Prodigal Summer by Barbara Kingsolver

Barbara Kingsolver’s novel Prodigal Summer is eventually both surprising and deceptive. It is surprising because of the twists and turns of the lives of its characters, all of whom become completely, sometimes endearingly, always engagingly real. The deception arrives subtly to enlighten, because these apparently ordinary lives with their pressingly everyday concerns grow to illustrate and then eventually represent something of great significance, being the natural world and our place within it. Thus Prodigal Summer, a novel that begins suggesting a snapshot of a single season in the lives of just three households grows into a profound statement of their relationship – all of our relationships – with the natural world and indeed life, itself.

Deanna Wolfe is a mid-forties idealist who has chosen to live as a warden and ranger in the National Forests near Zebulon in the southern Appalachians. She is studying predators, especially coyotes, but apparently yearns to worship living things, especially those that are not human. She is beginning to anticipate the menopause of her own life-cycle as she marvels at nature’s ability to both regulate and reinvent itself. Crucial in this process, she feels, is the role of the predator, the animal at the top of the food chain, and especially the females of those species, those charged with husbanding its renewal. Her work seems all absorbing.

Then one day she meets Eddie Bondo. He is not from those parts. He is a hunting cowboy-type from out West, not the type, you might think, that Deanna would have time for. He is twenty-something, almost two decades her junior and he has a body plus a way of handling it that stirs the autumnal debris of Deanna’s psyche, debris that has accumulated in her continued, self-imposed and desired isolation. After all, in magnetism opposites attract.

Not far away there is Lusa. She came to these parts to marry Cole. He was the man who lured her away from her biology and installed her on a smallholding, where even the hardest work would hardly make a living, let alone create wealth. Lusa has some relationship problems with Cole’s family. After all, she is not one of them and, perhaps more importantly, her parentage has European and Middle Eastern roots. And - at least in theory - she is not even a Christian.

And then, one day she finds herself a widow. Cole’s family are immediately closer and yet further away at the same time. Sympathy partly overrides the tensions. Lusa has to begin dealing with them directly, not through the mediation of her husband’s filter. Problems of making a living might just be solved by going into goats. Goats? At least she still has time to study her beloved insects.

Not too distant are the neighbours Garnett and Miss Rawley. They are, shall we say, at the senior end of their citizenship and perhaps as a result rather set in their ways. Garnett is not just a Christian, but one of the breed that interprets the Bible, including its timeline, quite literally and can thus locate an exact date of creation just beyond 4000BC. He might profess not to be impressed by science, but in many ways he worships it by regularly dousing parts of his land and its flora in insecticides. If only…

If only that darned neighbour, Miss Rowley, would clear the cuttings and clean up that compost where al the pests breed. But she is a declared worshipper of science and cannot bring herself to interfere in any natural process, lest human intervention gets in the way of the inevitable. Miss Rawley and Garnett are not the most companionable of neighbours.

In Prodigal Summer these three households, each with their own tensions, relationships, feuds and priorities live cheek by jowl with nature. Animals, plants, the weather, chance and inevitability press themselves to the forefront of daily concerns. Thus they find they are in contact in more ways than one. Not only must they commune with the natural world, they must coexist, even communicate as assumption, motive and consequence push them in different, sometimes conflicting directions.

Of course, given Prodigal Summer’s theme of renewal and at-oneness with nature, it is no surprise that all things female are predominant. Reproduction, its necessity, its mechanisms, its intended and unintended consequences, its intended inevitability, runs not like a thread but like a strong, perhaps unbreakable rope that ties everything together. No matter what we do or think or feel, experience tries to lead us all in the same direction, as if the destination were pre-ordained, in spite of our determined meanderings designed to deny it. In Prodigal Summer, a many of the encounters are sexual. If it does not form the main argument, then the need to mate is at least preamble. There is never time to review. Life has a habit of taking us where it wants, ideas of control or self-direction being perhaps illusory.

But in the end these people all realise that they are part of the same natural world that, independently of human-created desires and prescriptions, sets its own pace, follows its own rules, precludes exemption and decides consequence. This Prodigal Summer thus reveals its surprises to all concerned, leaving them changed and transformed, older and wiser. The reader makes the same journey.

