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My Friends by Hisham Matar

Born in New York to Libyan parents, the critically acclaimed writer Hisham Matar is probably best known for The Return, a non-fiction book that describes his father’s kidnapping and imprisonment by Gaddafi’s agents in 1990 and his decades-long search for the truth surrounding the abduction. Matar’s latest book, My Friends, is a deeply affecting work of fiction that also intersects with real-life events, using a fatal shooting at the Libyan Embassy in London as a springboard for an exploration of exile.

Meditative, moving and beautifully written, My Friends is a story of loss and friendship in exile, of having to construct a new life for oneself when everything previously imagined is swept away in an instant. It’s also a story of ‘what ifs’, subtly showing how a person’s path through life can be shaped not only by their personal choices but also by their political beliefs.

The novel has a circular structure, beginning and ending in 2016 with Khaled – born in Benghazi, Libya, but now middle-aged and living in London – saying goodbye to his friend, the Libyan writer Hosam Zowa, at St Pancras station as the latter leaves to begin at a new life in the US. From there, Khaled decides to walk home to his flat in Shepherd’s Bush, during which he reflects on the events that have shaped his life in England, separating him from his family in Libya.

These reflections cover several decades, reaching back to 1980 when the adolescent Khaled and his family heard Hosam’s short story ‘The Given and the Taken’ being read on the Arabic World Service just before the news. The story, in which a man is gradually eaten by a cat, only voicing his resistance when all his limbs have been eaten, could be interpreted as a political allegory, especially given the nature of the Gaddafi regime in place at the time. Either way, the reading made a big impression on Khaled, sparking his interest in literature and leading to a scholarship to study English at Edinburgh University. (As a side note, the London-based broadcaster who read the story is subsequently murdered by Libyan operatives in Regent’s Park Mosque, largely as a warning to anyone who dared to step out of line.)

As Khaled’s father – a highly educated man who has chosen to toe the line in a modest teaching job rather than speaking out against a political regime he privately despises – says goodbye to his son at the airport, he warns Khaled against the dangers of being lured in.

Bidding me farewell at the airport, my father held me not in his usual easy embrace but in one more constricted.

‘Don’t be lured in,’ he said, the words emanating from his very core. (pp. 53-54)

At first, Khaled takes his father’s words as a caution against the usual temptations that might appeal to any teenager. However, it is only over time that the deeper meaning behind this warning becomes clear. It is, in fact, a plea for Khaled to avoid being drawn into political activism or any related activities that could place him in danger.

On settling into Edinburgh, Khaled befriends a fellow Libyan, Mustafa, an outgoing, politically active student who used to be a pupil in his father’s class. But even in Edinburgh, surveillance of Libyan nationals is commonplace. While Khaled and Mustafa are ‘readers’ at the university, there to learn and progress, other Libyan students act as ‘wires’ – effectively spies. Their role is to observe the readers and report back to the authorities, thereby deterring any involvement in anti-establishment acts. Moreover, letters to and from Libya are routinely monitored with no attempts made to hide the fact – another act of open surveillance to keep Libyan citizens in line.

Seven months into their studies, the boys hear reports of students from the Universities of Tripoli and Benghazi being rounded up and tortured by the authorities in Libya. Consequently, Mustafa persuades Khaled to accompany him to a planned demonstration against the Gaddafi regime at the Libyan Embassy in London’s St James’ Square, and it is here that their lives are changed forever…

En route to the demo, Khaled experiences mixed emotions as raw hope, optimism and excitement mingle with an unsettling sense of foreboding. At the square, the crowd is larger than the pair expected, and the atmosphere more charged. Nevertheless, despite his fear, Khaled is swept along by the collective spirit of the protestors. But when shots are fired from within the Embassy, Khaled and Mustafa are seriously injured and taken to hospital, where they are placed under police guard for security reasons.

Matar is particularly good on the deep-rooted fear and disorientation we experience following a traumatic event, how the ground beneath our feet gives way, leaving us lost, anxious and unmoored. When Khaled wakes up in hospital, not knowing where he is or how he got there, he fears the worst. The fact that he and Mustafa have been assigned false names to mask their true identities only adds to this sense of dislocation.

I became convinced that the windowless room where I was, austere and humming with mechanical sounds, was deep inside a prison in Tripoli. I had passed out under interrogation, which gave them no option but to stop and wait till I recovered. I believed I was guilty, but could not remember of what, and this horrified me, because I wanted so much to be able to confess. (p. 95)

While Mustafa initially believes he and Khaled will be sent back to Libya and given political asylum, it soon becomes clear that a return to their homeland is not a viable option. Nor can they resume their studies in Edinburgh, as the Libyan student body has already issued a statement denouncing the demonstrators as traitors. Consequently, Khaled and Mustafa – both eighteen and far from home – must establish new lives elsewhere in the UK with minimal support.

A one-off payment of £1,000 each and some clean clothes are forthcoming, followed by asylum papers enabling them to stay in the UK. But apart from that, the boys are on their own. Opportunities that had once been available to them — the privilege of studying abroad, the prospect of securing good jobs, and perhaps most importantly, the right to live freely — are now all but closed off.

Following their discharge from hospital, Mustafa goes to stay with an uncle in Manchester while Khaled is met by Rana, another close friend from Edinburgh and one of the few people he can trust. Fortunately, Rana’s family have an empty flat in Notting Hill where Khaled can stay while he decides what to do. There, he is assailed by a series of questions and anxieties. Do the Libyan authorities know he was at the demo? Have they got hold of a list of patients by bribing someone at the hospital? Have his family been questioned or threatened by the authorities? Are their telephone conversations all a pretence, carefully orchestrated to avoid saying anything incriminating? Are the authorities using his family as bait to lure him home? And if so, what fate might await him there? These concerns and more occupy Khaled’s thoughts…

With the support of his former tutor from Edinburgh, Khaled finds retail work, a flat to rent and, in time, a place to study literature at Birkbeck University, thereby giving him a chance to progress. It’s a far cry from the life he once imagined, but it’s the only one he has.

As the years pass, Khaled finds solace in routine and structure, working diligently as an English teacher in a Battersea state school. Mustafa, on the other hand, remains more reactionary and ambitious, working his way up the career ladder as an estate agent. A chance encounter in Paris leads to another friendship – that between Khaled and Hosam Zoma, the Libyan writer whose short story had such a life-changing effect on the former his youth. This further complicates Khaled’s relationship with Mustafa, eliciting the latter’s jealousy, initially at least.

While Khaled and Mustafa live independent lives, they are bound by a certain kind of friendship, an unspoken bond between those who have experienced and survived a terrifying event. The incident at the Libyan Embassy is never spoken of, but it lies between them, uniting and separating them as their paths diverge. By following these three men over much of their adult lives, Matar shows us how friendship can be characterised not only by closeness and loyalty but also by absence and suspicion.

