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Non-Fiction November: ‘Letters from Tove’ by Tove Jansson *****

Tove Jansson is one of my all-time favourite authors, from her charming Moomin stories which I have adored from my earliest childhood, to her beautiful and assertive short stories. I had so looked forward to reading the edited collection, Letters from Tove, and although I did not receive a copy for Christmas (despite it being right at the top of my list!), I managed to reserve a copy from my local library.

Letters from Tove has been edited by Boel Westin – the author of a fantastic Jansson biography, which I reviewed here – and Helen Svensson, and is translated from the original Swedish by Sarah Death. This is the first time that the selected letters have been published in a single edition, along with commentary.

I wholeheartedly agree with Ali Smith – another of my absolute favourite authors – who writes: ‘It’s hard to describe the astonishing achievement of Jansson’s artistry’. I have loved every single piece of work of Jansson’s which I have read, and reading her letters, addressed to a number of varied recipients, proved a real privilege. In the introduction, Westin and Svensson write that Jansson ‘was a great correspondent, writing frequently and at length…’. They also comment about how important the letter is in Jansson’s fiction, from messages found in bottles in the Moomin books, to the epistolatory form which she sometimes used in her short stories.

Letters from Tove has been arranged chronologically by recipient. There are letters here to her friends, family, and lovers of both genders, spanning a vast period between 1933 and 1988. The collection includes letters written to her parents and brothers; the photographer Eva Konikoff, who was one of Jansson’s best friends; the director Vivica Bandler; the graphic artist Tuulikki Pietilä, with whom Jansson lived for many years; the translator Maya Vanni; and Jansson’s publisher, Åke Runnquist. Although every single year during this period has not been included, an exceptional portrait of a remarkable life is shown to us.

Given that this volume provides just an edited selection of Jansson’s letters, one can conclude that she was both prolific and patient – particularly given that every single letter she sent was written by hand! Added to this is the way in which Jansson responded to almost every single fan letter or question which she received, which amounted to almost 2,000 each year. Westin and Svensson estimate that Jansson would have answered around 92,000 such letters between 1954 – when the Moomins became a global success- and 2001, the year in which she died.

‘Jansson’s letters ‘tell us all about herself,’ write Westin and Svensson in their introduction. ‘They deal with love and friendship, loneliness and solidarity, and also with politics, art, literature and society. But a letter also documents a juncture in time, stops the clock an tells us about things that otherwise get forgotten or sink into the depths of memory.’ Whatever she writes about, or however the mood in these letters sits, Westin and Svensson say that ‘they rarely leave us unmoved’. The editors have included relatively thorough biographical and contextual information throughout.

The familial scenes which Jansson describes are lively, as are depictions of her extensive travels, and her studies before the Second World War. In one of the earliest letters, written to her ‘Beloved Ham’ – the affectionate name which she gave her mother – when she was an art student in Stockholm in 1933, Jansson says: ‘I am a part of you. More so than the boys… how can I care one jot about Sweden when you’re not here?… I’m coming home, and soon. I’m coming home, just the way I was when I left… it may well be that I can now understand you better, help you better, and painstakingly start to appreciate how lucky I am to have you and the rest.’ Even in these earliest letters, an alluring philosophical wisdom shines through.

Through reading her letters, I was swept into Jansson’s world. I was helped to understand, so acutely, what mattered to her, and the efforts she would go to for those she loved. As in her fiction, the writing in her letters is unsurprisingly rich, nuanced, and astonishingly beautiful. Jansson is searingly honest throughout, and we are given the ability to really see her grow as time goes on. Her letters are open and revealing, and are sometimes startlingly modern. There is much seriousness here, but a great deal of light and hope, too. Letters from Tove provided me with a great deal of joy; it felt like I was reading the words of a dear friend. I really love to read one-sided correspondence like this, and it is certainly a volume which I hope to come back to many more times in future.

I shall close this review with a quote from the volume, which really spoke to me. In 1941, in the midst of a discussion about the Second World War and the tumult which it created in her home of Finland, she writes to Eva Konikoff: ‘Strange that it will all just go on, we will paint, travel, love, grieve, collect money, buy things, grow old… whether we want to or not.’

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Non-Fiction November: ‘A Notable Woman: The Romantic Journals of Jean Lucey Pratt’, edited by Simon Garfield *****

I remember reading an article about A Notable Woman: The Romantic Journals of Jean Lucey Pratt when it was first released, and have had my eye out for a copy ever since. I ended up finding a gorgeous hardback edition on a remaindered books website, and read its 700 pages over the space of a few days.

I love reading journals; they convey an excellent social history. Jean Lucey Pratt’s are no exception. She began to keep a diary at the age of 15, and continued – in 45 exercise books purchased from Woolworths for sixpence each – until a few weeks before her death in 1986. The output is astonishing, and she wrote over a million words during her lifetime. Most of her journals were personal ones, which her family and friends were unaware of, but she also kept a specific journal during the Second World War. Pratt also contributed to the Mass Observation Project, which began in 1937, and aimed to capture everyday life in Britain.

