Review Catch-Up: The Swimmers, Black Butterflies, Bi, and On the Scent
I have a preposterous backlog of review copies to finish and write about (I’m going to go ahead and blame buying a house, moving and DIY for my lack of focus and diminished time, as I have done most of this year), but I’ve decided to get on top of it by pulling a quartet off of my set-aside shelf each week for short responses. I always like to feature a variety, so here I have two fiction and two nonfiction selections: novels about assisted dying and the Bosnian War that are a lot funnier and more life-affirming than you might expect, and books about bisexuality and the sense of smell – and the effect of its loss.
The Swimmers by Chloe Lane (2020; 2022)
Erin Moore has returned to her family’s rural home for Queen’s Birthday (now a dated reference, alas!), a long weekend in New Zealand’s winter. Not a time for carefree bank holiday feasting, this; Erin’s mother has advanced motor neurone disease and announces that she intends to die on Tuesday. Aunty Wynn has a plan for obtaining the necessary suicide drug; it’s up to Erin to choreograph the rest. “I was the designated party planner for this morbid final frolic, and the promise of new failures loomed. … The whole thing was looking more and more like the plot of a French farce, except it wasn’t funny.”
Lane renders a potentially maudlin situation merely bittersweet through black comedy. Erin isn’t the most endearing narrator because, Disaster Woman-like, she keeps undertaking weird acts of self-sabotage – at 26, she’s blown her first gallery curation opportunity by sleeping with her boss. Still, the picture of a different sort of dysfunctional family and the contrast between an illustrious past (Erin comes from a line of semi-pro swimmers: Aunty Wynn qualified to compete in the Commonwealth Games) and an iffy future make this fairly memorable, if not so much so as the other 2022 The Swimmers – Julie Otsuka’s.
Readalikes: Sorrow and Bliss by Meg Mason, What Are You Going Through by Sigrid Nunez, The Inland Sea by Madeleine Watts, The Weekend by Charlotte Wood
With thanks to Gallic Books for the proof copy for review.
Black Butterflies by Priscilla Morris (2022)
Drawing on her own family history, Morris has crafted an absorbing story set in Sarajevo in 1992, the first year of the Bosnian War. Zora, a middle-aged painter, has sent her husband, Franjo, and elderly mother off to England to stay with her daughter, Dubravka, confident that she’ll see out the fighting in the safety of their flat and welcome them home in no time. But things rapidly get much worse than she is prepared for. Phone lines are cut off, then the water, then the electricity. “We’re all refugees now, Zora writes to Franjo. We spend our days waiting for water, for bread, for humanitarian handouts: beggars in our own city.”
When even the haven of her studio is taken away from her, she’s reduced to the bare bones of existence, with just a few beloved neighbours to keep her spirits up. Her painting, more an obsession than a hobby, keeps her human as she awaits space on a Red Cross convoy. The title has heartrending significance: ‘black butterflies’ are fragments of paper carried on the breeze after the burning of the National Library of Sarajevo, 30 years ago last month. It was especially poignant to be reading this during the war in Ukraine and think about the sorts of daily dangers and deprivation that people face in conflict zones. The pages turned quickly and I was reminded of Girl at War, one of my absolute favourites, as well as The Pianist.
With thanks to Duckworth for the proof copy for review.
Bi: The hidden culture, history, and science of bisexuality by Julia Shaw (2022)
I’m tying this in with today’s celebration of Bi Visibility Day. Shaw is a criminal psychologist; her third book is a departure for her thematically, but means a lot to her personally. Bisexuality is the largest minority sexuality group, yet bisexuals are less likely to be out because of misconceptions and stereotypes – there are fewer outward signals and less group identification – which can sometimes result in poor mental health. Shaw realized how tricky bi identity was when a German TV show wanted to base a character on her but didn’t know how to make her sexuality obvious to viewers (lingering glances/flirtations involving both men and women? a backstory about a previous relationship with a woman?), and when trying to figure out what to wear to gay bars.