With the emergence of the Arab Spring revolution in early 2011, the distances between Khaled and his friends intensify. While Mustafa travels to Libya, joining the revolutionary forces in the fight for freedom, Khaled remains in London, fearful of what the future may hold. To complicate matters further, Hosam also returns to Libya, forming an unlikely alliance with Mustafa by participating in the war.

At the novel’s heart is the dilemma Khaled must face when the 2011 revolution takes place. His mother, who cannot understand why her son has not been able to travel home all these years, is eager for him to return, but Khaled is fearful of what this step might bring. This new life he has built in England is tenuous, held together by the routines and structures of his day-to-day existence. It may not seem much compared to his initial hopes and dreams, but he has worked hard to establish it from scratch. The question is, can he afford to put this at risk?

….though Benghazi was the one place I longed for the most, it was also the place I most feared to return to. The life I have made for myself here is held together by a delicate balance. I must hold on to it with both hands. It is the only life I have now. I would have to abandon it to go back, and, although I wish to abandon it, I fear I might not be able to reconstitute a new life, even if that would be in the folds of the old one. It is a myth that you can return, and a myth also that being uprooted once makes you better at doing it again. (pp. 375–376)

As the novel closes, the three friends are heading in different directions. While Hosam looks to the future and his new life in America, Mustafa seems to be retreating into the past. Khaled, on the other hand, remains wedded to the present, caught in a kind of stasis he is reluctant to disturb.

Alongside this thoughtful, nuanced exploration of friendship, exile and the meaning of home, My Friends is also a novel about London, the streets and landmarks that remind Khaled of his past and those of his literary touchstones, from Virginia Woolf to T. S. Eliot to Ford Madox Ford. Moreover, there is some beautiful writing about London here as Khaled traverses the city at night. In particular, he values its anonymity, the ‘maze-like streets turning upon one another as though designed for the purpose of keeping secrets’.

I reach Hyde Park. It is nine in the evening. The twilight is gone. The motionless night is black. It is disturbed only by a reflected glow, making it possible to make out the skeletal shapes of the large leafless trees. I have never stopped being frightened of the dark. I have only got better at tolerating it. The deeper I go into the park, the less discernible the city becomes. Its sounds are stretched and mute in the distance. The air here is moist and still and as dark as an inkwell. (p. 323)

In summary then, this is a poignant, deeply affecting novel, a thoughtful mediation on the nature of friendship, life in exile and the complexities of our relationships with the homeland, especially when these dynamics are impacted by political events. Matar writes beautifully about these issues, weaving together the personal and political to compelling effect. It’s also an exploration of the lasting effects of trauma, loss and grief, and the challenges of building a new life when everything we previously held dear is suddenly swept away. I’m delighted to see this on the Booker Prize longlist – fingers crossed for a place in the final six.

My Friends is published by Viking; personal copy.

Small Worlds by Caleb Azumah Nelson

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A couple of years ago, I read and loved Open Water, the debut novel by the British-Ghanaian writer and photographer Caleb Azumah Nelson. It’s a beautiful, lyrical book – at once both a tender love story and a searing insight into what it feels like to be young, black and male in South London. There’s more of that gorgeous, lyrical writing in Small Worlds, a tender, beautifully-crafted story of love, family, music, dance, food, identity, belonging and grief. But perhaps most importantly of all, it’s a book about the small worlds we create for ourselves that help us navigate the larger, more uncertain one around us, the spaces where we can feel beautiful and free.

Second novels can be tricky to pull off, especially when a critically-acclaimed debut sets such a high bar for the books that follow. Nevertheless, fans of Open Water can rest easy at this point. Small Worlds more than lives up to the promise of Azumah Nelson’s debut; if anything, I think it feels more ‘together’ if that makes sense, more accomplished and assured.

The novel follows the narrator, a young British-Ghanaian man named Stephen, over three consecutive summers, each of which feels pivotal to his personal development. At eighteen, Stephen is on the cusp of young adulthood, that time when the world seems full of possibilities, when everything is still ahead of him, and the future seems both exciting and uncertain.

As the first summer unfolds, we see Stephen edging closer to Del, a girl he has been friends with for years, the two teenagers sharing a deep love of music and the communal language it creates. Azumah Nelson perfectly captures the uncertainties of young love, that strange sense of being in limbo when you don’t quite know how the other person feels about you, even though you seem sure of your feelings for them. Nevertheless, as the days and weeks pass, the pair become lovers, only to be separated in the autumn as their paths diverge. While Del stays in London to study music at university, Stephen must settle for a business course in Nottingham when he fails to get the grades to follow Del.

By the second summer, Stephen has dropped out of uni, having struggled with loneliness and depression during the separation from his family and Del, the small worlds where he could express himself and be free. Much to his father’s disappointment, Stephen is working at a local restaurant, learning his craft from the supportive owner, Femi, who takes time to pass on his culinary knowledge and skills.

Having split acrimoniously from Del the previous autumn, Stephen slips into a brief fling with Annie, whose family also hails from Ghana. With Annie, Stephen starts to feel open again, experiencing a kind of freedom he hasn’t felt for nearly a year. But despite their ease with one another, the mutual language and rhythms they share, the relationship ends when Annie leaves to go travelling to explore her family’s roots. Nevertheless, before this second summer is out, there is another surprise in store for Stephen when he bumps into Del, rekindling mutual feelings of love and the heady days of the past.

The third summer sees Stephen trying to rebuild the fractured relationship with his father while also dealing with losing a loved one and the emptiness this creates. In a flashback to the 1980s, we follow Stephen’s parents as they travel to England in search of a better life, only to find that opportunities are few and far between in London, especially for people of colour. It’s probably the most moving section of the book, especially for those of us that have experienced profound loss and grief.

Azumah Nelson has crafted a truly gorgeous novel here, a touching exploration of love in its various forms and manifestations. There’s the love between friends and how these emotions deepen when friends become lovers; the love between parents and children and other family members; and the love we have for the various cultural bonds that unite us – for instance, a mutual love of music, dance or food, each of which creates its own language and shared sense of experience.

I also love how Azumah Nelson uses repetition throughout the novel, circling back to specific concepts, phrases or gestures which act as emotional touchstones as Stephen’s story unfolds. In some instances, certain words or actions are repeated (e.g. a hand brushing against a partner’s hand or the way light falls on someone’s neck); while in others, there’s a variation in emphasis, like a riff on a familiar theme. It’s a technique that ties in so well with the novel’s sense of poetry and musicality, creating echoes and reverberations that deepen the emotional resonances for the reader.

A great example of this is the relationship between remembering and forgetting. At times, we want to forget things because they feel painful (e.g. ‘Right now, I don’t want to remember. I only want to forget’), while at other times, the emphasis shifts to remembering because we want something to endure (e.g. ‘Sure you’ll remember me?’ […] ‘How could I forget’). Other themes that Azumah Nelson continues to revisit include: the link between solitude and loneliness, which ultimately feeds depression; the sense of feeling trapped between a desire to cry and the inability to do so; and the need to ‘lean into’ life’s uncertainties, especially to access new possibilities.