Pratt was born in Wembley in 1909, and lived for most of her life in a small and ramshackle Buckinghamshire cottage, named Wee Cottage. She looked after her niece, Babs, for some years whilst the girl’s parents were stationed abroad, but largely lived alone, her only company her cats. Pratt had a fascinating life; she trained as an architect, worked as a publicist and journalist, and went on to run a small bookshop in a street in Slough. She specialised in cat books, and continued to send these out to customers for many years after her ‘retirement’. As Garfield notes in his introduction, ‘what she really wanted to do was write and garden and care for her cats.’

In her teenage years, Pratt touchingly addresses portions of her journal to her late mother. She laments over her father’s choice of new wife, in Ethel, a woman of whom she is suspicious from the outset. In 1925, Pratt sweetly kicks off with a list of her ‘beaus’, which have been written in a secret code. One gets a feel for her character, and for what matters the most to her, straight away. She is in touch with herself throughout.

Although Pratt hints at possible publication following her death, she makes it clear that at present, the journals are for her alone: ‘And why have I that feeling at the back of my mind that no one will ever read this? But if anyone does read this – if you ever do – Reader please be kind to me! I am only 16 at present, and just realising life and beginning to think for myself. It’s all very chilling in its strange newness.’ She is candid and honest, and rather frank regarding taboo subjects, like her sex life. She is a very modern woman. In 1927, for instance, she writes: ‘I don’t want to get married – not at least to the struggling domesticated life which seems to belong to every man I know.’ Later, in 1931, she comments: ‘Even to my socialistic mind I think it would be better to be married – more convenient, double rooms being usually cheaper than singles.’

From the earliest entries, too, her writing is gorgeous. In April 1925, on a trip to Torquay, Pratt reflects: ‘We came back along the coast… And I felt tired and sad and a little exhausted, but the level, smooth stretch of sea peeping between the graceful lines of the cliffs seemed to comfort the innermost recesses of my soul. And when we lost sight of it behind high hedgerows I ached for one more sight of it.’ There is a lot of humour in A Notable Woman, too; in 1926, for instance, she writes of a new pair of cream silk stockings that she ‘unfortunately wore them for tennis yesterday and made irrevocable ladders.’

She has all of the usual teenage worries, but discusses them in a manner which is full of wisdom. We really see her grow – and flourish – as time moves on. I loved the way in which she mixes social commentary with what is happening in her own life; this begins far before the Second World War period, which is comprehensively covered. Throughout, Pratt is philosophical; in 1933, she asks herself: ‘What is one to do when one seems possessed of ideas and ideals too big for one’s meagre capabilities?’

Until A Notable Woman was published, nobody had read Pratt’s journals. Their publication is a gift; I dare anyone to not be entirely charmed by Pratt, and her words. They are, as Garfield comments, ‘a revelation and a joy’. Garfield goes on to say that when friends would ask about Pratt’s writing style, he could think of nothing better than ‘Virginia Woolf meets Caitlin Moran’ – two authors whom I very much enjoy. Had I not already been intrigued by learning more about Pratt, this comment certainly would have made me pick up a copy of A Notable Woman.

I would love to read the rest of Pratt’s original journals; this edition contains only around a sixth of what Pratt penned. Her observations throughout are so clear, and I was fascinated to learn about what filled her days. I cannot recommend A Notable Woman highly enough; it is filled with the colourful, descriptive, vivid, and heartfelt reminiscences of a fascinating character, who lives her entire life with hope and warmth.

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‘Who Was Changed and Who Was Dead’ by Barbara Comyns *****

I was absolutely thrilled to get my hands on a brand new edition of Barbara Comyns’ Who Was Changed and Who Was Dead, after having spent more than a decade trying to find an affordable secondhand copy. Thankfully, the wonderful Daunt Books have reissued the novel, and I am most grateful.

I so enjoy Barbara Comyns’ work; it is wonderfully strange, and sometimes a little horrifying, but it is always compelling, and surprising. Who Was Changed and Who Was Dead, which was first published in 1954, fits all of this criteria. The novel is set in a small Warwickshire village and, set over a short span of time, the story encompasses many strange things. After the river floods excessively in early summer, the villagers begin to change, exhibiting odd and frightening behaviours; these range from a ‘mad miller’ who drowns himself, to the village barber, who cuts his own throat in full view. These nasty and unforeseen ends are attributed to a peculiar illness, which spreads like wildfire through the village.

Overseeing this pandemic are Emma and Hattie Willoweed, part of a sprawling family living in the home of their formidable grandmother. The characters are curious, and unpredicable. The girls’ father, Ebin, veers between mild interest and indifference, and their younger brother, Dennis, provides some much-needed comedy. Once the flood occurs, Comyns describes the mild horror which comes when Ebin fixates on taking Hattie out after her lunch to find drowned bodies; he reasons that she is ‘always game for anything.’

I found the Willoweed children particularly endearing. When Hattie and Dennis are left to their own devices in their father’s room whilst he is supposed to be schooling them, for instance, they rip up a copy of Macaulay’s History of England, and proceed to turn its pages into many paper hats and boats. At the same time, eldest sister Emma has been tasked with mending a great deal of ripped sheets: ‘She had mended several with the aid of a small and ancient sewing machine; but to her horror, the patches were coming off already because the machine was only capable of a rather charming chain stitch and she had forgotten to secure the ends of the thread.’