The book aims to situate bisexuality historically and scientifically. The term “bisexual” has been around since the 1890s, with the Kinsey Scale and the Klein Grid early attempts to add nuance to a binary view. Shaw delights in the fact that the mother of the Pride movement in the 1970s, Brenda Howard, was bisexual. She also learns that “being behaviourally bisexual is commonplace in the animal kingdom,” with many species engaging in “sociosexual” behaviour (i.e., for fun rather than out of reproductive instinct). It’s thought that 83% of bisexuals are closeted, mostly due to restrictive laws or norms in certain parts of the world – those seeking asylum may be forced to “prove” bisexuality, which, as we’ve already seen, is a tough ask. And bisexuals can face “double discrimination” from the queer community.
It felt odd to me that a final chapter on bisexual relationships ended up being mostly about threesomes, such that my main question (as she puts it: “what are the problems with the assumed link between bisexuality and non-monogamy?”) only merited four pages. A valuable book, certainly, but one to read for information rather than entertainment or thoughtful prose.
With thanks to Canongate for the free copy for review.
On the Scent: Unlocking the mysteries of smell – and how its loss can change your world by Paola Totaro and Robert Wainwright (2022)
Totaro (co-author Wainwright is her husband) contracted COVID-19 in March 2020 and temporarily lost the ability to smell, prompting her to embark on this investigation into a 
less-understood sense. One in 10,000 people have congenital anosmia, but many more than that experience it at some point in life (e.g., due to head trauma, or as an early sign of Parkinson’s disease), and awareness has shot up since it’s been acknowledged as a symptom of Covid. For some, it’s parosmia instead – smell distortions – which can almost be worse, with people reporting a constant odour of smoke or garbage, or that some of their favourite aromas, like coffee, were now smelling like faeces instead. Such was the case for Totaro.
She visits fascinating places like the Smell and Taste clinic in Dresden and the University of Reading Flavour Centre. “Sniffin’ sticks” are used to put people’s sense of smell to the test, but it’s notoriously difficult, even for those who haven’t had their senses compromised by illness, to name a smell out of context; people generally don’t score over 50%. That’s one of the major questions the book asks: why it is quite so difficult to identify smells, or describe them in words. Totaro also considers perfume-making, the associations of particular smells (bleach, pine or lemon, depending on your country) with cleanliness, and the potential for multisensory experiences, such as releasing odours during film showings. Lots of interesting topics and stories here, but not as compelling on the whole as The Smell of Fresh Rain.
With thanks to Elliott & Thompson for the proof copy for review.
Best of the 4: Black Butterflies
Would you be interested in reading one or more of these?
Recommended May Releases: Adichie, Pavey and Unsworth
Three very different works of women’s life writing: heartfelt remarks on bereavement, a seasonal diary of stewarding four wooded acres in Somerset, and a look back at postnatal depression.
Notes on Grief by Chimamanda Ngozi Adichie
This slim hardback is an expanded version of an essay Adichie published in the New Yorker in the wake of her father’s death in June 2020. With her large family split across three continents and coronavirus lockdown precluding in-person get-togethers, they had a habit of frequent video calls. She had seen her father the day before on Zoom and knew he was feeling unwell and in need of rest, but the news of his death still came as a complete shock.
Adichie anticipates all the unhelpful platitudes people could and did send her way: he lived to a ripe old age (he was 88), he had a full life and was well respected (he was Nigeria’s first statistics professor), he had a mercifully swift end (kidney failure). Her logical mind knows all of these facts, and her writer’s imagination has depicted grief many times. Still, this loss blindsided her.
She’d always been a daddy’s girl, but the anecdotes she tells confirm how special he was: wise and unassuming; a liberal Catholic suspicious of materialism and with a dry humour. I marvelled at one such story: in 2015 he was kidnapped and held in the boot of a car for three days, his captors demanding a ransom from his famous daughter. What did he do? Correct their pronunciation of her name, and contradict them when they said that clearly his children didn’t love him. “Grief has, as one of its many egregious components, the onset of doubt. No, I am not imagining it. Yes, my father truly was lovely.” With her love of fashion, one way she dealt with her grief was by designing T-shirts with her father’s initials and the Igbo words for “her father’s daughter” on them.