Azumah Nelson also excels at portraying the most fleeting of moments with genuine tenderness and grace – a palm resting on a lover’s chest or a hand grazing another hand as two people edge closer to one another.

Moreover, the novel is shot through with a deep love of music, dance and food. In many respects, Stephen only knows himself through music – both his connection with the trumpet, which he plays, sometimes jamming with friends, and his love of various performers from John Coltrane and Miles Davis to Jay-Z and The Delfonics. For Stephen and his friends, dancing can be a route to solving problems, even if it only provides a temporary release, a brief escape from the pressures of life.

Azumah Nelson writes so beautifully about music, the rhythms it creates and the emotions it evokes. Similarly, with food, he illustrates how cooking (and eating) a familiar dish can provide comfort, tapping into memories of loved ones, special moments and thoughts of home. The novel’s vivid sense of place also comes through very strongly, imbued as it is with the sights and sounds of Peckham – fans of the recent films Rye Lane (by Raine Allen Miller) and Lovers Rock (by Steve McQueen) will find much that resonates here.

In summary, then, Small Worlds is a tender, heartfelt novel exploring the bonds that unite us and the barriers that can push us apart. At heart though, the story highlights the small worlds we create for ourselves, the shared intimacies and friendships that help us to traverse the larger world around us, the spaces where we can breathe and feel free. It’s a gorgeous, sensual novel, like a balm for the soul.

Small Worlds is published by Viking on 11^th May; my thanks to the publishers for kindly providing an early proof copy.

My books of the year 2021 – part one, recently published books

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2021 has been another tumultuous year for many of us – maybe not as horrendous as 2020, but still very challenging. In terms of books, various changes in my working patterns enabled me to read some excellent titles this year, the best of which feature in my highlights. My total for the year is somewhere in the region of 100 books, which I’m very comfortable with. This isn’t a numbers game for me – I’m much more interested in quality than quantity when it comes to reading!

This time, I’m spreading my books of the year across two posts – ‘recently published’ books in this first piece, with older titles to follow next week. As many of you will know, quite a lot of my reading comes from the 20th century. But this year, I’ve tried to read a few more recently published books – typically a mixture of contemporary fiction and some new memoirs/biographies. So, the division of my ‘books of the year’ posts will reflect something of this split. (I’m still reading more backlisted titles than new, but the contemporary books I chose to read this year were very good indeed. I’m also being quite liberal with my definition of ‘recently published’ as a few of my favourites came out in 2017-18.)

Anyway, enough of the preamble! Here are my favourite recently published books from a year of reading. These are the books I loved, the books that have stayed with me, the ones I’m most likely to recommend to other readers. I’ve summarised each one in this post (in order of reading), but you can find the full reviews by clicking on the appropriate links.

Mayflies by Andrew O’Hagan

Every now and again, a book comes along that catches me off-guard – surprising me with its emotional heft, such is the quality of the writing and depth of insight into human nature. Mayflies, the latest novel from Andrew O’Hagan, is one such book – it is at once both a celebration of the exuberance of youth and a love letter to male friendship, the kind of bond that seems set to endure for life. Central to the novel is the relationship between two men: Jimmy Collins, who narrates the story, and Tully Dawson, the larger-than-life individual who is Jimmy’s closest friend. The novel is neatly divided into two sections: the first in the summer of ’86, when the boys are in their late teens/early twenties; the second in 2017, which finds the pair in the throes of middle age. There are some significant moral and ethical considerations being explored here with a wonderful lightness of touch. An emotionally involving novel that manages to feel both exhilarating and heartbreaking.

Drive Your Plow Over the Bones of the Dead by Olga Tokarczuk (tr. Antonia Lloyd-Jones)

A very striking novel that is by turns an existential murder mystery, a meditation on life in an isolated, rural community, and, perhaps most importantly, an examination of our relationship with animals and their place in the hierarchy of society. That might make Plow sound heavy or somewhat ponderous; however, nothing could be further from the truth! This is a wonderfully accessible book, a metaphysical novel that explores some fascinating and important themes in a highly engaging way. Arresting, poetic, mournful, and blacky comic, Plow subverts the traditional expectations of the noir genre to create something genuinely thought-provoking and engaging. The eerie atmosphere and sense of isolation of the novel’s setting – a remote Polish village in winter – are beautifully evoked.

The Shadowy Third by Julia Parry

When Julia Parry comes into possession of a box of letters between her maternal grandfather, the author and academic, Humphry House, and the esteemed Anglo-Irish writer, Elizabeth Bowen, it sparks an investigation into the correspondence between the two writers. Their relationship, it transpires, was an intimate, clandestine one (Humphry was married to Madeline, Parry’s grandmother at the time), waxing and waning in intensity during the 1930s and ‘40s. What follows is a quest on Parry’s part to piece together the story of Humphry’s relationship with Bowen – much of which is related in this illuminating and engagingly written book. Partly a collection of excerpts from the letters, partly the story of Parry’s travels to places of significance to the lovers, The Shadowy Third is a fascinating read, especially for anyone interested in Bowen’s writing. (It was a very close call between this and Paula Byrne’s Pym biography, The Adventures of Miss Barbara Pym, but the Parry won through in the end.)

The Cost of Living by Deborah Levy

This luminous meditation on marriage, womanhood, writing and reinvention is the second part of Deborah Levy’s ‘living autobiography’ trilogy – a series which commenced in 2014 with Things I Don’t Want to Know. In essence, this fascinating memoir conveys Levy’s reflections on finding a new way to live following the breakdown of her marriage after twenty or so years, prompting her to embrace disruption as a means of reinvention. Levy has a wonderful ability to see the absurdity in day-to-day situations, frequently peppering her reflections with irony and self-deprecating humour.

This is an eloquent, poetic, beautifully structured meditation on so many things – not least, what should a woman be in contemporary society? How should she live?

A Sunday in Ville-d’Avray by Dominique Barbéris (tr. John Cullen)

This beautiful, evocative novella is set in Paris on a Sunday afternoon in September, just at the crossover point between summer and autumn. The narrator – an unnamed woman – drives from the city centre to the Parisian suburb of Ville-d’Avray to visit her married sister, Claire Marie. As the two sisters sit and chat in the garden, an intimate story emerges, something the two women have never spoken about before. Claire Marie reveals a secret relationship from her past, a sort of dalliance with a mysterious man whom she met at her husband’s office. What emerges is a story of unspoken desire, missed opportunities and avenues left unexplored. This haunting, dreamlike novella is intimate and hypnotic in style, as melancholy and atmospheric as a dusky autumn afternoon.

