Book review

The Thursday Murder Club, by Richard Osman, 2020

If you enjoy murder mysteries but aren’t a fan of the more gory, bloody thirsty variety of the genre, you will love Richard Osman’s intelligent but ever so slightly sedate ‘The Thursday Murder Club’. Set in a retirement village, four friends gather once a week (“It was Thursday because there was a two-hour slot free in the Jigsaw Room, between Art History and Conversational French”) to discuss unsolved murder cases. One of the club members, Penny, has recently fallen seriously ill and is no longer unable to attend, so the club has decided to recruit a new member. Joyce is the voice of naivete in the narrative, breathlessly excited about her new adventures. (“I’m afraid I don’t know WTF. I only discovered LOL last week”). The other, more experienced members all bring their own particular set of skills to this most unlikely A-team. They are Elizabeth, who was an intelligence agent before never really quite retiring, Ibrahim, a psychiatrist, and Ron, a trade union leader.

The Thursday Murder Club: The Record-Breaking Sunday Times Number One  Bestseller: Amazon.co.uk: Osman, Richard: 9780241425442: Books

The cynic in me suspects that Osman has had some excellent advice on how to sell books. Rule one must surely be “know your audience”. I haven’t taken the time to look it up, but I am believe the main buyers of murder mystery novels written by television celebrities are senior citizens, and it looks as if Osman has constructed his story with that market in mind. The heroes of his novel are the club members who defy all negative stereotypes about the aged. They are energetic, intelligent, and navigate the modern world with ease. The murder club amateur detectives are always one step ahead of the police and break rules (and laws!) with impunity. Jokes about the challenges of modern technology are kept to a minimum. This adds up to create an immensely likeable story despite some of the more conspicuous evidence of its construction. At 377 pages across 115 chapters the pages slip by quickly, and the contrasting narrative voices and cliff-hanging endings all give the story considerable pace. All these elements make this a very easy novel to read. Is it patronising to suggest that this is all intended to make the book more popular with older readers?

I’m not going to summarise the plot, for the obvious reason of avoiding spoilers, but also because it is quite byzantine. There are lots of red herrings, sub-plots and other diversions which add to the page count but at times felt like padding. The ending won’t come as a massive shock, but I don’t think it is mean to – after a while there are only so many suspects left standing!

Despite some of the media coverage of this novel it is anything but ground breaking in its treatment of the old. Miss Marple is an obvious template for the senior citizen amateur detective, using her age to ensure people under-estimate and overlook her while she doggedly pursues her investigations. Having said that, the setting is original (so far as my limited knowledge of murder mysteries can account for). Osman acknowledges that many people living in a retirement home will either have lost a life-partner, or be in the process of losing them, to dementia or other illnesses. Grief is shown as part of everyday life for this community.

It’s hard to avoid the fact that even the very best murder mysteries are written within a fairly rigid set of conventions. It follows that it is not a criticism of this author to say that his first novel seems to be consciously laying down a template for future novels in the series to follow. Why wouldn’t it? I understand he has already written the sequel to this novel, and I think I can hazard a couple of guesses about what will happen in The Thursday Mystery Club 2. The central structure of a suspicious death being investigated by the club members will of course be retained. I think we will learn a lot more about the back-story of Elizabeth and Ibrahim, two key members of the club who so far we only know little about. There’s a lot more to come there if the history of some of the other residents is anything to go by. I also think one of the club members will die – my money is on retired trade union leader Ron – allowing fresh blood to join the club and new characters to be introduced. I also suspect there will be more explicit romantic complications between the retirement village residents, and that PC Donna De Freitas and her boss, DCI Chris Hudson will return for the next set of murders.

Just as an aside, the attitude to death in this novel is interesting. Of course murder mysteries by their nature need to confront death, and one set in a retirement village probably all the more so. But here two characters take their own lives in quite a casual manner, as if for the old death is less of an issue that it would be for younger characters. That might be the case but it doesn’t really square with the zest for life shown elsewhere in the novel. Some old people might be blasé about death and check out willingly when the time comes, but I suspect many others will fight it to the last – certainly Ron, Elizabeth, Joyce and Ibrahim would.

It’s good to see one of the more thoughtful, intelligent television personalities have success as an author. I await the inevitable television adaptations of his novels with interest.

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Book review

Milkman, by Anna Burns, 2018

I decided to end 2020 with a final Booker Prize winner, Anna Burns’ Milkman, which won the prize in 2018. It won from what seems a fairly weak long and shortlist, missing many of the big-hitters in English fiction in recent years, although I would freely admit to not having read any of the short-listed novels, nor indeed anything by any of the short-listed authors.

Set in Northern Ireland during the peak of what was euphemistically called “the Troubles” – that is to say the bitter sectarian violence that dominated daily life for much of the population of Northern Ireland in this period – Milkman is a first person narrative describing a few traumatic weeks in the life of the unnamed narrator.

Milkman: Amazon.co.uk: Burns, Anna: 9780571342730: Books

This narrator is an eighteen year old woman who lives in the heart of the Catholic community in a large town in Northern Ireland. It (along with everything else) is never named, but i think it is safe to assume it is based on Belfast. She is in a relationship of sorts with her “maybe boyfriend” although she tries to keep this relationship secret from her mother and siblings. She has a large family – as it seems do all her friends and neighbours – who are all referred to by their relationships rather than their names – third brother-in-law, oldest sister, etc. Friends and neighbours are also nameless and referred to by their occupation or some other defining feature. This is a world of euphemisms and coded references where proper nouns are forbidden – so the Protestant community is “the other side”, the Irish Republic is “the country down there” and Britain is “the country over the water”.

