Incomprehensible to an adult, how on earth can we expect a child to get a handle on death and bereavement, especially when their parents and family may well be struggling themselves? These books are not a substitute for loving human contact and explanations (no matter how clumsy or incomplete these may be) but what they can do is provide a breathing space for grieving adults who might be struggling to put words to their pain. The child is helped to understand that death is universal through the written experiences of others and there are a myriad of ways by which we experience and understand it. And shared reading will help both parent and child to cope.
Sad Book by Michael Rosen
The pairing of two of Britain’s former Laureates, and chronicling Michael’s grief at the death of his son Eddie from meningitis when he was a teenager, this is a moving combination of honesty, sincerity and simplicity which acknowledges that sadness is not always avoidable or reasonable. We like this book because it makes those complicated feelings plain on the page, with the illustrations of Quentin Blake expressing that which cannot be communicated verbally- whether that be through the weight of pain or there being no words. It wasn’t made like any other book either; Michael Rosen said of the text, ” I wrote it at a moment of extreme feeling and it went straight down onto the page … Quentin didn’t illustrate it, he ‘realized’ it. He turned the text into a book and as a result showed me back to myself. No writer could ask and get more than that.” And Quentin Blake says that the picture of Michael “being sad but trying to look happy” is the most difficult drawing he’s ever done… “a moving experience.”
Children and their parents everywhere have grown up with the work of Michael Rosen. When bad things happen we turn to the familiar because it makes us feel a little safer in a world that has tilted on its axis and is less dependable as a result. To read the words of an author that we love and trust brings comfort and for us, that is this books greatest strength, even if it strikes us as grossly unfair that such pain should be visited on a man who has given us so much.
Duck, Death & the Tulip by Wolf Erlbruch, Penelope Todd and Catherine Chidgey
This book will break your heart. I read it in the bookstore and sat weeping in the corner of the store. Death and broaching the subject with our children is always going to be difficult but this book does it beautifully. The author, Erlbruch is a much respected man in Germany and his subjects emerge from the less cosy side of childhood, a place filled with edgy creatures and difficult themes. You won’t find a fuzzy bunny or a little bear who can’t sleep in Duck, Death and the Tulip and the story is simple. A duck notices that she is being followed. She is scared stiff, and who can blame her, for her stalker is an eerie figure in a checked robe with a skull for a head.
Erlbruch gives the impression that he is incapable of sentimentality, but his drawings are delicate, beautiful and convey a sweet humour that helps us cope with the immensity of the subject. “You’ve come to fetch me?” asks the terrified Duck. But Death demurs, explaining that he has always been close at hand, in case of some mishap.
Duck strikes up a friendship with Death which is treated as a normal part (or consequence) of life as Duck learns to first tolerate and then accept its presence, eventually finding a kind of solace in its proximity. Finely drawn illustrations and gentle leading prose means the moment when Duck grows tired and lays down is not such a shock and there is something infinitely tender in the way Death strokes her ruffled feathers into place, lifts her body and places it gently in the river, watching as she drifts off into the distance. “For a long time he watched her. When she was lost to sight, he was almost a little moved.”
Care is needed in the telling of this story because it could inspire nightmares in the more ruminative and sensitive child. We found it difficult; the depictions of death are not cosy although the comfort that death can bring to the old, the tired, the sick and the sick of it is acknowledged. Death comforts the dying duck and is comforting to those of us who can understand that life can be a burden- whether your child can grasp this is your call.
The Bear and the Wildcat by Kazumi Yumoto and Komako Sakai
Bear is grieving for his little friend, Bird. He has gently laid him to rest in a box lined in the softest moss,leaves and feathers and has a desperate need to talk about Bird with his other friends but they all urge him to move on. Bear doesn’t want to and is not ready to move on either. He wants to both mourn and celebrate his friendship and feels isolated by his grief from his friends and from the World.
One day Bear meets a Wildcat sitting alone next to a violin shaped box and after asking about its contents, confides in Wildcat about Bird, “You must have loved Bird very much” is all Bear needs to hear to unlock the torrent of love, longing and memories inside him; memories illustrated beautifully by the vignettes of Bird’s life- a life well lived. The celebration and commemoration continues as Bear decorates Bird’s box with bright leaves as his new friendship grows and we see those vivid memories come to life. In this, children learn that eternal life can mean living on in the hearts and minds of those left behind, irrespective of religious belief.
The messages in this book are wonderfully pragmatic, healing and heartbreaking for both parent and child. We are slowly guided to the realisation that memories must be cherished, celebrated in an every day manner and friendship never dies. Grieving is honourable and a new friendship is not a betrayal- it is part of honouring those that have gone before. Indeed we realise that the best way to love again is to have loved before.
We would recommend this as a supervised read for a child (and adult) who have recently endured loss and it will help stimulate age appropriate chats about feelings and experiences at a difficult time. The book also serves as useful preparation for pet owners, especially of creatures with short lives who provide our children with an early experience of loss.
The Scar by Charlotte Moundlic and Illustrated by Olivier Talliec
We were most jolted by the anger we felt when we lost our Grandfather so this book, dealing as it does with the anger of a little boy whose mother has died, is important in the way it represents a full range of human responses to death. The little boy is overwhelmed with sadness, anger and fear that he will forget his mother, shutting all the windows to keep in her familiar smell and scratching open the cut on his knee to help him recall her comforting voice. He doesn’t know how to speak to his dad any more, and when Grandma visits and throws open the windows, it’s more than the boy can take – until she shows him another way to hold on to the feeling of his mum’s love. With tenderness, touches of humour and unflinching emotional truth, Charlotte Moundlic captures the loneliness of grief through the eyes of a child, rendered with sympathy and charm in Olivier Tallec’s expressive red-infused acrylic and pencil drawings.
Read it to yourself a few times before sharing with a child; while we advocate sharing feelings of pain and loss with your children, we advise being prepared first because the rage, pain and isolation of this little boy can be very hard to bear but so many children have reported finding this book a solace and realistic depiction of their own feelings that it is worth persevering with.
Still Here with Me: Teenagers and Children on Losing a Parent by Suzanne Sjoqvist
This book is a moving and thoughtful anthology of the experiences of thirty-one children and teenagers who have lost a parent. In their own words, children and young people of a variety of ages talk openly and honestly about losing their mother or father. They describe feelings of pain, loss and anger, the struggle to cope with the embarrassed reactions and silence of others, and the difficulties involved in rebuilding their lives. They also share happy and loving memories of their parents, and talk about the importance of remembering while learning to accept their parent’s death. The accounts cover a variety of circumstances in which a parent died, including death from cancer, heart attack and involvement in an accident. Taboo experiences which are often avoided are also covered, including death through alcoholism, natural disaster, war, suicide, and domestic violence. The book displays a courageous and insightful group of children and young people who prove that it is possible to talk openly about these subjects without stigma. Still Here with Me will be a valuable source of information and comfort to young people who are struggling to cope with the loss of a parent.