One On One is a romance novel by Philip Spires

Blackberry Wine by Joanne Harris

In Blackberry Wine Joanne Harris presents a novel about Jay, who is a writer. Some years ago Jay created a character in Three Summers With Jackapple Joe, the novel that made his name. But since then, Jay’s products have been mediocre and his career has stalled. We meet him looking at his life, especially his relationship with Kerry, whose own media career seems to go from strength to strength. There is tolerance in the air, but resentment and envy are not far from the surface.

Jay reminisces about Joe, the ex-miner in Yorkshire who became something of a local hero for the young writer. Back in the 1970s, when Jay Mackintosh was an impressionable lad growing up in Yorkshire, Joe seemed so sophisticated, a much travelled man of the world whose collection of exotics from all over the planet facilitated the concoction of strange brews from the fruit of his plants. Blackberry Wine is actually written from the point of view of one of Joe’s bottles of home brew that survived for decades after its initial fizz. The device is interesting at the start and end of the book, but for the most part it is best ignored. It remains a good idea, but does not quite come off.

Chapters describing Jay’s present in London and then France and his past as a child and adolescent in Yorkshire are interleaved. Joe’s magic seemed to work those years ago when talismans cast spells that protected Jay from local bullies. They also seem to work when, disaffected with city life and frustrated by his continued lack of achievement, Jay disappears to a rural French farmhouse. There, lubricated by some of the home brew preserves, Jay finds himself haunted by old Joe and, once again transformed, as if by magic, newly able to write.

Jay finds that there is more than meets the eye in his little French town. The small community is riven by family feud and accusation, alongside general disagreement about how the area should develop in the future. Should it retain its rural roots or appeal to the holiday trade? Perhaps displaying latent Romanticism, Jay finds himself securely on one side of the discussion. He negotiates his way through new relationships, some mixed with a little local politics. Meanwhile his muse, Joe’s old wine and its associated ghost, encourage him to write a new and successful book.

Jay’s neighbour in France is Marise. She has a daughter, Rosa, who apparently is deaf after an illness contracted when an infant. For some unknown reason, Marise is determined to buy the very farmhouse that Jay himself has bought. The competition from over the fence intrigues Jay. He is at a loss to explain how passionately Marise appears to want his property.

Joanne Harris’s characters are thoroughly credible. Their weaknesses are truly human and their reserve makes their shortcomings understandable. But overall Blackberry Wine fails to convince. Not only is the setting in which Jay finds himself too soon accommodated by both himself and the locals, but the book simply has too many themes. Jay’s relations with the locals could have been the single focus of the book, but we also have his childhood, his inspiration, his relationships with two different women, his coming of age. As a result, none of the themes is thoroughly examined. This gives the book a lightness that aids a skimming read, but which simultaneously undermines any real engagement with the character. Some of the book’s themes, indeed, become submerged and apparently forgotten, only to spring up again without warning. The novel remains, however, a rewarding read and an interesting take on what really has the power to motivate people to achieve. There might be an added dimension of autobiography, but that would be another story.

Philip Spires is author of One On One

Lawrence Durrell's Quincunx, The Avignon Quintet

In Egypt, in Alexandria to be precise, if precision be our goal, Lawrence Durrell once attempted to fuse fiction into a relativistic universe that, poorly interpreted, might blur perception to render all positions relevant. The aim was vast and its non-achievement eventually irrelevant, for the quartet that grew out of it proved to be an enduring masterpiece. Half a generation later, and self-referentially, Lawrence Durrell began a quest to go one better. Over the decade it took to construct, this magnum opus grew into a Quincunx, five books that formed a whole, five petals of a great flower of a novel, all attached, apparently, to a non-existent core. So now, thirty years on, what does a new visit to Monsieur, Livia, Constance, Sebastian and Quinx reveal?

Perhaps Blanford should be offered the opportunity to open the discussion. Who is Blanford? Now there’s a question. “My style may be described as one of jump-cutting as with cinema film. The basic illustration is of course the admission that reincarnation is a fact. The old stable outlines of the dear old linear novel have been side-stepped in favour of soft focus palimpsest which enables the actors to turn into each other, to melt into each other’s inner lifespace if they wish. Everything and everyone comes closer and closer together, moving towards the one. … But the book, my book, proved to be a guide to the human heart, whose basic method is to loiter with intent…” This is how Blanford himself describes his own work, for he, we are told, is the author.

