Tag Archives: books

The Voyage Home, by Pat Barker

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Summary: a fine novel of Cassandra that suffers in comparison with Barker’s initial foray into the stories of Troy

The Voyage Home continues Pat Barker’s feminist retelling of the tales of Troy, following the return of Agamemnon to Mycenae with the enslaved Cassandra in tow. This guarantees that the reunion with his wife Clytemnestra is going to be awkward. Just how awkward Agamemnon, even if he was a cleverer man, could not imagine.

But Cassandra, gifted with prophesy, but cursed that no one ever believes her, knows. In the bloodshed that she foresees she also discerns some measure of justice for the genocide that the Greeks have inflicted on her homeland. 

For this story, Barker replaces Briseis, the narrator of her previous Trojan books, with Ritsa, Cassandra’s maid: slave to a slave, or, as she describes her lowest of the low status, a “catch-fart.” 

The Voyage Home dealing with the beginning of the Oresteia, is, I think, a considerably better book than its predecessor, The Women of Troy. But neither of these books say much additional thematically to the stunning originator of this series, The Silence of the Girls.

Still, it is elegantly written, and Barker’s continuing focus on how war affects civilians and the sexual violence endured by women is important. In addition, Cassandra is always a compelling figure, and Ritsa is a fine creation. 

The Handmaid’s Tale, and The Testaments, by Margaret Atwood

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Summary: “You tried to bury us, but we were seeds.”

When Margaret Atwood published The Handmaid’s Tale in 1985 it was quickly recognized as a classic. An all too believable dystopian thriller, it is set in a United States that has been transformed into a theocratic dictatorship of the sort imagined in the fevered dreams of the legions of Trump’s incel supporters. 

It is told in the first-person, recounting the experiences of a young woman enslaved under the name Offred as the mistress of a leader of that state, Gilead. Such mistresses are prized because environmental devastation has rendered so much of the population sterile and it is a chance for the elite to reproduce. 

The compelling world that Atwood created in this book, and the open-ended nature of its ending could have seduced a lesser writer into a commercially successful career with spin-offs and sequels galore. However, Atwood waited over 30 years before returning to this fictional universe. That is, she waited until she finally had something new to say about it. 

The Testaments has stylistic similarities to The Handmaid’s Tale, but this time with three first-person narrators, including Lydia, a former judge now an “Aunt” – an older woman tasked with helping Gilead oversee and control its young women. In her deepest conscience however, Lydia is part of the Resistance, and The Testaments tells the story of how she plots to strike a blow to the heart of the dictatorship. 

Both books are gripping, building considerable tension as the protagonists strive to assert some aspects of freedom and free will in the cause of a more moral future, and hence place their fates in the balance. Both books are also deeply satisfying complements to each other, with Offred’s grim struggle for survival given context by Lydia’s more strategic overview of the battlefield. 

Lydia doesn’t have a cat. But she is doubtless the stuff of JD Vance’s nightmares. Such a brilliant character was well worth the 30 year wait. 

Resting places: On Wounds, War and the Irish Revolution, by Ellen McWilliams

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Summary: trying to see “higher than the ditches that break up the canvas of the land”. 

There is an echo of Martin Doyle’s book, Dirty Linen, in Ellen McWilliams’ Resting Places. Like Doyle, McWilliams also uses the literature of Ireland and Britain, experiences from her professional career, and the local history of her home place, in County Cork rather than in County Down, to reflect on wider issues of Irish history and Anglo-Irish relations. 

But McWilliams doesn’t stop there. Resting Places is also a remarkably personal work. Her insights on the “big” themes are also prompted by the most domestic ones: by reflections on her relationships with family – both the Cork ones and the English lot – and from her experiences of her own body in her most private moments as a lover and as a mother.

This is apposite: Women and girls were, as McWilliams reminds us, the subject of institutionalised systems of abuse and enslavement, including the Magdalene Laundries and the Mother and Baby Homes, for much of the 20th Century in Ireland. In writing of her own body with such candour she reminds the reader of the strength and fragility of human flesh and how this can be so easily desecrated by bigotry masquerading as righteousness. 

By pondering these very intimate aspects of life McWilliams also comes to some of her most important historical insights, ones that can be lost or overlooked in more traditional narrative or political histories. Because so many of the dynamics of war, and particularly of war-crimes, in revolutionary and civil wars have their sources in the domestic sphere: around hearths and kitchen tables, in whispered conversations the memories of ancient ills – of land expropriations, of scorched earth and famine – are kept alive. 

And it is one atrocity that perhaps grew from such conversations, the Dunmanway massacre, that lurks at the heart of this book. The country was meant to be at Truce when these killings occurred. But there is no truce on bitter memories. 

Between 26 and 28 April 1922, fourteen Protestant men and boys were killed or disappeared around Dunmanway and the Bandon Valley, in the very roads and fields around which McWilliams grew up. These were the families of neighbours killed by the families of neighbours, and indeed the comrades of her own family, which was deeply involved in the struggle for Irish independence. 

The fate of two 16 year old boys, Robert Nagle and Alexander McKinley, are particularly difficult for McWilliams to contemplate. A new mother when writing this book, she writes of these boys with an agony of empathy, knowing what it is to carry a child for nine months, tend to him as he grows into his own little person, and to worry that something awful might happen to him. For these boys’ mothers, they awakened to that nightmare.

Perhaps there are still whispered conversations telling new generations why these murders “had to be done.” But McWilliams remembering how Greek tragedy reminds us that crimes that stay buried poison the water of the living, shows true patriotism in confronting this vile aspect of the Irish revolution.

McWilliams is an exquisite writer, warm and frequently very funny. At one point she muses if, in marrying an English scholar of the English civil war, she has actually ended up – at some psychic or metaphorical level – marrying Cromwell himself. 

On the evidence of her book, I think the answer is a resounding “NO”. I can’t imagine Cromwell ever fretting over the recipe for soda bread, which her lovely-sounding husband does. Feeding other people is antipathetic to genocide. Cromwell would have hated him. 

McWilliams book is an incredibly rich one, fizzing with more ideas that any review can do proper justice to. Read it!

Spent Light, by Lara Pawson

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Summary: “It’s quite hard to describe really. To begin with, it’s about a toaster, but it ends up being about everything,” the Kirkdale Bookshop on Spent Light.

When, about 20 years ago, I first introduced my father to the televisual masterpiece that is The Wire, his stunned reaction to the first episode was, “I have never seen anything like that before.”

This memory came back to me, more than once, reading Lara Pawson’s extraordinary book, Spent Light, because I quite simply have never read anything like this before. 

From time to time it seemed to me almost like some other  things: Maybe the notebooks portions of Bruce Chatwin’s The Songlines? Or some of the (allegedly) imaginative passages in Anje Krog’s Country of My Skull? But in the end it is very much its own thing – intimate, funny, at times uncomfortable, occasionally horrific, wholly original. 

It is writing that has the intensity of poetry. And so perhaps the best way to describe Spent Light is as a series of linked autobiographical prose poems, starting with a toaster but in the end being about the whole world, as the Kirkdale Bookshop put it with such brilliant concision. Along the way, Lara touches upon love, war, squirrels, atrocities, and the joys of a good broom. 

I’ve known Lara since Angola where she was a journalist during that country’s brutal civil war. So, perhaps the only unsurprising thing about this book is that it is unsurprising that she wrote it. It is a work of genius. It should become recognised as a modern classic.