From the winner of the Penguin Literary Prize and the Kathleen Mitchell Award.
A multigenerational family story with a dose of magical realism. It is about family secrets, art, very mild superpowers, loneliness and the strange connections we make in the places we least expect.
How do you make sense of the loss of those you love most?
Delia Rabbit has asked herself this question over and over again since the disappearance of her older sister, Bo. Crippled by grief, Delia and her mother became dysfunctional, parting ways not long after Delia turned eighteen.
Now an art teacher at a Queensland college, Delia has managed to build a new life for herself and to create a family of her own. Only more and more that life is slipping: her partner, Ed, has gone, her daughter, Olive, is distancing herself, and, all of a sudden, in the middle of a blinding heatwave, her sixteen-year-old son, Charlie, disappears too.
Suddenly what was buried feels close to the surface, and the Rabbits are faced not only with each other, but also with themselves.
The Rabbits is a multigenerational family story with a dose of magical realism. It is about family secrets, art, very mild superpowers, loneliness and the strange connections we make in the places we least expect.
There is magic to be found in a story that is written with such a pointed and achingly real depiction of what it means to be part of a family, to experience a loss, and to know how to rediscover an identity you thought was long gone. The Rabbits encapsulates so much in its blisteringly honest characters. Each member of the family has their own insecurities, a need to be connected to something and mend relationships that have been broken either by losing a person's physical presence, or simply the absence of any true substance even when someone is standing right next to you. Set against the sweltering heat of a Queensland summer and with an original, well-executed twist of magical realism, Overett draws you in from the very first scene and from there it's very hard to let go as the pages fly by.
You're no good at this, a voice tells her, and no, Delia thinks, she's not. She wants to tell him she's done this before. That she's been Benjamin and she's been Olive. That she's desperately searched, and been bitterly angry, but none of it brings back someone who won't be found, and sometimes the not knowing is better than the truth, because at least it means there's a chance. Her chest tightens, constricts to such a degree that she feels light-headed, and she leans back, putting her hand on the kitchen island to steady herself.
While the string of missing people in the Rabbits' family life is a central aspect of the novel, what makes this book such a success is the way every character is invested in equally. From Delia's voice as a mother, reflecting on the disappearance of her sister Bo all those years ago, to her mother now slipping away with dementia and old age, Olive rebelling in the early phases of adulthood, and Ben navigating all the drama as a ten year old, every character's voice is portrayed in so much detail. It's rare to find a book that has this combination of both adult and child shifts in perspective which is achieved so seamlessly. You feel as though you've stepped right into the lives of the Rabbits where each secret is ripped open with tender prose that is a pleasure to read.
There is something to be said also about the creativity of including even the slightest hint of something supernatural in the story. While some works may try too hard or stray beyond into fantasy where it doesn't quite hit the mark, Overett here uses these twists of magical realism to add even more interest and make it just to the threshold of being conceivable. I won't put any spoilers here, but just know that it's clever and done well!
FINAL THOUGHTS
The Rabbits is as creative as it is addictive to read. Fiction by Australian authors has always been promising for me, and I'm so glad that I picked this one up. The Rabbits is full of mystery, insights on troubled family ties and with a satisfying end, making Sophie Overett one to watch!
About the author
Sophie Overett is an award-winning writer, editor, podcaster
and cultural producer. Her stories have been published in Griffith Review,Going
Down Swinging,Overland,The Sleepers Almanac,and elsewhere. She won the 2018
AAWP Short Story Prize, and her work has been shortlisted for multiple awards,
including the Text Prize and the Richell Prize. She’s passionate about
storytelling in all of its forms, but particularly stories for the page and the
screen. She writes across genres and formats, with a focus on magical realism,
literary fiction and horror. The Rabbits, her debut novel, is the
winner of the 2020 Penguin Literary Prize, and her first screenplay, All
the Little Fishes,has been optioned by Cathartic Pictures. For more
information, visit sophieoverett.com.
Jessie had said they should go at midnight. 'It’s the gods’ time,' she said, narrowing her eyes dramatically. 'Anything could happen.’
It’s the 1980s, and in their small coastal town, Ali and her best friend, Jessie, are on the cusp. With ‘The Golden Book’, a journal of incantation and risk taking as their record, they begin to chafe at the restrictions put on them by teachers, parents, each other. Then Jessie suffers a devastating accident, and both their lives are forever changed.
When Ali is an adult, with a young daughter herself, the news of Jessie’s death brings back the intensity of that summer, forcing her to reckon with her own role in what happened to Jessie so many years ago.
As this stunning debut moves back and forth in time, and Ali’s secrets are forced into the light, Kate Ryan asks profound questions about responsibility and blame, and, ultimately, about love.
The complexities of friendships while on the cusp of coming-of-age are brought into stark focus in Kate Ryan's dreamlike novel The Golden Book. Capturing the haze of nostalgia as the main character Ali reflects on the reckless stages of growing up with bohemian and risk-taking best friend Jessie, this is a story which explores the adventurous spirit of adolescence, blurred lines between responsibility and blame and what it means to move past events with shocking consequences.
