a Burruberongal woman of the Darug Nation, says it is a work of fiction but is based on historical events in and around the Hawkesbury River in Western Sydney.

In her afterword, she says:

The characters are derived from Darug, Gundungurra and Wonnaruah Aboriginal people who defended their lands, culture and society. Muraging is based on my great-great-grandmother, Mary Ann Thomas, who was a servant on colonial estates in the Hawkesbury area. The other characters in the novel are inspired by historical figures and my imagination, except the governors who are based on historical documents.

Raised by white settlers

Benevolence spans 26 years (1816 to 1846) in the life of Muraging (later renamed Mary), who finds herself caught between two cultures.

Raised and educated by white settlers at a boarding school set up for Aboriginal children, she desperately misses her family and for most of this novel, she swings between the two: working as a servant when she needs food and shelter, heading on country to be with her people when she needs to get back in touch with her culture and traditions.

But even when she is with her own kind she stands out, for she wears European, albeit servant, clothes, can play the violin (she totes one around with her) and speaks English. In white society, the colour of her skin marks her out as different and her pretty looks attract the unwanted attention of often violent men. No matter where she is, she is “othered” and her desire to fit in is only made harder by the children she bears (with white men) and must raise on her own.

Frontier wars

But this is not just a tale about one indigenous woman’s experience, it’s a larger tale about the frontier wars, which rage on in the background, and of the violence committed on First Nations people by white settlers determined to keep the land for themselves, declaring Australia terra nullius and treating the original inhabitants as nothing more than vermin to be shot and exterminated.

From the start, Mary is aware of the danger that white men pose to her race because she has heard the rumours circulate at  school:

Days go by and Mary hears other children’s stories whispered in the night. Many have seen, and still see, the bodies of their parents shot and hung on trees with corn cobs in their mouths. They still watch in horror as crows peck out living eyes and black beaks pick brains.

Later, as an adult, she knows about the Bells Falls Gorge massacre, north of Bathurst, in which women and children jumped to their deaths after white settlers opened fire on them — and she is terrified she could be caught up in something similar.

She’s also increasingly aware of the destruction white people are causing and the implications this poses for local tribes. When she’s on country, for instance, the women in her tribe struggle to gather enough food to eat because “the white hunters have massacred all the local kangaroos” and there is little game nearby. The new settlers are also wreaking havoc in other ways:

The men discuss the thousands of newcomers arriving in ships in Sydney Town and how they crash through the bush smashing the fragile undergrowth, cutting down the oldest, tallest and most sacred trees – even carved burial trees. Log-splitting men follow the axe men and the sound is deafening, night and day. Fiery pits burn all night with wasted bark. Her peoples’ footpaths have become bullock tracks with deep greasy mud churned by huge wagons full of logs. The tiny fruits and flowers are being crushed. Nothing is left of the forest’s ceremonial sites. Their stories cannot be told if the places and sites of the ancestors are gone. The waterholes are ruined by cattle and the goona-filled water cannot be drunk.

Throughout the story, we see how Mary’s Christian upbringing — supposedly designed to deliver her from sin — simply entraps her. It’s a feeling that never quite goes away, messes with her sense of identity and makes her reliant on white settlers who don’t always have her best interests at heart.

An important novel

Benevolence is an important book because it puts a human face to an Aboriginal perspective, a perspective that has previously been ignored or written out of history.

At times, I felt it lost momentum, perhaps because it is just so detailed, covering every aspect of Mary’s life, which includes time on the run in the bush, various jobs as a servant, a lusty romance with a white reverend and a short stint in jail. But on the whole, it’s a comprehensive account of all the many challenges and tragedies to which Mary must bear witness.

For another take on this novel, please see Lisa’s review at ANZLitLovers and Sue’s at Whispering Gums.

* The Secret River is based on Grenville’s ancestor Soloman Wiseman, a Thames waterman who was transported to Australia for theft, and who later settled on the Hawkesbury River at the area now known as Wisemans Ferry. He is mentioned in Benevolence as follows:

Wiseman’s Ferry is a large raft where loads of flour are winched across the river by a metal wheel driven by a horse. The old ferryman and innkeeper is Solomon Wiseman. His inn is called The Sign of the Packet; he is an ex-convict and lighterman from the Thames in London. Along the riverbank, the convict road workers are dressed in torn, dirty shirts, their skins tanned from the sun and hunger etched on their faces.

This is my 7th book for #20booksofsummer 2022 edition. I bought it in July 2020, began reading it and then got distracted by covid lockdown shenanigans and never returned to it. I also read it this year as part of my project to read more books by First Nations writers. You can see all the books reviewed as part of this project on my dedicated First Nations Writers page. 