A Monster Calls by Patrick Ness
A simply stunning book for older readers that challenges the reader emotionally and intellectually- it deals with a child experiencing the death of their mother and spares nothing in its steadfast honesty and sensitivity. The story of Conor O’Malley, a 13-year-old boy who is continually visited by a monster while his mother is dying, Patrick Ness has taken an original story from the gone too soon writer Siobhan Dowd, (who died of breast cancer at the age of 47) and produced a book most worthy of her. The monster – part wild yew tree, part giant man – tells the boy three stories. These confusing tales pale into comparison to the true monster in the home- the death of Conor’s beloved mother and the mystery of death, terrible in its unknowing-ness.
The hardback copy has illustrations by Jim Kay and these amplify the beauty and emotion of the text. Although you will be sliding down a wall, sobbing by the end of the book, it is a cathartic grief and so I would recommend this book for those months when people have ceased to acknowledge your loss or expect you to have ‘dealt with it’.
Fred by Posy Simmons
We can never know all the details of somebodies life, no matter how close we are to them. Even if we are well acquainted with a persons biography, they will always have a secret inner life, that intrapersonal relationship that they hold very close and this book cleverly reminds us of this.
Fred is a family cat with owners who think he is the laziest cat in the world, but who knows what goes on after dark? The family and children grieve for Fred after his death and night after night, hear the mewing of cats in the garden “Meaow meaow, meoooo, oh waily waily woooo….” as they mourn the passing of the Fred they knew- a cat pop star with a secret life.
Using a comic strip format, we watch as Sophie and Nick join in the funeral celebrations with his friends and fans who have come far and wide to pay their respects to a very cool cat and, in the process, we see his owners learn all about the life of a cat they thought they knew. In this, the book proves a useful jumping off point to the idea that when somebody dies we all have our own relationship with that person, our own memories and together, they go some of the way towards true appreciation of a person and their life. None of us have true ownership of another loved one and understanding that we are not the only ones to grieve might help a sad child feel a little less alone in their bereavement.
Vicky Angel by Jacqueline Wilson
The guilt and anger felt by children when somebody they love dies are profoundly unsettling and frightening and in this superb book, Wilson ensures that Vicky, killed in a car accident, can also show anger at her own life being cut short. Jade, the friend left behind struggles with guilt, wondering if their argument triggered Vicky’s death- a classic display of magical thinking so common in children. Wilson personifies this in the form of the dead Vicky continuing to inhabit the life of her friend, following her around, trying to remain involved inserting herself into her new friendships and hindering her attempts to adapt to the loss of her best friend. Eventually Jade comes to the realisation that as much as she loves Vicky, she also has to move on with her life, a decision which can invoke yet more guilt for any of us in a similar situation. Vicky realises that her idealisation of her dead friend denies the essential truth of her- she was a human with all of the glorious and real flaws of that condition. When she accepts this, she is set free and able to find a comfortable place in her psyche for the memory of her dead friend.
The Heart and the Bottle by Oliver Jeffers
Award-winning picture book star Oliver Jeffers explores themes of love and loss in this life-affirming and uplifting tale. Once there was a girl whose life was filled with wonder at the world around her then one day something happened that made the girl take her heart and put it in a safe place. However, after that it seemed that the world was emptier than before. But would she know how to get her heart back?
In this deeply moving story, Oliver Jeffers deals with the weighty themes of love and loss with an extraordinary lightness of touch and shows us, ultimately, that there is always hope.
The Fox and the Star by Coralie Bickford Smith
With a design that is clearly influenced by the two Williams- Morris and Blake- the Fox and the Star is a children’s book which adults will be moved by and enjoy too. It is particularly inspired by Blake’s poem Eternity – “He who binds to himself a joy / Does the winged life destroy; / But he who kisses the joy as it flies / Lives in eternity’s sun rise” – and Bickford Smith’s story tells of the forest-dwelling Fox, who loses, and mourns for, his friend Star. If you hold onto something you value too tightly, you risk losing it but learning the lesson that when you love deeply, you have to let the love object go is a hard one and especially hard for Fox.
Teeming with life and haunted by isolation, the contrasts between the two and the pain this can cause us is an important and central theme to the story. Fox is an innocent creature, trying to carve a space in the world and a total opposite to the traditional depiction of foxes in literature- itself an important lesson about stereotyping.
Reading What Katy Did Next by Susan Coolidge as a child, I was struck by Katy Carr’s determination to embark upon a literary tour of England and Scotland in 1886, when she came over here via steamer on a trip given as a gift from a benevolent family friend. Describing us as ‘storybook England’ Katy paid tribute to our great writers by planning pilgrimages to many places associated with them. Visiting the grave of Charles Dickens in Westminster Abbey and travelling to Winchester Cathedral so that she might have the privilege of seeing the grave of her beloved Miss Austen, Katy’s chance meeting with an oddly Dick Van Dyke like cockney verger by Austens grave, deals with a favourite cathedral legend- that the staff had not a clue who Jane Austen was, although if they’d read their own 1854 handbook all would have been clear. Katy’s outrage at our lack of appreciation for a writer she deemed the greatest of all was very amusing to me and a great twist on the popular misconception that Americans have little awareness of anything outside of their own national boundaries.
Our beautiful, historic countryside under wide East Anglian skies have seduced many a writer and artist. Writers such as Rafaella Barker claim the peace of the Norfolk countryside allows her a creative space she would struggle to find anywhere else “I live near the sea and I like the limitlessness of the horizon and being on the edge of the British Isles” and many local artists have placed East Anglia firmly as subject and theme of their work (Constable and Gainsborough). Cedric Morris, the famous painter and horticulturalist was co-founder of the East Anglian School of Painting and Drawing at Dedham in Norfolk. Morris took over the lease on The Pound, Higham, Suffolk, in 1929, and acquired the freehold in 1932, creating one of hismost accomplished gardens. A number of artists stayed there, including Francis Hodgkins, Barbara Hepworthand John Skeaping and their costumed parties were legendary. They remained there until 1940 when, after the fire at the Dedham Art School, they moved to Benton End. Morris inspired and supported Beth Chatto to develop her beautiful garden in Elmstead Market, now world famous and was a collaborator and peer of Ronald Blythe, writer of ‘Akenfield’ who now lives near Wormingford.