I’ve read many a full-length bereavement memoir, and one might think there’s nothing new to say, but Adichie writes with a novelist’s eye for telling details and individual personalities. She has rapidly become one of my favourite authors: I binged on most of her oeuvre last year and now have just one more to read, Purple Hibiscus, which will be one of my 20 Books of Summer. I love her richly evocative prose and compassionate outlook, no matter the subject. At £10, this 85-pager is pricey, but I was lucky to get it free with Waterstones loyalty points.
Favourite lines:
“In the face of this inferno that is sorrow, I am callow and unformed.”
“How is it that the world keeps going, breathing in and out unchanged, while in my soul there is a permanent scattering?”
Deeper Into the Wood by Ruth Pavey
In 1999 Ruth Pavey bought four acres of scrubland at auction, happy to be returning to her family’s roots in the Somerset Levels and hoping to work alongside nature to restore some of her land to orchard and maintain the rest in good health. Her account of the first two decades of this ongoing project, A Wood of One’s Own, was published in 2017.
In this sequel, she gives peaceful snapshots of the wood throughout 2019, from first snowdrops to final apple pressing, but also faces up to the environmental degradation that is visible even in this pocket of the countryside. “I am sure there has been a falling off in numbers of insects, smaller birds and rabbits on my patch,” she insists. Without baseline data, it is hard to support this intuition, but she has botanical and bird surveys done, and invites an expert in to do a moth-trapping evening. The resulting species lists are included as appendices. In addition, Pavey weaves a backstory for her land. She meets a daffodil breeder, investigates the source of her groundwater, and visits the head gardener at the Bishop’s Palace in Wells, where her American black walnut sapling came from. She also researches the Sugg family, associated with the land (“Sugg’s Orchard” on the deed) from the 1720s.
Pavey aims to treat this landscape holistically: using sheep to retain open areas instead of mowing the grass, and weighing up the benefits of the non-native species she has planted. She knows her efforts can only achieve so much; the pesticides standard to industrial-scale farming may still be reaching her trees on the wind, though she doesn’t apply them herself. “One sad aspect of worrying about the state of the natural world is that everything starts to look wrong,” she admits. Starting in that year’s abnormally warm January, it was easy for her to assume that the seasons can no longer be relied on.
Compared with her first memoir, this one is marked by its intellectual engagement with the principles and practicalities of rewilding. Clearly, her inner struggle is motivated less by the sense of ownership than by the call of stewardship. While this book is likely be of most interest to those with a local connection or a similar project underway, it offers a universal model of how to mitigate our environmental impact. Pavey’s black-and-white sketches of the flora and fauna on her patch, reminiscent of Quentin Blake, are a highlight.
With thanks to Duckworth for the proof copy for review. The book will be published tomorrow, the 27th of May.
After the Storm: Postnatal Depression and the Utter Weirdness of New Motherhood by Emma Jane Unsworth
The author’s son was born on the day Donald Trump won the U.S. presidential election. Six months later, she realized that she was deep into postnatal depression and finally agreed to get help. The breaking point came when, with her husband* away at a conference, she got frustrated with her son’s constant fussing and pushed him over on the bed. He was absolutely fine, but the guilty what-ifs proliferated, making this a wake-up call for her.
In this succinct, wry and hard-hitting memoir, Unsworth exposes the conspiracies of silence that lead new mothers to lie and pretend that everything is fine. Since her son’s traumatic birth (which I first read about in Dodo Ink’s Trauma anthology), she hadn’t been able to write and was losing her sense of self. To add insult to injury, her baby had teeth at 16 weeks and bit her as he breastfed. She couldn’t even admit her struggles to her fellow mum friends. But “if a woman is in pain for long enough, and denied sleep for long enough, and at the same time feels as though she has to keep going and put a ‘brave’ face on, she’s going to crack.”