2022 Kerry Group Irish Novel of the Year, Adam Kay, Author, Book review, Fiction, Grove Press, historical fiction, Jan Carson, Lily King, literary fiction, Literary prizes, memoir, New Guinea, Non-fiction, Northern Ireland, Pan Books, Publisher, Setting, Transworld Digital, UK

Three Quick Reviews: Jan Carson, Adam Kay & Lily King

kimbofo

I’m a bit behind in my reviewing, so here’s a quick round-up of books I have recently read. This trio comprises an Irish “supernatural” story, a medical memoir from the UK and a historical novel by an American writer. They have been reviewed in alphabetical order by author’s surname.

‘The Raptures’ by Jan Carson

Fiction – Kindle edition; Transworld Digital; 332 pages; 2022.

Shortlisted for the 2022 Kerry Group Irish Novel of the Year award, Jan Carson’s The Raptures is an unusual tale about a mysterious illness that spreads through a group of children from the same village, killing them one by one. But one young girl, Hannah Adger, remains healthy, the sole survivor of her entire classroom. Scared and haunted by survivor’s guilt, Hannah, who is from an evangelical Protestant family, discovers she can see and communicate with her dead friends.

Set in Ulster in 1993 during The Troubles, the illness that sweeps the small community is a metaphor for a war that rages on with seemingly no end in sight. As the children fall prey to the mystery illness, the community is brought together by a desire to end the disease that is killing its loved ones — but many families get caught up in the fear and the anger of an out-of-control plague and look for someone to blame, contributing to the divisions in an already divided community.

Admittedly, I struggled a little with this book. The structure, repetitive and predictable, quickly wore thin and I found the supernatural elements hard to believe. Ditto for the explanation of what caused the illness (which I guessed long before it was revealed). Perhaps it didn’t help that I had Covid-19 when I read the tale, so I wasn’t in the mood for reading about sick people dying. But as a treatise on religion, grief and faith, The Raptures is an unusual — and unique — read.

‘This is Going to Hurt: Secret Diaries of a Junior Doctor’ by Adam Kay

Non-fiction – memoir; Pan Macmillan; 256 pages; 2018.

One of the best things about living in the UK (which I did between 1998-2019) was the free medical treatment I was able to access under the National Health Service (NHS), a centrally funded universal healthcare system, free at the point of delivery. But the system is not perfect and is chronically underfunded and overstretched. Adam Kay’s memoir of his time working in the NHS as a junior doctor highlights what it is like to work on the front line, where every decision you make has life and death implications for the people under your care.

Written in diary form over the course of several years, This is Going to Hurt is a no-holds-barred account of a medical career forged in an overwhelmingly stressful environment dominated by long hours, poor pay and next to no emotional support. But Kay, who has since left the profession to become a stand-up comic, takes a cynical, often sarcastic tone, recounting stories and events — mostly to do with obstetrics and gynaecology, the areas in which he specialised  — with sharp-edged humour, so I tittered my way through most of the book.

And when I wasn’t laughing, I was crying because it’s so heartbreaking in places. Mind you, it’s nowhere near as dark and oppressive as the recent BBC drama series, which prompted me to read the book.

(Note, I wouldn’t advise anyone who is pregnant or has had a traumatic birth experience to pick it up.)

‘Euphoria’ by Lily King

Fiction – paperback; Grove Press; 288 pages; 2014.

Said to be loosely based on American anthropologist Margaret Mead’s time spent researching tribes in New Guinea in the 1940s, Euphoria is a story about a love triangle set in the jungle. It’s the first time I’ve ever read a novel about anthropologists and I found it a fascinating tale about ego, arrogance, academic controversy and desire.

I knew nothing about Mead and her achievements, so I can only judge the book on the power of its storytelling, which I found compelling even if the plot was a little thin. This is essentially a character-driven story — and what characters they are! We meet American Nell Stone, the central character, upon which the others revolve, including her Australian husband Fen, and the couple’s English friend Andrew Bankson.

King paints a convincing portrait of a trio of anthropologists at work, fleshing out each character so that we meet them in the past and the present, understand what drives them, what infuriates them and why they do what they do.

And the setting, including the (fictional) tribes that are described in such vivid detail, imbues the story with a rich sense of atmosphere and realism.

I read ‘The Raptures’ as part of my project to read all the shortlisted titles for the 2022 Kerry Group Novel of the Year Award. 
2022 Kerry Group Irish Novel of the Year, Author, Book review, Fiction, historical fiction, Ireland, Italy, literary fiction, Literary prizes, New Island, Nuala O'Connor, Paris, Publisher, Setting, Switzerland

‘NORA: A Love Story of Nora Barnacle and James Joyce’ by Nuala O’Connor

kimbofo

Fiction – Kindle edition; New Island; 507 pages; 2021.

Nora, by Nuala O’Connor*, is a bold and bawdy fictionalised account of the life of Nora Barnacle, who was James Joyce’s muse, partner and inspiration for Molly Bloom in his acclaimed novel Ulysses.