The Troubles form a backdrop to our protagonist’s daily life, but she does her best to navigate some form of normality despite the rigid code of conduct imposed by her community. This means that some types of rule-breaking are allowed – for example she sleeps over with her maybe-boyfriend without apparently attracting the censure of the community – but other activities such as going to hospital for medical treatment (it might allow the authorities an opportunity to force you into becoming an informer, or worse throw suspicion on you that you are an informer) even when seriously unwell are forbidden.

The narrator’s attempts to get on with her life are disrupted when she meets the Milkman. He does not deliver milk or any other dairy products, and the source of this soubriquet is unclear. He is much older than her and already married. Milkmen are usually perceived as a welcome presence, and a positive part of the daily life of a community. However this milkman however is anything but. He is a senior member of the Provisional IRA (again never mentioned directly) and as such he has certain privileges in this society, one of which appears to be the right to pick a consort of his choosing, irrespective of her wishes in the matter. The narrator is alarmed at being singled out in this way, and doesn’t know how to react. A robust rejection would be dangerous, for her maybe-boyfriend if no-one else, but she has no interest in this creepy figure. She doesn’t know who to turn to for help:

“At the time, age eighteen, having been brought up in a hair-trigger society where the ground rules were – if no physically violent touch was being laid upon you, and no outright verbal insults were being levelled at you, and no taunting looks in the vicinity either, then nothing was happening, so how could you be under attack from something that wasn’t there? At eighteen I had no proper understanding of the ways that constituted encroachment.”

She goes jogging with one of her many brothers-in-law, walks to her evening classes, socialises with maybe-boyfriend, but all the while is conscious of the menacing presence of the Milkman. Her relationship with maybe-boyfriend suffers under this strain, until she discovers his secret relationship with his friend, chef. Chef is bullied for his interest in cooking, which is widely perceived as indicating he is gay – although he is able to put his chef knives to use when the time comes.

The claustrophobic atmosphere of the city, where the authorities lurk behind every bush, snapping pictures of people going about their lives, is profoundly oppressive, and distorts all normal relationships. People accept punishment beatings and shootings as normal, and choose unhappy relationships to avoid the disappointment when happy relationships fail, as they surely must. The control of the terrorist groups and their supporters is however tenuous – freedom seems to be seeping out all over the place, from the children and their embrace of ballroom dancing (when written in this context I know that must appear implausible, but the author does a much better job of making it seem convincing) to romantic relationships being restored, including maybe-boyfriend and his long-standing romantic feelings for chef.

This wasn’t an easy novel to read – the refusal to use any proper nouns combined with the dense paragraphs and complex family relationships made it hard to push through at times. Conveying how language is breaking down with using fractured sentences is difficult, leaving the reader with paragraphs like this:

“Still,’ he said. ‘Ach,’ I said. ‘Ach nothing,’ he said. ‘Ach sure,’ I said. ‘Ach sure what?’ he said. ‘Ach sure, if that’s how you feel.’ ‘Ach sure, of course that’s how I feel.’ ‘Ach all right then.’ ‘Ach,’ he said. ‘Ach,’ I said. ‘Ach,’ he said. ‘Ach,’ I said. ‘Ach.’

But despite this Milkman made a strong impression on me. There are many surprising, almost charming elements, such as the narrator’s young sisters, who are exceedingly intelligent and curious, and blossom in the most difficult of circumstances. Love also finds a way – the narrator’s mother rekindles a childhood romance with the real milkman, her brother runs away with a former girlfriend, and chef and maybe-boyfriend edge towards declaring their feelings for one another. Initially the small-mindedness of the tight-knit community initially seems invincible – no dissent is allowed, and anyone who behaves unconventionally is considered “beyond the pale”, including the narrator. But this begrudging, limited tolerance of unconventional behaviour, such as the “issue women”, a feminist group, and the real milkman himself, who refuses to allow the IRA to bury weapons in his garden, are the seeds for a wider resistance. From such a grim premise Milkman turned out to be surprisingly optimistic.

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Book review

A Study in Scarlet, by Sir Arthur Conan Doyle, 1887

ArthurConanDoyle AStudyInScarlet annual.jpg

Yep, that’s right – A Study in Scarlet, the first story to feature Sherlock Holmes and Dr Watson, was published in Beetons Christmas Annual, although you will struggle to find anything remotely Christmassy about it! This is the Holmes and Watson ‘origin story’, explaining how they meet (introduced by a common acquaintance), came to live together (they both needed somewhere slightly cheaper to live, and decide quite casually to share the rent with one another) and all about Dr Watson’s background (military doctor wounded in Afghanistan). Almost nothing on the other hand is revealed about Holmes’s background. He emerges fully formed – the meticulous, brilliant private detective with the ability, almost like magic, to use microscopic or incidental details to discern peoples’ lives, occupations and histories.

The short novel is divided into two very distinct narratives. Part I is entitled “The Reminiscences of Watson” and subtitled “Being a Reprint from the Reminiscences of John H. Watson, MD, Late of the Army Medical Department.” This gives the story the appearance of a biographical sketch, with the added authority of coming from an army doctor, so surely trusty-worthy. Perhaps this air of authenticity was part of the reason why people went on to conceive of Holmes are being a real life figure?

Watson, having returned to London from service in the Second Anglo-Afghan War, bumps into an old friend, Stamford. 

I had neither kith nor kin in England, and was therefore as free as air—or as free as an income of eleven shillings and sixpence a day will permit a man to be. Under such circumstances, I naturally gravitated to London, that great cesspool into which all the loungers and idlers of the Empire are irresistibly drained.