Whereabouts by Jhumpa Lahiri (tr. by the author)

This slim, beautifully constructed novella is an exploration of solitude, a meditation on aloneness and the sense of isolation that can sometimes accompany it. The book – which Lahiri originally wrote in Italian and then translated into English – is narrated by an unnamed woman in her mid-forties, who lives in a European city, also nameless but almost certainly somewhere in Italy. There’s a vulnerability to this single woman, a fragility that gradually emerges as she goes about her days, moving from place to place through a sequence of brief vignettes. As we follow this woman around the city, we learn more about her life – things are gradually revealed as she reflects on her solitary existence, sometimes considering what might have been, the paths left unexplored or chances that were never taken. This is an elegant, quietly reflective novella – Lahiri’s prose is precise, poetic and pared-back, a style that feels perfectly in tune with the narrator’s world.

The Past by Tessa Hadley

A subtle novel of family relationships and tensions, written with real skill and psychological insight into character, The Past revolves around four adult siblings – Harriet, Alice, Fran and Roland – who come together for a three-week holiday at the Crane family home in Kington, deep in the English countryside. The siblings have joint ownership of the house, and one of their objectives during the trip is to decide the property’s fate. The inner life of each individual is richly imagined, with Hadley moving seamlessly from one individual’s perspective to the next throughout the novel. Everything is beautifully described, from the characters’ preoccupations and concerns, to the house and the surrounding countryside. A nearby abandoned cottage and its mysterious secrets are particularly vividly realised, adding to the sense of unease that pulses through the narrative. My first by Hadley, but hopefully not my last.

Intimacies by Lucy Caldwell

A luminous collection of eleven stories about motherhood – mostly featuring young mothers with babies and/or toddlers, with a few focusing on pregnancy and mothers to be. Caldwell writes so insightfully about the fears young mothers experience when caring for small children. With a rare blend of honesty and compassion, she shows us those heart-stopping moments of anxiety that ambush her protagonists as they go about their days. Moreover, there is an intensity to the emotions that Caldwell captures in her stories, a depth of feeling that seems utterly authentic and true. By zooming in on her protagonists’ hopes, fears, preoccupations and desires, Caldwell has found the universal in the personal, offering stories that will resonate with many of us, irrespective of our personal circumstances.

Blitz Spirit by Becky Brown

In this illuminating book, Becky Brown presents various extracts from the diaries submitted as part of the British Mass-Observation project during the Second World War. (Founded in 1937, Mass-Observation was an anthropological study, documenting the everyday lives of ordinary British people from all walks of life.) The diary extracts presented here do much to debunk the nostalgic, rose-tinted view of the British public during the war, a nation all pulling together in one united effort. In reality, people experienced a wide variety of human emotions, from the novelty and excitement of facing something new, to the fear and anxiety fuelled by uncertainty and potential loss, to instances of selfishness and bickering, particularly as restrictions kicked in. Stoicism, resilience and acts of kindness are all on display here, alongside the less desirable aspects of human behaviour, much of which will resonate with our recent experiences of the pandemic.

My Phantoms by Gwendoline Riley

A brilliantly observed, lacerating portrayal of a dysfunctional mother-daughter relationship that really gets under the skin. Riley’s sixth novel is a deeply uncomfortable read, veering between the desperately sad and the excruciatingly funny; and yet, like a car crash unfolding before our eyes, it’s hard to look away. The novel is narrated by Bridget, who is difficult to get a handle on, other than what she tells us about her parents, Helen (aka ‘Hen’) and Lee. This fascinating character study captures the bitterness, pain and irritation of a toxic mother-daughter relationship with sharpness and precision. The dialogue is pitch-perfect, some of the best I’ve read in recent years, especially when illustrating character traits – a truly uncomfortable read for all the right reasons.

And finally, a few honourable mentions for the books that almost made the list:

Second Sight – an eloquent collection of film writing by the writer and critic, Adam Mars-Jones;
Nomadland – Jessica Bruder’s eye-opening account of nomad life in America;
Open Water – Caleb Azumah Nelson’s poetic, multifaceted novella;
and The Years – Annie Ernaux’s impressive collective biography (tr. Alison L. Strayer), a book I admired hugely but didn’t love as much as others.

So that’s it for my favourite recently published titles from a year of reading. Do let me know your thoughts below – and join me again next week when I’ll be sharing my favourite ‘older’ books with plenty of treats still to come!

Open Water by Caleb Azumah Nelson

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Open Water is a beautiful, lyrical novella by the young British Ghanaian writer and photographer Caleb Azumah Nelson, named as one of The Observer’s 10 Best Debut Novelists of 2021. I read it because our bookshop co-hosted an event with Caleb recently, and it was so enjoyable to hear him talk about the themes within the book – he really is a very thoughtful and engaging speaker.

The book – which focuses on two central protagonists, one male, one female, both black and in their early twenties – is at once both a tender love story and a searing insight into what it feels to be young, black and male in the South London of recent years. (While both characters are crucial to the narrative, the male protagonist is Nelson’s main focus.)

The young man (a photographer) and the young woman (a dancer) meet while the latter is still in a relationship with a mutual friend, Samuel. This earlier relationship soon dissolves as a hesitant, yet close bond develops between the two main protagonists – not sexual at first, although their connection to one another is deeply soulful.

As she does so, reclining into the sofa, she reaches for your hand, and you take it, fitting together like this is an everyday. She’s wearing rings on her fore and ring fingers, the bands cool between your own. Neither of you dare look at one another as you hold this heavy moment in your hands. You’re light-headed, and warm. You’re both silent. You’re both wondering what it could mean that desire could manifest in this way, so loud for such a tender touch. It’s she who breaks the moment (p. 44)

There is a somewhat fragmentary nature to the couple’s relationship, partly imposed by periods of physical separation when the young woman returns to Dublin to study. Nelson writes beautifully about the sensation of progressing from friendship to love, how our innermost feelings can be exhilarating yet also expose a noticeable sense of vulnerability. The simple pleasures of shared moments – eating a pizza together curled up on the sofa, the buzz and wind-down of a night out – lend the narrative a genuine emotional sensitivity.

Through his use of a second-person narrative, Nelson imbues this story with a wonderful combination of intimacy and immediacy, a feeling that fits so naturally with the novella’s intertwined themes. The fact that we never learn the names of Nelson’s two main protagonists also gives the story a sense of universality – while these individuals’ experiences are deeply personal, they will also likely resonate with many of us, hopefully in a variety of different ways.

Nelson is particularly strong when it comes to conveying the experience of inhabiting a black body, that sense of being stared at but not seen – certainly not as a human being with emotions and feelings.