Grandmother Willoweed is an enigma. She is starkly judgemental, particularly with regard to the staff she employs in her household; she is often found shouting ‘slut!’ after her maids, for no reason one can discern. The groundskeeper, Old Ives, has an unhealthy rivalry with her: ‘Ives was a year older than Grandmother Willoweed, but considered that he had the better chance of survival: he thought she would die from overeating.’ In response to the birthday gift of food which he proffers her, Grandmother aptly responds: ‘”Ah, Ives, I’m afraid, when it’s your birthday, I shall be bringing clovers for your grave.”‘

She is an extremely keen gossip, although Comyns explains that this comes with problems of her own making: ‘Her audience was rather limited because for many years she had not left her own house and garden. She had an objection to walking or passing over ground that did not belong to her…’ Grandmother also has a fearful reputation, which precedes her: ‘Most of the village children had never seen her and she had become a terrifying figure in their minds. They thought she could hear everything they said wit her ear trumpet, and that instead of a tongue she had two curling snakes in her ugly mouth. When the children grew up and some of them became maids in Willoweed House they were always disappointed to discover she wasn’t so strange as they expected…’.

From the outset, Who Was Changed and Who Was Dead mesmerises. Comyns begins the novel: ‘The ducks swam through the drawing-room windows. The weight of the water had forced the windows open; so the ducks swam in.’ In this manner, Comyns sets the scene of the flood quite wonderfully. She goes on: ‘Ebin Willoweed rowed his daughters round the submerged garden. He rowed with gentle ineffectual strokes because he was a slothful man, but a strong vein of inquisitiveness kept him from being entirely indolent. He rowed away under a blazing sun; the light was very bright and the water brilliant.’ Comyns is an excellent writer, and she creates some gorgeous, lingering imagery within the novel. She writes a scene, for instance, in which Emma and Norah, one of the family’s maids, ‘went down to the garden together to pick peas for supper, and to dream their dreams in the summer dusk.’

There is not a great deal of cheer to be found here, as I am sure one can discern from my review, but I expected as much from Comyns’ work. There is a real morbidity to be found within the novel, in fact, especially that displayed between Ebin and Grandmother; the pair are nothing short of bloodthirsty at times. When the miller drowns himself in the river, for example, Grandmother insists that she is taken to see his body ‘dragged out of the water’. When Ebin ‘heard what all the commotion was about, he was not at all averse to seeing the drowned miller himself, and offered to take his mother.’ Who Was Changed and Who Was Dead is a deceptively easy read, which becomes more and more unsettling as it progresses. There is a palpable tension, and nothing is shied away from.

Whilst I must admit that it did feel strange to read a book about a pandemic whilst in the midst of one, I absolutely adored this odd and beguiling novel, and cannot recommend it highly enough. Who Was Changed and Who Was Dead is darkly amusing – deliciously so – and I was pulled in from the outset. This is a novel to really savour, from an author whose work I find so much to admire within. As with her other novels, Who Was Changed and Who Was Dead feels at once highly modern and wonderfully old-fashioned. It held me in its grip from start to finish, and I am sure that the same effect will be felt by its every reader.

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‘Small Bodies of Water’ by Nina Mingya Powles *****

Nina Mingya Powles is an author whose work I have been interested in since reading her excellent essay in At the Pond: Swimming at the Hampstead Ladies’ Pond (review here). Her first full-length work of non-fiction, Small Bodies of Water, appealed to me on so many levels. Even had I not heard of Powles before, the quotes written by Robert Macfarlane, Amy Liptrot, and Jessica J. Lee on the book’s cover – all non-fiction authors whom I highly admire – would have drawn me to it. Small Bodies of Water won the inaugural Nan Shepherd Prize in 2019, and was published in full in August 2021.

Powles was born in New Zealand, partly grew up in China and the United States, and now lives in London. She has also spent an extensive time in Malaysia, where her grandparents live. As she so aptly writes, ‘Home is many people and places and languages, some separated by oceans.’

Small Bodies of Water is an exploratory memoir, about what home and family mean, and about belonging. The book presents a series of interlinked essays, woven together from ‘personal memories, dreams and nature writing’. The topics which she writes about are many and varied. Powles weaves in her own experiences of swimming around the world with myths and legends, earthquakes, food, wildlife, other literature which has struck her, notions of pain, waves and tidal movements, her difficulties in communicating with her grandparents, music, and Miyazaki movies, amongst many other things.

There are whole sections devoted to swimming, something which I personally love to read about. Focus is placed upon the ‘small bodies of water’ which ‘separate and connect us’ in which Powles has spent time. She learnt to swim close to her grandparents’ home in Borneo, where her mother was born, and where her grandfather studied the island’s freshwater fish for a living. Throughout her life, there have been many more bodies of water, from the ‘wild coastline of New Zealand’ to the Ladies’ Pond on Hampstead Heath, northwest London.

