Paris Settings: Works of contemporary and historical fiction by two Master Novelists.

Two novels, each of which features some action set in Paris, each written by one of my top 10 authors.

Love is Blind by William Boyd

Set at the end of the 19th century it tells the story of Brodie Moncur, his life as a young musician turned piano tuner, and the woman he falls in love with, Lika Blum, his battle with tuberculosis and his flight from Lika's vengeful suitor. 

What Amazon says:

When Brodie is offered a job in Paris, he seizes the chance to flee Edinburgh and his tyrannical clergyman father, and begin a wildly different new chapter in his life. In Paris, a fateful encounter with a famous pianist irrevocably changes his future - and sparks an obsessive love affair with a beautiful Russian soprano, Lika Blum. Moving from Paris to St Petersburg to Edinburgh and back again, Brodie's love for Lika and its dangerous consequences pursue him around Europe and beyond, during an era of overwhelming change as the nineteenth century becomes the twentieth.

Love is Blind is a tale of passion and revenge; of artistic endeavour and the illusions it creates; of all the possibilities that life can offer, and how cruelly they can be snatched away. At once an intimate portrait of one man's life and an exploration of the beginning of the twentieth century.

The Guardian Review: 

https://www.theguardian.com/books/2018/sep/14/love-is-blind-by-william-boyd-review

Boyd is one of my favourite authors, this is not his best but it is a heart-warming love story.

Paris Echo by Sebastian Faulks

Francophile Sebastian Faulks made his name with bestselling France-set period pieces. Birdsong transported readers back to the trenches of the First World War, while Charlotte Gray told the story of a British agent working with the Resistance in Vichy France during the Second World War. As such, it’s fitting that his new novel, although ostensibly set in the present, is thoroughly steeped in history. The author’s affection for Paris drives the stories of a French-Algerian teenage immigrant and an American academic in the city.

The Literary Review has said that "Faulks has the rare gift of being popular and literary at the same time"; the Sunday Telegraph called him "One of the most impressive novelists of his generation ... who is growing in authority with every book". Faulks' 2005 novel, Human Traces, was described by Trevor Nunn as "A masterpiece, one of the great novels of this or any other century."

Paris Echo is a novel about and composed of tangled threads. Faulks has two central protagonists: 19-year-old Tariq, a runaway from Morocco; and the 31-year-old American postdoc researcher, Hannah, whose box room Tariq ends up lodging in. Hannah is in Paris to examine the testimonies of women who lived through the German occupation. She listens to the extraordinary witness of the women in her desire to understand their lives. Through them she finds a city bursting with clues and
connections. Tariq, meanwhile, has some vague idea of finding out more about his mother’s history. She died when he was 10, but was brought up in Paris, born to a French father and an Algerian mother. Though all the more pressing is losing his virginity. For him in his innocence, each boulevard, Métro station and street corner is a source of surprise.

As the narrative flits back and forth between them, so too the stories Hannah spends her days listening to – which Tariq sometimes helps her to translate – become part of the book’s narrative, while also slowly infiltrating the characters’ experiences of the contemporary city.

Traversing the city on the Metro, Tariq finds himself in a strange shadow land of such “daylight ghosts” – at certain stations he sees passengers littering the ground, their used tickets folded into the “V” for victory that so angered the Germans during the war.

It is in the passages that relate to wartime that Faulks finds himself, yet again, in that territory about which he writes so graphically and movingly. For example, passages towards the end of Where My Heart Used to Beat, another of his historical novels, are heart-rending.

The Guardian Review:

https://www.theguardian.com/books/2018/oct/03/paris-echo-sebastian-faulks-review

Gone to Earth

Gone to Earth by Mary Webb

A potted bio:

Mary Gladys Webb (25 March 1881 – 8 October 1927) was an English romantic novelist and poet of the early 20th century, whose work is set chiefly in the Shropshire countryside and among Shropshire characters and people whom she knew.

Her writing in general was reviewed as notable for poetic descriptions of nature. Another aspect throughout her work was a close and fatalistic view on human psychology.  She won the Prix Femina Vie Heureuse for Precious Bane. After her death Stanley Baldwin, then Prime Minister, brought about her commercial success through his approbation; at a Literary Fund dinner in 1928, Baldwin referred to her as a neglected genius. Consequently her collected works were republished in a standard edition by Jonathan Cape, becoming best sellers in the 1930s and running into many editions.