A word of warning: Lawrence Durrell is as good as Blanford’s word. Lawrence Durrell is a wrier, a novelist, who invents Blanford, who is also a novelist. In his novel, Lawrence Durrell has his creation, Blanford, write a novel, in which he invents a character called Stucliffe, who is a novelist, and who writes a book. Characters that Durrell invents, or even perhaps knows, live alongside Blanford, himself a fiction, and are reinvented by Sutcliffe, under different titles but with the same character, in his own fiction, which really is written by Blanford, who is Durrell.

So we have a fiction within a fiction, featuring the same characters, but with different names. They sometimes meet one another and, ego to alter ego, discuss the others and sometimes themselves. Here and there, just to clarify things, the writer also includes thoughts and actions from characters in the Alexandria Quartet, who seem to relish being cameo-quoted in these new surroundings. Don’t worry, because they don’t exist either.

Blanford’s assertion that material will be inter-cut has to be taken seriously. There is barely a page in the five novels of the Quincunx that does not slip from a layer of apparent fact into fiction in order to render it fact and the source fiction. And, of course, the whole thing is nothing more than the musings of Durrell, who perhaps intends to loiter a little longer than he ought.

The five books of the Quincunx, Monsieur, Livia, Constance, Sebastian and Quinx, often approach an approximation of plot. There’s Tu Duc near Avignon in France, an old house near the city of Popes. It has its own memories, almost its own character. But is it real? Of course it isn’t! Just ask one of the characters to confirm its fiction. There’s a cult of Gnostics in the Egyptian desert who seem to convene like some diplomatic corps whose party has lost its bearings while on its way to an official gathering. There is drug abuse, and a lot of sex. They are human, after all, aren’t they?

There is also mental illness and breakdown. There is congenital deformity, illness and death. There is sexuality of every persuasion, visits to bordellos and yearnings for more, something more. There’s a Templar treasure to be discovered, a Nazi occupation to endure, labour camps and internment, novels to be written, relationships to perfect. Confused? Why should anyone be confused? What, after all, is there to be confused about? We wake up and, as long as we loiter around long enough, we go to bed and, if we are lucky again with the loitering, we sleep or, if we are a tad luckier, make love. So what?

Lawrence Durrell’s Quincunx, the Avignon Quintet, feels very much like an author’s commonplace. It’s a disjointed and sometimes deliberately obtuse, often intentionally banal set of musings. It’s five books that head in no particular direction and go nowhere on their extensive travels, but explore character along the way, without ever really getting near any of the humanity they encounter. They dip into history which is always present, and seek material consequences in ethereal ideas. And, sure enough, it loiters around in its unfocused way for what increasingly seems like a lifetime. And where does it go? Where does it finish? Now there’ a question… 

A Search For Donald Cottee by Philip Spires is a Quixote parody set in Benidorm and West Yorkshire

Doves Of War by Paul Preston

Writers of fiction are often accused of forcing their characters to jump through ever more fanciful hoops to satisfy a presumed need for engaging plot. The fact that reality often amplifies the unlikely to the near incredible regularly reminds any reader that considered fiction rarely overstates any issue that derives from our usually random human recklessness. Rarely, for instance, when dealing with war, does fiction place women in the front line. And equally uncommon is the recognition that women are also often in the front lines of politics, even when they might continue to be under-represented amongst the professional practitioners of the art.

And so we often need the kind of reality check that a balanced historical account can provide. Paul Preston’s Doves Of War is precisely the kind of book that can provide comment on all these themes and thus bring us back to earth with an eye-opening bump.

Doves Of War presents contrasting biographies of four women who were directly involved in the hostilities of the Spanish Civil War. Priscilla Scott-Ellis is born of the English upper crust and supports the Nationalists. Nan Green is also English, but motivated by a commitment to left-wing politics. She lines up with the Republic. Mercedes Sanz-Bachiller, a Spaniard, marries into the political life of Vallolid. Margarita Nelken, Spanish-speaking and Spanish-born, but Jewish and branded a foreigner by her enemies, becomes a significant actor on the political left. And so we follow the lives of four women, two on the left and two on the right, two outsiders and two insiders, two who celebrated victory and two berated in defeat. Their stories thus contrast.