A love story

At its most basic level, it’s a love story between two people who flee the religious constrictions of Ireland for a new life, relatively free of judgment and prying eyes, in mainland Europe. But that life, a self-imposed exile, is peripatetic and impoverished, and Jim (as Nora calls him) has ongoing health issues, including glaucoma, nerves and a problem with alcohol that provides additional challenges.

Using key points in the historical record, O’Connor charts the couple’s relationship from 1904 — when they had their first sexual encounter in Dublin — to Jim’s death in Zurich, in 1941, following surgery for a perforated duodenal ulcer. A final chapter describes Nora’s life as a widow until her own death (from kidney failure) in 1951. According to the author, “some small facts have been altered or amended for dramatic purposes” but it’s largely faithful to the couple’s shared and complex history.

That history includes the birth of two children — a son, Giorgio, and a daughter, Lucia — in quick succession. (Lucia, who was diagnosed with schizophrenia as a young woman, causes a rift in their relationship because Nora believed her daughter needed to be hospitalised but Jim thought it was unnecessary.)

It also consists of wider family dramas, other romantic liaisons and friendships with the likes of Samuel Beckett, Peggy Guggenheim and Sylvia Beach.

A supportive wife

And underpinning it all is Nora’s undying support of her husband’s career despite the fact it doesn’t always make her, or her children, happy.

‘You’re a beautiful writer, Jim,’ I say. And he is, though truly some of his stories baffle me as much as the Moore fellow’s ones. But, it seems, some of my own stories live within Jim’s writing. It’s a queer feeling, but is he not entitled to take parts of me and mould them for his good use? Especially if it will get him a book published and move us along in this life.

There’s no doubt that the pair’s life together is an extraordinary adventure, full of ups and downs and incredibly testing times, but the strength of their love for one another gets them through.

It’s quite bawdy and sexually explicit in places, and when this period of their life wanes, as it inevitably does in most long-term relationships, Nora becomes annoyed by his inability to commit himself to her in any legal way (the pair don’t get married until 1931 after 27 years together) and what she believes is his immature ways:

Jim Joyce is my love, but he’s also a bother to my heart and a sore conundrum to my mind. I don’t think the day will come when he’ll grow to be the man he should be.

Intimate first-person tale

The novel is incredibly detailed and written in an intimate first-person voice from Nora’s perspective, but at more than 500 pages it’s long, perhaps overly so, but it does reward the patient reader.

It’s vivid and bold, sensuous and ribald, and gives voice to a woman who lived her life in the shadow of a man who was fiercely ambitious but also hungry for attention and being the life of the party.

Yes, the other wives and the literary women, who so love to scurry around the great James Joyce, find me a vast disappointment. But, hand on heart, I don’t give a sailor’s snot what they think. Jim is Jim, and Nora is Nora, and we know that despite any upsets and troubles we’ve had, we’re strong as steel together.

Nora has been shortlisted for this year’s Kerry Group Novel of the Year Award and having read all the books on the shortlist now, I will nail my flag to the mast and declare that I think it deserves to be named the winner!

This is my 4th book for the 2022 Kerry Group Novel of the Year Award. I am trying to read the entire shortlist before the winner is announced on 1st June.

* Nuala O’Connor also writes under her Irish name, Nuala Ní Chonchúir’. I’ve read several of her books, all reviewed here.

Author, Book review, England, Fiction, Graham Swift, historical fiction, literary fiction, Publisher, Scribner, Setting

‘Mothering Sunday: A Romance’ by Graham Swift

kimbofo

Fiction – hardcover; Simon & Schuster; 132 pages; 2018.

The novella Mothering Sunday, by Graham Swift, pivots around one central moment: a final sexual encounter between two people from different social classes before one of them goes off to marry someone else.

Set on 30 March 1924—Mothering Sunday—the story goes beyond this date to explore what happens to each of the young lovers in the aftermath of their affair.

It’s written in the third person but told largely from the perspective of Jane Fairchild, a 22-year-old housemaid, who is romantically involved with Paul Sheringham, a handsome young man up the road who is engaged to be married to Emma Hobday, a young woman in the same social class as him.

Paul is 23, the only surviving son of an upper-class family in rural Berkshire (his brothers were killed in the Great War), and his whole life has been mapped out for him. His background — and his prospects — could not be any more different than Jane’s. Yet the pair have been secret lovers for years.

She didn’t know how he had acquired his sureness. Later, in her memory, she would marvel at it and be almost frightened by his possession of it then. It was the due of his kind? He was born to it. It came with having no other particular thing to do? Except be sure.