Throughout, Powles’ descriptions are evocative and expansive. In the first essay, she recalls the act of swimming with her cousin in Malaysia: ‘I hover in a safe corner of the deep end, waiting to see how long I can hold my breath. Looking up through my goggles I see rainforest clouds, a watery rainbow. I can see the undersides of frangipani petals floating on the surface… I straighten my legs and point my toes and launch myself towards the sun.’ I love the way in which she writes about water, and its constant movement. Later, she describes: ‘Underwater everything was different, bathed in holy silence and blue echoes. The slanted windows cast wavering lines a liquid light beneath the surface, across our bodies. We felt the way our limbs moved, lithe and strong and brand new.’ As she grows, she considers the way in which the water was sometimes the only place in which she did not feel self-conscious about her changing body. She also writes that water is something which always makes her feel grounded, no matter where in the world she finds herself: ‘The heat can’t touch me: a girl swimming is a body of water.’

Food is something which also makes her feel at home. Whilst she writes about this in far more detail in her excellent short pamphlet, Tiny Moons: A Year of Eating in Shanghai, here, she writes about eating and cooking in sensuous language. Food is a way to connect for Powles, and to have something of a communal experience even in a new place where she is alone: ‘In the Vietnamese restaurants on Kingsland Road in east London, we – all of us women in our twenties and thirties, all of us slurping pho in the middle of the day – warm our cheeks in the steam that rises from our bowls and coats the windows, shielding us from the gaze of passers-by. We don’t speak to each other, or to anyone else. We wrap scarves around our faces and step out into the melting snow.’

Powles discusses cultural identity with a great deal of insight, and muses about the meaning of belonging from the outset. She asks poignant questions, such as: ‘Where is the place your body is anchored? Which body of water is yours? Is it that I’ve anchored myself in too many places at once, or nowhere at all? The answer hits somewhere between. Over time, springing up from the in-between space, new islands form.’ Later, she tells us: ‘Home is not a place but a collection of things that have fallen or been left behind…’.

She goes on: ‘My markers of home are rooted in plants and weather. Wind that tastes of salt, the tūī’s bright warbling call, the crunch of shells underfoot, a swaying kōwhai tree. As time passes, these pieces of home begin to feel unstable, shifting further away. Long after I’ve moved away from Wellington, after my parents moved out of our house by the sea, after the garden has gone wild, a kōwhai tree grows in a garden in London: some small proof that although my pieces of home are scattered, I will always find my way to them.’

I was thoroughly impressed throughout by the scope of Powles’ prose. She writes in a manner both detailed and poetic, and notices every single thing around her. She explores at length not just what it means to belong, but what it means to be a woman, and to be believed, and to have mixed heritage. Of the latter, she asks: ‘Some like to talk in terms of fractions: one-quarter, one-eighth, one-sixteenth. I can feel all the pieces of myself getting smaller and smaller. How do I carry them all?’

I loved the structure in Small Bodies of Water. Each essay is composed of short, vignette-like sections, which work wonderfully here. Powles adds so many layers to her memoir throughout. She considers what it means to write, and the effects which it has upon her: ‘I think of my own writing and how sometimes, making a poem means making something exist outside of my own brain, my own skin. The poem contains parts of me and I still contain parts of it, but it’s separate from myself, distinct, new.’

Small Bodies of Water sings. Powles has created such a beautiful and thoughtful work of non-fiction, which will stay with me for such a long time. I admired the huge variety of topics which have been included, and the way in which she considers each with such attention. The author has so much to say, and does with astonishing beauty. Small Bodies of Water is tremendous, and I found something to ponder on every page. I cannot wait to read whatever Powles brings out in the future.

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One From the Archive: ‘What There Is To Say We Have Said: The Correspondence of Eudora Welty and William Maxwell’, edited by Suzanne Marrs *****

First published in 2016.

What There Is To Say We Have Said: The Correspondence of Eudora Welty and William Maxwell is one of my most anticipated books – well, ever.  Maxwell is one of my favourite writers (and it pains me that he is so little known), and I very much admire Welty.  Regardless, I knew little about them as individuals, so when I spotted this volume, I immediately put it at the top of my birthday list. 97805477503231

Marrs’ introduction is wonderful.  She writes with such passion, and compassion, for her subjects.  From the very beginning, I knew that I would have loved to meet both of those whom Marrs clearly deeply admires.  Welty was an incredibly sassy, shrewd woman; of Jane Austen’s house, she wrote that it ‘looks big, but is really small.  The opposite of her novels.’  Bill, who struck up a wondrous friendship with her, was an incredibly humble, humane man, filled with a myriad of thoughts, and devoted to all of those around him.

It goes without saying that both are incredible writers.  Learning about the process of their craft was fascinating enough, but getting to know the pair as individuals was far more rewarding.  That rare thing is so evident here; that enduring friendship, built upon mutual respect, which was all the more cherished as the two lived far from one another (Maxwell in New York, and Welty in Mississippi).  They could see one another only at long intervals, but in some ways, both found this beneficial; the therapeutic motion of penning (semi-) regular letters to one another lasted for decades, and much was learnt about the other in consequence.