How could she say any of it? If only she hadn't suggested it in the first place. If only she had been clearer, stronger, braver, less envious of Jessie. If only Jessie had learnt to read. She was tortured by the idea of the Golden Book, that Jessie's family would read her looping writing, her meanness, her fury, her way with words. Her mind would circle over and over these things, and it seemed that even in sleep she was trying to work out what to do. How had it happened?
While the shifting timeframes between Ali's present state as a mother and writer and her past escapades with Jessie were sometimes jolting in the plot, there is something to be said about Ryan's mesmerising turns of phrase. The golden haze of the 1980s in all its carefree modes of upbringing, kids riding bikes in the street and reckless energy, are so effortlessly depicted. Each line feels deliberate and ebbs slowly towards the bigger revelations of just what happened to Jessie in the time before her death. Ali's memories and the attention given to the pair's competitive yet magnetic friendship, tainted with the knowledge that a power imbalance would always exist, are deftly examined. It's an interesting element to see Ali herself reflecting in her writing class about what she and Jessie would get up to, the wild adventures and dares, alongside the darker undercurrent that slowly began to permeate their bond. At times the pace of the novel may have lagged, but you can't help but be immersed once more by the desire to know what led to Jessie's fate and discover how not only Ali, but also Jessie's family, had reacted.
Maybe she could fix it all, get the real Jessie back from wherever she had gone. She thought of stealing the book, and planning this allowed her to sleep. Sometimes the repetitive thoughts were like voices, coming from a place that was part of her and Jessie too. She had began to wonder whether she had done it on purpose, after all, had really wanted to hurt her. And in the morning, drugged with pure exhaustion, she knew nothing could be done.
Another interesting element of The Golden Book is the thread that ties past experiences of childhood into how we then choose to raise our own children. Ali's rawness in reflecting on her friendship with Jessie that influences her behaviours now as a woman in a new relationship, with her school-aged daughter Tam, adds another layer of depth to the story. There are some thoughtful points raised about how past trauma and guilt can still linger years after an event, the realisation that one day every child will stretch further from the ties of their parents, and that time while a great healer, can often shift back into memories which one would rather leave behind.
FINAL THOUGHTS
Imbued with nostalgia and exploring some deep themes on what happens when childhood friendships shift into reckless territory, The Golden Book is definitely worth a read. Though at times it may feel as though the shifting in time between the past and the present becomes blurred, Kate Ryan is one to watch for her mesmerising writing style and sharp eye for examining the relationships that shape us.
From the author of beloved Top Ten bestsellers The Inaugural Meeting of the Fairvale Ladies Book Club and The Shelly Bay Ladies Swimming Circle comes a delightful new novel about friendship, love and finding yourself.
Far North Queensland, 1993: At 74, former cane farmer Grace Maud is feeling her age, and her isolation, and thinks the best of life may be behind her. Elsewhere in town, high school teacher Patricia has given up on her dreams of travel and adventure and has moved back home to look after her ageing parents, while cafe owner Dorothy is struggling to accept that she may never have the baby she and her husband so desperately want. Each woman has an unspoken need: reconnection. And that's how they find themselves at Orange Blossom House, surrounded by perfumed rainforest, being cajoled and encouraged by their yoga teacher, the lively Sandrine. Together, they will find courage and strength - and discover that life has much more to offer than they ever expected.
Set amid the lush beauty of tropical Queensland, Thursdays at Orange Blossom House is a heartwarming story of friendship and family, of chances missed and taken, and the eternal power of love.
Thank you to Hachette Australia for providing a copy of this book in exchange for an honest review
A layered and smoothly woven story of the bonds between three women who are brought together in unlikely circumstances, Thursdays at Orange Blossom House sings to the tune of an afternoon breeze and time to ponder what our expectations of our identities in life are and the people we want to become. Sophie Green has already showcased her ability to write well in the genre with The Inaugural Meeting of the Fairvale Ladies Book Club and The Shelly Bay Ladies Swimming Circle. In this book she brings to life the cane fields in Cairns in the 1990's and sense of place as forming a home, the longing for motherhood, quest for self-discovery as an adult and how old age doesn't preclude the making of new friends.
What might happen if women really succumb to their pain? To the anguish of not getting what they really want, either because they've been told they can't have it, or because nature is conspiring against them? Or sometimes because life just seems so hard that what they see is an unscalable peak, always in sight yet beyond their reach.
At the beginning of the story we're introduced to Grace Maud, whose life has been one on the fields but her son is beginning to have his own new ideas on how the farm should run. Toughened by her experiences, it takes more than a little persuading to get her to Sandrine's yoga class at Orange Blossom House which is the central point for all three characters meeting. Patricia's plight caring for her ailing parents, unmarried and teaching but given up most of her dreams is next, followed by Dorothy; cafe-owner with her husband and has been trying for years to have a child but with no success. These descriptions don't do the depth of these three women justice - Green's ability to add so much detail to their lives, ideas, thoughts and fears feel so realistic and are issues that many readers could relate to. The real spark comes through when little by little the barriers begin to break down and conversations are had, where each of the trio start to open up to each other and from there solutions can be found to the problems they are facing. This idea of women leaning on each other and being able to bring down the facade of being so capable, strong and perpetually self-sacrificing, is brought to the fore with nuance and heart. A healthy dose of good humour and some laughs throughout add to the light and shade within the plot, making for a read which is just as comforting as a cup of tea on a breezy spring day.