Blythes subsequent body of work draws deeply upon his surroundings, his home ‘Bottengoms Farm’, his position as lay reader at local churches and love of nature, history and theology. Meditative, opinionated and thoughtful, his “Word from Wormingford” diary for the Church Times has been written every week for two decades. Blythe was born in Suffolk. His family has lived here for centuries; even his surname comes from one of its river’s, the Blyth, and his farm was once owned by the painter John Nash whose wife invited him to see the place in 1947. In ‘Akenfield’ Blythe gave voice to a people previously neglected by nature and social history writers- the working class countryside folk. Blythe stated; “If you read John Clare, he makes you realise that they weren’t just lumpen creatures, even if they couldn’t read and write. They had dreams and visions which we don’t know about.”
The wheeling gulls and tandem cries of children; the eddying of water through sandy rills, fingered inlets and maram grass covered islands at low tide…. Arthur Ransome has a long association with both counties, first visiting the Norfolk Broads in the thirties and using it as inspiration for his children’s books Coot Club (1934) and The Big Six (1940). These two books centre upon the Broads village of Horning and touch upon the coming of change with the increasing use of motorised boats. In Coot Club, the ‘Hullabaloos’ on their motorised craft The Margoletta’ are the villains in the story and Ransome makes no bones about letting us know his opinion of their actions. Spending too much time in the riverside pubs, they ignore speed limits,make a lot of noise, are racketty and uncouth as they chase the gentle wind powered boat, ‘Teasel’.
“‘And so, rejoicing in their freedom, the outlaw and his friends sailed on their way, through a country as flat as Holland, past huge old windmills, their sails creaking round, pumping the water from the low-lying meadows on which the cows were grazing actually below the level of the river. Far away over the meadows, other sails were moving on Ant and Thurne, white sails of yachts and big black sails of trading wherries.’
We Didn’t Mean To Go To Sea and Secret Water are set in coastal Suffolk and Essex, with the former involving a voyage to Flushing in the Netherlands and the latter the exploration of the islands of Hamford Water near Walton-on-the-Naze. Made famous in ‘We Didn’t Mean to go to Sea’ the Butt & Oyster Inn on the banks of the River Orwell overlooks the smugglers haven of Pin Mill, one of Suffolk’s most romantic landscapes where time and tide meet twice daily. This pub serves local, seasonal food, good ales and provides a resting place for walkers, tourists and locals who still earn their living off the river. The landscape appears little changed from Ransome’s time and thank goodness for that- we all need to feel we can go back to a less complicated time even if the beer prices are a sharp reminder that we are no longer in 40’s England.
Occasionally Julia Jones, the owner of Ransome’s boat ‘Peter Duck’ brings it to Suffolk for events (Felixstowe Book Festival on 28th June being one of them) and people can see for themselves the craft that inspired his writing craft.
The very famous I Capture the Castle by Dodie Smith has its origins in her glimpse of an ancient medieval moated castle in 30’s Wingfield, Suffolk and her love of the classic Suffolk pink wash thatched cottages, the ruined manor houses that were once the heart of our villages and the families living in gentile penury- trying to maintain an appearance of a life they can no longer afford. Describing life for these families as one where ‘the past is like a presence, a caress in the air’, presumably a comfort in the hard times of the present, all is ‘drear, dank, depressing, boggy and raining’– an image of Suffolk we have little truck with. Even in the colder months, there is a seer, monochromatic and dramatic beauty; the moving tracery of bare tree branches as the unforgiving winds straight from Siberia swipe across the fields; the standing black edge of copses on a ridgeline beneath a dome of slate sky; the soft swells of fields and deep cuts carved into the earth by the many rivers and streams feeding them. It is a different kind of beauty to the bucolic and abundant green of summer but it is still beauty nonetheless.
We East Anglians have found easier and more functional ways of living with a past that is often wrought vividly upon the present- our surroundings are full of history which still impacts today. We find it less oppressive than Smith’s protagonists although accounts of beaurocratic skirmishes with local planners are writ large upon our regional newspapers each week. Does anybody recall the saga of the lilac painted house in the village of Clare which went on for months, divided villagers and caused no end of fury among historical purists?
Many places in Suffolk are atmospheric enough to require little by way of embellishment. Their stories tells themselves, stories so fantastical and magical that they defy belief. Sutton Hoo is one such place. In 1939 a Mrs Edith Pretty asked archaelogist Basil Brown to come down and investigate the many Anglo Saxon burial mounds on her property near Woodbridge in Suffolk. He went on to make one of the most spectacular discoveries of all time- the imprint of a 27-metre-long ship. At its centre lay a ruined burial chamber packed with treasures: sumptuous gold jewellery, Byzantine silverware, a lavish and complete feasting set, and most famously, an ornate iron helmet which is now the iconic symbol for the burial site and museum. Tiny fragments showed that rich textiles once adorned the walls and floor, along with piles of clothes ranging from fine linen overshirts to shaggy woollen cloaks and caps trimmed with fur. The dead man’s body had dissolved in the acidic soil, but he was clearly a person of great standing in the kingdom of East Anglia. He may even have been a king.
The Sutton Hoo ship burial provides remarkable insights into early Anglo-Saxon England. It reveals a place of exquisite craftsmanship and extensive international connections, spanning Europe and beyond. It also shows that the world of great halls, glittering treasures and formidable warriors described in Anglo-Saxon poetry was not a myth. This story forms the inspiration for the children’s story Gravenhunger by Harriet Goodwin, a sinister story about a house inherited by Phoenix after the death of his Mother. The house and grounds hint at the secret buried within and the reason why their existence was kept secret from the boy and his Father. This idea of things not being what they seem and of small secrets growing into huge, life changing ones have clear parallels with the amazing Sutton Hoo discoveries-a Suffolk treasure visited by thousands of school children from all over the world.
The dry and sandy Brecklands yielded treasure of their own, inspiring Roald Dahl to travel to Mildenhall to interview the Ploughman who unearthed the remarkable find of Roman silver, now displayed in the British Museum. This formed the basis of a subsequent story ‘The Mildenhall Treasures’ where Dahl creates a narrative around the discovery of the hoard of late Roman silver in the winter of 1942 at the height of the Second World War by local farmer, Gordon Butcher, subsequently excavated by Butcher and his boss Sidney Ford. The curator of the British Museum, Richard Hobbs writes about his association with the story and the treasure- “I recalled Dahl’s story when the Mildenhall treasure was mentioned during a lecture on the archaeology of the later Roman Empire, taught by the legendary Richard Reece. Richard also alluded to a conspiracy theory surrounding the discovery of the treasure, saying that many believed it had been flown in to the military airbase at Mildenhall from somewhere in the Mediterranean, perhaps North Africa. I remember saying to him: ‘But what about Roald Dahl’s story? Surely that describes very plausibly how it was discovered?’, or words to that effect. My comment was met with a blank look. It only occurred to me afterwards that Richard had never come across Dahl’s ‘account’: it was, after all, published in a book for children.” Dahl’s account is now accepted as a true account of their discovery.