What There Is To Say We Have Said is a stunning read, and I was a little sad when I came to its end.  Throughout, one is nudged to remember just how important communication is (and just how much the majority of us in the modern world almost instantaneous communication for granted), and how beautiful the art of letter writing.  There is not a single dull sentence in this 450-page long volume, and if it had been twice as long, I would have been thrilled.

I could type out quotes at length here, but I shall leave you, dear reader, with the ones which really touched me:
– Maxwell to Welty: ‘There are enough similarities in our two childhoods to make me feel […] that they grew up on a tandem bicycle.’
– Maxwell to Welty, on the publication of one of her works: ‘But I wanted to write to you now, because when a book first comes out, it is really like a party, and when I am invited to a party, I like to come early.’

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One From the Archive: ‘Eat Up!: Food, Appetite and Eating What You Want’ by Ruby Tandoh *****

First published in July 2018.

Anyone who knows me will know what a huge fan of food I am.  I adore cooking new recipes, playing around with flavours, and visiting new restaurants.  It comes as no surprise, then, that I have wanted to read Ruby Tandoh’s Eat Up!: Food, Appetite and Eating What You Want ever since it came out.  Many will remember Tandoh from The Great British Bake Off, of which she was a contestant in 2013.

In her insightful introduction, Tandoh gives her reasoning for writing such a positive 9781781259597book about food; it directly goes against the wealth of dieting and fitness crazes which have swept the United Kingdom over the last few years.  She begins by rubbishing the often contradictory dietary advice which we hear almost daily on the news: ‘We don’t want to go hungry, we don’t want to be too greedy, we don’t want to live too exuberantly, we don’t want to be a kill-joy.  We fret about our size and shape, and too often police the bodies of others.  We accept the lie that there’s a perfect way of eating that will save your soul and send you careering blithely through your eighties, into your nineties and beyond.  Do what you want, we’re told – but you’ll die if you get it wrong.’

The main exploration in Eat Up! is ‘everything that happens in the peripheries when we take a bite: the cultures that birth the foods we love, the people we nurture, the science of flavour and the ethics of eating.’  Tandoh recognises the splendour of all food, regardless of its preparation; she shows the myriad ways in which food is directly linked with how we feel, and what we need in our lives.  ‘Not every meal,’ she writes, ‘will be in some sunlight dappled orange grove; sometimes what you need is a pasty by the side of the M4, and there’s no harm in that.’  Food can also be used as a tool in order to bring people together; it ‘transgresses the “boundaries” between here and there, us and them, me and you, until we are all just bundles of matter, eating and being eaten.’

The celebration of food is linked in with Tandoh’s own memories: the blackberry bush near her grandmother’s Essex garden; eating a huge Indian takeaway with her girlfriend when both were suffering with influenza; the food which comforted her when her grandfather died.  She also touches upon her own relationship with food in the past, and the eating disorders which she has dealt with in the past.  Eat Up! is highly revealing in this manner.  Never does it feel preachy, or as though Tandoh is hard done by in any sense; rather, it feels like sitting down and having a conversation with the very best, and most intelligent, of friends.

The history of food, and the ways in which we eat, have both been touched upon here.  The research which Tandoh has done is impeccable; facts and statistics blend seamlessly into her narrative.  So many issues are explored which can be linked to food and eating: those around weight, how we eat in public, the joy of seasonal eating, the diet industry, culture, eating trends, food as power, comfort food, and the scientific processes of digestion, amongst others.  This varied content, all of which has food at its centre, is fascinating, and makes for an incredibly engaging and coherent book.

Eat Up! is, pardon the pun, a delicious book; it is warm and understanding, and filled with love and humour.  Such positivity abounds; throughout, Tandoh cheers for the existence of every body, no matter its size or shape.  We all need to be nourished, and we need to feel happy when we eat.  In this manner, Tandoh weaves together a fascinating narrative about food, peppered with recipes for every occasion, and body positivity.  ‘The way you feel about food,’ she points out, ‘sits hand in hand with the way you feel about yourself, and if you eat happily and wholeheartedly, food will make you strong.’  I thoroughly enjoyed the reading experience of Eat Up!, and know that it’s a tome I will dip into again and again.

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‘The Magician’s Book: A Skeptic’s Adventures in Narnia’ by Laura Miller *****

I have never been a huge fan of the fantasy genre, but I could not get enough of C.S. Lewis’ Chronicles of Narnia when I was a child. I remember, on a couple of occasions, finishing the last paperback in the series – a gorgeous boxed edition which my mother was given when she was a child, and passed on to me – and going right back to the beginning. I have read the series in adulthood, and found it almost as magical.

I was therefore very keen to read Laura Miller’s memoir, The Magician’s Book: A Skeptic’s Adventures in Narnia, which charts her own experiences of reading the Chronicles, both in childhood and adulthood. She writes: ‘My relationship to Narnia would turn out to be as heady as any love affair, a story of enchantment, betrayal, estrangement, and reunion.’ Jonathan Lethem deems Miller’s book a ‘superb long essay’, ‘conversational, embracing and casually erudite’, and Karen Joy Fowler calls it ‘smart, meticulous, and altogether delightful’.