FINAL THOUGHTS
In lockdown I find myself drifting towards the kind of reads that are thoughtful but end on a high note, with a view to capturing not only our sense of place in this beautiful country but also how we find homes in the connections built among the kindness of strangers we meet in life. Thursdays at Orange Blossom House is one example of this, and I'm looking forward to reading more of Sophie Green next!
About the author
Sophie Green is an author and publisher who lives in Sydney.
She has written several fiction and non-fiction books, some under other names.
In her spare time she writes about country music on her blog, Sunburnt Country
Music. She has been practising yoga since 1993 and teaching since 2002.
Sophie's debut novel, THE INAUGURAL MEETING OF THE FAIRVALE LADIES BOOK CLUB, a
Top Ten bestseller, was shortlisted for the Australian Book Industry Awards for
General Fiction Book of the Year 2018, and longlisted for both the Matt Richell
Award for New Writer of the Year 2018 and the Indie Book Award for Debut
Fiction 2018. THE SHELLY BAY LADIES SWIMMING CIRCLE was also a Top Ten
bestseller.
The hotly contested novel about a small town's killer cult secret by a debut author destined to become Australia's next thriller-writing superstar. Ambitious young journalist Marlowe ‘Lo’ Robertson would do anything to escape the suffocating confines of her small home town. While begrudgingly covering the annual show for the local paper, Lo is horrified to discover the mutilated corpse of Lily Williams, the reigning showgirl and Lo’s best friend. Seven strange symbols have been carved into Lily’s back. But when Lo reports her grisly find to the town’s police chief, he makes her promise not to tell anyone about the symbols. Lo obliges, though it’s not like she has much of a choice – after all, he is also her father.
When Lily’s murder makes headlines around the country, Lo seizes the opportunity to track down the killer and make a name for herself by breaking the biggest story of her life.
What Lo uncovers is that her sleepy home town has been harbouring a deadly secret, one so shocking that it will captivate the entire nation. Lo’s story will change the course of her life forever, but in a way she could never have dreamed of.
An Aussie-small-town-thriller with grit and shocking twists, Nicola West has made her debut with an electrifying plot.
Author Interview with Nicola West
Firstly, congratulations on publishing your first book! What were the best and most challenging aspects of writing Catch Us The Foxes?
Thank you! The most challenging part for me
was actually the six months prior to starting Catch Us the Foxes when I was
struggling to write a memoir about my experience of having to fight for my
right to receive a medically necessary hysterectomy as a teenager.
The second I allowed myself to work on what
I was actually passionate about (a twisty psychological thriller set in my
hometown), the writing process completely transformed and went from something
akin to pulling teeth to something that felt effortless. Every single sentence
of Catch Us the Foxes was an absolute joy to write.
Was there a particular 'this is what I'm going to write about moment!' that came to you before penning your debut?
Stuck back in the tiny coastal town I grew
up in after my Sydney apartment flooded, one of my only forms of escape was the
phenomenal third season of my favourite TV show – Twin Peaks. Revisiting both
the fictional town and my own former hometown made me realise what a perfect
setting the latter would make for a crime novel. I immediately began Twin Peaks-ifying
Kiama and went searching for my own Laura Palmer. As an Australian, she
couldn’t be a prom queen, but she could definitely be a showgirl. That single
character (and her death) became the catalyst for the entire book.
The 'small town' setting definitely makes this book all the more suspenseful as secrets become uncovered, what were some of your influences in making the action take place this way?
Twin Peaks was definitely the biggest
influence on the setting (along with my own small-town upbringing). However, I also
wanted to incorporate a cult element into the book as they are something I’ve
always been fascinated with (ever since my mum told me I would join one as a
child). The original Wicker Man undeniably does ‘small-town cult’ best, but I
also really loved the way the first season of True Detective created such
strong iconography for its own cult. Combining the two left me with mysterious
symbols carved in flesh, people in animal masks, flower crowns, and ritual
sacrifice.
Without giving too much away, is there a particular moment in the story or character that was especially meaningful to you as you wrote this book?
Exploring Marlowe’s detachment
(particularly when it comes to relationships) was something that was
significant to me as it not only reflected my own experiences growing up but is
also something that is seldom portrayed in fiction. It was interesting to be
able to capture Marlowe from the perspective of the male gaze while simultaneously
granting her the agency to be open about her feelings (or lack thereof). To
this day, reading the scenes with Owen makes my skin crawl.
If there's one piece of advice you'd give to other aspiring authors out there, what would it be?
It sounds incredibly cheesy, but you really
have to find what makes your heart sing. I took a non-fiction writing course
when I was writing my memoir and a guest author said that the writing process
had to feel like a compulsion – like something you couldn’t live without. I
remember being frustrated by that comment because it was so contrary to my own
experience. But when I finally ditched the memoir and switched to the novel, I
suddenly understood what she meant. Don’t be afraid to change things up and
experiment with genres/styles until you find the one that resonates with you
most.