Watson explains he has been invalided out of the army and is looking for a more affordable place to live. Stamford mentions an acquaintance who is in a similar position, and might be interested in sharing. This is our first introduction to the great detective:

“…a fellow who is working at the chemical laboratory up at the hospital. He was bemoaning himself this morning because he could not get someone to go halves with him in some nice rooms which he had found, and which were too much for his purse.”

Stamford’ description of Holmes is ambivalent – his recommendation of him as a flat-mate is hardly glowing:

“Oh, I didn’t say there was anything against him. He is a little queer in his ideas—an enthusiast in some branches of science. As far as I know he is a decent fellow enough.”

He takes Watson to meet Holmes in a hospital laboratory, where Holmes (although he doesn’t work there, and seems to have set up shop spontaneously) has just developed a test to detect haemoglobin, for use in criminal investigations. Thus Holmes’s credentials as an eccentric, brilliant scientist are established. Without prompting Holmes greets Watson with the comment “You have been in Afghanistan, I perceive.” This is the first instance of Holmes’s deductive and observational powers, which were to become such a popular feature of the stories.

The two confirmed bachelors set up home together, and quickly become close friends. Holmes is unquestionably eccentric, but Watson is never judgmental, even when he suspects Holmes of drug-taking. It takes Watson some time to work out what Holmes does for a living – Holmes is as usual unnecessarily mysterious about the question. Of Watson himself we really learn little beyond the initial self-portrait – but his role is nevertheless established as the witness of Holmes’ brilliance and as the representative of the reader – always a few steps behind Holmes, struggling to keep up and work out what is apparently so obvious to the great one. Holmes remains enigmatic – there is no mention of any other friends or family, or his previous career.

Holmes is asked to help the Metropolitan Police with a murder investigation. He takes Watson along with him to the scene of the crime, for reasons that are never really established – perhaps he just thought it would be interesting, or an opportunity to get to know one another. Here we first see Holmes’s method in action – a meticulous observation of the house and garden, which appears to reveal much more to Holmes than is apparent to Watson. Another trope is thus established. Inspectors Gregson and Lestrade are introduced (unusual for the Met to allocate two inspectors to a murder; it is interesting to see how Lestrade went on to become a fixed part of the Baker Street universe, whereas Gregson faded into the background, until being spectacularly resurrected in Elementary). Gregson and Lestrade are competitive but largely there to underline even further how astonishingly clever Holmes is by comparison.

The corpse is identified as an American, Enoch Drebber. There is no wound on the body. Documents conveniently left at the scene confirm Drebber is visiting London with his secretary, Joseph Stangerson, an immediate suspect. One a wall, ominously written in blood – apparently not the victim’s – is the word “rache”. This it eventually turns out is the mother of all red herrings. Moving the body, a woman’s gold wedding ring is discovered.

Realising the murderer attempted to return to recover the ring, Holmes sets a trap, advertising its discovery in a newspaper. At the same time he sends telegrams to the US seeking confirmation of his theories about the crime and those involved. A little later Drebber’s secretary is found murdered at his boarding house, again with the word “rache” appearing at the scene. Lestrade also finds a small pillbox containing two pills. Holmes tests the pills on a disposable dog that conveniently just happens to have been in residence at Baker Street. (This is Conan Doyle not trying very hard. Yes, Holmes has to be shown that of the two pills in the box one is lethal, the other harmless. But to have a sick dog on hand just waiting to be put down is pushing the bounds of credibility). The first pill produces no evident effect, but the second kills the hound. Holmes is able to produce and capture the murderer moments later using his trademark ‘sudden reveal’ technique.

Part two of the novel, The County of the Saints, consists almost entirely of a flashback devoid of Holmes or anything Baker Street related. The narrator recounts the story of two people, John Ferrier and a little girl named Lucy, the only survivors of a party of settlers in early nineteenth USA. They are close to death from dehydration and hunger when they are discovered by a large party of Mormons on their way to Salt Lake City. (Warning – one can easily fall down an internet rabbit hole looking into the early history of the Mormons. They were viciously persecuted, which given the founding principles of the USA is a bit ironic). Ferrier and Lucy are rescued on the condition that they become Mormons, and with few choices open to them, they agree. Ferrier prospers, and adopts Lucy as his daughter. Years later Lucy falls in love with a man named Jefferson Hope. Hope is not a Mormon, and a relationship with him is not allowed by her community. Ferrier is given one month to change her mind or face what it is suggested are fatal consequences. Lucy must marry either Joseph Stangerson or Enoch Drebber, sons of members of the church’s Council of Four (and, you will have spotted, the men murdered in part one).

Lucy, Hope and Ferrier try to escape, but are hunted down. Ferrier is killed, and Lucy is dragged back to Salt Lake City and an enforced marriage, with only Jefferson escaping through sheer luck. Lucy pines away and dies, and Hope vows to seek revenge on her and her father’s killers. He hunts them for decades, chasing them across Europe until finally tracking them down in London, where he exacts his revenge by forcing Drebber to choose between a fatal pill and a harmless one. Stangerson is then despatched before the pill choice can be offered. Once captured Hope freely confesses all, knowing he has a conveniently weak heart and is close to death – indeed, he expires the next day, a smile on his face. Holmes then leisurely reveals how he had worked out the identity of the murderer and how he had used his Baker Street Irregulars, his “street Arabs,” to help with the case. Watson is outraged that Gregson and Lestrade are given credit in the newspapers for solving the case, and decides to document the investigation himself. Surprisingly, Holmes does not object.

