Category Archives: The ladies who say ooooh

‘The Lake House’ by Kate Morton

morton_the-lake-house

2015, 591p.

It was not my choice to read this book. Call me snobbish and superficial, but I’m even  turned off by the cover. There it is with its anachronistic photo of yet another woman’s back (although at least you can see her face here), and the fact that the author’s name is in a larger font than the title (one of my ‘amber lights’ warning of books that I probably shouldn’t read).  Kate Morton is a best-selling Australian author and has written several books, all with similar names and covers. Normally, I would steer well clear. However, this book was the selection for my bookgroup and because I am a very conscientious book-grouper, I read it.

It’s a mixture of a  historic big-house novel and a current-day police cold-case story featuring a middle-aged female detective. I’m rather guiltily partial to both genres. I’ve read my share of ‘big house’ books: I loved The Go-Between in Year 12, Rebecca, Jane Eyre, innumerable Victoria Holt books when I was 15, Molly Keane’s books and Atonement.  And in terms of cold-case police stories, after I finish writing this review, I’ll go off to watch Unforgotten on the TV to get my dose of intelligent female police detectives. All these indulgences are just that: they’re ‘down-time’ leisure, when I turn my mind off and just go with it. Which is how I think about The Lake House. It’s the sort of book you might read when you’re on a week’s holiday and want to just immerse yourself in a fairly-undemanding read.

There are two narratives interwoven through the book, one set in 1933 and the other in 2003, both based on the house Loeanneth and its mysteries. In 1933 it was the home of Anthony and Eleanor Edevane and their three daughters and baby son, Theo who mysteriously disappeared on Midsummer’s Eve.  The second narrative, set in 2003 centres on Sadie Sparrow, a London detective who has been stood down and told to ‘take a holiday’ after she spoke to the press about a missing-child case.  She travels down to Cornwall to stay with her grandfather and when she stumbles on the now-derelict Loeanneth, she is driven to find out what happened to the family who left it so abruptly after the disappearance of the little boy.

There are red-herrings and misdirections galore, and although some of them took me by surprise, I guessed the too-pat ending ahead of time.  I suppose that I should be pleased that I actually knew who dunnit by the end, instead of plaintively wailing “But I don’t get it…..”

The book contains every possible big-house and cold-case cliche and at just off 600 pages it certainly is a big baggy monster. There are whole plot lines that could have been omitted without loss, but the twin-narrative structure was well-constructed and sustained across the whole long book. It certainly romped along and drew me in so that I didn’t at all mind reading great slabs of it, which is probably the way you’d read it if it were a holiday read. But it’s not high literature, and I suspect that much of its appeal is that it is so recognizable and comfortable. I won’t be rushing to read another Kate Morton – there are too many other books that are more challenging to read and enjoy, and at 500+ pages, the rewards just aren’t there

My rating: 6/10

Read because:  CAE bookgroup choice.

AWW2019I have included this on the Australian Women Writers Challenge 2019 database.

 

‘Follow the Rabbit-Proof Fence’ by Doris Pilkington (Nugi Garmimara)

pilkington_rabbit

1996, 135P.

Am I the only person in Australia who has not read ‘Follow the Rabbit-Proof Fence’ or seen the movie? I suspect that I am.

First published in 1996, reprinted in 2000 and released as a movie in 2002, it is the story of Molly (14), Daisy (11) and Grace (8) who were forcibly removed from their families and taken to Moore River Native Settlement in 1931. The three girls escaped and walked home 1600 km in three months through the West Australian desert, orienting themselves in the huge expanse by following the rabbit-proof fence, a long fence intended to stop rabbits from entering the West Australian pastoral district.

Doris Pilkington is Molly’s daughter, but she knew little of her mother’s history until her aunt told her. Pilkington, like her mother and aunt, was also part of the Stolen Generation. She, too, ended up at that same Moore River, having been separated from her mother Molly at the age of four, and not seeing her again for more than twenty years. She didn’t learn the story of her mother and aunt’s escape for another ten years after that. (You can read more about the writing of the book here).

I was surprised that much of the book was history- it took up to p. 75 (in a 135 page book) for the girls to escape.  This history started with white invasion, tribal leader Kundilla (I’m not sure whether he was a historical figure or a narrative device); whalers; Swan River; and the decline of Aboriginal society.  She emphasizes the Mardudjara people as the traditional owners when white settlers brought their cattle, and describes the ‘coming in’ to the stations. Her focus is particularly  Jigalong station between 1917-1931. I was reminded here of Ann McGrath’s 1987 history Born in the Cattle which provides a nuanced account of Aboriginal cattle workers, the texture of station life, and the symbiotic relationship between pastoralists and workers.