It is much to the author’s credit that these lives are presented in a fair and unbiased way. Paul Preston’s personal take on the history of Spain’s war is well known. But in Doves Of War he consistently ducks opportunities to make points about the politics of the struggle, except when the politics are lived out in the lives of his subjects. Committed readers on either side of the argument might feel frustrated at this, but the overall result in that Doves Of War avoids polemic and lets the detail of these four women’s stories demand the reader’s uncomplicated attention. The first subject, for instance, was born into privilege and wealth, thus making political points easy to score. The second is very much the nineteen-thirties pro-Soviet apologist and activist, and caricature might thus beckon. The third is a long-suffering wife dragged into the limelight and the fourth is the driven polymath intellectual. In some way or other, all four could be presented as caricatures or used as vehicles to score other associated historical and political points. Aspects of all four lives could be stressed to demolish them as people or belittle their contribution and commitment. But the author always shies away from cheap shots, even consciously avoiding them, always preferring to analyse rather than judge.

What happens to these four women is the meat of Doves Of War, so this review will avoid reference to the detail of the individual stories. What the review can do, however, is note that each of these lives presents a series of events that is stranger, more heroic, more tragic, more convoluted, more complicated and much more profound than anything a writer of fiction might implausibly create to impose on a character. The twists and turns of these lives, each one pummelled by events and scarred by war leave the reader breathless just trying to keep up.

The style, however, is not easy. Paul Preston is an historian, not a sensationalist or indeed a sentimentalist, and these tales, as presented here, are more documentary than Hollywood. Their content may be stranger than fiction, but the material is considered, discussed, referenced, sourced and checked. Nothing is ever over-stated. Doves Of War displays immense scholarship and, whatever the author’s obvious sympathies, he offers tremendous respect for these four differing women who, in their different ways, gave their lives to the causes they supported.

Philip Spires website

The Room Beyond by Stephanie Elmas

The Room Beyond by Stephanie Elmas is a ghost story. When Serena arrives in Marguerite Avenue to apply for a job, she is intrigued to find as she walks the street that next door to number 32 in number 36.  Strangely, number 34 does not seem to exist. A mere curiosity, perhaps?

Also a curiosity is the job that Serena is seeking. She is applying to be the nanny, the companion, the teacher or perhaps the partner in crime of Beth who, Stephanie Elmas tells us, is just four years old. This little girl is rather odd. She has only just graduated from toddler status, but throughout the tale she seems to display the maturity, vocabulary and sensibility of middle age, let alone precocious adulthood. Serena is intrigued from the start by the origins of this little girl, and she does not believe everything she is told.

Beth’s apparent wisdom beyond her years may test some readers’ ability to suspend belief. But there are rewards for those who do, because The Room Beyond becomes an engaging read, not least because Author Stephanie Elmas’s style is always lucid and clear, and yet can offer a telling turn of phrase. When books include a child as a principal character, writers tend to use the implied innocence as a vehicle for delivering statements that no-one else dare say, or noting observations that the mere conventional either miss or fear. Mercifully, Stephanie Elmas just avoids over-using Beth’s child status, though she remains very much at the centre of the developing story.

A time shift takes us back to 1892, to a time when number 34 Marguerite Avenue definitely did exist. We get to know the Whitestones and the Edens, Mrs Hubbard who cooks and several characters, Miranda, Lucinda, Tristan and Alfonso included, whose lives become intimately intertwined. There is intrigue in this street, where much goes on behind the curtained windows.

Back in the present day Marguerite Avenue, Serena gets the live-in job offered by the Hartreve family and thus enters the household to get to know little Beth, whose hidden origins immediately interest the new nanny. Then there is a discovery that Eva, a morose teenager, knows much about the toddler’s birth and is partially willing to talk. Eva’s revelations ought to be momentous, but Serena takes them in her stride, a response we soon begin to associate with her. Eva is a strange, waif-like, almost ghostly youngster, but we hardly ever seem to get to know her as she drifts in and out of the story.

