Two debut novels by women about women reviewing their (successful and stable) marriages in the context of an important relationship for one partner that’s not shared with the other. In the first, the wife’s passion for God and poetry leads her into the mind, arms and eventual bed of a man who isn’t her husband; in the second, the wife, emerging from her grief at her husband’s sudden death, becomes suspicious about the nature of his secret friendship with a woman he’s met on business trips abroad. Both authors employ non-linear structure to good effect.
I’m proud to be taking the reins this week at the Carrot Ranch, with a flash fiction prompt on showing someone around a property. My theme arose partly from the open weekend at North Lees Hall, which attracted over a thousand visitors across the two days. Although I got rather chilled standing in the doorway trying to steer a one-way system on the two sets of stairs, it was great fun. For those who couldn’t make it to Derbyshire, here’s a virtual tour of the house, both inside and out.
Did you notice the p-word in my opening sentence? Did it make you wince? If so, I hope I can persuade you that, not only is the adjective perfectly apt for the purpose, you should lay claim to it yourself.
As Christmas Eve is the traditional time for ghost stories and the Gothic, so today’s the day to share a couple of my recent reads to have you scared to go to bed.
While I’d recommend this novel to readers, I want to focus, as I did some time ago with Instructions for a Heatwave, on what we can learn from Laird Hunt’s sixth novel (although the first to be published in the UK) as writers, whether we are looking to write historical fiction or not.
It’s publication week for Sugar and Snails and I’m breathless with excitement. The buzz is building with two reviews already (from Victoria Best and from Stephanie Burton) and some lovely tweets from early readers at #SugarandSnails. Now, thanks mainly to the generous response to my request for hosts, I’ve made two excursions to other blogs (firstly, to Shiny New Books to share my thoughts on writing about secrets, the false self and insecure identities; secondly to Isabel Costello’s literary sofa to discuss the pleasures of small-press publication), and my case is packed ready to depart on the blog tour proper.
Kate Hamer’s debut novel reminds me of a conversation a friend had with her pre-teen daughter after a relative’s baby had died. “It’s the worst thing imaginable to lose a child,” said my friend. “No,” insisted her daughter. “It’s much much worse to lose a parent.” The Girl in the Red Coat doesn’t ask us to choose: it explores the nightmare scenario of a child going missing from the perspectives of both the mother and the girl.
Carmel Wakeford is eight when she becomes separated from her mother at a children’s storytelling festival (at which I think I detected a cameo role for the doyenne of children’s fiction, Jacqueline Wilson). A man who claims to be her estranged grandfather tells her her mother has been taken to hospital after an accident and that he’ll look after her now. A few days later, he gives her the devastating news that her mother is dead and her father wants her to remain with her grandfather. She’s taken to America to a new life on the fringes of society, moving between evangelical churches, where Carmel’s supposed “healing hands” are much in demand.
A man who’s always been suspicious of computers goes to buy an iPad. Unfortunately, he’s also highly suspicious of people, especially the white-shirts who seem intent to frustrate him with paperwork. The ensuing argument almost has him evicted from the shop. Meet Ove: a crotchety old geezer who’s thwarted every way he turns. He can’t even be left in peace to end his own life.
I’m always intrigued when a novel worms its way so deeply under my skin I start behaving like the main character. So what if this was a million-copy bestseller, I wasn’t going to trust a writer who reckons the first thing I need to know is the age of his main character (fifty-nine), closely followed by the kind of car he drives (a Saab). To hell with the respectful approach I’d outlined in my post on my reading for reviews, this one was going to be a meditation on the minutiae of getting it wrong. Never mind that, in going to test drive a new car (not a Saab) recently, my husband and I found ourselves embroiled in a disagreement similar to the one Ove engenders in the computer shop. My grumpiness was nothing to do with me, or even the fact that I was reading the novel while still enraged about the result of the recent election.