From p. 75 on, the story fits into a more familiar ‘Voyage and Return’ narrative. Once the girls have started on their trek, she uses historical documents to support her narrative e.g. the correspondence of A. O. Neville (Protector of Aborigines) and copies of telegrams that criss-crossed W.A. The girls are by no means lost: they know where they are, and so do many other people in the homesteads, who offer them hospitality and then go on to report them to the Protector. In the end, the bureaucratic decision is made that it would be too expensive to retrieve them, and they are just let go.

In many ways, the postscript is most damning. Molly, along with her two daughters, was sent again to Moore River. She absconded again taking her 18 month old daughter and leaving Doris  behind. She retraced the walk that she did nine years earlier to return to Jigalong, only to lose her remaining daughter as well, when she was taken by the authorities. Both Daisy and Gracie would have been viewed as ‘successes’ under the assimilation policy of the time. Both married and were employed as domestic help. Daisy ended up moving to a Seventh Day Adventist Mission after her husband’s death.

This book has been a favourite on school reading lists for many years. Larissa Behrendt has written an essay for this school audience, which raises some interesting points.

I imagined that this book would be more emotional and angry than it is. The front-loading of history at the start of the story does make it somewhat abstract, and there is a flatness in the telling that I didn’t expect. I’m sure that on the screen, the landscape would be stark and featureless, but in the book more emphasis is placed on how Molly ‘reads’ the country, rather than on what it lacks. I look at some of the blurbs for later editions and the movie, which highlight ‘adventure’ and ‘courage’. These things are here in the book, but so too is unspoken love and knowledge for country, a quiet and stubborn determination, and a slow-burning injustice.

My rating: 7/10

Read because: CAE bookgroup choice.

AWW2019

I have included this on the Australian Women Writers’ Challenge database.

 

‘We Are All Completely Beside Ourselves’ by Karen Joy Fowler

Fowler_WeAreAll

2014, 336p.

One of the problems with writing a book that is almost completely reliant on a big narrative twist in the middle is that you can’t really review it, without spoiling it for others. So, I won’t do either- review it, or spoil it.

The book is told in the conversational narrative of an American woman looking back over her childhood, which was ruptured when her sister left.  And I’ll leave it at that.

How would I have reacted to this book without the ‘great reveal’, I wonder? Probably not as favourably, because there’s a sort of shocked delight in going back over your assumptions when you’ve had them turned upside down.

Once you’ve read the book, do an image search for the front cover. It’s interesting that some of the front cover designs give away the story much more than the cover on the version I read (above).

Read because: it was a CAE bookgroup selection

My rating: 7/10

‘The Time Traveler’s Wife’ by Audrey Niffenegger

Niffenegger_TimeTravellersWife

2004, 519 p.

I used to read many more books that I do now, particularly between the years 2000 and say 2007, when I had an extended period of ill health. When this book was produced with a flourish as our July read for book group,  my heart sank a little as I had read it back in 2005. But fourteen years is a long time between reads, and although I remembered the gist, I didn’t remember the details.

It’s a time-travel book. I quite enjoy time-travel books that have a relationship at the heart of them until I try to explain them, and then the whole construct falls apart. It is the story of Henry, who travels back and forth through time, and his love for Clare, who would become his wife. The structure is confusing at first, with the chronology jumping back and forward, with Henry at varying ages as Clare plods through her allotted life span as Henry appears, disappears and reappears again.  I often found myself having to turn back to check the date of the chapter, and there was not enough difference in tone and language between the alternating narratives of Henry and Clare. The book has many references to literature and poetry which don’t really rescue it from what is often very domestic and every-day. The ending was a long time coming, with ‘just one more chapter’ being tacked on to the last.

Did I like it any more in 2005? It seems not: in fact, I seem to have mellowed in my old age. This is what I wrote in 2005:

I should have been warned off this book by the Women’s Weekly Great Read sticker on the front. It’s an interesting idea: a chronodisplaced man pops in and out of the life of the woman who is to be come his wife, but worthy only of novella treatment – not a whole 500 page tome! So much of this was banal: getting dressed, eating, mundane conversation lived by an adolescent randiness and panting and always-wonderful sex.  It will probably make a nice enough movie, but it doesn’t need all this print to support it. It’s a first novel, and one badly in need of a judicious prune.  5.5/10

Ouch! I was surprised by how much sex there was in the book, which seemed rather gratuitous in the end.  Perhaps I would enjoy the movie more? After all, that Christopher Reeve movie ‘Somewhere in Time’ was a favourite when I was about 20.  Still, I’m pleased to see that my opinions about books generally hold firm over more than a decade, and that I won’t have to go back to re-read all the books I didn’t like.