The Magician’s Book chronicles – pardon the pun – Miller’s ‘long, tumultuous relationship’ with C.S. Lewis’ books. Just as I did as a young teenager, Miller discovered the wealth of Christian material which suffused the books; these seem obvious to me as an older reader, but as a child, they went right over my head. Miller’s experience from this point veered in a different direction to mine; I was still keen to submerge myself within the books, but the ‘Christian themes left [Miller] feeling betrayed and alienated from the stories she had come to know and trust.’

As an adult, Miller – who was working as a literary critic at the time – came to the stories from a different perspective. She decided to investigate the Chronicles, alongside Lewis’ life, ‘to see what mysteries Narnia holds for adult eyes’. She was thankfully enraptured by the stories once more, and was able to recapture some of the childhood love which she felt for them. She muses at length upon the Christian symbolism in the novels, explaining why she initially felt let down by this element, and how cleverly Lewis drew parallels between the two. She examines, too, the role of women and race within the novels, and the lack of distinct politics in Narnia, amongst so many other elements.

I loved the mixing of Miller’s own memoir alongside a quite detailed biography of C.S. Lewis himself. She visits the places in which he lived, in both England and Ireland, and travels to the specific Irish landscapes which inspired portions of the books. Miller found Lewis to be a man ‘who stands in stark contrast to his whimsical creation’. In her research, she was particularly interested in his all-engulfing friendship with Lord of the Rings creator J.R.R. Tolkien, as well as the influence which he has had upon a slew of modern writers, including Neil Gaiman and Jonathan Franzen. Miller gives a fantastic commentary regarding mythology and Medieval romance, and its influences on both Lewis and Tolkien.

The Magician’s Book opens with a reflection of Miller’s childhood, when the greatest love which she felt was for the Narnia stories. She writes in especially touching prose here, telling us: ‘I’m wishing, with every bit of myself, for two things. First, I want a place I’ve read about in a book to really exist, and second, I want to be able to go there. I want this so much I’m pretty sure the misery of not getting it will kill me. For the rest of my life, I will never want anything quite so much again.’ Narnia showed the young Laura how she ‘could tumble through a hole in the world I knew and into another, better one, a world fresher, more brightly colored, more exhilarating, more fully felt than my own.’

Miller writes beautifully throughout about Narnia and its magic. She also details how formative reading the Chronicles were, and how they provided a sort of moral and educational primer for its child readers. She says, for instance: ‘To me, the best children’s books gave their child characters (and by extension, myself) the chance to be taken seriously. In Narnia, the boundary between childhood and adulthood – a vast tundra of tedious years – could be elided. The Pevensies not only get to topple the White Witch, fight in battles, participate in an earthshaking mystical event, and be crowned kings and queens; they do it all without having to grow up. Yet they become more than children, too. Above all, their decisions have moral gravity. In contrast to how most children experience their role in an adult world, what the child characters in these stories do, for better or worse, really matters…’.

I found The Magician’s Book fascinating. Miller offers a thorough, even intricate, work of literary criticism. I left with a renewed love for the Narnia books myself, as well as a list of a few other lists and authors to explore – something which I greatly appreciate. The Magician’s Book is, overall, a fantastic melding of a variety of genres and interests, and of themes and elements found within a children’s series which contains an awful lot of depth.

As Miller puts it so wonderfully herself, Narnia ‘mixed up classical and Northern mythologies, canonical fairy tales and slangy modern schoolchildren, myth and satire, all with such cheerful indiscrimination.’ This is a wonderful piece of literary criticism, and I can only hope that every fan of Narnia will have the chance to pick it up.

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‘Greenbanks’ by Dorothy Whipple *****

Like, I imagine, the vast majority of Persephone’s devoted readers, I number Dorothy Whipple amongst my all-time favourite authors. I have loved all of Whipple’s books which I have been privileged enough to read this far, and it is a great delight for me to settle down with one of her new-to-me books. I began Greenbanks with much anticipation and, as I jolly well expected to, I absolutely adored it.

As many of Whipple’s books do, Greenbanks centres around a family, and deals in particular with the relationship between a grandmother and her granddaughter. Matriarch Louisa, the head of the household, is very close to spirited Rachel, her favourite of rather a large bunch of grandchildren, and just four years old when she is first introduced.

We first meet the Ashtons at the tail end of 1909, as they are gathering together at Greenbanks, the Lancashire family home, to celebrate Christmas. Here, Whipple has used the simple but effective prop of an old family photo album to show their considered backstories; the Ashton daughters, for instance, attended a convent school in Belgium, with ‘long skirts, ribbons from the back of their hats, crosses on their breasts and freckles on their noses.’

The opening paragraph of the novel demonstrates much of why I so adore Whipple’s work – beautifully constructed sentences, the level of intricate detail, and the interesting viewpoints from which she looks at a scene, or a character. It begins: ‘The house was called Greenbanks, but there was no green to be seen to-day; all the garden was deep in snow. Snow lay on the banks that sloped from the front of the house; snow lay on the lawn to the left, presided over by an old stone eagle who looked as if he had escaped from a church and ought to have a Bible on his back; snow lay on the lawn to the right, where a discoloured Flora bent gracefully but unaccountably near a piece of lead piping which had once been her arm.’