Ivo lies in bed in a hospice, part of him, at only forty, unable to accept that he’s there. His favourite nurse, Sheila, suggests he play a game to keep his mind occupied: composing an A-Z of body parts, each linked to a tale about his life. He addresses these to an initially unnamed other – using as a form of the second-person point of view I’ve discussed in a previous post – who turns out to be his girlfriend, Mia, now sorely missed.
Ivo was born into a loving family but, after his father died when he was only six, he’s always had difficulty avoiding the influence of the wrong kind of friends. An insulin-dependent diabetic from his late teens, like some other young people with the condition, he doesn’t always attend sufficiently to his self-care. On top of this, there’s Malachy, his best friend from school and his elder sister’s partner, tempting him to sample a cornucopia of drug-fuelled highs. As Ivo’s condition worsens, and the hospice staff recommend morphine for the management of this pain, he becomes increasingly anxious about the prospect of a visit from Malachy from whom he’s become estranged.
Today’s the day that the internet is going to zing with antidotes to the mammoth cruelty and indifference to suffering that exists in this world. The 1000 Voices Speak for Compassion blogathon, launched by Yvonne Spence just over a month ago, has rocketed through the airwaves (or do I mean fibre-optic cables?), enthusing a galaxy of bloggers and tweeters to join in. As a warmup, Charli Mills compiled a virtual anthology of the Carrot Ranchers’ compassion-themed 99-word stories. Mine focused on compassion within marriage (after all, it was Valentine’s Day when I posted) and the self-compassion that’s needed for compassion for others to thrive. My contribution to the 1000 Voices is to elaborate the ideas behind that flash.
It might seem contradictory to focus on the self when the genesis of this movement was to combat the despair at an apparent lack of compassion for others. Yet one of the examples that Charli gave in her post introducing the compassion prompt made me think about how people can find compassion for others difficult because they haven’t experienced sufficient compassion themselves. Even if compassion doesn’t require them to do anything, it might feel too big a burden to take on, especially if they’ve been shackled with caring for others when they were desperately in need of care themselves.
Seven-year-old Millie has been studying Dead Things since the death of her dog, Rambo. Number twenty-eight on her list takes up two pages of her exercise book: MY DAD. Still, at least she’s got her mum, until even she leaves her to wait beside the Ginormous Women’s Underwear stand at the department store and doesn’t come back. Eighty-seven-year-old Karl, who once typed love letters with his fingers on his deceased wife’s skin, has fled the old people’s home to fulfil their shared dream of camping out in the department store overnight. Eighty-two-year-old Agatha has not left her house since the death of her husband seven years before, her days following a strict timetable which includes analysing her aged body and writing angry letters of complaint. When the three meet up, they embark on a road and rail trip across Australia in search of Millie’s mum.
I was a little disturbed by this novel, not so much in respect of the unsettling subject matter, but in the way that subject was handled. I’ve wondered how much of that is me, and how much the writer, and have come to the unbiased or sitting-on-the-fence conclusion (depending on the way you choose to look at it) that it’s a bit of both. It raises a question I’ve considered before on Annecdotal, especially in my review of Jemma Wayne’s After Before, as to whether a novel is weakened by drawing parallels between extreme and milder transgressions or acts of injustice. It also forces me to confront the limits of my openness as a reader to alternative treatments of controversial issues.
Bernadine Bishop, who died in 2013, has an interesting history: the youngest witness in the Lady Chatterley trial, she published two novels in her twenties, taught for ten years in a London comprehensive, before retraining as a psychotherapist. On retirement in 2010, she returned to writing fiction, with her first later novel, Unexpected Lessons in Love, which drew on her experience as a mother undergoing cancer treatment, shortlisted for the Costa Novel Award in 2013. If you’ve followed my series on fictional therapists, you’ll appreciate that I was intrigued when I read that Hidden Knowledge stems from her experience as a therapist.
Annecdotal is where real life brushes up against the fictional.
Annecdotist is the blogging persona of Anne Goodwin:
slug-slayer, tramper of moors,
author of two novels.
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