Category Archives: book review
Doyle makes storytelling appear effortless, his prose slipping down as easily as one of the pints Victor Forde sups nightly in Donnelly’s, the pub he has decided to make his regular. At fifty-four he’s newly separated and living alone in a small apartment. The area is familiar to him from his youth, but the people he knew aren’t around and he works to get in with a new group of guys in the bar, wanting to be one of the lads again. It’s very different from his life with Rachel, his ex. She built up her “Meals on Heels” business to the point she’s now one of the experts in an Irish Dragon’s Den style programme. Victor is a writer, or was. They were quite the celebrity couple. Back in the day he was an acerbic music journo and then made a name as one of those talking heads whose outspoken opinions on pretty much everything serves to bring controversy and ratings to radio stations. He was working on The Novel, but it never happened for him. Any day now he’s going to start writing again and Doyle is painfully funny on Forde the procrastinating writer. In a notebook he writes, “31/7/14 Girl – fat farmer – Czech. Or Polish. Wake. Sadness. Brother/old girlfriend?”
I’d take it from there. It would become something. A short story. I could feel it in me, written. Just waiting. I was ready for another piss, then bed. I’d text Rachel. Using the notebook – writing a short story and a novel. X. No, I wouldn’t do that. I left the phone on the table, to make sure I didn’t do something stupid. I went into the toilet. I came out, I emptied my pockets. I’d lost my phone. I remembered – it was on the table. I remembered why. I sat on the bed.”
A man, Fitzgerald, shows up in Donnelly’s and says he knows him. He’s loud, awkward, dressed in pink, and Victor can’t quite place him even when Fitzgerald tells him they were at school together, both taught by the Christian Brothers. He invokes schoolboy memories, the terror of slagging from the other boys and worse from the Brothers. Fragmented flashbacks of childhood return and Doyle is great at details which bring people alive on the page – speaking about a teacher they nicknamed Super Cool, “We could see inside his briefcase. Sandwiches in tinfoil and a flask; no books, no newspaper.
—Thinks he’s Paul McCartney but he wraps his sambos in tinfoil.
It was true, we decided. Super Cool was trying to look like Paul McCartney.”
Why can’t he place Fitzgerald though, when they have shared so many experiences? Why does he make him feel so uncomfortable?
The novel can be read through as typical Doyle fare – a middle-aged bloke reminiscing about childhood, school, his parents, his first love. There’s a bar and a lot of pints. A chorus of guys. Underneath though something is rotten. Those Christian Brothers …
And then there’s a weird twist which blindsided me. I’m still not sure what I think about it. There’s a particular quality about a Roddy Doyle novel which depends on the reader enjoying his portrayals of fictional characters as real people; we believe in them. This tricksy ending leaves us with an inability to trust what we’ve read, which would probably be very neat and satisfying if it rang true. Sadly, it doesn’t. Perhaps it wasn’t supposed to be realistic, but for all its darkness I would have preferred it to go deeper.
I have a dislocated elbow at the moment; my arm is in a full cast and I’m unable to work so it’s the perfect time to catch up with some of my giant TBR pile. Last year there was a lot of buzz about The Girls, it was hyped to the max, and I remember hoping it wouldn’t be one of those novels that are full of potential that doesn’t quite get realised. The jury’s out on that one, but I’m happy to report that when I began reading I was totally absorbed. It’s a reimagining of the Manson cult (I initially tried using a dictation device as my right arm/hand is out of action, but it typed Manson cult as mints and coat and I gave up) told from the point of view of Evie, a 14-year-old who is bored by her long-standing friendship with Connie, upset with her separated parents, ignored by her crush, and disillusioned by school. She is the perfect blend of yearning romantic and brittle bravado for the Mansonesque Russell and his girls to manipulate and influence. Cline is dazzlingly good at the socially awkward shuffles and games adolescent girls employ hoping to be accepted and cool, and the faith we have that one day we will discover our real purpose, our real lives.
She was lost in that deep and certain sense that there was nothing beyond her own experience. As if there were only one way things could go, the years leading you down a corridor to the room where your inevitable self waited – embryonic, ready to be received. How sad it was to realise that sometimes you never got there. That sometimes you lived a whole life skittering across the surface as the years passed, unblessed.
Interspersed throughout, a middle-aged Evie, damaged and lonely, spends time in the company of a couple of teens who are impressed by her past. Her life is indelibly marked by her association with the cult. Her “inevitable self” is not anything she would have hoped for.
Cline writes convincingly about how the girls, and boys too, come to find themselves part of Russel’s commune, living a bullshit free love existence. Evie is entranced by one of them, Suzanne, enough to return to the grimy commune rather than stay with either of her parents. Russell is the magnetic leader, but he remains distant to the reader as the novel moves towards the inevitable brutal murders. It’s Suzanne who is Evie’s focus, although like all the cult characters she too remains unknowable and mysterious.