Time moves quickly in this novel; months pass quietly from one chapter to the next. In this way, we see the characters develop, and Rachel particularly grow up over the duration of the novel. We are also made aware that despite the large country house, the Ashtons have a far from idyllic life; almost every single character has their own personal tragedies to deal with, some of which are collective.

Whipple does so many things wonderfully in her fiction, but I particularly love the way in which she reveals her characters, and the perhaps more secretive elements of their personalities. She is a wonderful observer, who is always so aware of thoughts, feelings, reactions, and expectations. The conversations between characters are sharply observed, and their relationships are always shifting – often difficult, and sometimes even tumultuous.

Whipple has such knowledge of what it means to be young, and learning. When Rachel is sent to a school in close proximity to Greenbanks so that she can spend more time with her grandmother, for instance, Whipple writes: ‘When the bell rang at eleven o’clock and the little girls went out into the garden to play, Rachel found it possible to run into Greenbanks and get biscuits from the glass barrel on the dining-room sideboard. She climbed on a chair to do this, and if Auntie Laura came into the room she complained about the upset and the crumbs, but Grandma never minded.’

Another quite lovely, and rather amusing, section of the novel comes when Louisa takes Rachel with her on a trip to London. Rachel has never been before, and asks her father what she can expect. Whipple comments: ‘He gave her a great deal of information; so much, indeed, that she went to bed in a muddle, not sure whether London stood on the Tower or the Thames, or if Big Ben lived in the Houses of Parliament, or why the King sat on a scone to be crowned, or why London had a tube in its inside like Dennis Thompson when he had appendicitis; but sure, all the same, that London was a place full of strange and marvellous things.’

There are dark and serious scenes which unfold in Greenbanks, too. When the First World War begins, and her sons go off to enlist, Whipple observes: ‘Yes, thought Louisa, it’s different for women. They don’t do; they bear what others do; they watch them come and go, they are torn and healed and torn again…’. I cared deeply for all of the characters here, but especially for Louisa and Rachel. They are women living in a world which was firmly in the grasp of men; it takes Rachel months to convince her father that she wishes to continue her education, even with her excellent grades. The character arcs here are so realistic, and so true to their historical context.

Although first published in 1912, there is something marvellously modern about Greenbanks; at junctures, the modern seems to butt against the old. Whipple’s prose is highly nuanced, and as ever, there is a startling clarity to her work here. She has a marvellous wit, and is incredibly knowing. Reading a new Whipple novel is like being reunited with an old friend, and I thoroughly enjoyed the time which I spent with her, at lovely Greenbanks. This is an exceptional novel, and one which I would recommend to every reader.

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‘At the Pond: Swimming at the Hampstead Ladies’ Pond’ *****

I visited Hampstead Heath for the first time on a blustery wet day in September. Here, I spent a few peaceful moments watching two women with glorious jewel-toned swimming hats gliding along in the Ladies’ Pond. It was cheering that they were undeterred by the weather, particularly as I battled to keep my umbrella up…

At the Pond: Swimming at the Hampstead Ladies’ Pond collects together fourteen essays, each of which was written especially for this book. I already love the work of some of the contributors – Esther Freud, Margaret Drabble, Jessica J. Lee – but there were a handful whose writing I had not read before. I love thematic collections such as this; they bring together so many different views on one particular topic or location – in this case, a designated pond for women to swim in, in a patch of quiet in the heart of London.

In At the Pond, we are given the perspectives of fourteen different writers, all of whom have swum there. Some of these women are regulars; others have been just once or twice. The book combines ‘personal reminiscence with reflections on the history of the place over the years and through the changing seasons.’

The Pond was established in the late-seventeenth century as a freshwater reservoir, fed by the subterranean River Fleet. It was opened to the public for bathing in 1925, and joins around thirty freshwater ponds dotted across Hampstead Heath, only three of which can be swum in. One of these is solely for men, but there is also a ‘mixed Pond’ which women are able to visit.

‘On a hot day,’ says the book’s blurb, ‘thousands of swimmers from eight to eighty-plus can be found waiting to take a dip before sunbathing in the adjoining meadow. As summer turns to autumn and then winter, the Pond is still visited by a large number of hardy regulars in high-vis hats, many of whom have been swimming here for decades.’

Each of the authors mentions the nature of the place, and the connection which swimming in the pond brings with its surroundings. The pond teems with ‘abundant wildlife – from dragonflies, moorhens and kingfishers above the water’s surface, to swan mussels, roach and carp beneath’. Some of the contributors also touch upon its history, and its rich literary heritage. Rich descriptions pepper each of these essays.

In her essay entitled ‘Cold Shocks and Mud Beards’, Esther Freud writes: ‘No men, children, radios, dogs – the sign on the gate warned, and as I walked down the path beside the sloping meadow, and stood on the wooden deck above the mud brown pond, I had the unusual sense that I was exquisitely lucky to be female.’ She goes on to comment: ‘There is so much space here. So much peace. And above the birdsong the only sound is the hum of chat and laughter and the occasional scream of someone new braving the cold.’