To what extent does Holmes emerge in this novel fully formed? Almost completely is the short answer. All the features of a traditional Holmes story appear in the summary above. Admittedly, the portrait of Holmes’s weaknesses is over-done. Early in the novel Watson lists the subjects in which Holmes is an expert, and those in which he has little or no knowledge, including astronomy, and the astounding fact that he did not realise that the earth travels round the sun, a fact that is, according to Holmes, of no interest of value whatsoever.

“His ignorance was as remarkable as his knowledge. Of contemporary literature, philosophy and politics he appeared to know next to nothing. Upon my quoting Thomas Carlyle, he inquired in the naivest way who he might be and what he had done. My surprise reached a climax, however, when I found incidentally that he was ignorant of the Copernican Theory and of the composition of the Solar System. That any civilized human being in this nineteenth century should not be aware that the earth travelled round the sun appeared to be to me such an extraordinary fact that I could hardly realize it….

You see,” he explained, “I consider that a man’s brain originally is like a little empty attic, and you have to stock it with such furniture as you choose. A fool takes in all the lumber of every sort that he comes across, so that the knowledge which might be useful to him gets crowded out, or at best is jumbled up with a lot of other things so that he has a difficulty in laying his hands upon it. Now the skilful workman is very careful indeed as to what he takes into his brain-attic. He will have nothing but the tools which may help him in doing his work, but of these he has a large assortment, and all in the most perfect order. It is a mistake to think that that little room has elastic walls and can distend to any extent. Depend upon it there comes a time when for every addition of knowledge you forget something that you knew before. It is of the highest importance, therefore, not to have useless facts elbowing out the useful ones.”

The idea that Holmes was ignorant of simple facts that a schoolchild would know, simply because he needs the space in his memory for more important facts, was quietly discarded by Conan Doyle, and rightly so. But the wider picture, of Holmes being an expert in a wide range of subjects, and having a vast brain ‘attic’ where facts can be stored and retrieved, is a core part of the character.

One other common feature of the Holmes stories is his frustrating refusal to tell Watson and any detectives involved in the case about his deductions until the case comes to fruition. Sometimes this is more a case of neglect that a conscious decision to be obtuse, but here the refusal to share is clearly deliberate:

I’m not going to tell you much more of the case, Doctor. You know a conjuror gets no credit when once he has explained his trick, and if I show you too much of my method of working, you will come to the conclusion that I am a very ordinary individual after all.

Watson is deferential as always:

I shall never do that,” I answered; “you have brought detection as near an exact science as it ever will be brought in this world.

Mrs Hudson has yet to be introduced – here the gentlemen are looked after by an anonymous servant – and of course Moriarty, Mycroft and Irene Adler were all to come, but the Study in Scarlet is otherwise the template which all future Holmes stories were to scrupulously follow.

Is it an enjoyable story, or just a curiosity piece? Certainly the second part of the novel, largely devoid as it is of anything Holmes related, comes in for a lot of criticism from readers (see Goodreads, for example). I actually found the scenes in America more interesting than those in London – the part one murders are pretty pedestrian, solved by Holmes with the minimum of effort. Origin stories are always interesting, offering insights into the way the novelist originally conceived of the characters, but here the interest is actually how incredibly consistent Conan Doyle was with his characterisation of Holmes and his detection techniques.

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Book review

How to Stop Time, by Matt Haig, 2017

Time travel is an obvious source of plot material for authors, but it is also inherently problematic – making it plausible is always the challenge. Over the years authors have adopted a range of different approaches to making it believable. None have ever really cracked the central practical problems associated with the idea, but Matt Haig comes close in this novel, mainly by redefining what we mean by time travel. His central character, Tom Hazard, has a rare genetic condition which causes him to age extremely slowly.

I am old. That is the first thing to tell you. The thing you are least likely to believe. If you saw me you would probably think I was about forty, but you would be very wrong.

For every ten to fifteen years of his life his body ages approximately one year of everyone else’s. And this is his story. At the time we are introduced to him he is around 400 years old. Much of the novel is spent revisiting Tom’s memories of his earlier lives, from medieval England to 1920’s Paris. The gift of long-life has not been without its problems. His mother is drowned as a witch because of his eternal youthfulness, and he has to separate from his Elizabethan wife and daughter to prevent something similar happening to them. He is forced to change identity every eight years, can never put down roots, learn a profession, build a family, or settle down. And of course the things he can’t have become the things he wants.

In the present Tom works as a teacher, teaching history from first-hand experience. He becomes attracted to a colleague who comes close to working out his secret, but Tom knows that if he allows that to happen he would be putting her in danger. Because Tom has reluctantly joined a group of ‘albas’ – albatrosses, people with the same long-life gene as Tom – determined to protect their secret from big-tech or anyone who would want to analyse their genes for the secret of near eternal life. This group takes a unequivocal approach to secrecy – anyone who finds out about the albas is murdered.

The central concept of this novel is original and interesting. But the novel never really grabbed me. The main character, Tom, doesn’t realise what an amazing gift he has, and to be honest spends a lot of time complaining. His focus is relentlessly on how difficult long-life is amongst normal people, rather than “Wow, I met Shakespeare!”. The resolution of the plot in which he has to choose between enforcing the secrecy code of the albas or embracing the possibility of love is sentimental and unconvincing.

Sorry – I hate reviewing books that I feel underwhelmed by. I’d rather review a book I full-on hate rather than something that is not that bad. But this was just OK. The author can clearly write, and come up with great ideas, so I genuinely hope he finds the right combination one day.

