Author, Book review, England, Fiction, literary fiction, Publisher, Setting, UK, V. G. Lee, Ward Wood Publishing

‘Always You, Edina’ by V. G. Lee

Fiction – Kindle edition; Ward Wood Publishing; 242 pages; 2012.

Bittersweet and delightful are the two words that best sum up V.G. Lee’s Always You, Edina.

This family drama, set in Birmingham, England in the 1960s, is told through the eyes of Bonnie Benson, an only child, who idolises her Aunt Ed (of the title) but is too young to appreciate why other people don’t hold her in such high regard.

The story swings between the past and the present as a middle-aged Bonnie visits her 89-year-old grandmother in a residential care home and recalls the year that changed all their lives forever.

A surprisingly good read

I will admit that I did not expect to like this book when it was chosen as my book group’s November read. When I ordered my copy online I couldn’t help but think it looked self-published (it’s not).

Yet Lee is an established author with four novels and a short story collection to her name. She is also a stand-up comedian, which may explain why this book is so outrageously funny in places and why, even amongst the pathos of Bonnie’s childhood, there is a dark seam of humour running throughout.

A few pages in I got used to the plain prose style and the lengthy descriptions of what people were wearing — “I wore a pea-green linen trouser suit. Around my neck I’d looped a scarf in a silvery thread, one of my own designs” — and found myself getting drawn into a rather intriguing domestic drama in which Aunt Ed was akin to “Gina Lollobrigida and Grace Kelly — fire and ice” and whose “breasts stormed into the room ahead of her”.

In fact it is Aunt Ed, the glamorous character at the heart of this story and whom we only see through 11-year-old Bonnie’s eyes, that makes the novel such a charming, slightly naughty, read.

‘I wish I had hair like Aunt Ed,’ I said.
‘It’s out of a bottle.’
‘What do you mean?’ I imagined hair pouring like liquid gold from a fairytale flagon.
‘Ed has a hairdresser friend who comes to their house and does it for her but don’t tell anyone I said so.’
‘Does what for her?’
‘Dyes her hair of course. You didn’t think it was natural, did you?’
‘So could I have hair that colour?’
‘Over my dead body.’ Mum leant out of the window.

Coming of age story

Always You, Edina is essentially a coming-of-age tale. Bonnie, a pre-teen in the 1960s when children were still seen but not heard, is too young to comprehend the complicated relationships between the adults in her life: her parents, unhappily married, and her Aunt Ed and Uncle Brian, who seem smitten with each other. But it’s clear to the reader that there are inappropriate dalliances occurring that are beyond a child’s ken.

They are always arguing now. The grown-ups. Their rows are like little bonfires that they take turns in starting up, then along comes Gran with a bucket of water. Some hissing, some crackling, and usually the bonfire goes out.

Not a great deal happens plot wise: the story more or less charts the ups and downs of Bonnie’s life — her crush on her popular classmate Joanna Bayliss, her star turn in the class play, her mixed feelings for her cousin Susan, who pushes her down the stairs — but it’s so vividly told it’s hard not to keep turning the pages.

And Bonnie is such a delightful character: good-natured, clever and naive, all at the same time.

Always You, Edina isn’t a quick read, but it’s one to enjoy lingering over. The Bensons, including Bonnie’s cantankerous outspoken grandmother, are wonderful fun: Brummies brimming with heart, attitude — and carefully kept secrets.

Author, Book review, Books in translation, Fiction, Harvill Secker, Norway, Per Petterson, Publisher, Setting

‘Ashes in my Mouth, Sand in my Shoes’ by Per Petterson


Fiction – paperback; Harvill Secker; 128 pages; 2013. Translated from the Norwegian by Don Bartlett. Review copy courtesy of the publisher.