Despite Jane’s lack of formal education, she is a keen reader and has access to her kindly employer’s own personal library. On the day in question, she plans to read her borrowed copy of Joseph Conrad’s Youth in the spring sunshine. She’s an orphan, so has no mother to visit, but then Paul summons her for a morning rendezvous and the whole course of her life changes…

An auspicious date

Written in exquisite language, languid and sensual, the narrative continually loops back on itself so there is never any mistaking the importance of the date, repeated like a mantra, to Jane, who looks back on this particular Mothering Sunday with awe and delight and shock and grief. What enfolds on that single day has repercussions for her entire life, a life in which she becomes a successful writer and uses her affair with Paul as both inspiration and succour during her long career.

Swift is a careful stylist, shaping the story so that it seamlessly flits backwards and forwards in time, revealing Jane’s innermost feelings and desires, showing what her life was like before meeting Paul and what it becomes, years and decades later, when their romance ends.

And in highlighting the differences between British social classes, it’s easy to see how this match between a maid and a young lawyer would never be acceptable to the masses despite their clear feelings for one another. Jane, in particular, has been conditioned to behave according to her social standing and she is wary of challenging Paul, of demanding anything of him even though she’s well within her rights to do so.

It was not her place, after all, with her ghostly maid’s clothes back on again, to speak, suggest or do more than wait. Years of training had conditioned her. They are creatures of mood and whim. They might be nice to you one moment, but then— And if they snapped or barked, you must jump. Or rather take it in your stride, carry on, not seethe. Yes sir, yes madam. And always—it was half the trick—be ready for it.

As it turns out, such training holds Jane in good stead when she needs it most.

This is a beautifully told tale that is both compelling and heartbreaking. It’s richly evocative of the era and lingers in the mind long after the final page. I loved its exploration of truth and memory and of lives unlived.

For other takes on Mothering Sunday, please see Brona’s review and Lisa’s review.

If you liked this, you might also like:

‘On Chesil Beach’ by Ian McEwan: Set on a single night, this novella explores the consummation of a marriage between two deeply inexperienced people.

Author, Book review, Fiction, Germany, historical fiction, holocaust, Kathrine Kressmann Taylor, literary fiction, Publisher, Serpent's Tail, Setting, USA

‘Address Unknown’ by Kathrine Kressmann Taylor

kimbofo

Fiction – paperback; Serpent’s Tail; 90 pages; 2015.

For such a slim book, this one packs a powerful punch!

First published in 1938, Address Unknown is a timely reminder of the invidious nature of fascism and the ways in which this warped ideology can tear once-close people apart.

It tells the story of a friendship between two men — a Jewish art dealer and his business partner — that is tested by political events in the lead up to the Second World War.

Martin Schulse and Max Eisenstein run an art gallery together in San Francisco, but when Martin repatriates to Germany their friendship continues via correspondence.

An epistolary tale

Through their letters, which span the period from November 1932 through to March 1934, we come to understand the closeness of their relationship and the way in which it begins to fracture as events in Europe unfold.

When Max hears about political unrest in Germany, he is distressed by the news reports “that come pouring in to us from the Fatherland” and asks Martin to clarify what is going on:

I know your liberal mind and warm heart will tolerate no viciousness and that from you I can have the truth.

Martin’s reply, now on headed paper from his bank to avoid the censors, warns his friend to cease writing to him.

It is impossible for me to be in correspondence with a Jew even if it were not that I have an official position to maintain.

He makes deeply offensive antisemitic remarks further on in the letter, suggesting that he is now firmly on the side of Hitler, whom he refers to as “our Gentle Leader”. But Max refuses to believe that his friend has gone down this upsetting political path, writing:

I can see why Germans acclaim Hitler. They react against the very real wrongs which have been laid on them since the disaster of the war. But you, Martin, have been almost an American since the war. I know that it is not my friend who has written to me, that it will prove to have been only the voice of caution and expediency.

Within a few more letters their friendship lies in tatters, but Max does not give up easily, continuing to write even when he gets absolutely no response. There’s a sting in the tail though, one that demonstrates the life-and-death power which can be wielded by the pen.

Address Unknown takes less than an hour to read, but I dare say it will be a tale that will stay with me for the rest of my life. I came away from it reeling and I’ve been mulling over the implications, and the way in which Max levels the playing field, ever since.

Afterword by the author’s son

This edition, published in 2015, comes with an afterword written by the author’s son, Charles Douglas Taylor.

He explains that Address Unknown was originally published in Story magazine in September 1938, one of the first stories to expose “the poison of Nazism to the American public”. It was published as a book the next year and sold out in the USA and England but was banned in Europe. It was largely forgotten after the war but was reissued in 1995 to commemorate the 50th anniversary of the liberation of the concentration camps.

A French translation in 1999 brought it to the attention of European readers for the first time. By 2010, it had been translated into 23 languages. It has been adapted for stage and performed on both Broadway, in the US, and the West End, in London.

The author died in 1996, aged 93. You can find out more about her via her Wikipedia page.