Stella Gibbons's 1932 novel Cold Comfort Farm was a parody of Webb's work, as well as of other "loam and lovechild" writers like Sheila Kaye-Smith and Mary E. Mannand, and further back, Thomas Hardy. Literary critic John Sutherland refers to the genre as the "soil and gloom romance" and credits Webb as its pioneer.

Gone to Earth  tells the story of Hazel Woodus, a child of the wilds who comes from the earth. and, in the end, returns to it.  She is the daughter of a Welsh gypsy and an eccentric harp-playing bee-keeper. She is happiest living in her forest cottage in the remote Shropshire hills, at one with the winds and seasons, protector and friend of the wild animals she loves. But Hazel's beauty and innocence prove irresistible to the men in her orbit. Both Jack Reddin, the local squire and Edward Marston, the gentle minister, offer her human -- and carnal -- love.

Hazel's fate unfolds as simply and relentlessly as a Greek tragedy, as a child of nature is drawn into a world of mortal passion in which she must eternally be a stranger.

What I thought:
I loved the lyrical descriptions of the wild landscape in which Hazel lived and roamed, her familiarity and passion for the animal life. These make up a substantial part of the text and some might be tempted to describe it as purple prose. 

There is a delightful passage where it describes her sucking the nectar from the beautiful, translucent bilberry flowers.  She is a naïve child of nature, gullible in her dealings with the two men who vie for her affections.  As she vacillated between the two, ambiguity a part of her character, I sometimes found myself feeling impatient with the choices she made.  Silly girl I found myself thinking.  I also had to concentrate when reading passages of dialogue in the rural Shropshire dialect which voices are wholly authentic and bring much to the atmosphere and mood of the narrative.

TWO MERMAIDS: The Mermaid and Mrs Hancock and Elijah's Mermaid

A couple of days after fulfilling my obligations to book group etiquette and ploughing through my duo of thrillers I am able to refind good writing.....

The Mermaid and Mrs Hancock by Imogen Hermes Gowar

I stumbled upon this title whilst searching on the internet for information about The Essex Serpent. I think probably it was mentioned in the context of being another novel about a mythical creature, set in a similar time-frame as the 'Serpent' and written with a real feel for the language and mores of the time.  It is authentic to the ear.  Once I had pulled up an image of the cover I was smitten ............ in shades of grey and yellow it features a scallop shell, one of the most beautiful forms in nature to my mind, and the shell which features most prominently in my shell collection.  The shapes, colours are so various.  There are some 300 species of scallop extant, and to read more about this fascinating shell and the way it features in our lives nutritionally and culturally (think architecture, furniture, décor, jewellery, utensils, religion) check out Wiki.

But to return to the book, here is what Amazon has to say:

‘A brilliantly plotted story of mermaids, madams and intrigue in 1780s London and I wouldn’t be surprised to see it become the Essex Serpent of 2018’ - The Pool'Imogen Hermes Gowar is a soon-to-be literary star’ - Sunday Times

THIS VOYAGE IS SPECIAL. IT WILL CHANGE EVERYTHING.

One September evening in 1785, the merchant Jonah Hancock hears urgent knocking on his front door. One of his captains is waiting eagerly on the step. He has sold Jonah’s ship for what appears to be a mermaid.

As gossip spreads through the docks, coffee shops, parlours and brothels, everyone wants to see Mr Hancock’s marvel. Its arrival spins him out of his ordinary existence and through the doors of high society. At an opulent party, he makes the acquaintance of Angelica Neal, the most desirable woman he has ever laid eyes on… and a courtesan of great accomplishment. This meeting will steer both their lives onto a dangerous new course, on which they will learn that priceless things come at the greatest cost.

Where will their ambitions lead? And will they be able to escape the destructive power mermaids are said to possess?

In this spell-binding story of curiosity and obsession, Imogen Hermes Gowar has created an unforgettable jewel of a novel, filled to the brim with intelligence, heart and wit.

And for an extract of the book you can find the opening chapter here:

https://www.penguin.co.uk/articles/find-your-next-read/extracts/2016/jun/the-mermaid-and-mrs-hancock-by-imogen-hermes-gowar/

And this is what I thought:

By way of introduction, well over twenty years ago, a friend and fellow conchologist with a special interest in curiosities of natural history asked me if I would arrange to go to the Booth Museum in Brighton and take photographs of the 'mermaid' they were holding in their collections.  He, David Heppell, was compiling a book of unnatural curiosities of natural history.  Often these would be Chimerae, imaginary monsters compounded of incongruous parts.  The Brighton mermaid was no exception being the melding of an ape head and torso complete with its forelimbs and the tail of a fish.  Extremely ugly but some of these artefacts were so well made they were convincing.  The first mermaid in Gowar's book is clearly of this type.  