After an impressive first novel, could you give us a hint at what you may want to work on next?
I’m severely immunocompromised and have
only left my apartment complex twice in the past sixteen months (to get both
vaccine shots). So, until Australia gets its act together and a larger
proportion of the country is fully vaccinated, I foresee a lot more time spent
in these same four walls.
Thankfully, I was able to take advantage of
my newfound free time and completed two new novels during the pandemic – the
sequel to Catch Us the Foxes and a new standalone thriller. I’m also looking
forward to a bevy of Zoom events over the coming months. So please come and say
‘hi’ – I really need the human interaction!
About the author
Nicola West is the daughter of a
third-generation police officer and grew up in a bucolic coastal town in New
South Wales. After moving to Sydney to pursue a career in journalism, she vowed
to be as far removed from both her hometown and her father’s profession as
possible—that is until she found herself writing a novel about both topics.
Nicola was initially writing a memoir about
her decades-long medical journey that saw her undergo 40 surgeries, 71 lumbar
punctures and experimental neurosurgery. But, inspired by her love of all things
crime, cult, and the local urban legends of her hometown, she pivoted to
thriller writing and found it far more therapeutic. Catch Us the Foxes is her
first novel.
We all put our faith in the criminal justice system. We trust the professionals: the police, the lawyers, the judges, the expert witnesses. But what happens when the process lets us down and the wrong person ends up in jail?
Now she's turning her skills and insight to miscarriages of justice and cases of Australians who have been wrongfully convicted.
Exposing false confessions, polices biases, misplaced evidence and dodgy science, Reasonable Doubt is an expert's account of the murky underbelly of our justice system - and the way it affects us all.
Thank you to Pan Macmillan Australia for providing a copy of this book in exchange for an honest review
Perfect for true crime fans, Reasonable Doubt offers a harrowing and well-researched glimpse into the criminal justice process and what can happen when the wrong person pays the price. Detailing six cases of wrongful convictions, Mallett's accounts offer deep yet objective insight into how failings in how evidence is inspected and even investigators' own biases can play out with consequences that reach far beyond the crime itself. What makes this book so readable is that Mallett sets out her perspective in a way that is measured and critiques the outcomes in each of the cases with reference to the view that prosecutors should 'fight hard, but fight fair'. The additional information on forensic techniques and methods of analysis used in the cases was particularly eye-opening for those interested in the science and psychology behind the investigation process.
It also accounts for the vast majority of cases which go to trial and are run successfully - this balanced perspective adds to the credibility of the work as a whole and though clearly not a 'joyful' read, it is a thought-provoking one. Probing techniques such as guilt-testing and even failings to consider all possible routes of evidence and scenarios which could have set the innocent free, it's interesting, and somewhat disconcerting, to think that the scales of justice can be impacted on even the smallest change in how a crime and its suspects are presented. FINAL THOUGHTS
If you're like me and enjoyed books such as The Secret Barrister,In Your Defence, or are already an established true-crime fan not one to shy away from a hard look at some of Australia's harrowing criminal cases, Reasonable Doubt is for you. This book offers what is a unique and fascinating perspective on perhaps the most fundamental tenet of our justice system which deserves greater scrutiny, that Mallett has done well in adding to with her educated prose.
From the Norwegian explorer, a stunning meditation on the power of silence and how to shut out the world.
Behind a cacophony of traffic noise, iPhone alerts and our ever-spinning thoughts, an elusive notion - silence - lies in wait. But what really is silence? Where can it be found? And why is it more important now than ever?
Erling Kagge, the Norwegian adventurer and polymath, once spent fifty days walking solo in Antarctica with a broken radio. In this meditative, charming and surprisingly powerful book, he explores the power of silence and the importance of shutting out the world. Whether you're in deep wilderness, taking a shower or on the dance floor, you can experience perfect stillness if you know where to look. And from it grows self-knowledge, gratitude, wonder and much more.
Take a deep breath, and prepare to submerge yourself in Silence. Your own South Pole is out there, somewhere.
Silence is about rediscovering, through pausing, the things that bring us joy.
Reading this book was a breath of fresh air in a world that never stands still. This unassuming title was a serendipitous find in the art gallery shop, and since I can't say I've ever read anything by a Norwegian explorer I thought it would be a good place to start. What I didn't know then was that it would turn into one of my absolute favourite books of the year. What Kagge proves through these mini-essays and insights is that it doesn't always have to take a weighty tome to explore deep reflections on life - just a few fitting references to philosophers, a scattering of personal anecdotes and a warm tone that brings its own sense of calm to the whole piece.
Is it possible to both be present in the world and not present at the same time? I think it is. To me, those brief moments when I dwell on the horizon and am captivated by my surroundings, or when I do nothing more than study a rock with green moss and find myself unable to pull away, or else when I simply hold a child in my arms, are the greatest. Time suddenly stops and I am simultaneously present and completely distant. All at once, a brief moment can seem like an eternity.