On reflection, the weird problem I have with the book is that probably the least successful part is the Manson story. The teen girl insights chimed with me and were where my interest lay. I’m not sure the cult part is that interesting – maybe read Helter-Skelter if that’s your area (the bestselling true crime book written by Vincent Bugliosi, the chief prosecutor in the Manson case – a book I devoured many years ago when I was a teen). I wonder if Cline’s novel was actually hindered by following that narrative. However, her perceptiveness and ability make whatever she writes next very interesting to me.
I blooming loved Fell. Loved it. What a treat to read such an engaging and immersive story. Jenn Ashworth has always been an interesting writer, but it feels to me that she’s hit new heights of awesome with this novel.
The book begins with the awakening of Netty and Jack who have spent death in a place of nothingness and are startled into a watchful, skittering existence by the arrival of their adult daughter at the old family home. Annette has inherited the house from Candy, Jack’s second wife, and, uninhabited for years, it’s a decrepit building; rotting, damp, mouldy, invaded by nature and filthy. The huge Sycamore trees outside have encroached and pushed inside. It’s dangerous and will cost a fortune to fix up. Annette calls a tree surgeon, Eve, who refuses to agree to set to it before a structural engineer takes a look, leading Annette to take matters into her own hands.
Meanwhile, Netty and Jack seem helpless to do anything other than watch scenes from their lives play out, which they narrate with one voice. We see Netty’s struggles to look after lodgers as her terminal illness progresses. We watch as, on a rare family day out to the lido, Jack meets Tim, an enigmatic young man who moves in with them after displaying mysterious powers, bringing hope and and intrigue to the story. As Jack tends Netty, Annette is left alone to entertain herself and Tim works on his dreams of becoming a tailor.
Switching between past and present, Morecambe Bay isn’t so much a backdrop to the novel as a surrounding atmosphere and Ashworth’s descriptions of it are superb, rendering it vivid in all its beauty and ugliness.
“The woods seem to last forever. He finds his pace and continues upwards, tripping over roots and slipping, sometimes, on exposed slabs of limestone, greasy with moss. All the while he is relishing the cold muddy smell of the first fresh air he’s had in days. Netty is rotting; she stinks, and there was no way to cover it up any more. In the spring these woods will reek of bluebells, wild garlic and fox bitches in heat, but there’s nothing in the air today except the scent of musty leaves and stagnant pools of rainwater. It’s still early; a hard bluish light shines between the stripped boughs. The fell slopes steeply upwards, covered in close cropped grass and heather. The sky is low and almost white. No one would put this on a postcard…”
She’s equally magical at conjuring the bits and bobs that make up our day to day – the sweets, crockery, pencils, leaves, the ordinary things that forge our connections with the world.
Forced to bear witness to their daughter’s isolation can Netty and Jack somehow help?
All in Fell is flawed; the characters, the landscape, even the magic. What shines through is the hope, that necessary ingredient that keeps us pushing on through life come what may, and kindness, which may be the best that humans have to offer each other.
This isn’t the kind of book I would usually read. I am not someone who thrills to tales of real life violence; the True Crime section in the bookshop is of no interest to me and although I do read in-depth newspaper and magazine articles, I try to steer clear of sensationalist nonsense that seems to glamorise crime. There’s a ton of that crap about though, so clearly there’s an audience.
Sue Klebold is the mother of Dylan Klebold, one of two teens who murdered 13 people at Columbine High School in 1999. Dylan Klebold and Eric Harris injured another 24 people, attempted to kill many more with home made bombs which failed to detonate, and committed suicide. I haven’t read anything beyond news reports at that time, did not want to read assumptions and theories about what happened, but was interested to hear that Sue Klebold had written a book and curious to know what she had to say. I imagined it would be a painful read, and I approached it with empathy – I am a mother of teens, I know our teens make choices that aren’t comfortable for us, but this horror is unimaginable and unbearable. There are those who squarely blame the parents – how could they not have seen who their sons were? That’s not how I think, but how do you live with that anger against you, that level of blame? How do you endure when your son is revealed to be a hate filled murderer?
This book is Sue Klebold’s attempt to do something positive. She wants to alert people to the signs she missed in her own son (that he had “brain illness”, that he was depressed, bullied, at break point. She aligns herself with other mothers of kids who committed suicide, albeit murder-suicide, and speaks about how her son wanted to die. Unlike Eric Harris, who wanted to kill. There is a clear distinction.)
Sometimes people speak passionately and the words are vivid and maybe a little messy, but heartfelt, and other times, usually when professionals speak, each word has been carefully chosen and the delivery is dry and careful. This book is the latter. It reads as if lawyers have combed through it 1,000 times for anything potentially damaging. There is nothing here but a few descriptions of her son, meaningless to anyone except her family, a few anecdotes that present him as “normal”, a lot of scientific evidence of brain illness, and an avoidance of anything potentially controversial. The first few chapters describe her disbelief as the police turn up at her home immediately after the shootings. She has no access to news but bits filter through as she waits outside while the house is searched, enough that she understands her son was involved. She assumes he was an unwilling participant, or didn’t understand what was happening, or was in thrall to Eric Harris. But she won’t describe the actual events, or what it felt like to comprehend the truth.