…and so you hide your whole self away because you haven’t worked out how to emerge from your own anger, how to dip into your own peace. You hide your whole self away because sometimes you forget you haven’t done anything wrong. Sometimes you forget there’s nothing in your pockets. Sometimes you forget that to be you is to be unseen and unheard, or it is to be seen and heard in ways you didn’t ask for. Sometimes you forget to be you is to be a Black body, and not much else. (pp. 118–119)

What really comes across here is the fear young black men experience on a day-to-day basis. Will today be a day when they are stopped and searched? Will today be a day of confrontation? Will today be the day they lose their life?

Also threaded through the story are vignettes highlighting the inspiration that can come from the creative arts. These examples, drawn from various black writers and filmmakers, are clearly touchstones for the young man, intertwined as they are with his innermost thoughts and feelings. I was delighted to see a mention of Barry Jenkins’ adaptation of James Baldwin’s novel If Beale Street Could Talk here – both the film and the book are great favourites of mine, and if they’re of interest you can read my brief thoughts on the novel via the link.

As the narrative unfolds, it is possible to detect a growing sense of danger, the feeling that confrontation or violence could erupt at any given moment. Without wishing to give too much away, an incident occurs that causes the young man to withdraw into himself, unable to verbalise the situation’s emotional impact. It’s a development that forces a rupture in the central relationship, a wound that cuts swift and deep, as sharp as a knife.

Nelson has succeeded in writing a delicately balanced novel which is by turns tender, poetic, powerful and thoughtful. It is a story for our times, an exploration of love, creativity and the need to be seen, especially in a world where fear and prejudice are ever-present. An exciting new voice in literature that deserves to be heard.

Open Water is published by Viking, an imprint of PRH; personal copy.

Mr Wilder and Me by Jonathan Coe

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I have long had a fondness for the work of Billy Wilder, the Austrian-born American filmmaker who moved to Hollywood in the early 1930s. The Apartment (1961) is my all-time favourite film – I watch it at least once a year, often on New Year’s Eve – while Double Indemnity (1945) and Some Like It Hot (1960) would almost certainly make my top ten. So a novelisation of Wilder’s quest to make his 1978 movie, Fedora, was always going to be literary catnip for me. It’s a wonderfully charming, warm-hearted book – at once a gentle coming-of-age story and an affectionate portrayal of one of Hollywood’s greatest directors – a compassionate, bittersweet novel about ageing, creativity and what happens when an industry changes, leaving a respected artist somewhat high and dry.

The novel is narrated by Calista, a fictional figure looking back to the days of her youth to a time when a chance encounter with Wilder during a backpacking holiday in America shaped the direction of her life. She is now a composer of music, predominantly for film – a passion fuelled by a lucky break, courtesy of Mr Wilder.

Rewinding to the late ‘70s, Calista – an intuitive musician who also speaks multiple languages – is hired by Wilder’s production team to act as a translator for the Greek leg of the Fedora shoot. The role brings her into close contact with Wilder and his inner circle – most notably Iz Diamond, Billy’s longstanding writing partner and friend.

Through the lens of Calista, Coe portrays the relationship between these two men with great warmth and affection. Like every great couple, Billy and Iz have their differences, blowing hot and cold with one another throughout the shoot. While Iz favours the bittersweet comedy of their earlier films, Billy is keen for Fedora to be a more serious drama, one with a melancholy, poignant tone. And yet the film should also retain a sense of elegance and beauty, qualities that seem to be falling out of fashion with the US studios as a new wave of directors begins to emerge.

[Billy:] ‘… I know that this picture, the one I’m making now, it’s one of my most serious pictures, of course – I want it to be serious, I want it to be sad – but that doesn’t mean, when the audience comes out of the cinema, they feel like you’ve been holding their head down the toilet for the last two hours, you know? You have to give them something else, something a little bit elegant, a little bit beautiful…’ (p. 214)

With the focus shifting in favour of the ‘kids with beards’ (the new generation of brash filmmakers including Spielberg and Scorsese), the Hollywood studios have refused to back Fedora, forcing Billy and Iz to make the film in Germany. This is not something that Billy is entirely comfortable with, particularly given his family history. As an Austrian Jew, he moved to the US in 1933, where his work as a screenwriter went from strength to strength. Nevertheless, this success was tinged with sadness as Billy lost touch with his mother, stepfather and grandmother – all of whom most likely perished in the concentration camps during WW2. While Billy is mostly portrayed as a genial, wisecracking figure – albeit one underscored with a discernible seam of tragedy – there is a steeliness to some of his humour, a degree of seriousness that can pierce and bite.

[Billy:] Well, you know, it was difficult to raise the money for this picture in America. So I was very glad when my German friends and colleagues stepped in. And now, I think it puts me in a kind of win-win situation.’

[Reporter:] ‘What do you mean by that?’ the woman asks.

‘I mean,’ Billy says, ‘that with this picture I really cannot lose. If it’s a huge success, it’s my revenge on Hollywood. If it’s a flop, it’s my revenge for Auschwitz.’ (p. 183)

Commercially, Fedora ultimately turns out to be the latter, but that’s somewhat by the by. It’s clear from this novel that Coe holds a great deal of affection for the film, a feeling reflected perhaps in Calista’s thoughts on Fedora as she looks back from the viewpoint of middle age.

So it’s a film I struggle to see clearly. But when I do see it clearly, it remains, for me, a thing of great beauty. Great beauty and determination. Billy’s urge to create, to keep on giving something to the world – a fundamentally generous impulse – had been as strong as ever when he made it. And, as I had tried to convince him at the time, the film shows such compassion for its characters: for its ageing characters, in particular – be they men or women – struggling to find a role for themselves in a world which is interested only in youth and novelty. (p. 240)

At the heart of the novel are themes of ageing, transition and a heartfelt longing for times past – some of which are echoed in Fedora itself which features Marth Keller as an ageing movie star at the end of her fame.

What Coe does so well here is to convey a portrait of Wilder in the twilight of his career, a man who clearly feels a deep sense of disappointment that the film world has moved on, no longer valuing the style of work he wants to create. It is also a love letter to old Hollywood, to values of elegance, beauty, romance and soul – the kind of qualities embodied in Wilder’s films. There is even a sort of homage to Wilder and Iz’s scripts, as a vignette from Billy’s past is presented as a mini screenplay within the book. It’s a poignant, evocative piece, perfectly capturing the cultural milieu in which Billy circulated in the early ‘30s.

A CAPTION reads: ‘BERLIN, 1933’.

The camera takes in the whole interior of the café – waiters as in tuxedos weaving their way between busy tables, old guys, playing chess, businessmen reading newspapers, friends exchanging gossip and young couples lost in each other’s company – before zooming in on one table near the window, where a boisterous group of young men are engaged in a loud discussion. The air is clouded with cigarette smoke and the steam from innumerable coffee cups. (p. 127)

You’ve probably gathered this by now, but if not – I loved this novel. There is so much warmth and generosity here, qualities that seem lacking in many aspects of our external world right now. It’s also a real treat for fans of Billy Wilder, with nods to some of his other movies such as Sunset Boulevard and The Private Life of Sherlock Holmes. Finally, it offers an insight into the world of a creative genius, reminding us of the lasting value of art, irrespective of the fads and fashions of the day. A wonderful book, very highly recommended indeed.