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Book review

Making Money (Discworld 36) by Sir Terry Pratchett, 2007

Making Money is the sequel to the transcendent Going Postal. It is the story of the further adventures of Moist von Lipwig as he takes on his next challenge – reforming the Ankh-Morpork banking system. For a choice of topic Pratchett couldn’t have been more prescient, coming as it did just a few months before the international banking crisis which precipitated a decade of economic misery.

Anyone who has read this blog before will know that I rate Pratchett as one of our finest writers, so it pains me to concede that Making Money doesn’t quite meet his usual high standards. Just to be completely clear I don’t think for one second this had anything to do with his diagnosis in the same year – his illness was a form of dementia that left him lucid to the end – this article he wrote about his condition explains it far better than I could. Perhaps it is more a case that Going Postal set such a high watermark that any attempt at a sequel would always struggle to compare.

Banks in Ankh-Morpork are failing, and who better to give them a shot in the arm than an admitted thief and smooth-talking showman? “The city bleeds, Mr Lipwig,” says Vetinari, “and you are the clot.” (It has taken me a very long to realise this, but there is a strong case for Vetinari being Pratchett’s greatest creation.) Lipwig is bored running the Post Office, which no longer needs his buccaneering approach to management. So he takes over the running of the city bank and mint. As you would expect there is a cast of comic characters involved. The bank’s chairman is a fussy little dog, the chief clerk, a mathematical savant, obviously harbours a dark secret, which sadly disappoints when it is finally revealed, and a sinister opponent has ambitions to replace Vetenari. In the basement of the bank (is it a bank, or a mint, or both – I was never really clear, so the powerful sense of place which dominates Going Postal, that extraordinarily evoked abandoned Post Office, stuffed to the rafters with undelivered post, is not recaptured) someone has built the Glooper, a model of the city’s economy that develops a life of its own.

There’s not enough of chain-smoking Adora Belle Dearheart in this novel. She is away finding more buried golems, who eventually appear in large numbers only to walk back off stage almost immediately, consenting to be buried in a most improbable fashion. Would Adora, who has dedicated her life to liberating golems, really be happy with this resolution of the ‘what to do with the golden golems conundrum?

Money is an elusive concept, so I am aware of the irony when I say that Pratchett never quite pins it down. It’s not intrinsically good or bad, so the novel is deprived of a cause (compared to say, its predecessor in which privatisation and modernisation are firmly skewered). Pratchett asks the right questions – of course – such as why we trust banks or what the “tacit understanding that we will honour our promise to exchange a dollar for a dollar’s worth of gold provided we are not, in point of fact, asked to” actually means, but never really gets to grips with the topic, skirting around it before moving on to other more tangible, plot-related issues.

My other disappointment with this novel, however slight, centres on Pratchett’s prose. usually his ability to craft a sentence is unparalleled, but here many of the lines fall flat.

“I wouldn’t trust you with a bucket of water if my knickers were on fire!”

“The only really sane person in there is Igor, and possibly the turnip. And I’m not sure about the turnip.”

“I’m an Igor, thur. We don’t athk quethtionth.”
“Really? Why not?”
“I don’t know, thur. I didn’t athk.”

That’s not always the case of course – I loved this image:

“It seemed to Igor that trouble hit Mr. Lipwig like a big wave hitting a flotilla of ducks. Afterward, there was no wave but there was still a lot of duck.”

Making Money is a fun story featuring many of the Discworld characters that by this stage in the series need to do little more than walk on, say their lines, and move on. Moist and Adora really deserved more than a light retread of Going Postal, but that’s essentially what they got.

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Book review

The Power, by Naomi Alderman, 2016

Many of the great dystopian novels have at their centre what amounts to a thought experiment – a ‘What If….?’ What if women were enslaved and used to breed children? What if totalitarianism ruled our lives? What if our obsession with technology distorts society to remove all meaningful human relationships? And so on. Alderman’s master-stroke in ‘The Power‘ is to imagine a new and compelling ‘What If?’ – what would happen if women had the ability to generate electric shocks from their bodies? What if they literally had ‘the power’? What would that do to gender relationships in society? Would women be free from sexism, oppression, sexual violence and so on? Ultimately, would the world be a better place?

Alderman uses a rather clumsy framing device to provide a structure to the narrative. The novel is book-ended with correspondence between a male historian turned author and a female editor. He seeks her comments on and support for his novel, ‘The Power’. He is attempting to find a wider audience for his archaeological findings by turning them into a novel, recreating the world he has discovered . She patronises him, finding the scenes of female on male sexual violence and the idea of male soldiers “sexy”. She suggests the novel is published under a male pseudonym, in an ironic inversion of a practice in publishing that still survives to this day. Their letters are written several thousand years after the central events of the novel. The historian’s theory, given imaginative form in the novel, is that women have not always had ‘the power’, and in earlier pre-power societies men were the dominant sex. He describes the period when women’s electrical abilities first emerged, and the events leading up to the global war which followed.

This framing technique is not new of course – Margaret Atwood (who mentored Alderman during the writing of this novel) does something similar at the end of the Handmaid’s Tale, as does Orwell at the end of 1984, but the impact of the device in both is different, distancing the reader from the grim dystopias, and offering hope that the world has changed. In The Power, Alderman both opens and closes the novel with the correspondence, so we are aware while reading the novel that things don’t end well – chapters headings even have a grim countdown to the apocalypse to emphasise the point. Between chapters are illustrations of archaeological finds. The historian ‘author’ speculates on their purpose, often wildly inaccurately. Alderman has some fun here – for example she talks about the mysterious meaning of the ‘bitten fruit logo’, although this ignorance of twenty-first century technology is not really consistent with the story within the story, in which email and smart-phones are fully understood.

