The Gravity of Love by Sara Stridsberg

Translated from the Swedish by Deborah Bragan-Turner, read by Kristin Milward

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I didn’t expect this to be so darkly beautiful but The Gravity of Love by Sara Stridsberg gets 5 stars (6 if I could!) from me. It’s a truly remarkable book.

It is the story of Jackie whose father Jim spends time in Beckomberga, a psychiatric hospital in Stockholm. Much of the story is told in Jackie’s memories of her childhood visiting Beckomberga, her dad and the other people that she met there. There is also another storyline, that of Olof, a fictional “last patient of Beckomberga”. Olof makes very little appearance in Jackie’s own story nor does his storyline make up much of the book. His presence is ephemeral, ghostlike; brief but important in providing a wider historical perspective for Jackie and Jim’s story.

The stories are told in a fragmentary style which is powerfully dreamlike. Occasionally there are brief insights into the history of Beckomberga, which creates a solid surface underneath the characters who otherwise seem to float on (or fall through) air. There’s something absolutely magical and simultaneously disturbing about the whole thing.

Stridsberg paints this story in shadows which she slowly and evenly brings into the light. It’s a book not to be rushed; it sets its own pace and develops with an uncertainty that kept me feeling unsteady on my feet.

One of the best things about this book is that as a reader I didn’t have any sense of control and any expectations I brought to the novel were quickly undermined. It’s a little surreal, but also extremely honest. I think it really creates the off balance feelings that some patients of these institutions would have experienced.

Deborah Bragan-Turner’s translation is remarkable. She has captured Stridsberg powerful style, re-creating both the starkness and the dreamlike haziness beautifully for English language readers.

In the audiobook Kristin Milward’s performance is slow, smokey and intimate, which captures the writing style superbly. When I finished reading I immediately started it again from the beginning as I wasn’t ready to leave its world behind me.

I loved this book, it really spoke to me. In the era of deinstitutionalisation I worked with several people who had spent much of their lives in psychiatric institutions. This was a very respectful approach to the stories of those who lived through that era.

I enjoy books that give insight into personalities and relationships and this one hit every note for me. Absolute magic.

The Gravity of Love • by Sara Stridsberg (translated by Deborah Bragan-Turner) • read by Kristin Milward • 5 hours 25 minutes • published by MacLehose Press • November 03, 2016

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Women in Translation – My Favourites

 

D-YK4KNXYAAprpNFor Women in Translation Month, founder & organiser Meytal Radzinski is compiling a Top 100 Books by Women in Translation & is asking for your nominations.

Here are five of my absolute favourites. All of the books listed below are available somewhere in audiobook, although they may not be available in every region (pester your audiobook library/retailer until they are!)

The Gravity of Love by Sara Stridsberg (Sweden), translation by Deborah Bragan-Turner, narration by Kristin Milward (MacLehose Press, 2016).

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This is my all time favourite book. It’s set in Beckomberga, a former psychiatric institution in Sweden. The original title of the book translates as Beckomberga: An Ode to My Family. Beckomberga is the setting & the story is of a family. Narration & production of the audiobook are splendid. You can read my review here.

Territory of Light by Yūko Tsushima (Japan), translation by Geraldine Harcourt, narration by Rina Takasaki (MacMillan Audio, 2019).

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The competition is fierce but this may prove my favourite book of 2019. Following a separation from her husband, a young woman negotiates her new life as a solo parent while working full time. It is an absolutely radiant story.

Takasaki’s narration is clear & engaging.

Geraldine Harcourt translated several of Tsushima’s books into English before she died in June this year. I hope we will see more of Harcourt’s translations in audiobook. It is clear Tsushima was a gifted writer & Harcourt’s translation is stunning.

61Z002F0cAL._SL500_The Book of Emma Reyes by Emma Reyes (Colombia), translation by Daniel Alarcón, narrated by Marisol Ramirez (Penguin Audio, 2017).

Emma Reyes’ was a Colombian realist painter. Her story alone is fascinating, but Reyes’ prose is divine. Originally written as a series of letters & not intended for publication, they were later edited & eventually published posthumously in Colombia in 2012. The audiobook features an introduction by the translator which provides great context.

Daniel Alarcón reads his own translator’s introduction. His & Ramirez’s narration is top quality.