Mr Wilder and Me is published by Viking, Penguin Random House; my thanks to the publishers for kindly providing a reading copy. Should you wish to buy a copy of this book, you can do so via this link to Bookshop.org (see the disclosure on the home page of my website).

My books of the year, 2019 – favourites from a year of reading

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2019 has been the year of the big series for me. I’ve read more books than ever this year, mostly due to being laid up at home for the best part of three months while recovering from a major fracture. Not an experience I wish to repeat, but it did give me the time and mental energy to work through some lengthy sequences of books, many of which feature in my highlights of the year.

Regular readers may also recognise one or two familiar names – Penelope Fitzgerald is here again, as is William Trevor. Nevertheless, there are several *new* entrants too – with books by Anita Brookner, J. L. Carr and Laura Cumming, to name but a few. (I’ve been reading more memoirs this year, a trend reflected in the range of choices included here.)

Anyway, without further ado, here are my favourites from 2019 in order of reading – a baker’s dozen of brilliant books. These are the books I loved, the books that have stayed with me, the ones I’m most likely to recommend to others. I’ve summarised each one in this post, but you can read the full reviews by clicking on the appropriate links.

Look at Me by Anita Brookner

Perceptive, engrossing and enigmatic, Look at Me – Anita Brookner’s third novel – is something of a minor masterpiece, probing as it does the inner life of a lonely young woman who experiences a brief period of renaissance, only to be scarred by the torrid experience. Frances is drawn into the seductive world of a glamorous, bohemian couple, then cast aside like a discarded toy. Few writers can capture the acute pain of social isolation and dashed dreams quite like Anita Brookner, and this novel has to be one of her best, most nuanced explorations of these themes.

At Freddie’s by Penelope Fitzgerald

Set in a London stage school in the early 1960s, At Freddie’s is another of Penelope Fitzgerald’s marvellous tragicomedies. Many of the familiar elements from the author’s early novels are here – isolated women; hopeless, befuddled men; precocious children – all caught up in a somewhat eccentric, idiosyncratic community. Once again, Fitzgerald has drawn on some of her own experiences in writing this book – in this instance, her time spent as a teacher at the Italia Conti drama school during the decade in question. An excellent novel, both darkly comic and poignant, shot through with a deep understanding of the foibles of human nature.

A Dance to the Music of Time by Anthony Powell

A magnificent twelve-novel sequence exploring the political and cultural milieu of the English upper classes in the early-mid 20^th century. Impossible to summarise in just a few sentences, Powell’s masterpiece features one of literature’s finest creations, the odious Kenneth Widmerpool. It’s fascinating to follow Widmerpool, Jenkins and many other individuals over time, observing their development as they flit in and out of one another’s lives. The author’s ability to convey a clear picture of a character – their appearance, their disposition, even their way of moving around a room – is second to none. Quite simply the highlight of my reading year.

More Was Lost by Eleanor Perényi

A remarkable memoir by the American-born writer, Eleanor Perényi. In essence, the memoir covers the early years of Eleanor’s marriage to Zsiga Perényi, a relatively poor Hungarian baron whom she meets while visiting Europe with her parents in 1937. It’s a gem of a book, both charming and poignant in its depiction of a vanishing and unstable world, all but swept away by the ravages of war. By turns beautiful, illuminating, elegiac and sad; a rare book that feels expansive in scope yet intimate in detail all at once.

Your Face Tomorrow by Javier Marias (tr. Margaret Jull Costa)

I wasn’t sure about the first book in this trilogy when I read it back at the end of 2018, but after a longish break from the series my perseverance with it paid off. Widely considered as Marias’ masterpiece, Your Face Tomorrow is a tremendous achievement, a thought-provoking treatise on truth, betrayal, coercion and culpability. When viewed as a whole, the narrative raises some key questions about the nature of violence, particularly whether the final outcome can ever justify the means. An intricate series that remains frighteningly relevant today.

The Patrick Melrose Novels by Edward St Aubyn

Another of my recuperation reads, this sequence charts the turbulent life of the central character, Patrick Melrose, from his lowest and darkest moments to something approaching recovery and self-repair. It is a story in which the sins and failures of fathers and mothers shape the lives of their children in the most destructive of ways. When read as a series, the novels are bruising yet immensely satisfying as they give the reader such a deep insight into the central character’s inner life, complete with its anxieties, complexities and self-destructive tendencies. By turns astute, painful, shocking and excruciatingly funny, this is a fiercely intelligent examination of dysfunctional families.

A Month in the Country by J. L. Carr

A sublime, deeply affecting book about love, loss and the restorative power of art. Set in small Yorkshire village in the heady summer of 1920, Carr’s novella is narrated by Tom Birkin, a young man still dealing with the effects of shell-shock following the traumas of the First World War. Above all, this is a beautifully written novella imbued with a strong sense of longing – a sense of nostalgia for an idyllic world. Best read in summer to reflect the book’s atmosphere.

Love and Summer by William Trevor

Set in the idyllic countryside of Ireland in the 1950s, Love and Summer is a gentle, contemplative novel of lost love and missed chances. Trevor perfectly captures the rhythm of life in a small farming community, the sort of place where everyone knows everyone else’s business, where any deviation from the expected norm is noticed and judged. It is a world populated by lonely, damaged individuals, people who expect little from life save for a simple existence with few opportunities or openings. Beautifully written in a simple, unadorned style; fans of Colm Tóibín would likely enjoy this one.

Territory of Light by Yuko Tsushima (tr. Gillian Harcourt)

I loved this. A beautiful, dreamlike novella shot through with a strong sense of isolation that permeates the mind. Originally published as a series of short stories, Tsushima’s novella focuses on a year in the life of a young mother, recently separated from her somewhat ambivalent husband. There is a sense of intimacy and honesty in the portrayal of the narrator’s feelings, something that adds to the undoubted power of the book. Themes of isolation, alienation and disassociation are heightened by the somewhat ghostly nature of the setting – an apartment located in a commercial building where the mother and child are the sole occupants at night. Strangely unsettling in tone yet thoroughly compelling.

The Driver’s Seat by Muriel Spark

This is a challenging book to summarise in just a few sentences, particularly given the twisted nature of the narrative (I’m not even going to try to describe it.) Once again, Spark has crafted an unforgettable story that disturbs as much as it intrigues, leaving the reader both unsettled and fascinated by her somewhat distorted view of the world. She is a remarkable writer – uncompromising in terms of vision, style and the execution of her art. Utterly brilliant and completely bonkers all at once – a book that will likely divide opinion.