In many ways a companion volume to The Essex Serpent of Victorian East Anglia, this debut novel steps back further, to Georgian London, and features as one of its principal characters, a 'mermaid'.  Gowar's  human cast is cleverly set in its various hierarchical milieu, with appropriate vocabulary, turns of phrase,  speech fashions and behaviour according to social class, and their respective susceptibilities and superstitions.

Gowar has written with wit and panache and in particular delivers a masterly interlude when the 'Madam',Bet Chappell, hires the wizened little mermaid to draw customers to her upscale brothel, the grotesque curio only emphasising the beauty of the women who frolic round it, draped in pearls, their privities dyed bright seaweed green, in a masque of the sea that turns into a carefully orchestrated orgy.   Without doubt this is an erotic piece of writing but with so much taste.......  Another vivid and moving passage occurs towards the end of the book when Bet Chappell faces retribution for connivance in pandering to the public appetite for sins of the flesh.

So I thoroughly enjoyed this book on many levels.  I found the notion of mermaids and the public fascination with the possibility of their existence, which flows through the narrative, to be captivating and, in a sense takes me full circle since the day I first gazed upon that ugly monstrosity in a glass case in Brighton Museum. 

LATER

…… Some time after reading this book my attention was drawn to another 'Mermaid' novel by Katharine.  Only too eager to indulge my fascination with mermaids I settled to read:

Elijah's Mermaid by Essie Fox

Check out this blogspot for a beautiful site about this book with some captivating illustrations:

http://elijahsmermaidreviews.blogspot.com/

This short blurb appears on Amazon:

Saved from the Thames one foggy London night, Pearl grows up at the House of Mermaids - a brothel that becomes the closest thing to home. But despite being cosseted and spoiled by the Madame, come her 14th year, Pearl is to be sold to the highest bidder. 

Orphaned twins Lily and Elijah are on a rare trip to London when they meet the ethereal Pearl. And the repercussions of this chance encounter will bind all their fates together, in a dark and dangerous way.

Bewitching, gothic and sensual, this is a tale of love and betrayal in a world where nothing is quite as it seems.

There is a longer synopsis/review on the web page of the author, Monique Mulligan

https://moniquemulligan.com/2013/03/02/review-elijahs-mermaid-by-essie-fox/

This review inevitably contains plot spoilers so should be read with that proviso. 

And what did I think:

Well...……… if you like seriously gothic, Victorian London, under-belly aspects of a demi-monde life in a story of love and betrayal , obsession and guilt, you may well find this an engaging read.  Women and children are exploited as victims of poverty, a male culture and the world of the Madame and her brothel.  There are family bonds that tie and relationships to be revealed as the story unfolds.  

What I do like is the several sections at the end of the book where Fox mentions real historical characters who have influenced those in her novel, real places which have influenced her settings, including the Grotto at Margate which I know well, and other themes relating to photography, health.  She also provides a glossary of Victorian slang which occurs in her prose.  I like it when authors bother to give that information to their readers.  This contrasts with an absence of such ancillary information in Imogen Hermes Gowar's book.  I thought she ought to have given a nod to the 'mermaid' which must have in part inspired The Mermaid and Mrs Hancock.  She has worked as a curator in the museum world, surely she must have come across an example of the 'monkey-fish' monstrosities that were contrived and passed off as genuine mermaids.  I am always impressed by authors who give the reader some background as to the origins of their works of fiction or non-fiction.

I found this novel sat quite nicely in the context of other recently-read titles such as the Mermaid and Mrs Hancock, also The Essex Serpent.  It also picks up on themes in A Year of Marvellous Ways.  Sometimes it is fun to read a gaggle of books whose plots and themes echo each other in some ways.  

Then again I am always a sucker for the stuff of mermaids...…..