My rating: 6.5 out of 10 (I told you that I had mellowed)

Sourced from: CAE as a bookgroup selection.

 

‘Samuel Pepys: The Unequalled Self’ by Claire Tomalin

Tomalin_Pepys

2002, 380 P plus notes

There are some biographies where you think that there’s no point in anyone else even picking up their pen to write another one. Claire Tomalin’s biography of Samuel Pepys falls into that category.  This isn’t the first time I have read this book, because I read it in 2005- certainly long enough to have forgotten much of the details. That was before I had been to London myself, and before I had started my own academic work in biography. I very much enjoyed it in 2005 and enjoyed it even more fourteen years later.

I think that I first became aware of Samuel Pepys in a school reader, where his eyewitness report of the Great Fire of London was reproduced. I’d always associated him more with the events that he wrote about (the fire, the plague etc) rather than as a person in his own right. But as Claire Tomalin points out, perhaps his most striking and original achievement was to see himself, his actions and his motivations, as a topic in themselves. One of the most opaque things over time and culture is to sense how people saw themselves, especially when such a question was so often overlaid with religious language. In Pepys we have a man holding himself up to his own scrutiny, laughing at himself, and at times writing what he knew could be used against him politically.

Pepys’ diaries covered only nine of his seventy years. It’s not really clear why he started writing them, but it was a very deliberate act when he purchased a notebook and carefully ruled up each page – all 280 of them- and drew 20-30 evenly spaced lines on which to write. He wrote in shorthand, with some proper nouns written in English, and breaking into pidgin Spanish when he wanted to describe some of his (all too frequent) amatory adventures.

Although Pepys’ diaries of course provide the richest source for Tomalin’s work (and indeed, the work of any Pepys scholar), this biography devotes about 1/3 of its length to the 1660-1669 period of the diaries. The other 2/3 deals with his life before beginning the diaries, and then after the diaries. This seems a judicious weighting, and one which placed the journals, important though they are, into the context of his whole life.

The book starts with a lengthy list of ‘who’s who’ which I found myself turning to frequently. As Tomalin highlights, when Pepys was starting out on his career, contacts were everything in making it possible for this son of a tailor to end up as a high-level civil servant and Member of Parliament. Even though I’m not in the habit of taking my history from Academy Award winning films, the recent film The Favourite exemplified the trails of patronage that could bring distant cousins into orbits far beyond their expectations.

What struck me particularly on this second reading, and particularly in days when watching the so-far unsuccessful attempts at political change in Venezuela, is just how dangerous it is when a country undertakes a huge political change. I’m not talking about elections, which in our case are just variations on the same, but the big political about-faces. Pepys experienced a number of such changes, at an uncomfortably close quarter to royal power, but without the means or patronage to have any influence at all on events. He saw the execution of Charles I; he supported Oliver Cromwell when he was a young man; he managed to switch to Charles II in time; he escaped suspicion (just) after the Popish plots; and he acquiesced when William took the throne. The people he aligned himself with survived, and so he did too.

Although the book is largely chronologically arranged into 3 parts (Part I pre-diaries; Part II 1660-1669 diary entries; Part III 1670-1703), its chapters are thematic as well e.g. work, marriage, science. She does not cite at length from the journals themselves, choosing to comment on them instead of reproducing them.

At times Pepys seems like us: at other times, not. His infidelities and what now reads like rank sexual harassment are uncomfortable reading; his domestic violence to his wife and servants is not endearing. But I found myself laughing when his enraged wife threatened his manhood with red-hot fire tools when she found out about his affair with the maid, and his own awareness of his hypocrisy, failings and weakness keeps him human.  Tomalin has given us a fully rounded man, and I just can’t imagine anyone else doing it better.

By the way, the first time I read this book, I was fascinated by the Pepys Diary page, which is still going. Each day an entry from the diaries is posted in full and people, who have a wealth of information about Pepys and London, annotate the entries.  Another site which I’ve enjoyed, although it’s aimed at children is an interactive site  fireoflondon.org.uk

My rating: 9.5/10  This is biography at its best

Sourced from: CAE bookgroups.

‘Black Tide’ by Peter Temple

Temple_BlackTide

1999, 356 p.

That’s it. I’m not reading another Peter Temple ever.