On Chapel Sands by Laura Cumming

This absorbing memoir revolves around the story of Cumming’s mother, Betty Elston – more specifically, her disappearance as a young child, snatched away from the beach at Chapel St Leonards in 1929. What I love about this book is the way Cumming uses her skills as an art critic to shed new light on the unanswered questions surrounding her mother’s childhood. More specifically, the importance of images, details, perspective and context, in addition to hard evidence and facts. A remarkable story exquisitely conveyed in a thoughtful, elegant style.

Childhood, Youth, Dependency by Tove Ditlevsen (tr. Tiina Nunnally, Michael Favala Goldman)

When viewed together, these books form The Copenhagen Trilogy, a striking series of reflections by the revered Danish writer and poet, Tove Ditlevsen, who grew up in a down-at-heel district of Copenhagen in the years following WW1. The books chart Ditlevsen’s lonely childhood, awkward adolescence and troubled adult life in a style that is simple, candid, striking and elegant. There is a frankness to the author’s account of her life, one that gives the books a sense of intimacy and immediacy that feels hard to resist.

Olive, Again by Elizabeth Strout

Just as good if not better than its predecessor, Olive Kitteridge. Here we find Olive in her mid-seventies to early-eighties, dealing with the challenges of everyday life in her own inimitable way. While there are many things to love and admire about this book, it is Strout’s insight into the fragility of our existence that feels most affecting. There is some brilliant writing here about the loneliness and terror of old age (the anxiety is palpable), the realisation of lost opportunities and past failings; and ultimately the fear of death itself. This is a profoundly moving book – a highly perceptive portrait of a genuine individual and the small-town community in which she lives.

So, another very satisfying year of reading for me. I really have read some excellent books in 2019. (My one regret is not having enough space to include a favourite crime/noir novel of the year – if I had to choose, it would be The Blunderer by Patricia Highsmith, a writer whose books never fail to disappoint me.)

All that remains is for me to wish you all the very best for the festive season and the year ahead – may they be filled with plenty of bookish delights!

Olive, Again by Elizabeth Strout

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Back in early 2018, I read Olive Kitteridge (2008), Elizabeth Strout’s widely acclaimed novel in short stories set in the fictional coastal town of Crosby in Maine. I adored the book but felt I couldn’t write about it at the time – partly because I was taking a break from blogging but mostly because I didn’t want to over-analyse it. Sometimes a book is just so perfect that it feels wrong somehow to break it down, as if by doing so one destroys the magic or fails to capture what makes it so special.

I feel much the same way about the sequel, Olive, Again (2019) – which if anything seems even better, even more profoundly insightful about the day-to-day burdens of life than its predecessor. Nevertheless, I want to try to note a few thoughts about this novel here as it will almost certainly feature in my reading highlights of the year.

For those of you unfamiliar with these books, both focus on Olive Kitteridge, a retired maths teacher who lives in a small-town community in Maine, the kind of place where everyone knows everyone else’s day-to-day business. Each book is structured as a sequence of interlinked short stories. Olive features in pretty much every story – sometimes front and centre in the narrative, other times on the periphery, bumping into the main character in the street, often with a somewhat dismissive wave of the hand over her head. Now and again, an individual from one of Strout’s other (non-Olive) novels appears, the connections to Olive – however tenuous – reaching out to encompass various strands of this author’s work.

Olive is a highly complex, multi-faceted character. She is direct, abrasive, intolerant and cranky; and yet she is also capable of demonstrating real empathy towards others, particularly those who feel depressed, neglected or marginalised by mainstream society. In Olive Again, a young woman dying from cancer is a particularly poignant example. Only Olive has the courage to visit this woman, easing her isolation with her straight-talking manner, while others are too embarrassed or fearful of what to say, preferring instead to avoid any contact.

At the end of Olive Kitteridge, our protagonist is in her mid-seventies – newly widowed following the death of her husband, Henry – at the beginning of a potential new relationship with Jack, also bereaved, lonely and at a similar stage of life. The early chapters of Olive, Again chart the couple’s developing bond, a relationship not without its own tensions and frustrations. However, there is enough that unites Olive and Jack to enable them to progress to a shared existence and ultimately marriage in their twilight years. Jack, for his part, is somewhat more easy-going than Olive, more willing to accept her flaws and failings, loving her in spite of and because of her ‘Oliveness’.

The need for Olive to tell her son Christopher – a podiatrist now married to wife no. 2 – of her own forthcoming marriage, forms the basis of one the best, most acutely observed vignettes in the book. Olive’s failures as a mother are painful exposed to her during a tense family visit, as Christopher, Ann and their four children (two from Ann’s previous relationships) make the trip from their home in New York to Crosby, Maine.

It came to her then with a horrible whoosh of the crescendo of truth: She [Olive] had failed on a colossal level. She must have been failing for years and not realized it. She did not have a family as other people did. Other people had their children come and stay and they talked and laughed and the grandchildren sat on the lap of their grandmothers, and they went places and did things, ate meals together, kissed when they parted. Olive had images of this happening in many homes; her friend Edith, for example, before she had moved to that place for old people, her kids would come and stay. Surely they had a better time than what had just happened here. And it had not happened out of the blue. She could not understand what it was about her, but it was about her that had caused this to happen. And it had to have been there for years, maybe all of her life, how would she know? As she sat across from Jack–stunned–she felt as though she had lived her life as though blind. (p. 91, Olive, Again, Viking)

These sudden realisations – the unexpected dawning of uncomfortable truths – run through the narrative as Olive finds herself reflecting on certain aspects of her life. Perhaps most notably, Olive dwells on her lack of appreciation of Henry when they were together as a couple, her coldness towards him when all he was doing was simply asking for her love. This particular insight first strikes Olive in the most unlikely of situations, in the midst of a baby shower which she finds utterly intolerable – both tedious and ridiculous in equal measure. It is one of the standout vignettes in this exceptional novel, laced with a blend of excruciating humour and lacerating poignancy.

In the final third of the book, we find Olive in her early eighties, trying to maintain a sense of independence as the years slip by. As a natural consequence of the ageing process, Olive must learn to accept help from others from time to time. Her interactions with a doctor and a team of home carers offer some deep insights into the human condition – not only for Olive but for her carers too. Everyone has to deal with their own hardships in life, irrespective of the nature of their position. Olive’s opinionated carer, Betty – an avid supporter of Trump, much to Olive’s horror – has her own challenges: more specifically, the fallout from two broken marriages and a son with special needs. Her life sucks, nevertheless it matters – Olive can see this even if Betty cannot.

While there are many things to love and admire about this book, it is Strout’s insight into the fragility of our existence that feels most affecting. There is some brilliant writing here about the loneliness and terror of old age (the anxiety is palpable), the realisation of lost opportunities and past failings; and ultimately the fear of death itself.