Arguably the most famous visitor to Aldeburgh, (even more famous than Sir Michael Gambon who tried to solicit one of my chips whilst sitting next to me on the benches of the White Hart Pub next to the famous chip shop), Orlando the Marmalade cat was the star of a series of books written for children. Written by Kathleen Hale, who spent holidays in the town, Aldeburgh is renamed ‘Owlbarrow’ and many of the illustrations in the books feature landmarks in the town, most notably the Moot Hall. In this charming series, based in 1952, Orlando brought his wife Grace and their kittens to stay on the beached ship the Iona, now no longer in existence but depicted in the illustration below.
Kathleen Hale’s books have been treasured by children and grown-ups since they were first published; the illustrations being rich in detail and painterly enough to appeal to parents too. Only two of the many titles are still in print: A Seaside Holiday and A Camping Holiday, both stocked by the Aldeburgh Book shop which now owns the merchandising rights from Kathleen Hale’s publishers Frederick Warne at Penguin.
With its setting in the deepest reaches of the mysterious and watery Norfolk Fens, The Future Homemakers of America’ is the story of six young women in postwar Norfolk by Laurie Graham. Five are US Airforce DWs (Dependent Wives) living on the Crampton base, baking cookies, cakes and pies while crew-cut, square jawed All American husbands master the skies in fast and horribly unsafe machines that were deemed to be at the cutting edge of war machine technology. With dependable narrative tropes in its women, including Kath, a doughty Fenland woman alongside an historical background of those turbulent post-war years, illustrated by facsimiles of newspaper pages including some scarily lurid Jello salad and cake recipes, this is an easy read of a book that does manage to capture some of the culture shock felt by our USAF influx and those who came into contact with them. The Future Homemakers of America officially began in June of 1945, working to combine and unify hundreds of home economic clubs in high schools across the US and sought to unify young Americans across the land to become strong leaders in their families, careers and communities.
In 1945, when the first Future Homemakers of America chapter was founded, the mission and curriculum were basic: preparing young women to be homemakers. In recent years, more males have become involved and interested in the organization and finally, in 1999, the organization’s national chapters voted to change their name to Family, Career and Community Leaders of America to more accurately reflect the organization’s mission and to disassociate its leadership-building programs from societal stigma that the term “homemaker” has developed over the previous five decades. .
The historical connections between Norfolk and North America began in the 17th century, when a large number of migrants moved together to the newly-created colonies including the family of US president Abraham Lincoln who came from Hingham. Actors James Stewart and Walter Matthau were both stationed in Norfolk whilst serving for the United States Army Air Force (USAF) during World War Two and Reis Leming, a member of USAF personal based at RAF Sculthorpe, saved the lives of 27 people in the Norfolk Floods of 1953. He was awarded UK and US medals for bravery. The Eighth in the East’ project was established to document the story of the 8th United States Army Air Force in the East of England and is a great place to start should you wish to find out more about this fascinating period of history.
In complete contrast to this cosy tale of young American women going about their domestic (and not so) lives is the ghost story “Oh, Whistle, And I’ll Come To You, My Lad” by the writer M. R. James. The story tells the tale of an introverted academic who happens upon a strange whistle while exploring a Knights Templar cemetery. When blown, the whistle unleashes a supernatural force that pursues and terrifies its discoverer.
From the age of three (1865) until 1909 the home of MR James, if not always his residence, was at the Rectory in Great Livermere, Suffolk. This had also been the childhood home of another eminent Suffolk antiquary, “Honest Tom” Martin (1696–1771) “of Palgrave.” Several MR James ghost stories are set in Suffolk, including “‘Oh, Whistle, and I’ll Come to You, My Lad'” (Felixstowe), “A Warning to the Curious” (Aldeburgh), “Rats” and “A Vignette” (Great Livermere). The wild, unearthly and limitless skies, beaches and horizon of the Norfolk and Suffolk coastal areas are effective backdrops for what James described as “putting the reader into the position of saying to himself, ‘If I’m not very careful, something of this kind may happen to me.” The shifting clifftops and shingle beaches, eroded by winds and tides and dunes that appear and disappear as if they were in the Sahara, often form the most incongruous of obstacles to total annihilation by the waters. Danger is covert and safety is illusory on the literary frontier of the British continent- the shoreline.
This oddly porous and shifting boundary between land and sea inspired author Jeremy Page to write ‘Salt’ and set it among the Blakeney saltmarshes of North Norfolk and the fens near the Wash. What forms a person, the surge and ebb of family history as it reaches into each new generation, shaping and eroding, forms the broad theme of this novel. Here, the sea gives up the half drowned body of a young German soldier after the Second World War where he is rescued and sheltered by Goose, a reclusive and mystic who predicts significant events by cloudwatching. Fed on Samphire, a coastal plant with spears that carry the essence of the sea, he impregnates her and sails away on a boat after she gives birth to their daughter. The repercussions permeate the story as do the other worldly descriptions of a landscape that gets under the skin of all who encounter it with its tangled and indistinct boundaries between land, water and sky.
Saturated with another kind of Norfolk- that of an 80’s childhood in the neon brashness of a seaside resort is ‘Weirdo’ by Cathy Unsworth, believed to be based upon the popular holiday destination of Great Yarmouth with its thin veneer of holiday gaiety. Think gaudy funfair, amusements and wide promenades festooned with bags of candy floss and racks of striped rock; the Harbour, model village and the dunes; Bernie Winters, Tarbuck, Orville the Duck and Jim Davidson appearing on the pier. Gaggles of teenagers fizz with the anticipation of kissing under the pier and can be found dotting the sea, top halves visible as they sway, buffeted by sand brown waves and cries like seagulls; their limbs yet to be bronzed by the sun and held aloft the water, pale and supplicant.
There is another side to all towns though and revisiting Great Yarmouth through Cathi Unsworth’s narrative introduces us to the seamier aspects of seaside life – the pubs, the bed and breakfast DWP benefit residents, the bail hostels, drugs and the prostitution. This crime story, switching between events in the early 1980s and 2003 where a former cop turned private detective, Sean Ward, is hired to look into a brutal murder that occurred two decades previously, really hits home. Seaside towns have always attracted a transient, migrant population and Gt Yarmouth is no better or worse than any other British town in this respect where hard working residents have just the short summer season to earn enough to sustain them economically through the other six months of the year. When you find yourself living in a town on the edge of the country, the sense of having nowhere else to turn is brought into even sharper relief and, should life not have gone the way you intended it to, the sense of being washed out to sea by rivers or washed up onto the shoreline by the tide is intensified. This is depicted perfectly by Kazuo Ishiguro’s in his novel Never Let me Go, which ends with Kathy in a Norfolk field, “thinking about the rubbish, the flapping plastic in the branches, the shore-line of odd stuff caught along the fencing, and I half closed my eyes and imagined this was the spot where everything I’d ever lost since my childhood had washed up.”