In fact, I said that to myself after I had to re-read Truth for my CAE bookgroup earlier this year. I looked back at my original blog post and everything I said there, I say again. Too disjointed. Too much conversation. Too confusing. And definitely not worthy of a Miles Franklin prize.

I’m amazed to find that I’ve read as many Peter Temples as I have. I quite liked The Broken Shore, but by White Dog the appeal had worn off. In the Evil Day was set in Africa, but it had all the same problems (too disjointed, too much conversation, too confusing etc).  He does dialogue well, but why doesn’t (didn’t) he just write plays? At least the speaker is identified in a script and you don’t have to count back to see who’s talking. And who are all these people he keeps bringing in? Or capturing a setting, which he also does well: why doesn’t (didn’t) he just write travel books?

At least Black Tide is a Jack Irish story, and I can see Guy Pearce, the three old blokes at the pub, Cam, Harry Strang and Stan the bartender in my mind’s eye.  Thank God for television, I say. The dodgy betting is here, and the carpentry, and a bit of sex, along with a confusing story about dodgy companies.  But I really have no idea what it was about.

So that’s it. Ned Kelly Awards and Miles Franklin prize be damned. If someone chooses another Peter Temple for bookgroup ever again, I’m just going to say “Nup. I don’t like Peter Temple”.

My rating: 6/10

Read because: ONLY because it was chosen for my CAE bookgroup.

‘Poum and Alexandre: A Paris Memoir’ by Catherine de Saint Phalle

Poum_Alexandre

2016, 256 p.

There is no shortage of memoirs about parents written by their children.  Too often, there is an underlying whine of grievance in such memoirs – admittedly, quite often justified- because the parents are too cruel, too self-absorbed or too mad, and the author/child is seeking to blame or understand (and often both at once).  Alternatively, there are memoirs of parents bathed in nostalgia, sorrow and yearning: yearning for a return to a simpler time and regret for lost opportunities and all the things the author did not say at the time.

Poum and Alexandre falls into neither of these camps. It’s significant that the title makes no reference to the author at all – there’s no ‘my’ in the title- and the subtitle ‘A Paris Memoir’ emphasizes place. The book is written from the child’s point of view, but the author’s own life, and most particularly her adult life, is largely absent, except in the final section. The book is written in three parts: ‘Poum’ dealing with her mother Marie-Antoinette, nicknamed ‘Poum’ because of a childish game in bouncing down stair ‘poum, poum, poum’; ‘Alexandre’ dealing with her father; and then a final short coda involving both parents.

Both Poum and Alexandre are eccentric. Poum is a disinterested mother, just as happy to stay in bed with her books, as to spend time with her daughter. Alexandre imbues his daughter’s mind with Greek myths, praise for the Magna Carta, and tales of Napoleon. Both parents are drawn to tales of blood and savagery, and they share these with their daughter, irrespective of her age.

Their daughter, Catherine, spends much of her early life away from her parents. Born in England, ostensibly  because of the freedoms bestowed by the Magna Carta, she is largely raised by her nanny Sylvia, and Sylvia’s own family. When she finally settles in France, she can barely speak French, and the book is largely devoid of friends or any other contacts other than her family.

Told from Catherine’s point of view, there are many gaps and non-sequiturs. Alexandre is already married and has an older, first family and what seems to be an ever-increasing number of offspring that Catherine gradually learns about, but does not meet. Alexandre and Poum are cousins, and have fallen out with their families over their relationship. Poum tries doggedly to maintain relations with her own family, but there is tension and resentment, and Catherine feels it. This ‘situation’ swirls around Catherine and her parents, marking them out as different and disreputable. Perhaps it’s this exclusion that turns them towards each other in a fey, irresponsible and downright strange way.

Yet there is no judgement here. Catherine describes them with love and acceptance, even though as a reader you find yourself raising a sceptical eyebrow or huffing with disapproval at the sheer irresponsibility that both parents display at different times.   The book is beautifully written, and it certainly subverts the chronological memoir genre. It shuttles backwards and forwards, and tells events from multiple perspectives. It withholds as much as it gives.  And yet at the end of the book, you realize just how much Catherine has given you as a reader, and you are left with a puzzling and yet rich view of her parents – much how the author finds herself. This is a challenging memoir, but I suspect that I will remember it long after the ‘misery memoirs’ have merged one into another.

Read because: CAE bookgroup selection (mine). And several people on the Australian Women Writer’s Challenge website had read it

My rating: 8

AWW2019

I have added this review to the Australian Women Writers Challenge database