61z1OCFTQjL._SL500_Near to the Wild Heart by Clarice Lispector (Brazil), translation by Alison Entriken, narrated by Rebecca Morris (Spoken Word Inc., 2018).

Clarice Lispector is a phenomenon, so you can imagine the excitement at my house when several of her books were released in audiobook format. I’ve chosen Near to the Wild Heart for my top 10 because it is visceral, wild & exciting. Lispector is a genius.

Rebecca Morris works hard to give this the narration it deserves & she succeeds.

51tVQl3ic8L._SL500_Jenny by Sigrid Undset (Norway) translation by Tiina Nunnelly, narration by K G Cross (Spoken Realms, 2016). LibriVox, the creators & publishers of free public domain audiobooks have recorded their own edition as well.

The reason I love this book is because of how transgressive it must have seemed at the time of the original publication (1911 in Norwegian, 1921 in English). Jenny is a young artist, living in Rome. Her plans go awry when she has an illicit affair & becomes pregnant. Did I mention that Sigrid Undset won the Nobel Prize in Literature? Undset is possibly better known for her novel set in medieval Norway, Kristin Lavransdatter, but it is Jenny that I love best.

K G Cross’ narration is considerably superior to the Librivox one, as you’d expect.

These are just five of my favourite books by women in translation. Meytal is taking nominations for up to ten of your favourites. Get in touch with her via Twitter @Read_WiT, instagram @ReadWiT or via carrier pigeon, before August 25. Happy reading!

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Women in Translation Month – Reads

 

4Women in Translation Month, also known as “August”, is the brainchild of Meytal Radzinski. Over the past few years I’ve had the pleasure of participating & here are some of the books I’m planning to disappear into over the month (if I can restrain myself from starting sooner. Spoiler alert – I can’t).

Check out Meytal’s Women in Translation blog, follow her on Twitter @biblibio & @read_wit. She’s also running #100BestWIT between now & August 25th. Nominate up to 10 of your favourite books by women in translation.

In no particular order, here are a few books I’ll definitely be reading between now & the end of Women in Translation Month. As usual, all of the books on this blog are available in audiobook.

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Vernon Subutex 1 by French author Virginie Despentes, translated by Frank Wynne was short listed for the Man Booker International in 2018. The audiobook edition was published earlier this year by MacLehose Press & is narrated by Chris Harper.

The Complete Stories of Leonora Carrington, translated from the French & Spanish by Kathrine Talbot was published in audiobook by Tantor Audio earlier this month.

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Carrington was a British born Mexican surrealist painter & writer who has an amazing back story if you want to check her out. I’d already read The Hearing Trumpet & am very keen to check out her stories. Tantor hit it out of the park with their production of Can Xue’s Love in the New Millennium (translated by Annelise Finegan Wasmoen & narrated by Janet Song), a book short listed for 2019’s Man Booker International. Tantor have Justine Eyre narrating Carrington’s collection, & it’s great to see an audiobook publisher producing these Women in Translation treasures for our listening delight.411+FfglxQL._SL500_

When Death Takes Something From You Give it Back by Danish author Naja Marie Aidt, translated by Denise Newman, published by Quercus & read by Katherine Manners. This is the book I know least about, going into Women in Translation Month. It’s a memoir of the death of Aidt’s 25 year old son in a tragic accident & it sounds devastating.

I’ll definitely be reading more than just these three audiobooks during Women in Translation Month. I already have my eye on Belarusian & Nobel Prize winning author Svetlana Alexievich, probably The Unwomanly Face of War (Penguin RandomHouse UK).

Penguin Audio are releasing Polish author Olga Tokarczuc’s Drive Your Plow Over the Bones of the Dead on August 13. Last year Tokarczuc won the Man Booker International with her book Flights, which does make me very keen to check this one out.

I’ve seen The Wind That Lays Waste by Argentinian author Selva Almada (Highbridge) referred to as ‘Southern Gothic’ in style & likened to Flannery O’Connor so that has piqued my curiosity.

[**Stop the press** Yoko Ogawa’s latest novel, The Memory Police, releases in audio August 13. You bet I’ll be reading it. Check back for an update!]

I’m also planning to fit in some re-reads of favourites from previous years.

Follow along, join in. I’ll be posting my #WiTMonth reads on Twitter @getrochelle. I’ll be sharing my top 10 audiobooks by Women in Translation too – a ridiculously difficult decision. There are too many beautiful books just to pick 10!