Ashes in my Mouth, Sand in my Shoes, first published in 1987, was Norwegian writer Per Petterson’s first book, yet it was only translated in 2013. Like many other successful authors who write in languages that are not English, his books have been translated out of order. This means that for fans like me — I’ve reviewed most of his work here — we have to read things out of chronological order. Not that it really matters: reading a Per Petterson novel is always a treat, regardless of when it was published, and this one is no exception.

The book, which is beautifully presented with French flaps and high-quality paper, comes in a small format paperback measuring 11.9cm x 16.6cm, making it perfect to fit in a handbag or, in my case, a bike bag. I toted it around with me for about a week and read a chapter each morning as I ate my breakfast having cycled 6.5 miles into work. It was the perfect way to start the day.

Introducing Arvid Jansen

Ashes in my Mouth, Sand in my Shoes tells the story of Arvid, a character who features strongly in Petterson’s later novels, In the Wake (first published in 2000 and translated into English in 2007) and I Curse the River of Time (first published in 2008 but translated into English in 2010) and is said to be loosely based on Petterson himself.

In this debut novel, Arvid is a six-year-old boy living on the outskirts of Oslo in the 1960s. His world revolves largely around his working-class parents — his Danish mother, who is a cleaner, and his father, a factory worker — his older sister Gry and his paternal uncle Rolf, who is a socialist.

Structured around 10 self-contained chapters, it reads a bit like a short story collection, but the unifying thread is Arvid’s unique take on the world coupled with his inability to comprehend the adult situations around him. His childhood naivety is utterly endearing, but there are also moments when you realise his honesty may work against him.

For example, in the opening chapter A Man Without Shoes, Arvid’s father loses his job as a foreman in a shoe factory. He goes to Denmark to work in an office but returns six months later because he wasn’t “much of a paper pusher”. His brother Rolf gets him a job in a brush factory making toothbrushes, which he accepts begrudgingly, but even young Arvid knows there is no future in this line of work:

Shoes, on the other hand, there was a lot to say about them. Gym shoes, smart shoes, ladies’ shoes, children’s shoes, ski boots, riding boots. Dad talked a lot about shoes, and he knew what he was talking about. But now it was over. Now you couldn’t even say the word ‘sole’ aloud. If you did Dad would lose his temper.
‘In this house we wear shoes, we don’t talk about them, is that clear!’ he said, and then there was silence, although Arvid could easily see that his mother was annoyed by all the detours they had to take.

Later, his father throws out all the shoe samples and rolls of leather he had been given in his previous job in order to clear space in the cellar. He needs the space to store the toothbrush samples, which he now brings home from work.

‘That’s it, Arvid,’ Dad said with an ugly laugh and his face looked just like a rock. ‘Now I’m a man without shoes!’
‘I know,’ Arvid said. ‘Now you’re a man with toothbrushes!’
And even though he was only one metre fifteen tall and pretty slight, his voice was so heavy with scorn that at first his dad stared at him and then went into the kitchen, and he slammed the door after him.

Poignant snapshots of childhood

There are many scenes like this throughout the book in which Arvid says what everyone is thinking. This brings a rare poignancy to the tale, especially when you begin to “read between the lines” and come to understand that Arvid’s father is a difficult, slightly bitter character — he seems to have a fraught relationship with most adults in his life, including his wife, but especially with his brother, with whom he fights, sometimes physically — and even young Arvid, who adores him, is often afraid of him. Whether this explains Arvid’s bedwetting or his nightmares isn’t clear.

As the quotes above should show, it’s written in simple, unadorned prose, and yet the narrative brims with nostalgia and tenderness, and a painful kind of honesty shines through. It shows the world through a six-year-old’s eyes so evocatively and eloquently, it’s hard not to be “wowed” by Petterson’s skill as an author. Although the narrative is disjointed — it reads like a snapshot of Arvid’s childhood at various points in time rather than as one seamless flow working towards a climax — it’s a rather delightful, bittersweet read.

I really enjoyed Ashes in my Mouth, Sand in my Shoes if only to appreciate the book that brought Petterson to Norway’s attention all those years ago.