Jess Kidd’s fourth novel is based on a true story: the ill-fated voyage of the Batavia, which set off from the Netherlands in 1628, bound for Indonesia, but wrecked on the Abrolhos Islands off the western coast of Australia in June 1629. If you look into it at all, you find a grim story of mutiny and murder. But we experience the voyage, and view its historical legacy, through the eyes of two motherless children: Mayken, travelling on the Batavia to be reunited with her merchant father abroad; and Gil, who, in 1989, moves in with his grandfather at his Australian beach hut and observes archaeologists diving into the wreck.
Chapters alternate between the two time periods. Mayken is in the care of her old nursemaid, Imke, who has second sight. As Imke’s health fails, Mayken goes semi-feral, dressing up as a cabin boy to explore the belowdecks world. Gil, a tender, traumatized boy in the company of rough grown-ups, becomes obsessed with the local dig and is given a pet tortoise – named Enkidu to match his own full name, Gilgamesh. Mayken and Gil both have to navigate a harsh adult world with its mixture of benevolent guardians and cruel strangers.
An explicit connection between the protagonists is set up early on, when a neighbour tells Gil there’s a “dead girl who haunts the island … Old-time ghost, from the shipwreck,” known as Little May. But there are little links throughout. For instance, both have a rote story to explain their mother’s death, and both absorb legends about a watery monster (the Dutch Bullebak and the Aboriginal Bunyip) that pulls people under. The symmetry of the story lines is most evident in the shorter chapters towards the end, such as the rapid-fire pair of 33–34.
These echoes, some subtle and some overt, are the saving grace of an increasingly bleak novel. Don’t be fooled by the focus on children’s experience: this is a dark, dark story, with only pinpricks of light at the end for one of the two. In terms of similar fiction I’ve read, the tone is more Wakenhyrst than The Essex Serpent; more Jamrach’s Menagerie than Devotion. (It didn’t help that I’d just read Julia and the Shark, an exceptional children’s book with a maritime setting and bullying/mental health themes.) I engaged more with the contemporary strand – as is pretty much always the case for me with a dual timeline – yet appreciated the atmosphere and the research behind the historical segments. This doesn’t match Things in Jars, but I was still pleased to have the chance to try something else by Jess Kidd.
With thanks to Canongate for my free copy for review.
I was delighted to be part of the social media tour for The Night Ship. See below for details of where other reviews and features have appeared or will be appearing soon.
The Poet lured me with the prospect of a novel in verse (Girl, Woman, Other and Mary Ann Sate, Imbecile are two others I would recommend) and the theme of a female poet caught up in a destructive relationship with her former professor. Emma Eliot published a poetry collection at age 21 before embarking on an abandoned PhD on Charlotte Mew. Tom Abbot, a charming Oxford don in his early forties, left his wife and daughters for her, but Emma has found that the housewife existence doesn’t suit her and longs to return to academia. Tom relies on Emma to boost his ego, play stepmum and help him with his publications, but scorns her working-class upbringing and can’t conceive of her having her own life and desires.
Tom’s students and ex-wife commiserate with Emma over his arrogance, but in the end it’s up to her whether she’ll break free. She tells her story of betrayal, gaslighting and the search for revenge in free verse that flows effortlessly. Sometimes her words are addressed to Tom:
Miles of misunderstanding waver
Anything would be better than the stink
– and other times to the reader.
Give me the confidence of a mediocre white man
who thinks he has the right to
a woman’s work –
and womb –
and everything else.
if the bed seems too big
then perhaps that is because I have shrunk
to fit the space,
or am lost in the wasteland of what was.
There are a few poetry in-jokes like that one, with Emma quoting Emily Dickinson and Tom likening her early work to Sylvia Plath’s. Usually this feels like reading fiction rather than poetry, though the occasional passage where alliteration and internal rhymes bloom remind you that Emma is meant to be an accomplished poet.
I wanted to sit in a book-lined room
wombed in words.