Posted in 2019, literature, translation | Tagged , , | 1 Comment

The White Girl – Tony Birch

614PCnQADkL._SL500_Tony Birch is an indigenous Australian author. I picked up his new novel, The White Girl, after reading this wonderful piece in The Guardian.

The White Girl is set in a fictional town of Deane. I googled, then, when I realised the town was an invention, I listened for clues in the story for anything that gave away the state or territory. By the end I felt it could have been almost anywhere in Australia’s interior.

In Deane lives Odette Brown, an Aboriginal woman who has care of her young granddaughter, Sissy. Her own daughter, Lila, left when Sissy was a year old. From birth Sissy’s light skin makes it clear that her father was a white man, but Lila has never disclosed his name.

In 1960s Australia welfare authorities are removing Aboriginal children, especially fair skinned children, from their families. Odette has lost a father, a husband & a daughter. She is not about to lose Sissy. When trouble comes to Deane in the form of a new policeman, Odette realises she has to get herself & Sissy out of town fast.

The White Girl gives insight into The Stolen Generations. These are the Aboriginal children who were removed from their parents & their communities, to be brought up in church missions as wards of the state. The novel gives a sense of the devastating effects this policy had on all Aboriginal people.

Birch wastes not one minute of the 7 hour, 38 minute audiobook. The story is tight. As well as the experiences of children brought up at missions, he also shows the interference of the state in other areas of Aboriginal life. Odette, her Aboriginal friends, neighbours & acquaintances suffer terribly under federal & state legislation designed to “protect” them, with many losing all contact with family & community.

The story follows a good versus evil formula, but is politically complex. Alongside Odette & Sissy, Birch has created some wonderful, troubled characters. Henry Lamb, a white man & junk collector, suffered a head injury as a child, followed by bullying from other white children, & found natural allies in the Aboriginal children. Bill Shea is the drunk, ineffective, long standing town policeman, reprimanded as a child for playing with Aboriginal children & is an ultimately tragic figure.

Birch’s book is fiction but the author notes at the end that the experiences he has created for his characters are ones faced by many Aboriginal people during the 1960s in Australia.

Wavesound Audio did the right thing by casting Shareen Clanton, an indigenous Australian actress, for the audiobook. Clanton does a great “broad Australian” accent, while giving city dwellers & immigrants their own, milder accents. It’s a tight story, an enjoyable production & the audiobook is an excellent way to read Birch’s novel. I found it difficult to put down – I needed to know what happens to Odette & Sissy.

The White Girl • by Tony Birch • read by Shareena Clanton • 7 hours 38 minutes • published by Wavesound Audio • June 04, 2019

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After the Party by Cressida Connolly

51MClwFpL6L._SL500_I’m not sure that Phyllis Forrester truly recognises what led to her incarceration, nor does she repent it.

To be honest I’m not sure I properly understand it either. I’m not familiar with this part of British history which likely has some bearing on that, on the other hand I don’t think any specific knowledge is necessary to enjoy this book.

Phyllis’ story has two perspectives of narration: one, her older self, the second, that of the person she is telling her story to, who has presumably interviewed others & explored the events & history themselves. Therefore there are chapters told in first person & others in 3rd person with a broader perspective, as if it’s a written history.

It’s an extraordinary & a very subtle story. In many ways Phyllis is a sideline for the main events, after all, World War II is brewing. But it is Phyllis’ ordinariness that makes her story interesting. Had she been a more influential character she may have been a less sympathetic one.

What I can’t decide is whether Phyllis was truly as naive as her narrative suggests, or whether that’s a pretense to create a more favourable personal history. I suspect she really was naive, but she seems to have overlooked an awful lot.

I like to understand what I’m reading in broader context so I did turn to Wikipedia for additional information on Defence Regulation 18B & Oswald Mosley, which was enlightening.

I absolutely loved Cressida Connolly’s writing. It’s subtle & gorgeous, well matched to the story with the occasional & most delightful surprises. Beautiful.

I read the audiobook edition, narrated by Kristin Atherton & she was absolutely perfect in her performance at all points. It’s an excellent quality production too (courtesy of Penguin Books Ltd).

I picked this up on a whim, knowing nothing about it & not being a usual fan of historical fiction. I highly recommend this for anyone whose interest strays into British history, especially of civilians during WWII, & of right wing politics. I’d also recommend to anyone who enjoys a quiet, thoroughly enthralling read.