Themes of migration, strangeness and change lie at the heart of ’22 Britannia Road’ by Amanda Hodgkinson, set in Suffolk because the writer loves the area, having spent much of her life here. “Living in France and writing it, I had a kind of mythical Ipswich in my head. I’ve never actually been to Britannia Road but the title, with its sense of place and pomp and circumstance for a foreign family, has a level of irony I really liked. It’s a poignant address.” With a well established Polish community, Suffolk (and the county town, Ipswich) provides a backdrop to the story of Silvana and eight-year-old Aurek who board a ship to England, where her husband Janusz is waiting in Ipswich. However, after years living wild in the forests – simply surviving, and also nursing a dreadful secret, Silvana is no longer sure quite who she is inside. Suffolk saw large influxes of immigrants and Londoners after the war, displaced by bombing and bad economics and the promise of a bucolic life in the countryside. The reality was rather more complex though as Amanda says; “I’ve always felt a real empathy with that generation, and seeing how people coped. What you do when you’re suddenly told you can go back to ‘normal’ – how you pick up the pieces – has interested me.”
Appropriately for such a watery region, swimming and immersion in water forms theme, metaphor and subject for many books set locally and in ‘The Swimmer’ by Roma Teague we are thrown straight into the tale when 43-year-old Ria (who lives alone in the cottage she loved as a child) spots a young man swimming in the river at the bottom of her garden in the moonlight. Ben is a Sri Lankan doctor seeking asylum in Britain. While he awaits news from the Home Office, he works illegally on a local farm in return for food and lodging. Despite an 18-year age gap and their cultural differences, the friendship swiftly blossoms into a passionate affair. When tragedy strikes, the repercussions are felt far beyond this small corner of East Anglia.
The delicate tensions that exist between her characters reflect the currents and eddies of the marshlands and tidal brackish waters around Orford where the book is set with this becoming a stunningly beautiful and brooding backdrop to the story. Shaped by conflict, affected by political forces in lands far beyond their surroundings, the characters learn that loss, love and regret can eddy, ebb and flow and that no actions exist in a vacuum.
Former resident of the tiny Suffolk village of Mellis, situated on the ‘High Suffolk’ claylands where Oliver Cromwell once exercised his troops on the largest English area of unfenced common land, Roger Deakin was one of the Worlds most respected nature writers. Part of a distinguished group of East Anglian writers, artists and aesthetes that includes Richard Mabey, Adrian Bell and author of ‘Akenfield’, Ronald Blythe; J A Baker (author of ‘The Peregrine’) ,Cedric Morris the artist and plantsman based in Hadleigh, Robert MacFarlane, Mark Cocker and Patrick Barkham, Deakin sadly died in 2006 leaving a wealth of archived material and three stellar books- ‘Waterlogged’, ‘Wildwood’ and the posthumously published ‘Tales from Walnut Tree Farm’.
In Waterlog, he writes of his watery journey around Britain: an attempt to discover the country afresh by swimming through its seas, rivers, lakes, fens; its swimming pools and secret bathing holes in a manner both earthy and highly aesthetic. Deakin has the soul of a poet and writes so beautifully that I grieve his loss afresh with every word. Inspired by a rain splattered early swim in the moat surrounding his Mellis home, he experiences life through a ‘frog’s eye view of rain on the moat” and watching each raindrop as it “exploded in a momentary, bouncing fountain that turned into a bubble and burst” which inspires this watery odyssey.
Deakin swims the Hampstead swimming ponds also frequented by an eclectic group of dedicated wild swimmers from ladies left over from more genteel times and people having a pre or post work swim to young university students. He recounts a chasing off by an angry Winchester College river jobsworth and crawls along the brackish creeks of Cornwall like a cross between a mudlark and a catfish. And weeps over the brutal concrete incarceration of the River Lark upon his arrival in Suffolk ‘I stood outside the Bury St Edmunds Tesco. Here, the Lark had been treated with something less than reverence as it flowed through the forecourt car park […] The hapless Lark, which once meandered gently through water meadows here, had been neatly packaged in an outsized concrete canyon. No water vole would dream of venturing here, nor otter, purple loosestrife or figwort’.
From dreaming about water to dreaminess once in the water, Deakin expounds upon an alien and magical environment within which we are all at sea despite having spent forty weeks gestating with no need of lungs or gills. As he says “No wonder we feel such sympathy for beached whales; we are beached at birth ourselves. To swim is to experience how it was before you were born.” Then he contemplates the strangeness that can be found in the water as opposed to our strangeness within it- ‘In the night sea at Walberswick,’ Deakin observes, ‘I have seen bodies fiery with phosphorescent plankton striking through neon waves like dragons.’ This other worldliness and an existence of which we retain no conscious memory of is shot through with a more practical acceptance of these mysteries- “Water is H2O, hydrogen two parts, oxygen one,but there is also a third thing, that makes it water and nobody knows what that is.” He is content to not know.
Sadly not all have found the watery, flat and strikingly desolate scenery of the Fens inspiring or feel their peculiar beauty. Author Anthony Trollope painted a grim and unforgiving picture of them in his novel ‘Beltons Estate’ (1866). His heroine, Clara Amedroz, has to chose between a wealthy suitor and a distant cousin called Will Belton. Belton owns a farm near Downham Market but is keen to leave the Fens and take up his inheritance in the West Country. Trollope was familiar with the fens through his work as a surveyor for the Post Office but was not enamoured by the landscape. In the book, Belton walks to Denver Sluice and back and Trollope writes ‘a country walk less picturesque could hardly be found in England’.
Historically the Fens were regarded as a disease ridden place, haunted by witches and Will o’ the Wisps, rippled through with superstition that barely went challenged because of a largely intransigent and static population, hampered by the difficult undrained marshes, reeds and drains. Travel had to be by water or along roads that could be treachorous at night. Even today the Fens have retained a reputation for witchcraft. In his series of books, Phillip Pullman sets some of the action in the Fens (‘Northern Lights’) where at a great gathering of the Gyptians, they decide to mount an expedition to head to the Arctic where they have discovered the missing children are being taken. He clearly sees the potential for gatherings going unnoticed and undisturbed in such an isolated landscape; in addition it would be most easy to see threats appearing on the horizon from afar. The flat light and relatively few trees render movement difficult to hide.