I didn’t see the tomb that waited
for the woman
who underrated herself.
That said, I didn’t particularly rate this qua poetry, and the storytelling style wasn’t really enough to make a rather thin story stand out. Still, I’d recommend it to poetry-phobes, as well as to readers of The Wife by Meg Wolitzer and especially Here Is the Beehive by Sarah Crossan (who, like Reid, wrote YA fiction before producing an adult novel in verse).
My thanks to Doubleday and Anne Cater of Random Things Tours for my proof copy for review.
I was delighted to be part of the blog tour for The Poet. See below for details of where other reviews have appeared or will be appearing soon.
A library populated entirely by rejected books? Such was Richard Brautigan’s brainchild in one of his novels, and after his suicide a fan made it a reality. Now based in Vancouver, Washington, the Brautigan Library houses what French novelist David Foenkinos calls “the world’s literary orphans.” In The Mystery of Henri Pick, he imagines what would have happened had a French librarian created its counterpart in a small town in Brittany and a canny editor discovered a gem of a bestseller among its dusty stacks.
Delphine Despero is a rising Parisian editor who’s fallen in love with her latest signed author, Frédéric Koskas. Unfortunately, his novel The Bathtub is a flop, but he persists in writing a second, The Bed. On a trip home to Brittany so Frédéric can meet her parents, he and Delphine drop into the library of rejected books at Crozon and find a few amusing turkeys – but also a masterpiece. The Last Hours of a Love Affair is what it says on the tin, but also incorporates the death of Pushkin. The name attached to it is that of the late pizzeria owner in Crozon. His elderly widow and middle-aged daughter had no idea that their humble Henri had ever had literary ambitions, let alone that he had a copy of Eugene Onegin in the attic.
The Last Hours of a Love Affair becomes a publishing sensation – for its backstory more than its writing quality – yet there are those who doubt that Henri Pick could have been its author. The doubting faction is led by Jean-Michel Rouche, a disgraced literary critic who, having lost his job and his girlfriend, now has all the free time in the world to research the foundation of the Library of Rejects and those who deposited manuscripts there. Just when you think matters are tied up, Foenkinos throws a curveball.
This was such a light and entertaining read that I raced through. It has the breezy, mildly zany style I associate with films like Amélie. Despite the title, there’s not that much of a mystery here, but that suited me since I pretty much never pick up a crime novel. Foenkinos inserts lots of little literary in-jokes (not least: this is published by Pushkin Press!), and through Delphine he voices just the jaded but hopeful attitude I have towards books, especially as I undertake my own project of assessing unpublished manuscripts:
She had about twenty books to read during August, and they were all stored on her e-reader. [Her friends] asked her what those novels were about, and Delphine confessed that, most of the time, she was incapable of summarizing them. She had not read anything memorable. Yet she continued to feel excited at the start of each new book. Because what if it was good? What if she was about to discover a new author? She found her job so stimulating, it was almost like being a child again, hunting for chocolate eggs in a garden at Easter.
Great fun – give it a go!
(Originally published in 2016. Translation from the French by Sam Taylor, 2020.)
My thanks to Poppy at Pushkin Press for arranging my e-copy for review.
(Walter Presents, a foreign-language drama streaming service, launched in the UK (on Channel 4) in 2016 and is also available in the USA, Australia, and various European countries.)
I was delighted to be part of the Walter Presents blog tour. See below for details of where other books and reviews have featured.
The New York City publishing world was an irresistible draw of this historical novel, my first fiction read from Francine Prose. In June 1953, Simon Putnam, newly graduated from Harvard with a degree in folklore studies, is living at home with his parents on Coney Island when the Rosenberg execution appears on television. The whole country has been caught up in this sordid real-life spy drama, but his family has an unusual connection that makes them feel they have more of a stake: Simon’s mother grew up in the same tenement building as Ethel Rosenberg and they attended high school together. The Putnams feel the execution was a disgrace, and Simon’s mother has even created a sort of shrine to Ethel in their apartment.
