Tag-Archive for ◊ impression ◊

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• Saturday, May 23rd, 2015

Maggie O’Farrell was born in Coleraine, Northern Ireland in 1972 but grew up in Wales and Scotland. She worked as a teacher, art administrator, as a journalist in Hong Kong and a Deputy Literary Editor of The Independent On Sunday newspaper. Presently she works as a full time novelist.

O’Farrell has written six novels thus far. Her first: After You’d Gone, published in 2000, won her the Betty Trask Award in 2001. For her third: The Distance Between Us, published in 2004, she won the 2005 Somerset Maugham Award. As for her fifth novel: The Hand That First Held Mine, published in 2010, she won the Costa Book Awards. O’Farrell’s latest novel: Instructions For A Heatwave, was published in 2013. She lives in Edinburgh with her novelist husband, William Sutcliffe and their two children.

The Hand That First Held Mine is the story of two women, two destinies at two different epochs which are skilfully intertwined by the author. In the fifties, the rebellious, twenty-one-year graduate, Alexandra Sinclair, leaves home in Devon, England to experience a new life in central London, following a chance meeting with Innes Kent, the ebulliently charming thirty-four-year old art dealer, journalist, critic and self-confessed hedonist.

Under Innes Kent’s love and guidance, the young, impetuous Alexandra becomes the newly emancipated, Lexie and experiences for the first time working with Innes and other journalists in the offices of “Elsewhere”, the avant-garde magazine, as well as having an early taste of bohemian life in Soho. The clever, motivated, Lexie will quickly learn to appreciate art and to become a successful art critic and reporter.

Lexie is in love with Innes and decides to live with him in his apartment following his insistence. They are happy together, the only blemish being Innes’s estranged wife, the opportunist, Gloria and her submissive young daughter, Margot. Later in the story, after Kent’s untimely death, mother and daughter in unison take their revenge on Lexie and her son Theo. Margot will marry Felix, the journalist, who is Lexie’s colleague as well as occasional lover and Theo’s father.

Margot’s revenge continues after Lexie’s premature death, when little Theo comes to live with his father, Felix and herself. Margot – who was unable to have children – changes the child’s name from Theo to Ted and pretends to be his real mother. Margot and her mother Gloria keep the family’s secret tightly hidden from him. Felix, being a weak character accepts to go along with their wicked deceit. This will create Ted’s instability and torment as an adult, especially when he himself becomes a father.

A generation later, the thirty-one-year-old Elina Vilkuna, a Finnish painter, is recovering from a traumatic first childbirth by cesarian which nearly killed her and is about to destroy her relationship with her thirty-five-year old boyfriend – and father of her newly born Jonah – the film editor, Ted, who has been behaving oddly ever since.

Following her release from hospital with her newly born son, Jonah, Elina feels bewildered. She appears to have lost all memory of her dreadful delivery and seems to be living in a world of make believe. She makes the effort of trying to recall what happened and can remember in little strokes, like when her red scarf falls, it reminds her of the “jets of blood…in the scrubbed white of the room”.

As Elina is starting to emerge slowly from her amnesia and state of lethargy, Ted’s childhood is returning to him frequently now, in a blurred, handicapping form. He is having an awakening of his long-buried subconscious and is desperately looking for a guiding hand as a beacon to shed some light on all these inexplicably shadowy areas from his infancy which don’t correspond to the stories that “his mother”, Margot, told him.

Being predisposed to hypnotic periods, there are gaps in Ted’s memory. There are many old memories that contradict his other childhood and he is under the impression of having lived two childhoods. There are things he wants to remember but is unable to. He recalls some scenes from the past, a few puzzling flashbacks, like the first outlines on a canvas, he needs to complete the painting, which is difficult with lots of mysteries left unanswered by his parents.

Feeling guilty after his son’s deep depression and collapse, Felix reveals the whole secret story to Elina. He confesses his culpability and remorse and asks her to mediate between him and his son in order for his son to forgive him for concealing the truth from him for all these years.

The two stories run in alternating chapters between Lexie and Elina, without being connected at first, but towards the end the author, with a twist, thanks to her skilful magic wand, makes them converge into one without any exertion but with extreme intensity, compassion and sensitivity.

The Hand That First Held Mine is about the destructive power of the unspoken among members of the same family and the impact on people’s life due to the loss of a family member. The power of the past in re-modelling the present and transcending it, as well as the gratification and richness that parenthood brings to a mother and a father but also how the birth of a first child can change everything in one’s life. It is also about a mother’s deep love and sacrifices – Lexie and Elina are two ambitious career women who try to re-adapt after being jolted to so many responsibilities with their first new-born.