In the prelude to ‘Hereward the Wake’,Charles Kingsley (author of ‘The Water Babies’) highlights the sky made larger and more dramatic because of the stubbornly flat topography- no hills or mountains interrupt the vast watery terrain and dark silty earth is punctuated by sere reeds and ink black slow moving waters:
‘Overhead the arch of heaven spread more ample than elsewhere, as over the open sea; and that vastness gave, and still gives, such cloudlands, such sunrises, such sunsets, as can be seen nowhere else within these isles.’
The poet Edward Storey is equally appreciative, noting that;
“You walk the roof of the world here. Only the clouds are higher And they are not permanent. Trees are too distant for the wind to reach And mountains hide below the horizon. The wind labours through reed As though they were the final barrier. Houses and farms cling like crustations To the black hull of the earth. Here, you must walk with yourself, Or share the spirits of forgotten ages.”
His books include: Spirit of the Fens (1985) and In Fen Country Heaven(1996). In Fen Boy First (1994) he gives an account of his childhood growing up in Whittlesey (which is actually in Cambridgeshire). Fen Country Christmas (1995) is a collection of stories, legends and Fenland superstitions in which he takes a look at skating; a popular sport in the region and one which Roger Deakin mentions in ‘Waterlog’. The speed skating races held along the long and straight dykes and inlets of the region were hugely popular and the blade sharp winds fresh from the Russian Steppes and Siberia froze the water hard. Heads low and well muffled against the cold, skaters sped along, cheered by locals who gathered at accessible points along the way and warmed afterwards with mugs of spirit spiked tea. Graham Swift’s novel Waterland (1983) is also set in the Fens, influenced by George Elliot’s ‘Mill on the Floss’, with a narrator Tom Crick, who lives in a lock keeper’s cottage on the bank of the (fictional) River Leem flowing out of Norfolk. It may be that the river Leem is modelled on the Little Ouse which flows between Thetford and Brandon, discharging into the Fens and is possessed of some truly beautiful banks along which many locals picnic and paddle off in warmer months. The names of local villages, of the Fens themselves and rivers are curious, poetic and usually explanatory of their location and their people who lived among them: Prickwillow, The Hundred Foot Drain, March, Ely (‘Isle of Eels’), Crowland (One of the five Fen monasteries) and Black Sluice.
As a child of sixties and seventies Suffolk and Norfolk, I can attest to just how off the beaten track it was. Although a map from 1766 shows a route from London to Great Yarmouth which follows much of the current A12, there was a sparse transport network and communities therefore remained nuclear, remote from each other and the rest of the British landmass. Added to this the network of marshes, waterways and fens and you can see why travel was difficult and transport development expensive when you take into account the population- which remains small to this day. In her novel, ‘The Twins’, Saskia Sarginson talks of her decision to set the book in a Suffolk forest (Rendlesham or Minsmere are the most likely inspiration) and about her love of our county; ” In 1972 there was little TV and no computer games and at that time Suffolk was off the beaten track and unspoilt – the perfect place… for the girls to run wild” The dense pine forests, starkly shingled beaches that are difficult to traverse and the mythology and history all drew her towards Suffolk as a setting and into this pot, she set the story about another of life’s mysteries- twins.
Forests are a trope that gives on giving. Their psychogeography is magical, foreboding, filled with threat, promise, light filled glades and crepuscular mysteries. From fairy tale filled childhoods, we are conditioned into an overwhelmingly emotional relationship with these disappearing habitats: they are both familiar in the nightly telling of stories set in them and terrifyingly strange in their potential for causing us to become lost and disorientated. Rendlesham Forest compounds this with an additional history of strange nightly events when a group of American servicemen stationed at military bases in Suffolk went into the forest to investigate mysterious lights.
What occurred next has been the subject of debate, but some of the servicemen have since said they saw an alien spacecraft, with one of those involved later claiming to have touched it. Attempts have been made to explain the incident, with theories ranging from an elaborate hoax, to the men being confused by lights from a nearby lighthouse. The closure of the woods at the time of the incident only added to the conspiracy theories among locals who have the most familarity with the forest and are therefore well versed in detecting usual happenings from unusual ones. However, it remains a source of fascination for Ufologists and among the newly released National Archives files is a document – which the MoD says insists is a fraud, describing aliens encountered in the forest.
The document, on what appears to be official departmental paper, reports that the “entities” were “approximately one and a half meters tall, wearing what appeared to be nylon coated pressure suits, but no helmets”.They were apparently “hovering above ground level” and were recorded speaking in an “electronically synthesised version of English, with a strong American accent”. They were said to have had “claw-like hands and with three fingers and an opposable thumb.” Whatever happened (or not), the forest authorities have not been slow to capitalise on something that sets them apart from other British forests, setting up ‘UFO walking trails‘ and other seasonal attractions designed to appeal to the thousands of tourists to the region.
Benjamin Britten had a long and productive association with Aldeburgh, inspiring artist Maggie Hambling to design the Aldeburgh Scallop on the shoreline with an edge pierced with the words; “I hear those voices that will not be drowned”, taken from Benjamin Britten‘s opera Peter Grimes. Not without some controversy (the Scallop has been defaced with paint thrown over it in the past) we nonetheless think it is moving and dramatic; we cannot imagine Aldeburgh beach without it. Christine Nash, wife of artist John Nash found Ronald Blythe a cottage near Aldeburgh and Blythe was introduced to Britten, becoming friends and editing festival programmes for Britten while trying to write his own first novel. Blythe recalls returning home one day to find a note pushed under his door inviting him for a drink at Britten’s house. It was from EM Forster.
Charles Dickens has stayed at the Angel Hotel in Bury St Edmunds while giving readings in the nearby Athenaeum, inspiring a mention in ‘The Pickwick Papers ‘ (the hotel offered a resting place to main character, Samuel Pickwick) and the hotel retains the room with the original bed in which Dickens slept;
“The coach rattled through the well-paved streets of a handsome little town, of thriving and cleanly appearance, and stopped before a large inn situated in a wide open street, nearly facing the old abbey.”
Around 1910, Glencairn Stuart Ogilvie, the Barrister-Playwright owner of nearby Sizewell Hall had a brainwave. He bought an area of coast and dunes and in 1910 set about establishing a purpose-built resort based on the fishing hamlet of Thorpe, changing the name to Thorpeness. The Meare, a man made lake covering 64 acres with scattered islands, is no deeper than one metre at any point and is a very popular place to sail boats upon whilst on the shore, black clapboard buildings cluster the edges of a village green. The islands feature playhouses and characters from children’s books, in particular ‘Peter Pan’ because Ogilvie was a friend of J M Barrie. The tiny islands contain locations found in J. M. Barrie’s novel such as the Pirates Lair, Wendy’s home and many others which children are encouraged to play on. Thorpeness, like Aldeburgh is described as having ‘it’s back to the sea’ and this is deliberate. Ogilvie deliberately used the Meare as an alternate focal point for his seaside town and rejected the Victorian/Edwardian fondness for promenades which he thought were vulgar.