The character of Serena, the modern-day narrator, is intriguing. She’s an injured young woman. She lost her parents in a road accident. She herself is scarred and harbours a morbid fear of glass. Even more intriguing about Serena is her rather unpredictable impetuosity. When she feels an urge, she gives its expression free reign and, throughout, she displays an almost rampant sexuality that simply will not give “no” as an answer. Serena meets a number of possible liaisons and, when the fancy takes her, liaises. One particular encounter gives rise to something that develops like an obsession for Serena, who as a result becomes ever more obsessed with the non-existence of the house next door. Who might have lived there, and for what reasons it might have been removed from history? Perhaps it still exists. Perhaps we merely convince ourselves that it’s not there. And if all of this is not enough, we have another character who paints black paintings that hang in a house full of eccentrics!

Back at the end of the nineteenth century, there is yet another strange figure. Walter Balanchine is part tramp, part wizard, part psycho-analyst, part éminence-grise. He wanders in and out of the story, leaving enigma and mystery wherever he treads. Like the present-day Beth, he seems to appear whenever something more than the expected might transpire.

Overall, The Room Beyond is a satisfying, but un-demanding read. With so many characters, two time periods and several settings, we could never expect to reach an end where all the ideas are worked out, all the loose ends tied up. Stephanie Elmas’s style remains a delight and so the text always flows past and through its events with ease. But by the end, for this to be fiction of its genre, there may be rather too little tension, alongside too little of interest to excite literary interest. But The Room Beyond does present an interesting, engaging tale that is well told. Stephanie Elmas, herself, cites a debt to Mary Elizabeth Braddon, who wrote mysterious, eye-popping works that sent middle-class housewives flying to the bookshops. The Room Beyond hopes to emulate this success by presenting a new gothic Victorian sensation drama, but with the present day entwined within. Via the character of Serena, Stephanie Elmas may well have achieved her goal.

One On One by Philip Spires is now available

Pure by Andrew Miller

Pure by Andrew Miller promises rich, illuminating and even exciting experience, intrigue mixed with history, science blended with romance. Set in the year 1785, the novel inhabits pre-revolutionary Paris, focusing on a small area near rue Saint Denis, where there is a church. In the church there is a neglected organ, which cries out to be played. And, also nearby, there is a graveyard, Les Innocents, a much inhabited though disused and derelict plot, if inhabited might be the word to describe the subterranean tower blocks of coffins.

Word has come down from the King - a king who, as we know, will himself be coming down in the near future - that the area is up for re-development. No, this is not a modern tale of fractured communities, corruption and greedy developers, but an eighteenth century examination of fear, religion and, in some ways, the supernatural. It is a cemetery that is to be dug out, its contents reassembled and then moved, and there are beliefs associated with that age, or perhaps any age, that might be aroused.

Jean-Baptiste Baratte, an out of town engineer with only a small amount of work to his credit, is chosen to carry out the task. He moves to Paris and finds rooms near his project, rooms cheek by jowl with the varieties of life one expects to find in a city jammed with humanity. There’s a strange girl called Ziguette on hand. She is clearly going to play her part in the plot. But whether that part will be in relation to the engineer’s work or play is initially unclear.

Of course there is no shortage of service industry or local free enterprise in eighteenth century Paris. And so there is no shortage of sensuous encounters, wine, food, grime, laundry and other related activity that humans might pursue while they claim to be alive. An occasional famous name calls by, and other characters wander in and out of the tale. The dead, of course, are always around.

But there is also a political dimension, and larger historical possibilities, because this is pre-revolutionary France, where an Austrian harlot plies her expensive and highly visible trade at public expense. And there is also a philosophical dimension, since this purports to be the dawning of an age of reason, where Voltaire satirises those ideas that foster the kind of fears that the digging out of a cemetery might generate.