The Essex Serpent

The Essex Serpent by Sarah Perry

Waterstones Book of the Year 2016

Sunday Times number one bestseller

Shortlisted for Costa Book Award

iTunes Book of the Year 2016

Longlisted for the Dylan Thomas prize 2017

Longlisted for the Walter Scott Prize 2017

Longlisted for the Wellcome Book Prize 2017

Longlisted for the Baileys Women's Prize for Fiction 2017

Shortlisted for the Independent Bookshop Week Book Award 2017

British Book Awards Book of the Year 2017 (Fiction and Overall)

What Amazon says:

An exquisitely talented young British author makes her American debut with this rapturously acclaimed historical novel, set in late nineteenth-century England, about an intellectually minded young widow, a pious vicar, and a rumored mythical serpent that explores questions about science and religion, skepticism, and faith, independence and love.

When Cora Seaborne’s brilliant, domineering husband dies, she steps into her new life as a widow with as much relief as sadness: her marriage was not a happy one. Wed at nineteen, this woman of exceptional intelligence and curiosity was ill-suited for the role of society wife. Seeking refuge in fresh air and open space in the wake of the funeral, Cora leaves London for a visit to coastal Essex, accompanied by her inquisitive and obsessive eleven-year old son, Francis, and the boy’s nanny, Martha, her fiercely protective friend.

While admiring the sites, Cora learns of an intriguing rumor that has arisen further up the estuary, of a fearsome creature said to roam the marshes claiming human lives. After nearly 300 years, the mythical Essex Serpent is said to have returned, taking the life of a young man on New Year’s Eve. A keen amateur naturalist with no patience for religion or superstition, Cora is immediately enthralled, and certain that what the local people think is a magical sea beast may be a previously undiscovered species. Eager to investigate, she is introduced to local vicar William Ransome. Will, too, is suspicious of the rumors. But unlike Cora, this man of faith is convinced the rumors are caused by moral panic, a flight from true belief.

These seeming opposites who agree on nothing soon find themselves inexorably drawn together and torn apart—an intense relationship that will change both of their lives in ways entirely unexpected.

Hailed by Sarah Waters as "a work of great intelligence and charm, by a hugely talented author," The Essex Serpent is "irresistible . . . you can feel the influences of Mary Shelley, Bram Stoker, Wilkie Collins, Charles Dickens, and Hilary Mantel channeled by Perry in some sort of Victorian séance. This is the best new novel I’ve read in years" (Daily Telegraph).

What I thought:
This is my kind of book, before I even comment on the text it is for me a Pandora's Box of mysterious and murky things, of marvels of nature: mosses, fungi, serpents, parasites, tapeworms, fossils, toadstones, amber, blue seaglass and my personal favourites blue wing feathers of Jay and, of course, Leviathan and then a lexicon of brooding terminology:  decay, putrescence, blackness, miasma, mud, tuberculosis and then there are the things that go wrong, the sheep that is stuck on the saltings, the child that is lost, the young man who is stabbed, Luke's loss of manual dexterity even the jam which does not set. There is much that is strange. I try to find some sense of joy in the pages of Perry's book but even the intimate scenes between the characters are recounted in a gladless style.  What is to like then?  Firstly there is such texture in the narrative, in all those objects both natural and artefactual which are referred to time and again.  Visually appealing, curious and also tactile.  And the settings, the east end of London and the flat coastal landscape of Essex where the land grades into the sea over extensive saltmarshes.  I know saltings well and enjoy walking by them, they have an idiosyncratic fauna and flora and are 'dangerous' to encroach on. Made all the more treacherous by the tides - my familiars as they reveal and then hide their natural curiosities in an endless cycle of highs and lows.

And as for the writing even before I read Sarah Perry's Wikipedia profile I knew that I was in the presence of a writer who is very comfortable in Gothic style and a probably a Victorian born out of her time. She says as much on her own profile page, by inclination and upbringing. She has a PhD in creative writing from Royal Holloway University where her supervisor was Sir Andrew Motion. Her doctoral thesis was on the Gothic in the writing of Iris Murdoch. There are several relationships between the characters in the book and they are all uneasy, that between Will and Cora, drawn together by mutual attraction yet differing profoundly in their spiritual beliefs and always the figure of Stella between a symbol of potential guilt. And Cora herself, a contrary and manipulative woman I found her to be, what did others think?. I could write an essay on her alone...... And finally the book is themed by the serpent who threads its way through the book, the ancient legend, the carving on the end of a pew, the optical illusions of some of the characters, the beached corpse, a medical symbol and always the serpent of original sin, temptation. So this was very much a book for me, and thank you for choosing it.