After the Party • by Cressida Connolly • read by Kristin Atherton • 9 hours 51 minutes • published by Penguin Books Ltd • September 07, 2018

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The Wall – Marlen Haushofer

Translated from the German by Shaun Whiteside, narrated by Kathe Mazur

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“I can allow myself to write the truth; all the people for whom I have lied throughout my life are dead….”

The biggest differences between The Wall and other solo survival stories are that the main character is a woman, and she is an ordinary woman, not an explorer or a scientist with any survival skills that will help her during the ordeal of finding herself alive, alone, cut off from the rest of the world.

Haushofer’s (unnamed) survivor is staying at a friends hunting lodge in rural Austria when she discover her companions haven’t returned from a night out. She finds that between the lodge and the village where her friends went the last evening an invisible wall has manifested. Every being she can see on the outside of the wall is immobile. There’s no suggestion of any recognisable disaster, but there’s also no evidence that anything remaining outside the wall is alive.

The friend at whose lodge our survivor has been holidaying was a prepper. He believed catastrophic disaster was likely and has stocked his hunting lodge accordingly. She has food – for a little while at least. But without survival knowledge her story boils down to a lot of very hard physical labour and some occasional good luck.

The wall remains largely unexplained. It is invisible, so she is able to observe the lack of goings on outside. Weather passes across it, and she endures powerful storms. Water from a creek passes through the wall but she herself is unable to breach it.

It is a simple, classic storyline but Haushofer’s is an all class example. It’s excellent storytelling, brilliant pacing, and utterly compelling. It was a difficult one to press pause on – I just wanted to read further.

The translation is solid throughout. In spite of the book being originally published in 1963 Whiteside only translated it from German into English in 1990. He couldn’t have chosen a better book.

Kathe Mazur’s audio performance is spot on throughout. All around this is an excellent audiobook and I’m grateful to Blackstone Audio for producing such a high quality edition. It’s definitely one for your audio “bookshelf”.

When I finished the book I bought my husband a print copy, which he got through in a day. It’s that sort of book – one you want to share with all of your reader friends, regardless of format. It’s a very entertaining, enjoyable read.

The Wall • by Marlen Haushofer (translated by Shaun Whiteside) • read by Kathe Mazur • 9 hours 15 minutes • published by Blackstone Audio • June 01, 2013

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The Party Wall by Catherine Leroux

Translated from the French by Lazer Lederhendler, narrated by Brianna Morgan

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The first thing that stands out about this novel is the format. In fact, it might take a few chapters before you are convinced it is indeed a novel and not a series of short stories. It’s definitely a novel, I promise, but the stories could indeed stand alone – they are beautifully crafted, and each is compelling.

In fact there are four separate storylines in the book. Angie and Margot are two young sisters who are on their way from their home to the store. The chapters devoted to the journey the sisters make are short, each approximately 5-10 minutes. They are the first characters met in the novel & their story introduces the theme of the novel: complicated sibling relationships.

Apart from the two sisters, the other characters are a mother & son, a married couple, and a brother and sister. In each, sibling relationships play a critical role. Angie and Margot get short segments, and we meet them in chapters 1, 3, 5, 7 & so on. The other pairs get longer chapters, less frequently. The longer chapters give a good amount of time to “bed in” those stories, but I have to admit that Angie & Margot claimed my heart from the beginning.

Novels in the format of stories that are interconnected aren’t new, but this one is something very, very special. The prose is divine. It is dark, and if you haven’t read the synopsis some of the revealed connections can be devastating. In chapter 8, after one revelation, I shouted “no!” at my phone, and quickly paused the story, to desperately try and undo what I thought had just happened. I hadn’t read the publisher’s synopsis – if I had, I might have kept my cool – although, even thinking about that part of the story now gives me shivers. I spent the rest of my evening repeating the mantra “these are all fictional characters, none of this actually happened”. It didn’t help.

It is brilliant, it turned me inside out and back again, partly for the prose, and partly for the stories. The connections between characters in different stories also turn out to be critical, even if they don’t always seem it in the moment of revelation. I kept notes of characters names – it wasn’t necessary, but some people might find it useful to have. It’s worth going back over at the end of the book to see how each character is connected to the others.

It’s fantastic that Audible Studios have backed this novel as an audiobook. It’s one of those gems that really make me grateful for having read it. If the audio had come out when the novel was short listed for the Giller Prize it might have got more attention, but hopefully it will still find a lot of readers.