Lou Stoppard writes that ‘the water is silky. It’s thicker than other water. It sticks to the skin, laps your body and holds you, suspended. You cut through it, as if stirring cream.’ Jessica J. Lee – whose memoir on swimming, Turning, is a book which I very much enjoyed – comments: ‘Wet already, I slipped into the black and swam a small lap, my breath catching on the sharp edges of the cold.’ Lee worked on a doctoral dissertation about the Heath, ‘exploring ideas of beauty and history with the Pond’s winter swimmers.’ I can only hope that this is published, and soon!

Nina Mingya Powles’ essay is made up of a series of vignettes, beginning with the swimming she looked forward to as a child, whilst in Malaysia. She notes: ‘I am many bodies of water, strange and shifting’. Margaret Drabble writes about the heritage of the Ladies’ Pond: ‘The lifeguards tell me that the ponds are more valued now than ever, as London entertainments grow ever more expensive, and our need for some contact with the natural world more imperative. They are well protected by those who love them. It is a small miracle that they have survived so well for so long.’

One of my favourite elements of this collection was the way in which it spans every season; indeed, it is split into four sections, which denote each season. Swimming is something which I always love reading about – and doing, although I must admit that I am more of a fair weather woman – and to be able to view the same place in so many different weathers was wonderful. I shivered slightly when a couple of the authors wrote about the lifeguards having to break the surface ice during the winter, and the way in which around 150 hardy women still decide to swim regularly during the season.

At the Pond is a real delight. Almost every one of these essays is overwhelming positive, and each offers recollections of joy and warmth. The authors are united in the sense of community fostered at the Hampstead Ladies’ Pond, and in the deep sense of peace and wellbeing which they have found within its waters.

The essay collection is beautiful and evocative, and has such a charm about it. At the Pond is rather a moving tribute to a haven which can be found in one of the busiest cities in the world. The collection is lovely to dip in and out of – much like the Pond itself, I imagine.

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‘The Body: A Guide for Occupants’ by Bill Bryson *****

Like many readers, I very much enjoy Bill Bryson’s non-fiction work.  I picked up his newest publication, The Body: A Guide for Occupants having not read any of his writing for such a long time, and was so pleased that I did.  I was reminded once more of how warm his prose is, and how fascinating his subjects.

Many of Bryson’s books are essentially travel writing, in which he writes about countries and regions which he has lived or travelled within – the United States, United Kingdom, and Africa are just three examples.  The Body is something a little different to these personal geographies, though.  It is far more science-based than much of his work, and does not include many personal stories, something which his books tend to be built upon.  It looks inward, trying to decipher what really makes a human being. 43582376

The Body has been split into many chapters, each of which focuses upon a distinctive part of the human body.  These range from ‘The Immune System’ and ‘The Brain’ to ‘Into the Nether Regions’.  These chapters are incredibly thorough; there is not an element of the body which has not been explored in some way.  He moves seamlessly from one topic to another.  With his chapter on the skin, for instance, he moves from bacteria found on the skin to the phenomenon of itching, and then the reasons as to why we lose hair as we age, all in less than two pages.

Bryson writes about so many things here, including the beginning of forensic science; microbes and proteins, and their functions and uses within the body; viruses; advances in medicine; evolutionary changes within human anatomy; how different parts of us age, and the consequences felt; the myriad benefits of exercise; and the wonder found within the structure of our bones.  He writes about so many things that are known about the human body, and also the surprising number of elements which remain a mystery.  Bryson introduces several medical conundrums, interesting cases which cannot be solved.

Bryson has chosen to begin The Body with rather a fascinating chapter, entitled ‘How to Build a Human’, which calculates how expensive it would be to procure all of the elements which make up the human body – clue: a lot.  This memorable prologue, as it were, sets the tone for the book, and feels perfectly placed.

As ever, Bryson’s writing in The Body is both absorbing and accessible.  He grapples with complex ideas throughout the book, but presents everything in a way which can be read and understood by newcomers to this subject.  He introduces myriad facts in marvellous ways, which really make one think; for instance, ‘In the second or so since you started this sentence, your body has made a million red blood cells.’  One can see from the outset that Bryson clearly has quite a passion for this subject, and this shines throughout, as does his humour.  Throughout, Bryson consults experts in different fields, and also mentions a lot of books which focus upon biology along the way.

The Body is a book which one can learn, unsurprisingly, a great deal from.  I have always been fascinated by biology and the human body, and have read a few books on the subject before, but I found myself learning new facts throughout.  Although there is such a great deal packed into the pages of The Body, and a great deal of impeccable research has clearly been done, it never feels saturated with information, and can easily be read from cover to cover.  The Body is, all in all, a fact-lover’s dream, which demonstrates how wonderful the human body is, in all of its strangeness.

I will end this review with a passage which I, personally, found fascinating: ‘The most remarkable part of all is your DNA.  You have a metre of it packed into every cell, and so many cells that if you formed all the DNA in your body into a single fine strand it would stretch ten billion miles, to beyond Pluto.  Think of it: there is enough of you to leave the solar system.  You are in the most literal sense cosmic.’