Postscript - all the way through I found myself wondering just what the serpent would prove to be.  When it transpired to be a 20 foot fish with a single fin running along its dorsum I looked up conger eel and moray eel but even the maximum size for the latter would not work for the giant of Perry's imagining.  In the end I found an answer, the oarfish:

This is what I believe the rotting sea serpent to be:

https://www.google.co.uk/search?q=oarfish&client=safari&hl=en-gb&prmd=ivn&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjntbGpkNfZAhUmCcAKHcvbBxoQ_AUIECgB&biw=1024&bih=672

The Ballroom and Wake

Two novels by Anna Hope, read in succession.  The debut novel following her second:

The Ballroom 

Compelling, elegant and insightful' Observer'Beautifully wrought, tender, heartbreaking' Sunday Express 5/5
'Moving, fascinating' Times
'A tender and absorbing love story' Daily Mail
'Unsentimental and affecting' Sunday Times
'Exquisitely good' Metro


1911: Inside an asylum at the edge of the Yorkshire moors,
where men and women are kept apart
by high walls and barred windows,
there is a ballroom vast and beautiful.
For one bright evening every week
they come together
and dance.
When John and Ella meet
It is a dance that will change
two lives forever.

Set over the heatwave summer of 1911, the end of the Edwardian era, The Ballroom is a historical love story. It tells a page-turning tale of dangerous obsession, of madness and sanity, and of who gets to decide which is which.

The Guardian review

In 1908, when the newly appointed home secretary Winston Churchill arrived in office, one of the social problems he was given to solve was that of the “feeble-minded” – individuals deemed incapable of self-sufficiency who often ended up in workhouses or prisons. Over the next two years, Churchill became increasingly favourable towards arguments for compulsory sterilisation, going so far as to circulate pamphlets on the subject among his cabinet colleagues.

Churchill’s ambitions for compulsory sterilisation ultimately failed but with the increased influence of the Eugenics Society, in 1913 the Mental Deficiency Act established powers to incarcerate those believed to be “feeble-minded” in purpose-built asylums, where men and women were segregated, ensuring their inability to reproduce without the need for controversial medical interventions.

Dr Charles Fuller's own troubled unconscious life leads him to fantasies of grandeur that have disastrous consequences

It is this fascinating historical backdrop that forms the basis of Anna Hope’s compelling second novel, The Ballroom. It begins with the arrival of Ella Fay at the Sharston asylum in 1911, her supposed “madness” being the breaking of a window in the textile factory where she works. Meanwhile, in the men’s wing sits John Mulligan, an Irishman suffering from depression provoked by the death of his daughter and the dissolution of his marriage. When Ella and John meet at a Friday night dance in the asylum’s unexpectedly beautiful ballroom, their feelings for one another transcend the restraints of their surroundings in what becomes a poignant and sensitive love story. The trio of voices narrating the novel is completed by Dr Charles Fuller, a failed medic and ambitious eugenicist, whose own complex and troubled unconscious life leads him to fantasies of grandeur that have disastrous consequences for Ella and John.

The Ballroom is shot through with insidious violence – that witnessed by Ella against her mother at the hands of her father: “She had been small, sitting with her back on hot stone. Inside, she had heard the thud of fist on flesh. Her mother crying, a low, animal sound”; that experienced by Ella as an eight-year-old working in the textile factory; and that imposed on asylum patients who are unable or unwilling to comply. And then there is the violence the patients inflict on themselves when language fails them and freedom is denied to them. Hope treats her subject – and her characters – with the care of an attentive therapist, imbuing the novel with psychological and emotional depth. Even Charles – arguably madder than most of the inmates – is portrayed by Hope with impressive understanding.

Hope skilfully and subtly deconstructs our notions of madness, revealing how inextricably linked those definitions are to questions of class and gender. Ella knows her only chance of escaping the asylum is to “be good… She knew about being good. Had known it since she was small. Being good was surviving.” She allows contemporary resonances to filter through the narrative: when Charles attends a meeting of the Eugenics Society, the speech he hears – railing against the rights of those in receipt of poor relief to reproduce – sounds disturbingly familiar to the arguments of far-right voices in our own age.

As with Hope’s highly acclaimed debut novel, Wake, the writing is elegant and insightful; she writes beautifully about human emotion, landscape and weather: “There was no wind. It was as though they were all simmering under the great grey lid of the sky, like water almost brought to boil.”