The central narrative is told through the intersecting stories four main characters: Roxy, the daughter of a British drug baron; Margot, mayor of an unnamed city in the United States; Allie, a teenage girl in an abusive foster home in Alabama; and Tunde, a young male Nigerian journalist. Tunde stumbles into journalism driven by a need to understand ‘the power’, and through his efforts the reader sees the its impact on countries around the world. In some countries, such as Saudi Arabia, the changes are literally revolutionary. Allie is at the heart of the development of a new religion focussed on women and their new powers, reinterpreting Christian theology with a fresh emphasis on the role of women. Margot’s story shows the impact of the power on politics and the military-industrial complex – the military possibilities of the power are quickly identified. Finally Roxy’s story shows how organized crime reacts to the opportunities of the changes within society. These disparate narratives converge, improbably, on the newly declared central European nation of Bessapara, which becomes the focus for their stories and the stage on which a new world order begins to emerge.

At first, the power liberates women. No longer frightened of the men in their lives, they begin to take control. The reversal of roles happens quickly – stripped of their power to physically dominate women, men become subservient. This is shown in some obvious ways – there is a scene when women soldiers rape some young men – but also in subtler ways, such as the male newsreader who claims not to understand the political stories he is covering, and is relieved to turn to lighter news or the traffic reports.

The central concept of ‘The Power‘ is remarkably effective. It is thought-provoking and challenging. It locates the oppression of women in their physical weakness relative to men, and asks what would happen if that situation were to be reversed? Whether women’s oppression is solely down to this issue or is rooted in other causes is probably beyond the scope of this review, but what is interesting to me is that Alderman argues quite explicitly that once women have the upper hand, they behave just as badly and oppressively as men. They abuse their physical superiority to strip men of their human rights, to demean them, to torture, humiliate and assault them. Women are not the gentle sex here, they are just weaker, and as soon as that changes they exact revenge. As a mediation on the relationships between the sexes and their capacity to change, this is therefore ultimately a pessimistic book. It argues that human power is not located in the rules by which we agree to conduct civil society, but in our brute strength and ability to harm one another:

“It follows that there are two ways for the nature and use of human power to change. One is that an order might issue from the palace, a command unto the people saying “It is thus.” But the other, the more certain, the more inevitable, is that those thousand thousand points of light should each send a new message. When the people change, the palace cannot hold.”

Furthermore that physical power cannot be trusted in the hands of either sex. Women’s liberation in these circumstances becomes impossible. Their oppression is caused by their physical weakness relative to men (the author suggests) and there is no mysterious electrical power that is going to spontaneously emerge and liberate them – but even if there were, that freedom would be at the expense of men, civil society, and peace.

The contrast with ‘The Handmaid’s Tale‘ is stark. We believe that Atwood’s world is possible, not least because it is drawn from the real-life oppression of women. Women can be freed from Gilead not through any superhuman or supernatural external forces, but through their own actions (and those of their allies). Atwood’s novel is therefore at the same time both more chilling and more optimistic about the future of our species.

I am left wondering, worrying – have I misunderstood the allegory of ‘The Power‘? Does a novel that ostensibly seeks to imagine a world in which women do not have to fear men really end up by concluding that such a world is impossible, unattainable? In a way I hope so.

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Book review

Hamnet, by Maggie O’Farrell, 2020

It feels as if I am the last book blogger on the planet to get round to reading this magnificent novel. I am more than happy to join in with the praise this wonderful book has been showered with, because it is extraordinarily powerful, easily the best novel I have read this year.

Even if you had managed to avoid any of the publicity about this novel, you would know its subject matter from the title. Described in the Guardian review as the “tragic tale of the Latin tutor’s son” (which cleverly highlights the novel’s way of looking at the story with a fresh pair of eyes) Hamnet is about many things, but at its heart this is a novel about grief. How people process loss, how it impacts us differently (particularly poignant was the scene when Judith, Hamnet’s twin sister, asks her mother what the word is for a bereaved twin – after all we have words for orphans and widows). I have never read a book where the rawness of grief is conveyed so powerfully – I sobbed. Written in the present tense it has an immediacy that gives the scenes of loss such impact, and of course the fact we are now living through another pandemic, gladly one a lot less dangerous than the plague of the middle ages, goes to emphasise the tragedy in an unexpected and dramatic way.

But it’s not just about grief. It is an extraordinarily evocative recreation of late sixteenth century rural Warwickshire (London is also summoned up vividly, but it is not the focus of the novel). The extended Shakespeare and Hathaway families are brought to life – and while this novel sent me back to the internet time after time to check various details of their lives (those we know, of course) I didn’t resent that in the slightest. One of its many strengths is that this book isn’t over-researched – it takes the little we know about Shakespeare’s family background and life, and fills in the gaps imaginatively and convincingly. O’Farrell is happy to take risks and present less popular versions of the story – the idea that Will and Anne met while he was tutoring her step brothers in Latin for example. I loved the way the novel rescues Anne Hathaway from the condescension of history and reinvents her as a wise confident young woman. I also think it was a brave decision to foreground Anne (known here as Agnes, the name her father uses for her in his will, apparently) rather than Shakespeare, who remains unnamed throughout the novel.

The mystery of the relationship between Hamnet and the play in his name written just a few years later (O’Farrell mentions only briefly the fact that Shakespeare is believed to have written some of his best comedies in between the two events) is one that invites speculation. Was Shakespeare simply callous, indifferent to the feelings of his family, or (as O’Farrell compellingly speculates here) using the play to explore his grief for his lost son? Other family relationships and characters – the bullying glove-maker John Shakespeare, or Will’s mysterious brother Edward (here Edmond) are all brought to life vividly.