If these are the themes, then it is the job of the engineer Baratte to assemble them, along with his team of labourers, to achieve an end. And that is where Andrew Miller’s Pure rather fails to deliver. The elements are all there - the sensuality, philosophy, politics, history, intrigue and, not least, the sense of time and place. But none of these aspects rises above the incidental. Neither the literary atmosphere nor the immediate narrative strands seem to come alive. The political and philosophical angles are around, and crying out to be developed, but they appear in hints and asides, without any involvement. Pure becomes a perfectly satisfying read, a sometimes vivid novel that takes the reader to a particular place and time. But strangely it never really seems to come alive and, when surprising events emerge, it feels like they have been concocted to prevent further drift. Pure is a book that could easily disappoint, for it promises much. Though there are aspects, particularly the political and philosophical angles, that are not fully realised, perhaps not even attempted, it remains a worthwhile and satisfying read. And in the end it reminds us, as a city of the dead is cleared out, that in the very near future French society was to embark upon some clearing out of a different kind. 

One On One is a new novel by Philip Spires

Trespass by Rose Tremain

Trespass by Rose Tremain is a novel that repeatedly meditates on and around the theme it takes from its title. The author’s glittering but deceptively simple prose dances through the magical realities of the characters’ lives, but always has in mind an overriding concept of space which is personal, a space which is also inevitably and necessarily invaded by interaction. Such invasions, such trespass upon another’s territory will leave footprints, imprints that set into memory and thus themselves become part of the space we call ourselves.

Trespass might be read as a conventional who-done-what. There is a rural house in southern France, where a brother and sister live. Aramon is decrepit and deceitful. He is untidy, avaricious and an alcoholic. He has also had a history of blackouts, and these are nothing new, not mere boozed-up sleep-ins. He has suffered them since childhood, adolescence at least. Audrun, his sister, or perhaps not his sister when opinions are shared, has tolerated his excesses throughout her life and now, living in the cottage that abuts his land, she apparently continues her pursuit of the quiet life. Audrun bears her own imprints of the past, brandings of origin and parentage that have threatened to devalue her very existence. This has apparently given Aramon the right, in the past and continuing present, to trespass on his sister’s space and to use it as is he has assumed ownership. It’s an invasion that Audrun has always resented.

It seems that Aramon has to be sober to admit his illness. His blackouts might be fits, though episodes might be a politer term. They have happened at various points in his life. They are associated with passion, with moments when emotion gets the upper hand, or alienation dominates, moments such as those when the possibility of realising a fortune excites previously unimagined possibilities in his imagination.

Such source of possible excitement arrives one day in the form of a probable purchaser of the house, a man who seems to have money in his pocket, more money than Aramon can even imagine, it seems. Anthony Verey is an antique dealer for London. He has had many years in the business and knows his stuff. He has been lucky - except he would probably claim mere good management - to have developed a loyal following of clients, who over the years have maintained his trade. But the clients have thinned out and now the business is running down. Anthony, as a child always rather protected by his elder sister, Veronica, now looks at her lifestyle with some envy. She lives in France, has a relationship with Kitty, who is an artist, and seems, at least from Anthony’s increasingly pressured point of view, to be living an idyll.

On a visit to France Anthony considers how he might replicate his sister’s perceived paradise by checking out a few properties, preferably secluded, remote perhaps, where he can rest, recline and recuperate. Funnily enough, Aramon’s farmhouse home has just gone on the market, with the deranged owner’s imagination lit up by the attached price tag that the estate agent has conjured.

But there are always problems… Not only o you have yet another foreigner wanting to buy up a piece of French real estate, yet another trespasser intending to invade, but also you have Audrun, the sister, inconveniently trespassing on the farmhouse land with her own little house within the boundary. And beyond that, Veronica’s life becomes less than a paradise as Anthony re-invades her space, when her partner begins to resent a renewed trespass on their stability.

And so we reach the point where trespass, somehow, somewhere, will transform into its alternative meaning of sin. Some of these people are suffused with guilt, remorse over what they have done or smothered by the weight of what has been done to them. A grand sin is committed. A trespass into another space, across another life, always leaves an imprint. Merely repaying the debt by visiting trespass in return is never sufficient to exact retribution, to secure reparation. And so a great sin is committed. But by whom? And for what motive? Whose trespass was a step too far?

Rose Tremain’s novel is a beautiful and often moving study of guilt, remorse and retribution. Her writing has a deep and exciting sensuality alongside a vivid sense of place. The characters become people, rounded personalities with their strengths and weaknesses, their passions and their frailties, people who must seek their own goals, often trespassing across the desires of others. Who might forgive them their trespasses?

Philip Spires website