Opened in 1913, many of the original boats are still in operation. The author made regular visits to the village and was pictured outside the country club in 1919, even helping to design parts of Thorpeness. His model resort might have been influenced by Ebenezer Howard, creator of the Utopian garden city movement, but it became an exclusive home away from the main home for the wealthy and artistic. The famous ‘House in the Clouds’ was one of Ogilvie’s creations; an attempt to disguise an utilitarian water tower as a house. It is now a private holiday rental although the child in me will always imagine Peter Pan swooping in through the front door at dusk. What better home for a flying boy than a house in the clouds?
Much speculation can be found as to the possible real life location of Hell Hall, home to Cruella De Vil and the place where the abducted puppies were taken in Dodie Smith’s book, ‘The One Hundred and one Dalmatians’. We know that Smith was a frequent visitor to Suffolk and Sudbury is mentioned in the book and Hell Hall is described as in the village of ‘Dympling’. No village of that name exists or ever existed although the hamlet of Shimpling can be found at a rough midpoint between Sudbury and Bury St Edmunds, just off the A134.
“Just before midnight they came to the market town of Sudbury.Pongo paused as they crossed the bridge over the River Stour. ‘Here we enter Suffolk,’ he said, triumphantly. They ran on through the quiet streets of old houses and into the market square.They had hoped they’d meet some dogs and hear if any news of the puppies had come at the Twilight Barking, but not as much as a cat was stirring. While they were drinking at the fountain, church clocks began to strike midnight.”
A memorial plaque on a water fountain by St Peter’s given by Alice Mary Brown features an excerpt from the book as above and the original Johnstone Twins illustrations from the book are owned by Ipswich Art School. Sudbury also has some charming Dalmatian topped posts marking the Old Marketplace behind St Peters as you face the end of North Street and has staged festivals celebrating the book.
We hold the animal characters in our favourite books from our youth close to our hearts- ask any adult what his favourite book was as a child and you will be able to pinpoint his decade of birth with relative ease. Some books transcend the generations though, either because they are continually reprinted and turned into films (Roald Dahls canon) or parents pass them onto their own children. Black Beauty by Anna Sewell is a case in point in a country that is both horse and dog mad -this story of a horse and its child owners has timeless themes. Sewell was born in Great Yarmouth into a devoutly Quaker family and it is possible that her determination to feature an equine hero was born of her own accident in childhood that left her unable to stand without a crutch or to walk for any length of time. For greater mobility, she frequently used horse-drawn carriages.
Sewell’s only published work was Black Beauty, written during 1871 to 1877, after she had moved to Old Catton, a village outside the city of Norwich. During this time her health was declining and she was often so weak that she was confined to her bed, making writing a challenge. She dictated the text to her mother and from 1876 began to write on slips of paper which her mother transcribed. Sewell sold the novel to local publisher Jarrolds on 24 November 1877, when she was 58 years of age. Although it is now considered a children’s classic, she originally wrote it for those who worked with horses. She said “a special aim [was] to induce kindness, sympathy, and an understanding treatment of horses”.
She died aged 57 and was buried on 30 April 1878 in the Quaker burial-ground at Lammas near Buxton, Norfolk, not far from Norwich, where a wall plaque now marks her resting place. Her birthplace in Church Plain, Great Yarmouth, has been the home to a museum and, as of 2014, a tea shop.
We will leave it to Norfolk writer Malcolm Bradbury to have the last word:
“A sense of place is fundamental to the writer. Sometimes our place is our real subject, the basic material we work with, providing our vision, setting, landscape and theme. Sometimes it is a culture which stimulates our writing and lets it happen.”
Winner of the 2013 Booker Prize, Catton’s 800 page masterpiece is definitely one for (hopefully) uninterrupted immersion.
Set in the wild coast of New Zealand, during the 19th century goldrush, it is a medley of mystery, thriller, historical epic and pure inventiveness. The twelve characters move in and out of each other’s stories, and also tie up with the intricate zodiac structure that oversees the entire novel. It is about greed, money, temptation, fate and human nature.
Jojo Moyes’ Me Before You was a phenomena with over 3 million copies sold worldwide. (Remember the summer of 2012 when every beach across Europe was awash with people reading this or 50 Shades?) Jojo fans are in for a treat this summer with her latest novel The One Plus One out in paperback just in time for the hols.
Jojo will be joining us for a webchat at the end of September.
You wouldn’t think this was a debut novel, it is so accomplished and confident.
Ruth is an elderly lady living alone in a remote part of New South Wales. When a governement-funded carer, Frida, comes to look after her and slowly begins to infiltrate her life, a suspense story begins where what is real and what is imagined becomes blurred and unreliable.
A witty, menacing psychological thriller that is also a brilliant evocation of old age, forgetfulness and regret.
During a visit to the picturesque Spanish village of Guzman, Michael Paterniti heard an odd and compelling tale about a cheese made from an ancient family recipe that was reputed to be among the finest in the world. Hooked on the story, he relocated his family to the tiny hilltop village to find out more. Before long the village began to spill its long-held secrets and Paterniti was sucked into the heart of an unfolding mystery.
The Telling Room is as surprising, evocative and wildly entertaining as the world it portrays.
Elizabeth Gilbert’s latest novel will come as a surprise to those who have defined her by the blockbuster Eat Pray Love.
Set in the 1800s, The Signature of All Things weaves an epic story of adventure, love and botany. The incredible authenticity of detail and Gilbert’s master story-telling make the journey across the continents, through the centuries, and throughout the 500-odd pages, joyful and swift – making this a perfect summer read and our bookclub choice for September.
An electrifying and titillating read where we find seduction, desire and troubled passion in the heat of the sultry summer sun.
Each summer Jenn and her husband return religiously to Mallorca’s West Coast but this year the arrival of Jenn’s stepdaughter and her boyfriend Nathan brings with it a series of unexpected events. Nathan’s beauty and youth cannot escape Jenn who finds herself recklessly gambling away stability to feed this new sprung obsession.
Walsh’s novel is undoubtedly this summer’s steamy read; suspense-filled and just dripping with passion
‘I loved the writing and the characterisation, oh, and the plot – yeah, all really pithy. Really great’: sound familiar? How many books have you claimed to have read but never actually finished, or even started? Miller decides to rectify his twenty odd years of lies and to silence his nagging guilt to become the literate man he’s always claimed himself to be.