This puts Simon in a tricky situation when his uncle gets him an editorial job with a publisher whose next project – intended to keep the struggling firm afloat – is the potboiler The Vixen, the Patriot, and the Fanatic, a thinly veiled version of the Rosenberg story that relishes in their demise, turning them into “Soviet sex zombies.” Besides being in poor taste, it’s atrociously written. Can Simon turn it into something more in line with his values without displeasing his boss? Complicating matters is his crush on the book’s author, Anya Partridge, a vamp who wears a fox stole and happens to be confined to a mental asylum.
Nothing is what it seems in a suspenseful narrative inspired by the events of the Red Scare. Characters who initially embody stereotypes end up surpassing expectations. I have trouble putting my finger on why I found this novel underwhelming on the whole. Maybe it was something to do with the far-fetched turns and Simon’s impassive narration. Or one too many references to his sex fantasies about Anya. I don’t see myself seeking out more fiction by Prose. But if you’re a fan of Three-Martini Lunch by Suzanne Rindell and especially The Secrets We Kept by Lara Prescott, you may well find this a pleasant summer diversion.
My thanks to Harper360 UK and Anne Cater for arranging my proof copy for review.
I was delighted to be part of the blog tour for The Vixen. See below for details of where other reviews and features have appeared or will be appearing soon.
Are you having a groovy June yet? If not, I have just the remedy: a juicy coming-of-age novel that drops you directly into the Baltimore summer of 1975. Mary Jane Dillard, 14, lives in the upper-class white neighborhood of Roland Park. Her parents are prim types who attend church every week, belong to a country club, and pray for the (Republican) president’s health before each sit-down family dinner. When Mary Jane starts working as a daytime nanny for five-year-old Izzy, the Cones’ way of life is a revelation to her. They are messy bohemians who think nothing of walking around the house half-naked, shouting up and down the stairs at each other, or leaving a fridge full of groceries to rot and going out for fast food instead.
Dr. Cone is a psychiatrist whose top-secret assignment is helping a rock star to kick his drug addiction. Jimmy and his actress wife, Sheba, move into the Cones’ attic for the summer. If they go out in public, they wear wigs and pretend to be friends visiting from Rhode Island. While the Cones are busy monitoring or trying to imitate their celebrity guests, Mary Jane introduces discipline by cleaning the kitchen, alphabetizing the bookcase, and replicating her mother’s careful weekly menus with food she buys from Eddie’s market. In some ways she seems the most responsible member of the household, but in others she’s painfully naïve, entirely ignorant of sex and unaware that her name is a slang term for marijuana.
Open marriage, sex addiction and group therapy are new concepts that soon become routine for our confiding narrator, as she adopts a ‘What they don’t know can’t hurt them’ stance towards her trusting parents. Blau is the author of four previous YA novels, and while this is geared towards adults, it resonates for how it captures the uncertainty and swirling hormones of the teenage years. Who didn’t share Mary Jane’s desperate curiosity to learn about sex? Who can’t remember a moment of realization that parents aren’t right about everything?
Music runs all through the book, creating and cementing bonds between the characters. Mary Jane sings in the choir and shares her mother’s love of both church music and show tunes. Jimmy and Sheba are always making up little songs on which Mary Jane harmonizes, and a clandestine trip to a record store in an African American part of town forms one of the novel’s pivotal scenes. The relationship between Mary Jane and Izzy, who is precocious and always coming out with malapropisms, is touching, and Blau cleverly inserts references to the casual racism and antisemitism of the 1970s.
I love it when a novel has a limited setting and can evoke a sense of wistfulness for a golden time that will never come again. I highly recommend this for nostalgic summer reading, particularly if you’ve enjoyed work by Curtis Sittenfeld – especially Prep and Rodham.
My thanks to Harper360 UK and Anne Cater for arranging my proof copy for review.