There are many gaps in what we know about Shakespeare. Why did he live long parts of his life in London and not bring his family to live with him, even when he was financially successful? What impact did these long periods of separation have on his marriage. How did he go from being the son of a glove-maker to a phenomenally successful playwright? Why on earth did he leave his second-best bed to his wife in his will? And most of all, what impact did the loss of his son have on his work? Although this is not Shakespeare’s story, along the way O’Farrell acknowledges these many mysteries and provides thought-provoking answers. Which means you can enjoy this novel if you know all there is to know about Shakespeare, or nothing.

I can’t recommend this novel highly enough. I suspect it will go on to win many more awards than the entirely merited Women’s Prize for Fiction it was awarded earlier this year against stiff opposition.

PS The season finale of series three of Upstart Crow, the David Mitchell/Ben Elton BBC sit-com about Shakespeare featured Hamnet’s death. In this episode Judith falls in first, Shakespeare is sent for from London, and between this message being sent and his arriving home Judith recovers and Hamnet has fallen ill and died, the exact sequence O’Farrell follows here. It’s well done in both versions, but I can’t find any evidence or source for this version other than here. I wonder whether the television programme acted as a spark of inspiration for this part of O’Farrell’s story? The programme ends with this apposite and poignant speech from King John:

Grief fills the room up of my absent child,
Lies in his bed, walks up and down with me,
Puts on his pretty looks, repeats his words,
Remembers me of all his gracious parts,
Stuffs out his vacant garments with his form;
Then, have I reason to be fond of grief?
Fare you well: had you such a loss as I,
I could give better comfort than you do.
I will not keep this form upon my head,
When there is such disorder in my wit.
O Lord! my boy, my Arthur, my fair son!
My life, my joy, my food, my all the world!
My widow-comfort, and my sorrows’ cure!

King John, Act 3 scene 4

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Book review

Wintersmith, (Discworld 35) by Sir Terry Pratchett, 2006

Wintersmith (Discworld Novels) by  Sir Terry Pratchett - Paperback - from World of Books Ltd (SKU: GOR001210366)

The Tiffany Aching series of novels gave Discworld a wonderful burst of new life – almost half of the last dozen novels in the series were Tiffany stories. We have followed Tiffany’s story since she was nine, and her training as a witch now sees her placed with Miss Treason, a 113-year old witch renowned for her dark and mysterious powers (which Tiff quickly works out are simply “boffo”, or as Granny Weatherwax would put it, headology. )

Unusually for Pratchett the novel opens with the novel’s climax, and then takes the reader back to the story’s origins. This structure isn’t a problem – it allows the reader to navigate the plot more easily when we know the destination, and is one of the more telling signs that this is a story for younger readers. Tiffany’s problems begin when she goes to observe the traditional “dark morris” dance which welcomes in the winter, Tiffany spontaneously joins the dance, interrupting the passage of the seasons between the two elementals, the Wintersmith and the Summer Lady—the personification of summer. The Wintersmith has never met anyone like Tiffany before, and once the dance is over determines to become a mortal and seek her out, using their spiritual connection forged over Tiff’s silver horse pendant.

This disruption of the natural order of things isn’t going to go well. With the help of the Feegles, and the loving support of Granny Weatherwax and Nanny Ogg, Tiffany has to put things right. It’s not easy when you are being wooed by someone who can make all snowflakes in your image – and icebergs as well! At first Tiff takes refuge in Lancre, and the warm embrace of Nanny Ogg’s cottage, but the elemental Wintersmith is going to track her down.

Like most young adult novels, Wintersmith is really about growing up. Teenage Tiffany has to work through many of the problems and issues young teenagers face. Her fledgling romance with Roland, the Baron’s son (who she rescued in the first novel in the series, The Wee Free Men) is coming along nicely, but she has to battle to keep it private from the feegles and the witches. Speaking of battles, maintaining any sense of privacy from feegles (who take their geas to protect their ‘big wee hag’ very seriously) and witches who can see through her eyes isn’t easy. Later she has to come to terms with the death of an older character. Her place in her peer group is delicately balanced, and she manages to do the right thing and find her place in that hierarchy despite being aware of the subtle manipulations of Granny Weatherwax. Finally, she takes responsibility for her own actions when the temptation to shift the blame or hide behind others is overwhelming. While she may be flawed we are never in any doubt that Tiff will do the right thing and that will bring its own reward:

“It was lonely on the hill, and cold. And all you could do was keep going. You could scream, cry, and stamp your feet, but apart from making you feel warmer, it wouldn’t do any good. You could say it was unfair, and that was true, but the universe didn’t care because it didn’t know what “fair” meant. That was the big problem about being a witch. It was up to you. It was always up to you.”

I love it when Pratchett has the confidence to make such epic characters as Granny Weatherwax and Nanny Ogg minor players in Tiffany’s story. The feegles are an endless delight, and there are some interesting new characters, not least 113 year-old Miss Treason, who wonderfully calls Granny “the girl Weatherwax”. Arguably the novel’s only weak spot is its fairly innocuous ending, but as I always say whoever reads Pratchett for his plots is really missing the point. I don’t think I read these novels with any particular care when they were first published, unwisely seeing them as books for younger readers, (which of course they are) but wrongly concluding there would be little in them for older readers. I am so glad to have got that wrong.

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Book review

How Steeple Sinderby Wanderers won the FA Cup, by J L Carr, 1975

J L Carr’s A Month in the Country is an under-appreciated masterpiece. The slightly earlier How Steeple Sinderby Wanderers won the FA Cup shows some of the promise seen in full bloom in the later novella, but has a comedic, not to say comic, premise that holds the author back from revealing his full potential.