Like all successful historical novels, The Ballroom tells us a story of the past in order to shed light on the present. As Charles proclaims at one point: “The future was coming. Even here. Even here in this island ship of souls, cast away on the green-brown seas of the moor, even here it would find its way through.”

What I wrote to a fellow reader:

"Thanks so much, Jane, for recommending The Ballroom.  You were a bit hesitant as you had not read it but I have to say I found it a brilliant read.  Sure it was a love story as it said on the tin, but so much more and I thought the author steered her way to the conclusion skilfully, keeping her reader wondering how a 'satisfactory' ending could be achieved as I felt it could not be a traditional happy ending, nor would it all end in tears.  Well, tears of misery anyway.  It did end in tears of another kind for me as I listened to the narrator Daniel Weyman (who is so good on Audible) read the letter that John had written to Ella. I am going to write it up for my blog when I can find a minute amidst all the last minute preps.  Hope you are on top of things chez vous!

Wake

Five Days in November, 1920: As the body of the Unknown Soldier makes its way home from the fields of Northern France, three women are dealing with loss in their own way: Hettie, who dances for sixpence a waltz at the Hammersmith Palais; Evelyn, who toils at a job in the pensions office, and Ada, a housewife who is beset by visions of her dead son.

One day a young man comes to her door. He carries with him a wartime mystery that will bind these women together and will both mend and tear their hearts. A portrait of three intertwining lives caught at the faultline between empire and modernity, Wake captures the beginnings of a new era, and the day the mood of the nation changed for ever. 

Goodreads website says:

A brilliant debut for readers of The Guernsey Literary and Potato Peel Pie Society, in which three women must deal with the aftershocks of WWI and its impact on the men in their lives—a son, a brother and a lover. Their tragic connection is slowly revealed as the book unfolds.

Wake: 1) Emerge or cause to emerge from sleep 2) Ritual for the dead 3) Consequence or aftermath.

Hettie, a dance instructress at the Palais, lives at home with her mother and her brother, mute and lost after his return from the war. One night, at work, she meets a wealthy, educated man and has reason to think he is as smitten with her as she is with him. Still there is something distracted about him, something she cannot reach...Evelyn works at the Pensions Exchange through which thousands of men have claimed benefits from wounds or debilitating distress. Embittered by her own loss, more and more estranged from her posh parents, she looks for solace in her adored brother who has not been the same since he returned from the front...Ada is beset by visions of her son on every street, convinced he is still alive. Helpless, her loving husband of 25 years has withdrawn from her. Then one day a young man appears at her door with notions to peddle, like hundreds of out of work veterans. But when he shows signs of being seriously disturbed—she recognizes the symptoms of "shell shock"—and utters the name of her son she is jolted to the core...

The lives of these three women are braided together, their stories gathering tremendous power as the ties that bind them become clear, and the body of the unknown soldier moves closer and closer to its final resting place.

What I thought:

A story of three women’s life experiences as Britain surfaces after the Great War.  With a well-drawn cast of supporting characters I thought.  I did enjoy this book.  As I was drawn further and further into the story I recognised that although here was yet another novel set around the First World War, the structure, unfolding and telling of the story (the stories of the three women protagonists) was indeed novel, engaging and as the characters were bit by bit fleshed out by the author, they became credible people.  Towards the end I was very moved by the account that a war-traumatised Private delivered to one of the three female principals.  As he recounts the last moments of a fellow soldier who is executed for desertion and who calls out for his mother, I wept buckets because, having sons, I think now of all those mothers who gave birth to and reared their sons (and daughters too of course) in great optimism for their future lives, only to be cut down as they had barely matured into young men.  Those generals in their tents, their field headquarters where they conducted the war, in relative safety, pushing their soldiers around for King and country, like so many chess pieces on a board, I feel such anger when I am reminded of it.  The more I read of episodes like this in the literature, the sadder it makes me each time.  I thought the narrative as it related to the choosing of the Unknown Warrior and his transfer to Britain and the burial gave a fascinating thread to run through the book because I did not know the background and I had not really imagined that there was a real body under the tomb in Westminster Abbey.  (needless to say you can read all about it on Wiki!) 

I do think carefully about who of my fellow readers will want to read novels such as this one by Anna Hope’s.  Someone once said, none of us Splinter I think, "Not another book about the World War…….".  But I thought a recommendation was called for because the writing is really good, the text flows, it is full of humanity and it is an excellent debut too.