As Kagge himself remarks at one point, who would have thought there would be so much to say about something as basic as 'silence'? What I got out of the book in its entirety, from reflections on the author's explorations in the stark desolation of the Antarctic, to life around the dinner table with his three daughters, is the importance of appreciating the small things. It sounds easy enough, and maybe even somewhat trite; yet when you think about it, it's the 'timeless' moments which can bring the greatest joy and wonder. Simply put, 'Life is long, if we listen to ourselves often enough, and look up.' It's amazing to reflect on how little time we make to truly block out all the other distractions, notifications and chatter and just sit quietly with our own thoughts - or get outside in nature and appreciate the beauty of it all.
Allow the world to vanish when you go into it.
To listen is to search for new opportunities, to seek fresh challenges. The most important book you can read is the one about yourself. It is open. I've started to understand why I was so fascinated as a small boy by the snail who carries his house on his back. We can also carry our houses - everything we have - within us.
I tabbed so many sections of this book as I was reading, but the quote above has to be my favourite..."The most important book you can read is the one about yourself." Being the author of your own life story is a gift we all have, and maybe it takes reading something like this to realise just how significant that is. One thing's for sure, this book is both thought provoking and memorable - perfect for revisiting when you're looking for a slice of solitude amidst an ever-evolving hectic schedule.
FINAL THOUGHTS
Almost anyone will find something to relate to in Silence. Erling Kagge is definitely onto something with this eloquent work that allows for the reader to experience moments where 'the world is shut out for a moment, and an inner peace and silence takes over.' For me, it's moments like that which make everything worthwhile.
Books are impractical companions and housemates: they are heavy when you are travelling, and in the home take up a lot of space, are hard to keep clean, and harbour insects. It is not a matter of the physical book, it is the deep emotional connection that stretches back to my early years. Living without them is unimaginable.
These collected essays share a joyous and plaintive glimpse into the reading and writing life of novelist, editor and teacher of creative writing Debra Adelaide.
Every book I have read becomes part of me, and discarding any is like tearing out a page from my own life.
With immediate wit and intimacy, Adelaide explores what shapes us as readers, how books inform, console and broaden our senses of self, and the constant conversation of authors and readers with the rest of their libraries. Drawing from her experiences in the publishing industry, the academic world, her own life and the literary and critical communities, she paints a vibrant portrait of a life lived in and by books, perfect for any student, bibliophile, editor, or simply: reader.
Thanks to Pan Macmillan for sending me a copy of this book in exchange for an honest review
There is something comforting about coming back to reading essays from fellow bookworms about just what makes reading such a major part of their lives. A few years ago I had the pleasure of eagerly flipping the pages of The Simple Act of Reading, edited by Debra Adelaide, which so eloquently described the joy and wonder which these words on a page can inspire. In The Innocent Reader we have a glimpse into Adelaide's own reading and writing habits, alongside how books had shaped her life from her early years, to raising a family and becoming an academic.
I don't know how you cope. People would say this constantly over the months that followed. What with the other children, your work...There was no mystery. I told people I coped because I had to, as any other parent would do the circumstances. I coped because there was no question of not coping, there was quite simply no alternative...But there was another reason I could cope, which was one I could never articulate, seeing as it sounded so simple-minded at times, even callous. I coped because I read. My diary of that first year or so of the treatment is also a diary of my reading, haphazard and arbitrary, literary and highbrow.
It may seem easy to dismiss taking the time to pick up a book and escape for a little while into another world as something frivolous when we could always be doing something else - or if you are reading, for it to be at least something 'literary' or 'highbrow'. But what I love about Adelaide's voice which comes through so clearly here is that literary 'snobbery' doesn't need to have a place at the table in our everyday lives. After all, where is there room for that kind of ego when you are facing some of the biggest challenges of your life? The chapters detailing reading both for her son and herself at his bedside at Sydney Children's Hospital after he was diagnosed with cancer made clear just what a difference these simple moments with a book can make.
Everyone has a story in them. Everyone has a novel in them, or so it is frequently said. And humans tell stories...so it makes sense that people everywhere, from cocktail parties to wedding receptions and the signing queues in bookshops, lean forward confidentially and offer you a story, if only you are prepared to write it.
While it was so interesting to read about the author's personal life in this book, The Innocent Reader also offers some really useful insights into the writing process and how to go about reviewing too. Now being a 'literary critic' is a whole other world from this land of book blogging, but the process of filtering your thoughts on a written work through both a subjective and objective lens is similar. It's definitely made me reflect on how I look at the books I read, and what that special something is that draws me to a particular author or writing style. With a balanced and measured approach of someone who is well within the literary scene, Adelaide offers her own advice and reflections in a way which all readers should be able to take something away from.
FINAL THOUGHTS As one of my favourite quotes from this book states, "There can never be too many books, or too many writers. Or too many readers, or too much reading." When it comes down to it, I couldn't have said it better myself.
The French bestseller La Daronne Now a major film starring Isabelle Huppert
Meet Patience Portefeux, fifty-three, an underpaid French-Arabic translator who specialises in police phone taps. Widowed after the sudden death of her husband, Patience is wedged between the costs of raising her daughters and the nursing home fees for her ageing mother. She’s laboured for twenty-five years to keep everyone’s heads above water.