The audiobook is read, rather than performed, which means that dialogue is not characterised & it can take a moment to register which character is speaking. A reading also misses the additional context a performance brings, such as emphasis and punctuation. In this case the reading felt a little perfunctory to me, and I was disappointed that changes in scene weren’t given a pause which meant I had to rewind a few times to take in that I was reading a new scene. Overall, the narration was underwhelming, particularly because I loved the book so much & feel it deserved better. The production quality was otherwise high and the reading was clear.

I think the translation was spectacular. To get the prose to sing the way it does Lenderhendler must’ve spent a lot of time finding just the right turn of phrase or word. I had a couple of niggles, in particular the use of the term “handicapped” to describe a character who has had amputations. “Handicapped” is an old fashioned and negative term and the setting was contemporary enough that (as a disabled person) I thought “disabled” would have been a better word choice. It’s a minor issue but any translator will understand the importance of choice of language.

Hands down, this such a gorgeous weave of stories, brilliant characters and the prose is some of the best I have read. Even if you don’t mind plot spoilers I recommend you don’t read the publisher’s synopsis; if you do I guarantee you’ll still enjoy the novel, even knowing some of the major plot points. I can’t guarantee you’ll have your heart ripped from your chest the way that I did, but if you love style this has it in buckets.

The Party Wall • by Catherine Leroux (translated by Lazer Lederhendler) • read by Brianna Morgan • 7 hours 28 minutes • published by Audible Studios • March 06, 2018

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Mirror, Shoulder, Signal by Dorthe Nors

Translated from the Danish by Misha Hoekstra, read by Kate Rawson

Sonja is the first in her family to have gone to university. She moved from her small rural hometown to the bustle of Copenhagen where she translates popular Swedish crime novels for a living. She has very fond memories of her rural childhood. Her parents sold and moved off the farm Sonja once called home and as a 40 year old, single woman she’s has no sense of where her life is going, no vision of her future.

Sonja has no close friends, and no romantic relationships. Her parents are dead and her sister (who reads the crime novels Sonja translates) avoids her calls. She’s having driving lessons but worries she’ll never learn to drive on her own. Her instructor won’t let her change gears – she cannot “shift” for herself. Sonja’s life is without direction (except in the almost comedic moments when her driving instructor is yelling “turrigh!” and “turleff!”). She also has a hereditary condition, a type of postural vertigo. When her head gets into a particular position, she loses her balance and the world spins around her. Her grip on the wide world seems tenuous at times.

While Sonja has done well for herself, what she doesn’t have is happiness. She’s truly trying, but what her fellow city dwellers deem a fun time doesn’t bring Sonja joy.

In spite of (or maybe because of) Sonja’s ennui her story is deliciously fun. I cringed and I giggled. The metaphors are simple, the characters are amusing and nothing and no one is ever quite as straightforward as they seem.

This novel was on my radar after it was shortlisted for the Man Booker International Prize for Literature in 2017. I loved it. Nors packed a lot in to this quiet, clever book and Sonja is an enchanting character. I think the feelings she experiences in the novel would be familiar to a lot of people – adulthood can feel very hard at times!

Kate Rawson’s rendering is well matched to Misha Hoekstra’s translation. Her performance is nicely paced, clear and her character performances are perfect. The quality is as good as I ever hope for. All in all, this is an excellent audio production.

I’m extremely grateful that Audible Studios picked this one up – it’s an absolute gem. I enjoy reading books from all over the globe, but frequently I’ll look for a book only to find it hasn’t been made into audio (or, it has, but not in English). I’d been looking out for this one and it definitely lived up to my high expectations. I was very excited to read the novel and I’m looking forward to reading it again.

Mirror, Shoulder, Signal • by Dorthe Nors (translated by Misha Hoekstra) • read by Kate Rawson • 5 hours 9 minutes • published by Audible Studios • January 11, 2018

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The Red Car by Marcy Dermansky, read by Soneela Nankani

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From page one, this story is enormously captivating. At college Leah Kaplin has sex with a friend, for which she charges him $100 (why? why not). After the second time her friend confesses to the honours board and Leah is expelled.

The story continues apace and six years later Leah is working as an “executive administrative assistant to head of human resources at facilities management at the University of California”. Her boss has big plans for Leah but Leah doesn’t take her job seriously – it’s just something she’s doing until her real career (whatever that may be) gets started.