This is a profoundly moving book – a highly perceptive portrait of a genuine individual and the community she lives in. The political nuances of small-town life are vividly portrayed, even when glimpsed for the tiniest of moments. Read it but be prepared to shed a tear or two…

Olive, Again is published by Viking; my thanks to Penguin Random House for kindly providing a reading copy.

(I loved it so much that I bought myself a copy of the finished book, used for the quotation here.)

Elizabeth is Missing by Emma Healey (review)

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Elizabeth is Missing, Healey’s impressive debut novel, is narrated by Maud, an eighty-two year old woman with dementia. The book opens with a brief prologue set in the present day in which Maud finds the broken lid of an old make-up compact in her friend, Elizabeth’s, garden. It’s an item Maud recognises from a lifetime ago, one that triggers memories of a mystery from her past:

The broken lid of an old compact, its silver tarnished, its navy-blue enamel no longer glassy but scratched and dull. The mildewed mirror is like a window on a faded world, like a porthole looking out under the ocean. It makes me squirm with memories.

‘What have you lost?’ The woman steps, precarious and trembling, out on to the patio. ‘Can I help? I might not be able to see it, but I can probably manage to trip over it if it’s not too well hidden.’

I smile, but I don’t move from the grass. Snow has collected on the ridges of a shoeprint and it looks like a tiny dinosaur fossil freshly uncovered. I clutch at the compact lid in my hand, soil tightening my skin as it dries. I’ve missed this tiny thing for nearly seventy years. And now the earth, made sludgy and chewable with the melting snow, has spat out a relic. Spat it into my hand. But where from? That’s what I can’t discover. Where did it lie before it became the gristle in the earth’s meal? (pgs. 1-2, Viking)

As the story itself gets going, we begin to build a picture of Maud’s day-to-day life with dementia. Maud’s short-term memory is poor, so she forgets when she’s eaten or made a cup of tea, and she often finds herself disoriented and at a loss as to her intentions. This results in her eating too much toast, leaving several cups of tea to go cold and buying far too many tins of sliced peaches when she forgets what she needs at the shops. Dementia sufferers often repeat certain patterns of behaviour, and Healey illustrates this through Maud’s tangle of thoughts and movements. Here’s Maud as she struggles while shopping for food:

‘Eggs. Milk – question mark – Chocolate.’ I turn my bit of paper about to catch the light. There’s a cosy cardboardy smell in the shop and it’s like being in the larder at home. ‘Eggs, milk, chocolate. Eggs, milk, chocolate.’ I say the words, but I can’t quite think what the things look like. Could they be in any of the boxes in front of me? I carry on muttering the list under my breath as I shuffle about the shop, but the words begin to lose meaning and are like a chant. I’ve got ‘marrows’ written down here too, but I don’t think they sell them here. (pg 7)

As a reminder of what to do (and what to avoid doing), Maud scribbles notes to herself which she keeps in her pockets. And additional notes are dotted around Maud’s house, courtesy of her daughter, Helen, and carer, Carla: ‘coffee helps memory’, ‘lunch for Maud to eat after 12 p.m.’. However, Maud often struggles to make sense of her paper memory, as she finds it hard to recall the meaning of these jottings. And Maud is especially troubled by some of her notes, the ones concerning her friend Elizabeth: ‘no word from Elizabeth’, ‘haven’t heard from Elizabeth.’ Consequently, Maud is convinced that Elizabeth is missing and that something terrible may have happened to her, especially when she finds her friend’s house empty and in the process of being cleared.

Maud sets about trying to get to the bottom of Elizabeth’s apparent disappearance, (frustrating her daughter in the process) and this theme forms one of two strands that run through the novel. The other thread concerns a mystery from Maud’s past, one signalled by the broken compact Maud unearths in the prologue. This vanity case belonged to Maud’s older sister, Sukey, who disappeared suddenly in the years following the end of the Second World War. At the time of her disappearance, Sukey was relatively newly-married to Frank, a rather shady removals operator with a lucrative sideline in the movement of black-market goods.

Despite Maud’s difficulty in remembering things from the present day, her long-term memory is much sharper, considerably more vivid, and the story moves back in time as Maud recalls the events surrounding Sukey’s vanishing. There’s some neat period detail and dialogue here, elements that feel true to Britain in the 1940s (as far as I can tell from my experience of novels and films produced at this time).

The narrative alternates between Maud’s present-day search for Elizabeth and the post-war years as Maud and her family look for Sukey. In general, Healey manages the transitions between these two timeframes quite skilfully; for example, Maud will see an object that transports her back to a particular scene from her past, one in which the same item (or a similar one) appears.

As the novel reaches its conclusion, Healey ties the two strands together, although the way in which this happens feels a little implausible. I guessed where the mystery of Sukey’s disappearance was heading before our arrival at the resolution, and consequently, this element of the story could have been a little more compelling, more intriguing.

These are fairly small quibbles, however. Elizabeth is Missing is a very good debut, ultimately very moving and not without humour (despite the distress of Maud’s condition). Where this novel really excels is in its depiction of the inner thoughts and feelings of a woman living with dementia, and we see how the mental and physical effects of dementia take their toll on Maud:

Helen sighs again. She’s doing a lot of that lately. She won’t listen, won’t take me seriously, imagines that I want to live in the past. I know what she’s thinking, that I’ve lost my marbles, that Elizabeth is perfectly well at home and I just don’t remember having seen her recently. But it’s not true. I forget things – I know that – but I’m not mad. Not yet. And I’m sick of being treated as if I am. I’m tired of the sympathetic smiles and the little pats people give you when you get things confused, and I’m bloody fed up with everyone deferring to Helen rather than listening to what I have to say. My heartbeat quickens and I clench my teeth. I have a terrible urge to quick Helen under the table. I kick the table leg instead. The shiny salt and pepper shakers rattle against each other, and a wine glass starts to topple. Helen catches it.

‘Mum,’ she says. ‘Be careful. You’ll break something.’

I don’t answer; my teeth are still tight together. I feel I might start screaming, but breaking something, that’s a good idea. That’s exactly what I want to do. I pick up my butter knife and stab it into the black side plate. The china breaks. Helen says something, swearing I think, and somebody rushes towards me. I keep looking at the plate. (pgs. 18-19)

Elizabeth is Missing is our book group’s choice for July, and I’m sure we’ll have a lively discussion about it when we meet later this week. A couple of us were lucky enough to attend an event where Emma spoke of the book’s themes and sources of inspiration – there’s a link to my write-up of the evening here if you’re interested.

Several other bloggers have reviewed Elizabeth is Missing, so just click on the links if you’d like to read their thoughts: Naomi at The Writes of Women, David Hebblethwaite at Follow the Thread, Lindsay at The Little Reader Library, Susan at A Life in Books and Helen at MadaboutheBooks.

Elizabeth is Missing is published in the UK by Viking, an imprint of Penguin Books.