Happening upon an especially revealing set of wiretaps ahead of all other authorities, Patience makes a life-altering decision that sees her intervening in – and infiltrating – the machinations of a massive drug deal. She thus embarks on an entirely new career path: Patience becomes ‘the Godmother’.
With a gallery of traffickers, dealers, police officers and politicians more real than life itself, and an unforgettable woman at its centre, Hannelore Cayre’s bestselling novel shines a torchlight on a European criminal underworld that has rarely been seen, casting a piercing and darkly humorous gaze on everyday survival in contemporary France.
Thank you to Black Inc Books for sending me a copy of this book in exchange for an honest review
It's not too often that a crime novel like The Godmother comes along. Coming in at just shy of 200 pages, you may at first think that in such a short span it would be impossible to create a plausible and meaty plot-line with the right balance of action, mystery and character development that this genre demands. But therein lies Cayre's genius - the whip-smart narration from our protagonist Patience Portefeux and her scheming in playing both sides of the law provides just the right atmosphere for a piece of French noir that is entirely compelling.
Dark humour, as the blurb suggests, is rife here - alongside the corruption within the ranks of the justice system and shady line between who has the upper hand in world of organised crime. Patience, once a straight-laced court translator turned trafficker, provides a sardonic insight into her career and the many faces of the drug trade. The writing style and character development is where The Godmother shines - as while the content itself is serious, dealing with large-scale money laundering, the experiences of immigrants assimilating in Europe and all the while trying to find some moral ground, the narrative voice cuts through all of this with a sharply pragmatic tone.
...Frankly, you could devise a better system, couldn't you, in terms of incorruptibility. Well, I find it pretty disturbing, And I have been corrupted. At first I thought it was funny, then one day I wasn't laughing any more.
In one instance it's almost surreal to have a scene depicting an armed robbery with shocking results relayed with a sense of detached calm; the mania of the entire situation construed through a completely unemotional lens. It's this writing style that I'll remember most from The Godmother, and draws the readers focus towards the greater themes at play about how the main character justifies her actions - both within her own mind and in the dialogue she has with the reader themselves throughout.
FINAL THOUGHTS While there is no shortage of crime fiction to choose from, The Godmother comfortably holds its own. The most memorable books are often those with a distinct voice and a main character facing some sort of moral dilemma. This one executes both exceptionally well.
One? is the first book in a contemporary fiction trilogy, looking at finding 'the one' in the modern world and how relationship models are shifting in the most innovative period in living history.
The story starts in 2005, and spans ten years following the characters from the challenges of their twenties into their thirties.
It's London in the mid-noughties before Facebook, iPhones and ubiquitous wifi.
Zara has just moved to London for her first real job and struggles to find her feet in a big city with no instruction manual. Penelope works night and day in an investment bank with little or no time for love.
At twenty-eight she is positively ancient as far as her mother is concerned and the pressure is on for her to settle down as the big 3-0 is looming. Charlie spends night and day with his band who are constantly teetering on the verge of greatness. Richard has relocated to London from his castle in Scotland in search of the one, and Alyx is barely in one place long enough to hold down a relationship let alone think about the future.
One? follows the highs and lows of a group of twenty-somethings living in leafy SW4.
Jennifer L. Cahill has written a story which could resonate with any twenty-something as they navigate this important decade where we seem to be told that 'everything in life is supposed to come together'; from finding your feet in a full-time job to entering a serious relationship. Though at first glance 'One?' sounds like a romance novel, I was so glad to find that it was so much more. It's refreshing to find a contemporary read which is both fun and real enough to be able to see some of yourself in the characters - whether it is high-flying Penelope with more to her than meets the eye, or Zara who is facing the challenges of moving to a new city and making long-lasting friendships. Though set predominately in London, I was intrigued by the hint of some Australian influence later on in the book (though we'll see how that comes along in the next one!).
Jennifer has kindly stopped by on the blog to answer some of my questions about the book and her writing process...
One is set in the early 2000s, a time where Facebook messenger was non-existent and Tinder still years away. What made you decide to set the story at that time?
I wrote the story at that time, with a view to capturing the essence of the place and time, and the technological changes. Little did I know that our lives were about to be taken over by all of these apps etc. It would be challenging to write the same story now, based back then. Even re-reading it I was surprised at how life has changed so much in just over ten years. I guess I could sense the changes happening at the time, but obviously I had no idea how big they were going to be. Nobody could have predicted how huge Facebook, Twitter etc. were going to be, and of course how the iPhone has changed the way we connect. My day job is very technology/innovation/future focused, so I think that point of view or mindset permeates everything that I do. I also think there is tremendous value in looking back and tracking the journey from less technology, to a more technological existence. We are so busy dealing with constant change, that we don’t take the time to look at the broader themes/effects on relationships/careers/daily life. I’m particularly looking at how the role of women has shifted because technology is levelling the playing field and more women are working than ever before, and the impact that this is having on relationship models in the modern world.