This book is Andy’s inspirational and very funny account of his expedition through literature: ‘classic, cult and everything in-between.’
A fictionalised and fascinating account of E M Forster’s life around the time he was working on A Passage to India.
Using extensive research, Galgut has brought in the characters around Forster (a mad maharajah, the spoilt Bloomsbury set, an adored Egyptian lover) and created a moving novel that explores the interior life of a complex, conflicted yet brilliant man.
Love! Truth! Beauty! A chance encounter, an impulsive kiss and Lucy Honeychurch’s world is forever changed. Torn between settling for a life of acceptable convention or the calling of her true love, Lucy epitomizes the struggle for individuality.
Definitely EM Forster’s most romantic novel, with the easy flowing passion of the Italian culture set against the constrictions and repressed sexuality of English Edwardian society.
A classic ideally suited to summer, sunshine and freedom.
“Anyone who writes an autobiography is either a twat or broke. I’m a bit of both” so begins Viv Albertine’s remarkably candid memoir.
In it she tells the story of what it was like to be a girl at the height of punk and of what happened post-punk, taking in a career in film, IVF, illness, divorce – and making music again, twenty-five years later.
From music and fashion to family and feminism, this is a truly remarkable memoir and the story of a life lived unscripted, told from the heart.
Amy Tan has been writing high quality blockbusters for decades, ever since The Joy Luck Club became a huge besteller in 1989. Her latest is an intelligent saga about coutesans in China at the turn of the 20th century.
Violet, half American and half Chinese daughter of the owner of the courtsean house, is forced into this world, where (amongst the betrayal and sadness) she also discovers female friendship, loyalty and love.
A classic Tan page-turner for those who loved Memoirs of a Geisha.
Perfectly reviewed onsite by EduardoBarcelona: “If you enjoyed Alys, Always I can heartily recommend HER.
“Written by an early Mumsnetter, this is the kind of book that you HAVE to read in a day. It speaks to all of us who have ever wrangled children – in fact I was late to work after spending an hour in the bath trying to get to the end. (Bad hair day ensued).
“I did chuckle afterwards that you can imagine the whole book as a long AIBU, from two people’s viewpoints… just BRILLIANT.”
Our July Book of the Month is, as Alice Sebold brilliantly called it, ‘a dark cautionary tale hanging out, incognito-style, in what at first seems a traditional family narrative’.
Narrated by the jaunty, sharp and very amusing Rosemary, the novel centres around the disappearance of Rosemary’s siblings, and the impact on her and her scientist parents. It looks like a straightforwardly comic novel but underneath lies an enormous moral dilemma. Fowler sets radical experimentation against personal experience, science against compassion.
Winner of the Pen/Faulkner Award 2014, this book manages to be unusual and funny and sad and disturbing all at once.
Like The Night Guest, this critically acclaimed novel centres on a woman living in a remote area, threatened by fears that are perhaps real or imagined.
Jake is a woman with a secret, having moved from Australia to a tiny island off the British coast. Her past and present dovetail in a beautifully crafted suspense story that is unsettling and mesmerising.
Often compared to early Ian McEwan and Iain Banks, Wyld is an absolutely exquisite writer and a highly talented young voice.
In May 2012 Kirstie Clements was unceremoniously sacked after thirteen years in the editor’s chair at Vogue Australia. Here she tells the eye-opening story of life in fashion’s fast lane.
From the glamour of photo shoots in exotic locations, fashion shows and of course outrageous fashion, to the ugly side: the infighting, back-stabbing, desperation of models to stay thin. All this sprinkled with an array of glitzy slebs make this a fascinating summer read.
Having died in May this year, Maya Angelou has left behind an inspirational legacy of strength and perseverance which speaks out to many of us. We’ve selected Mom & Me & Mom as it unearths a deeper layer of Angelou’s compelling life story, revealing a more intimate and heartfelt insight into her relationship with mother Vivian Baxter Johnson.
The novel reveals why Maya was raised by her paternal grandmother and discloses the emotional turmoil Maya suffered as she began to perceive of her mother as a presence of absence.
Touchingly emotional, this story considers the bond between mother and daughter as it is at once torn apart and then reconciled
We decided to include a trip back to the 80s in our summer round-up, after enjoying reading this recent thread.
What A Carve Up was unflinchingly the book of the decade and cited by many Mumsnetters as their favourite book of all time. Coe’s classic captures the political movements of Britain in the 1980s with true humour and reflects on the blurred boundaries between greed and madness through the microscope of Thatcher’s Britain.
What he illuminates is both hilariously acute and touchingly thought-provoking, or as one Mumsnetter says, ‘Ridiculous, but an absolute hoot!’
Frustrated with life in Berlin, author Gideon Lewis-Kraus undertakes three separate ancient pilgrimages. He recounts his travels over hundreds of miles: the thousand-year old Camino de Santiago in Spain with a friend, a solo circuit of eighty-eight Buddhist temples on the Japanese island of Shikoku, and finally, with his father and brother, a migration to the tomb of a famous Hassidic mystic in the Ukraine.
Both succinctly funny and movingly honest, Lewis-Kraus examines with piercing insight our search for purpose in life, and how we travel between past and present in search of hope for our future.
We recently interviewed Norwich resident and author Emma Healey here and were blown away by the insight this young woman has into the myriad of ways by which Dementia affects not only the person, but family, friends and the society around them. Crossing genres from family drama to crime, the story unfolds via what is forgotten, half forgotten and that which can never be forgotten- the long ago disappearance of Maud’s sister and the apparent disappearance of her close friend Elizabeth.
Unruly Places: lost spaces, secret cities and other inscrutable geographies by Alistair Bonnett.
Explore the world’s secret and underground cities, diamond mines and erotic landscapes in this delightfully outlandish travelogue. You’ll never look at a map — or your own backyard — the same way again.
Bad Feminist by Roxanne Gay
Everybody is talking about her in the UK but we have been in one the secret for quite some time now! One of the more practical and most accessible new culture critics plants her flag in topics ranging from trigger warnings to Orange Is the New Black in this timely collection of essays. This is the text for those who constructed their feminism from the pages of teen chick lit such as Sweet Valley High and whose young daughters are currently doing feminist battle in the age of the Hunger Games. Roxane Gay is who Caitlin Moran would like to be and never will.
Check out Roxane Gay’s new suspense novel ‘ An Untamed State’ too. Described by Tayari Jones as “magical and suspenseful”, this is a harrowing novel about the connections between sexual violence and political rage, narrated in a voice at once traumatized and eerily controlled. Roxane Gay is an astute observer of Haitian society and a deeply sympathetic, unflinching chronicler of the compromises people make in order to survive under the most extreme conditions.