How Steeple Sinderby Wanderers Won The F. A. Cup by J L Carr

The idea of a small village team winning the FA Cup is drawn directly from the pages of virtually every comic for boys ever written (the whole sub-genre is brilliantly caricatured in Viz’s Billy the Fish). Steeple Sinderby features every cliche from the genre going – the washed up ex-pro, the gifted midfielder with a tragic backstory, the unnaturally talented goalie with prehensile abilities, and the mysterious east European tactical genius.

I read once that J K Rowling hated having to write the scenes in her Harry Potter novels describing Quidditch matches (which explains why they were often called off). Carr may have felt trapped by the same logic of his scenario, because as the story progresses and the club proceed relentlessly to the final, the football games themselves become almost a sideshow. There is some fun with parodies of different commentary and reporting styles (In their primal gladiatorial tourney N. Baddesley jousting on their own bailiwick encountered the full and furious blast of Steeple Sinderby’s New Look Lads spearheaded by Sid Swift, long-lost Shooting Star idol of Brum fans a handful of time ago. The Ringers clocked up eleven strikes and only the inexorable march of time muffled a full peal of twelve), but there’s only so many ways you can describe an imaginary match.

But this really isn’t a football story. There are far more interesting things going on in the margins of the narrative, or perhaps along the touchlines. The narrator, Joe Gidner, having “had this trouble and left theological college”, lives in the village schoolmaster’s house, combining the writing of greetings-card verses and looking after his host’s invalid wife. He is also the club’s secretary, and is chosen to write the first draft of the history of the club’s victory, which this novel purports to be. He is an engaging almost whimsical narrator, and proves a helpful guide to the club’s adventures, the players’ and others’ back-stories, and the less than glamorous mid-1970’s setting in which football supporters’ violence is taken for granted.

Steeple Sinderby itself is a stereotypical English village, with all the charm but also all the flaws. Gidner tells us about its inhabitants, its entry in Pevsner’s Buildings of England and its one notable previous inhabitant, the peasant poet Thomas Dadds. The club’s chairman, Mr Fangfoss, is not interested in football but assumes the role because he is used to running everything. He is a bigot but sympathetically portrayed nonetheless, including his unorthodox marital arrangements.

Despite the team’s inevitable victory in the final, the novel ends in a downbeat manner.

“I often wish I could have known the end at the beginning, so that each detail could have been savored as it happened. But then, life isn’t a gramophone record one can play again and again […] It is Now or Never for most of us, and we haven’t the time.”

Everyone leaves either the club or the village, or both, Joe’s attempts to woo a young lady he is attracted to come to naught, and the club is wound up, in recognition that such heights will never be reached again. Joe’s story is one of missed opportunities, and the subtle whimsy of the story is overlaid with what felt like a somewhat manufactured nostalgia – the 1970’s were the present day when the book was written, village life was not really under threat, and football violence and the bigotry of Enoch Powell and the like with which it was often associated is nothing to be nostalgic about. So I was left unconvinced by this novella despite its many charms.

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Book review

The Elected Member by Bernice Rubens, 1970

This 1970 Booker winner opens with the following quote:

“If patients are disturbed, their families are often very disturbing.”

This really tells you all you need to know about this novel. The central character, Norman Zweck, is mentally ill, and his illness can be traced directly back to his profoundly dysfunctional family.

The Elected Member by Rubens, Bernice Paperback Book The Cheap Fast Free Post

Norman comes from a traditional Jewish family. His father came to London from Lithuania with just a suitcase and a name and address written on a scrap of paper. Despite being forty Norman lives at home (and indeed has never left) with the ghost of his controlling mother and his weak-willed father. His older sister, Bella, still lives at home as well and wears ankle socks every day as a vivid reminder of her frozen adolescence. Younger sister Laura left home and married outside their religion, and has therefore been expelled from the family circle – mention of her name is forbidden.

The primary symptom of Norman’s mental illness is that he sees silverfish crawling everywhere. It’s a horribly and vividly realised psychosis, and it cripples him, leaving him unable to leave his bedroom, work, or sustain a relationship.

We slowly learn the details of the family history through the reminiscences of the characters as they react to Norman’s most recent breakdown. He is addicted to amphetamines, although the precise cocktail of drugs and childhood trauma that leads to his illness is not ever entirely resolved. However his family are unable to cope, so on the advice of the family doctor they have him committed to a psychiatric hospital for treatment. Here he quickly finds someone ready to sell him more amphetamines, meaning any treatment is unlikely to work. Back home his family suffers feelings of guilt that they have not been able to help him. Bella, we eventually find out, had an incestuous relationship with her brother. Laura ran away from a relationship with Norman’s best friend, David, who we are given to understand (without it ever being made explicit) was his lover. Thoughts of and actual suicides haunt the novel, giving it a structure in which we come to see that the mental institution Norman is committed to is very similar to the home he was unable to leave.

The novel’s title is puzzling. One of Norman’s fellow inmates in the hospital has delusions he is in the Cabinet, although he is always referred to as Minister rather than the elected member, or any variation thereof, and in any event is a relatively peripheral character upon which to name the novel. The title could refer to Norman being the chosen one, the golden boy on whom the hopes of his family came to rest – he was gifted with languages, and qualified as a barrister – although the ‘member’ element of the title still escapes me.

Bernice Rubens had a long writing career, and most of her many novels remain in print, so there must be an audience for them somewhere. But whilst I found The Elected Member a largely inoffensive read, it left me with no appetite for following up with anything else by this author.

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