It was great to see the characters in the book go into more than just their love lives, but also what life is like after university and navigating career changes, alongside moving out of home. What do you think some of the biggest questions young people are asking themselves in their early twenties?
I think that people in their twenties must be asking themselves questions around what their career might be. New careers and University courses keep popping up all over the place, so I think the choice is probably a bit ovrwhelming. I think that people in their early twenties now have only ever lived in a world of constant change, and I think that makes them well prepared for the road ahead. There is tremendous pressure on them to succeed, but there are also more opportunities and less limits than ever before. If you are good at what you do, you can really succeed particularly as a developer, or a YouTuber/Influencer. In the past nobody would have given you your own channel to potentially reach millions for free.
From a relationship point of view, I’m looking at how the relationship models are shifting and changing to fit into the modern world. So I’m wondering if this is something that twenty somethings are thinking about. I also think the constant ’selfie pressure’ is an absolute nightmare for people at that age. Navigating relationships is hard enough without the constant pressure to look amazing for selfies, and the fact that these can be posted online. I also think this kind of thing does put a lot of pressure on finding ’the one’, surely we don’t all have to look like super models 24/7 to find love do we? Dating apps can sometimes add a transactional flavour to dating. I’m hoping that people in their twenties are questioning this, rather than just accepting that this is the way it is, and that this is the way it will always be.
The environment and sustainability are front and centre at the moment, so I definitely think that this is something that people in their twenties now are justifiably concerned about, and questioning the impact the way we live is having on their future.
Without giving too much away, is there a favourite moment or quote from the book which you'd like to share?
This is my favourite quote that doesn’t give anything away. I think this little nugget distils the story into one sentence. ‘I always think, that if I’m going to meet him, I’m definitely going to meet him in London. It’s one of the most exciting cities in the world..’ ‘One?’ p.40. Here Penelope is musing about finding ’the one’.
As a debut novelist, what were some of the biggest challenges and exciting milestones when writing One?
One of the most exciting things about writing ‘One?' was the ‘aha moment’ when I realised that I’m a writer. I know that sounds ridiculous, but I have a career as a change specialist and I wish someone had told me sooner that I was a writer. We don’t have any writers in the family, if we had, they definitely would have spotted it sooner. It was the moment that I finally knew what I was supposed to be when I grew up. The minute I started writing life turned into an adventure, all of a sudden everything around me became potential inspiration, and that is a very exciting way to live.
The main challenges are finding the time to do it, you need to take a good chunk of time off work to get the book into production. That is something that writers need to budget for both in terms of time and money. Another challenge is managing your sensitivity, or ‘walking the sensitivity tightrope’ as I call it (see the video below), so that you don’t get blocked. On one hand you need to be sensitive to be a writer, it’s part of the job, but then you also need to have the courage to be able to deal with the media, critics, and you have to put yourself out there on Twitter, YouTube, live Radio etc.
I loved the vivid settings across London (and even Paris in some parts!) which captured the bustle of city living and all the chance meetings which come with it. Were any of the places the characters visited or experiences they had inspired by your own life?
As a contemporary fiction writer I try to capture the essence of a place and time in my books. London, and Clapham in particular, were definitely my main inspiration to write. I just thought that London, although a challenging city, is ultimately one of the most amazing cities in the world. I also couldn’t believe that when I arrived in Clapham I was surrounded by like-minded people, from all over the world, all in their first or second jobs, and pretty much everyone was in their twenties. It’s also particularly amazing in the summer with lots of festivals, open air cinemas and events on Clapham Common. There seems to be no need to leave Clapham at the weekends if you live there. I do feel that London is as much a character in the books as the actual characters. It’s a key catalyst for the changes that they go through, and it’s a key connector as the most amazing people are drawn to live and work in London. It was also important for me to include Paris and New York, as these places are so easily accessible from London. I have personal experience of all of the places that I write about. It’s usually the place, and actually the house that starts the book off, and the story takes off from there.
What's the best piece of advice you'd pass on to other twenty-somethings who, like the characters in One, are in that in-between phase of embracing the independence and opportunities which adulthood bring?
I have three main pieces of advice for people who are in that in-between phase:
I would tell them to have faith in their own abilities and to ‘run their own race’. We live in a world where people are constantly comparing themselves to each other, selfies, instagram, facebook etc. and these online versions are not always telling the whole story. You are better off owning and celebrating your uniqueness as you only have one life to live.
I also think that self awareness is really important. There are personality tests like Myers Briggs that can be very insightful, and can put you on the right career path. Some of the most interesting people don’t fit into a regular mould, and as the world is changing, new careers are popping up all over the place. They need to be open to these possibilities, and the concept that maybe their career hasn’t been invented yet.
I would also advise people at that age to see every relationship as a learning experience, rather than ask themselves ‘is this the one?’. In that in-between phase, it’s better to ask yourself ‘What is this person teaching me?' Or ‘What am I learning about myself?’. When ’the one’ comes along, they’ll know all about it, so I would advise them not to worry about it too much at that age.
Since One was released, could you give us a glimpse into any other writing projects you're currently working on?