Next, it’s ten years later. Leah has married a man because his student visa was about to run out and he would have to return to Europe. It seemed like a good idea at the time. She is working as a writer and has just published her first novel when she gets the phone call that will change the course of her life.

Leah’s old boss, Judy, from the University of California, has died. In her will she has left to Leah her car – a red sports car that to Judy epitomised success. The catch? Judy died in her red sports car.

If at this point the story calls to mind The Ballad of Lucy Jordan, it’s ok. Leah is going to get to drive through California, if not Paris, in a sports car with the warm wind in her hair. Leah flies to San Francisco in time for Judy’s funeral. Even before she takes possession of Judy’s car it’s clear this is Leah’s re-awakening. It’s her do-over, her chance to get life right this time. But it’s never that simple – neither the car, nor Leah’s new life are going to be a smooth ride.

I suspect Marcy Dermansky has had serious fun writing this novel. It’s pacy, much like the titular red car, it’s unpredictable (also like the car), and best of all it’s just plain old good fun. Once you’ve picked it up it’s a difficult book to put down. Dermanksy keeps the action rolling and while she doesn’t delve deeply she leaves clues and plenty of space for the reader to do so.

Narrator Soneela Nankani is always on the money with her reading. She performs Leah with a young voice, a great match for a character who (whether she likes it or not) is coming into her own. She gives a great sense of Leah’s intelligence but also her naivety.

The Red Car is a surprise of a book – you’ll have loads of fun reading it.

The Red Car • by Marcy Dermansky • read by Soneela Nankani • 5.8 hours • published by Blackstone Audio • October 11, 2016 • ISBN 9781504745277

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Shelter in Place by Alexander Maksik, read by James Patrick Cronin

c0o5-square-400James Patrick Cronin performance as the voice of Joseph March is raw edged and brittle. Joe is a young man who lives with depression., although he would never call it that. Cronin’s voice moves between no emotion, to a strained, taut characterisation, to an adrenaline packed anxious excitement. Right from the beginning it’s clear from Cronin’s voicing that whatever Joseph March has been through as he tells the story of his family and of the love of his life, it’s not all beer and skittles.

Joe March is 20 in 1991, living in Los Angeles. It’s a summer of travel, meeting new people, working odd jobs and relaxing. Until it hits him:

…out of thin air it arrived in the dead centre of my chest. A dull, cold pain. It knocked the paperback from my hand, it closed my eyes, and there in the dark I saw thick tar inching through my body. Then, as the pain sharpened, a blue-black bird, its talons piercing my lungs.

Joe despises descriptions such as “blue”, “feeling low” or “sadness”.

There is that word they use, but it is severely insufficient, and one I loathe. I’m not talking about sadness. I’m not despondent. I’m talking about the body. I’m talking about invasion and possession. This is a physical thing.

While working at a bar Joe meets a woman who knocks him off his feet. Tess is supposed to be a summer romance, but when Joe gets a life changing phone call Tess follows him to White Pine.

In White Pine Joe’s mother is imprisoned for the murder of a man who was assaulting his partner in a shopping centre car park. Anne Marie March has been convicted by a jury but there are other people who see her as an anti-domestic-violence hero, Tess among them.

The adrenaline that Joe gets from following Tess’ increasingly militant response to domestic violence seems to be what keeps him going, keeping the thick tar from his veins and the blue-black bird from piercing him.

Maksik’s previous novel A Marker to Measure Drift, narrated by Angelle Haney Gullet and published by Random House Audio was the remarkable story of a woman who is homeless, having fled Liberia to an island in the Agean. There’s something spellbinding about the prose and the characters in A Marker to Measure Drift. It is more compelling than Shelter in Place. Nonetheless, Joseph and Tess have an unusual dynamic, and the metaphors used to describe Joseph’s depression convey his experiences in a way more empathetic than many other novels I have come across.

Cronin’s narration adds a layer to Joseph’s voice that would be missed on the page. His performance creates for the reader the fragility, the anxiety and the fine thread that has held Joseph for so long.

As usual a top production from Blackstone Audio.

Shelter in Place • by Alexander Maksik • read by James Patrick Cronin • 10.1 hours • published by Blackstone Audio • September 13, 2016 • ISBN 9781504749725

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