I was delighted to be part of the blog tour for Mary Jane. See below for details of where other reviews and features have appeared or will be appearing soon.
Today I’m taking part in the “blog blast” for Painting Time by Maylis de Kerangal (translated from the French by Jessica Moore), which is published today by MacLehose Press.
This is the third novel I’ve read by de Kerangal, after her 2017 Wellcome Book Prize winner, Mend the Living, and 2019’s The Cook. Painting Time resembles the former in the way it revels in niche vocabulary and the latter in that it slowly builds up a portrait of the central character. But all three books could be characterized as deep dives into a particular subject – the human body, gastronomy, and painting, respectively.
The protagonist of Painting Time is Paula Karst, one of 20-some art students who arrive at the Institut de Peinture in Brussels in the autumn of 2007 to learn trompe l’oeil technique. They’re taught to painstakingly imitate every variety of wood and stone so their murals will look as convincing as the real thing. It’s a gruelling course, with many hours spent on their feet every day.
Years later, the only classmates Paula has kept up with are Jonas, her old flatmate, with whom she had a sort-of-almost-not-quite relationship, and their Scottish friend Kate. The novel opens with the three of them having a reunion in Paris. Given this setup, I expected de Kerangal to follow all three characters from 2007 to the near past, but the book sticks closely to Paula, such that the only secondary characters who come through clearly are her parents.
It’s intriguing to see the work that comes Paula’s way after a degree in decorative painting, including painting backdrops for a Moscow-set film of Anna Karenina and the job of a lifetime: working on a full-scale replica of the prehistoric animal paintings of the Lascaux Caves (Lascaux IV). The final quarter of the novel delves into the history of Lascaux, which was discovered in 1940 and open to the public on and off until the late 1960s. Deep time abuts the troubled present as Paula contemplates what will last versus what is ephemeral.
As de Kerangal did with medical terminology in Mend the Living, so here she relishes art words: colours, tools, techniques; names for types of marble and timber (Paula’s own surname is a word for limestone caves). The long sentences accrete to form paragraphs that stretch across multiple pages. I confess to getting a bit lost in these, and wanting more juicy interactions than austere character study. However, the themes of art and history are resonant. If you’ve enjoyed de Kerangal’s prose before, you will certainly want to read this, too.
My thanks to MacLehose Press for access to an e-copy via NetGalley.
Though I’d only heard of two of the contributors, my love for nature and environmentalist themes made this anthology irresistible. The authors of the 50 poems write about individual and generic trees; forests real and imagined; environmental crisis and personal reckonings. In Sarah Mnatzaganian’s “Father Tree,” a sprawling horse-chestnut symbolizes her dying father and his motherland. Dominic Weston’s “Ancestry.com” literalizes the language of the family tree. In Celia McCulloch’s “Rhododendrons at Stapleford Wood,” an invasive species is a politically charged token of prejudice: “Is it just our xenophobia, this hatred for the Greek-named / tree, the immigrant, the Windrush plantation?”
I enjoyed the playful use of myth in Pauline Plummer’s “The Baobab”: “When God made the baobab He gave / it to the hyena, who laughed and laughed / throwing it into the scrub / where it landed upside down, dancing.” In “Abele,” Di Slaney envisions her post-mortem body feeding a woodland’s worth of creatures and being reincorporated into the flesh of trees.
Again and again, trees serve as a reminder of time passing, of seasons changing, of the vanity of human concerns compared to their centuries-old solidity – as in the final stanza of Mary Anne Perkins’s “To an Unpopular Poplar”:
This summer’s end, if I could translate
just one full hour of the whisperings
between your shimmered leaves,
how much the wiser I might be.
Thematic organization, rather than alphabetical, would have made more sense for this volume, but I appreciated the introduction to many new-to-me poets. Two favorite seasonal poems are pictured below.
My thanks to IRON Press for the free copy for review.
I was delighted to be invited to take part in the blog tour for The IRON Book of Tree Poetry. See below for where more reviews have appeared or will be appearing.