Absolutely. ’Two?’is almost finished. Thankfully I wrote that at the time (mid to late 2000s) so I don’t have to travel back in time too much. That will be coming out in early 2020. I’m also working on ’Three’ simultaneously, but my priority is to get ’Two’ finished. I have another couple of projects going, but my main focus is completing the trilogy, as I don’t want people to have to wait too long to find out what happens.
About the author
I write contemporary fiction and try to capture the essence of a place and time in my books. Above all, my aim is to make you laugh, and hopefully learn a little, as you recognise yourself, your friends and your exes in my books. I love hearing from my readers, and you can contact me via my website, or @JLCAuthor on Twitter.
Waiting on Wednesday is a weekly prompt hosted byBreaking the Spinewhere the participants tell their readers about an upcoming release they are looking forward to. This week I've picked Expectation by Anna Hope, a coming-of-age novel about female friendship and managing the highs and lows which come with the shift into adulthood.
Hannah, Cate and Lissa are young, vibrant and inseparable.
Living on the edge of a common in East London, their shared world is ablaze with art and activism, romance and revelry – and the promise of everything to come.
They are electric.
They are the best of friends.
Ten years on, they are not where they hoped to be.
Amidst flailing careers and faltering marriages, each hungers for what the others have.
And each wrestles with the same question: what does it take to lead a meaningful life?
I've seen this one described as something similar to a Sally Rooney novel (another author on my must-read list!), but what really has grabbed me with Expectation is the focus on the time in our lives where the future is at its brightest and the only thing left to do is see whether it retains the glow as the years go on. Stay tuned for a review on this book after its release!
Waiting on Wednesday is a weekly prompt hosted byBreaking the Spinewhere the participants tell their readers about an upcoming release they are looking forward to. This week I've got two anticipated releases lined up: The Dreamers by Karen Thompson Walker and some non-fiction with the latest edition of the Quarterly Essay.
A mesmerizing novel about a college town transformed by a strange illness that locks victims in a perpetual sleep and triggers life-altering dreams—by the bestselling author of The Age of Miracles, for fans of Emily St. John Mandel’s Station Eleven and Kazuo Ishiguro’s Never Let Me Go.
In an isolated college town in the hills of Southern California, a freshman girl stumbles into her dorm room, falls asleep—and doesn’t wake up. She sleeps through the morning, into the evening. Her roommate, Mei, cannot rouse her. Neither can the paramedics who carry her away, nor the perplexed doctors at the hospital.
Then a second girl falls asleep, and then another, and panic takes hold of the college and spreads to the town. As the number of cases multiplies, classes are canceled, and stores begin to run out of supplies. A quarantine is established. The National Guard is summoned. Mei, an outsider in the cliquish hierarchy of dorm life, finds herself thrust together with an eccentric, idealistic classmate.
Two visiting professors try to protect their newborn baby as the once-quiet streets descend into chaos. A father succumbs to the illness, leaving his daughters to fend for themselves. And at the hospital, a new life grows within a college girl, unbeknownst to her—even as she sleeps.
A psychiatrist, summoned from Los Angeles, attempts to make sense of the illness as it spreads through the town. Those infected are displaying unusual levels of brain activity, more than has ever been recorded. They are dreaming heightened dreams—but of what?
Written in gorgeous prose, The Dreamers is a breathtaking novel that startles and provokes, about the possibilities contained within a human life—in our waking days and, perhaps even more, in our dreams.
At the moment with Christmas shopping looming for this year's bookish haul, looking at releases for 2019 may seem far away! Nonetheless, I can't wait to read this one from Karen Thompson Walker. Her debut The Age of Miracles is a firm favourite of mine, and she writes fiction in a way which captures human nature at its most fragile, on the cusp of something extraordinary. Stay tuned, I'll definitely be posting more about this one once I get my hands on a copy!
Releasing February 2019 from Simon and Schuster
What is the inner life? And is it vanishing in the digital age? Throughout history, artists and philosophers have cultivated the deep self, and seen value in solitude and reflection. But today, through social media, wall-to-wall marketing, reality television and the agitation of modern life, everything feels illuminated, made transparent.
We feel bereft without our phones and their cameras and the feeling of instant connectivity. It gets hard to pick up a book, harder still to stay with it. In this eloquent and profound essay, renowned critic Sebastian Smee brings to the surface the idea of inner life - the awareness one may feel in front of a great painting or while listening to extraordinary music by a window at dusk or in a forest at night. No nostalgic lament, this essay evokes what is valuable and worth cultivating - a connection to our true selves, and a feeling of agency in the mystery of our own lives.
At the same time, such contemplation puts us in an intensely charged relationship with things, people or works of art that are outside us. If we lose this power, Smee asks, what do we lose of ourselves?
Expanding my reading habits into non-fiction has been both refreshing and eye-opening this year, and the latest edition of the quarterly essay seems right on point in an age where there is little time left to stop and be comfortable in our own thoughts; or simply appreciate life outside the screens we have become so attached to. I've got Art as Therapy by Alain de Botton and Upstream by Mary Oliver on my list as well which cover some similar ground, so I'll be looking forward to reading them all over the holidays!