There is a necessary need not to offer a template for others, but what is left is not a compelling read. It’s a terrible story, but we do not learn anything here and Klebold seems reluctant to go beaneath the surface. Perhaps she can’t, our minds protect us from unbearable things, but it makes me wonder why she wrote this.
The most valuable thing in the book is not written by her. In the introduction, Andrew Solomon says, “…we want to believe that parents create criminals because in supposing that, we reassure ourselves that in our own house, where we are not doing such wrong things, we do not risk this calamity. I am aware of this delusion, because it was mine…
I came away thinking that the psychopathy behind the Columbine massacre could emerge in anyone’s household. It would be impossible to predict or recognise; like a tsunami, it would make a mockery of all our preparations.”
Which is chilling, but feels true to me. There is a tipping point when our children, necessarily so, grow away from us and all we can do is hope the foundations we have laid hold them steady. We can’t be responsible for their actions. Klebold’s efforts to get more recognition and support for people suffering mental illness is admirable and I applaud her determination to use this awful notoriety she has to do something positive. I don’t think this is a good book though. There are a variety of assertions made – “We’ve all felt angry enough to fantasise about killing someone else.” Well, no, actually I haven’t. “Most of us can’t name a single celebrity who has struggled–successfully anyway–with depression or another mood disorder…” Erm, well actually I can… There’s an attempt to present Dylan Klebold as a “normal” teen but offers scant evidence of it and all the while we know that behind his mother’s back he was writing diaries planning his suicide, filming vitriolic segments with Eric Harris, playing with guns, getting into trouble with the police.
Why would we want to judge Sue Klebold? Why would we need to? I hope she finds a peace in her activism and support. But this is a book review and this book is not great.
Sarah Hilary’s London is full of shadows, darkness, underground places where people can vanish; places full of people, estates, tower blocks, all with blind spots and corners around which people disappear. A young girl running away from something, or someone, causes a car crash. Another girl is missing. Around a table, three well behaved young girls eat dinner served by a slightly older girl, presided over by a man. His name is Harm. On an estate an elderly woman watches warily from her window, noting names and times of the kids outside running riot. What links these people?
This is the third DI Marnie Rome book and if you are a fan of the others in the series you won’t be disappointed. Hilary’s customary intelligence and storytelling verve are in full force. It’s amazing how chilling words on a page can be. There’s a smashing twist that I genuinely didn’t see coming, oh, and tantalising snippets woven in about Stephen Keele, the killer of Rome’s parents, whose story we MUST learn one day.
I can’t say more for fear of spoilers, so I’ll leave you with this:
“The kitchen reeked of wax. Fourteen candles burning but they didn’t make it brighter, just dragged in more of the darkness. Greedily, the way his pain pulled at her, at everything.”
When Carys Bray writes, woah, she sure does get you in the feels. Both “The Museum of You” and Bray’s first novel, “A Song for Issy Bradley,” deal with the aftermath of death, but Bray has a wonderful way of illuminating darkness with humour and empathy so the novels remain a pleasure to read.
Clover Quinn’s mother Becky died six weeks after Clover was (unexpectedly) born. Now 12, Clover lives with her bus driver dad, Darren, whose silence on the subject of her mum only fuels her desire to know more. In the long summer holidays, inspired by a school trip to the Merseyside Maritime Museum, Clover attempts to curate an exhibition of her mum, using bits and bobs of belongings that have remained in a cluttered, untouched bedroom for years. Where the novel is strongest is in the relationship between Clover and her dad and in the depiction of him adapting to a life that looks entirely different from how he’d once hoped. Darren is a wonderfully sympathetic character, flawed as all of us are, and very recognisable in his attempts to be the best parent he can.
“He could make jam or something. He remembers the things mum used to make with the raspberries: cheesecakes, trifles, tarts, fools and mousses. They could have a go, him and Clover, she’d like that. He has had these ideas before but it’s a struggle to make them materialise; by the time he gets home there will be something else to occupy his thoughts – the detached radiator, the hall walls, the worry that there may be something else she needs.”
The novel features a supporting cast of characters, the most interesting of whom is Jim, Darren’s troubled brother in law who has mental health issues and is hopeless at self-care. Describing Darren’s feelings towards him – “His kindness comes in bursts and he tires quickly. It was easier in the early days, when it seemed as if it was going to be more of a sprint than a marathon,” succinctly describing the fluctuating resolve of trying to help someone desperately needy who doesn’t seem likely to want to, or be able to, ever change.
Mrs Mackeral is the malapropism yelling next door neighbour who is maybe a little too cartoonish to feel fully realised, but provides some amusing moments. Colin is Darren’s best mate who along with his sister, and Darren’s dad, form a kind of family unit around Clover. Whilst death underpins the narrative, there is a sense of optimism that this wonky group provide.
Clover is deftly drawn and is a character to cheer for. The story is heart warming whilst not shying away from truth.
Towards the end of the book Bray writes,“Grief never goes away. And that’s no bad thing – it’s only the other side of love, after all.”
How beautiful is that?
This is an emotionally honest novel written by a writer who marries real insight with engaging writing.