In one of her interviews, Maggie O’Farrell says: “I was interested in writing about new motherhood … the shock and the emotion and exhaustion of it … which I haven’t read much about in fiction”. She also says she couldn’t have written this novel had she not experienced motherhood herself. This exact feeling is described in the novel at the time Lexie knew she was drowning: “She didn’t think in that moment of herself, of her parents, her siblings, of Innes, the life she left behind when she stepped into the waves … As the waves thrust her under, she could think only of Theo” her beloved son that she won’t experience the pleasure of seeing growing up.

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Category: Book Reviews  | One Comment
Author:
• Saturday, May 31st, 2008

Javier Cercas was born in Ibahemando in Caceras in Spain in 1962. In 1980 he was a teacher for two years at the University of Illinois at Urbana-Champaign in the USA. Since 1989 he has been a lecturer in Spanish literature at the University of Gerona in Spain where he lives.

He is a constant contributor to the Catalan edition of El Pais newspaper and the Sunday supplement. Javier Cercas is a novelist and essayist. He received several literary prizes for his book about the Spanish civil war, Soldiers of Salamis, published in 2001. It was translated into fifteen languages, sold about half a million copies and was made into a film. He also wrote:
The Motive in 1987
The Tenant in 1989
The Belly of the Whale in 1997
True Tales in 2000
The Speed of Light in 2006

The Speed of Light (La Velocidad de la Luz) is a short book covering a period of sixteen years, in which the author deals with many themes: Guilt, the impossibility of redemption, the difficulty of forgetting the too painful past, the true significance of success and failure and how success can be a source of corruption, the suppressed evil in human nature, psychological trauma due to the Vietnam war and also the valuable legacy of a writer. “I write novels about the adventure of writing novels” Cercas said.

The novel begins with the quiet and uneventful life of the nameless narrator in Barcelona, then his life in Urbana in the USA where he becomes a teacher of Spanish for two years. The climax is reached towards the middle of the book, with the discovery of Rodney Falk’s involvement in the Vietnam war, which will shed a light on Rodney’s solitude and peculiar behaviour. The story comes full circle at the end of the novel, when the narrator concludes that fame like war, can destroy a person’s life. That is the main strong tie that linked Rodney to the narrator, and what made the narrator obsessed with Rodney’s mysterious past, in particular about what happened in My Khe by the elite fighting unit called Tiger Force, of which Rodney was a part.

The book is not about the Vietnam war only. The Vietnamese war was used to illustrate the author’s message, about how a healthy-minded and ambitious young person (like the character of Kurtz in Joseph Conrad novel, Heart of Darkness, which takes place in the Belgian Congo and the same Kurtz in the Francis Ford Coppola film about the Vietnam war, Apocalypse Now), can turn into a monster due to harsh circumstances. Like success and fame can also be strongly damaging to a man.

It’s “the reality of evil, the impossibility of redemption” and the catastrophe of fame. Cercas suggests in his novel that one can be successful without falling into narcissism. The narrator analyses himself as well as his friend Rodney throughout the novel and enjoys his lengthy literary and witty conversation with him.

Although the novel never reveals the narrator’s name, the narrator in The Speed of Light is none other than the author himself. Like the narrator, Cercas has also taught Spanish in Urbana for two years and while he was living there he met a Vietnam war veteran who was sitting on a bench, watching some children play ball. Cercas then asked himself: “What does that man’s look hide? What is he doing there?” That image, which refers to Rodney Falk’s character, was the starting point of the novel. Cercas, like the narrator, had also a very big success with his book about the Spanish civil war called Soldiers of Salamis. Too many similarities.

Like the French novelist, Marcel Proust, Javier Cercas, in The Speed of Light, has a heavy style of writing long sentences, some of which can extend to almost a page.

Cercas said in one of his interviews: “Most writers, or at least myself, don’t have motivations before writing a book. I decide to write a novel to solve a question that I have asked myself, and as I write the novel, I begin raising moral, political, and other types of issues… Novelists aim at persuading their audience that what they are reading is true… I invite my readers to join me in the process of writing the novel. So on one hand I tell them, “this is a novel”, and on the other, “this is completely true; this has happened to me and it could happen to you”. It’s all about shaking the reader’s conscience”.

Cercas, when asked why he likes to write books about wars, answered: “There is a story my mother has told me hundreds of times that’s always fascinated me. The beginnings of my interest in the war may well stem from this. It’s the story of the family hero, her handsome sixteen-year-old uncle”. He went to war, died as a hero, and was never forgotten by his niece.

The narrator mentioned twice in the book about traveling at the speed of light in order to uncover the future, once towards the middle in page 106, and the second time towards the end in page 253. He said: “I had the impression that everything had accelerated, that everything had started to run faster than usual, faster and faster, faster, faster, and at some moment there had been a blaze, a maelstrom and a loss, I thought I’d unknowingly traveled faster than the speed of light and what I was now seeing was the future”.