The book’s titled mini-essays give snapshots into the before and after, but particularly the agonizing middle of things. I especially liked the chapter “The Weirdest Thing I’ve Ever Done in a Hotel Room,” in which she writes about borrowing her American editor’s room to pump breastmilk. Therapy, antidepressants and hiring a baby nurse helped her to ease back into her old life and regain some part of the party girl persona she once exuded – enough so that she was willing to give it all another go (her daughter was born late last year).
While Unsworth mostly writes from experience, she also incorporates recent research and makes bold statements of how cultural norms need to change. “You are not monsters,” she writes to depressed mums. “You need more support. … Motherhood is seismic. It cracks open your life, your relationship, your identity, your body. It features the loss, grief and hardship of any big life change.” I can imagine this being hugely helpful to anyone going through PND (see also my Three on a Theme post on the topic), but I’m not a mother and still found plenty to appreciate (especially “We have to smash the dichotomy of mums/non-mums … being maternal has nothing to do with actually physically being a mother”).
I’m attending a Wellcome Collection online event with Unsworth and midwife Leah Hazard (author of Hard Pushed) this evening and look forward to hearing more from both authors.
*It took me no time at all to identify him from the bare facts: Brighton + doctor + graphic novelist = Ian Williams (author of The Lady Doctor)! I had no idea. What a fun connection.
With thanks to Profile Books/Wellcome Collection for the free copy for review.
What recent releases can you recommend?
Stanley and Elsie by Nicola Upson & A Visit to Sandham Memorial Chapel
“I don’t want them to look like war paintings, Elsie. I want them to look like heaven.”
When I was offered a copy of this novel to review as part of the blog tour, I was unfamiliar with the name of its subject, the artist Sir Stanley Spencer (1891–1959) – until I realized that he painted the WWI-commemorative Sandham Memorial Chapel in Hampshire, which I had never visited* but knew was just 5.5 miles from our home in Berkshire.
Take another look at the title, though: two characters are given double billing, the second of whom is Elsie Munday, who in the opening chapter presents herself for an interview with Stanley and his wife, Hilda (also a painter), who promptly hire her to be their housemaid at Chapel View in 1928. This creates a setup similar to that in Girl with a Pearl Earring, with a lower-class character observing the inner workings of an artist’s household and giving plain-speaking commentary on what she sees. Upson’s close third-person narration sticks with Elsie for the whole of Part I, but in Part II the picture widens out, with the point of view rotating between Hilda, Elsie and Dorothy Hepworth, the reluctant third side in a love triangle that develops between Stanley and her partner, Patricia Preece.
Hilda and Stanley argue about everything, from childrearing to art: they even paint dueling portraits of Elsie – with Hilda’s Country Girl winning out. Elsie knows she’s lucky to have such a comfortable position with the Spencers and their daughters at Burghclere, and later at Cookham, but she’s uneasy at how Stanley turns her into a confidante in his increasingly tempestuous marriage. Hilda, frustrated at Stanley’s selfish, demanding ways, often returns to her family home in Hampstead, leaving Elsie alone with her employer. Stanley doesn’t give a fig for local opinion, but Elsie knows she has a reputation to protect – especially considering that her moments alone with Stanley aren’t entirely free of sexual tension.
I love reading about artists’ habits – how creative work actually gets done – so I particularly loved the scenes where Elsie, sent on errands, finds Stanley up a ladder in the chapel, pondering how to get a face or object just right. On more than one occasion he borrows her kitchen items, such as a sponge and cooked and uncooked rashers of bacon, so he can render them perfectly in his paintings. I also loved that this is a local interest book for me, with Newbury, where I live, mentioned four or five times in passing as the nearest big town. Part II, with its account of Stanley’s extramarital doings becoming ever more sordid, didn’t grip me as much as Part I, but I found the whole to be an elegantly written study of a very difficult man and the ties that he made and broke over the course of several decades.
For the tone as well as the subject matter, I would particularly recommend it to readers of Jonathan Smith’s Summer in February and Graham Swift’s Mothering Sunday, and especially Esther Freud’s Mr. Mac and Me.
My rating: 
Stanley and Elsie will be published by Duckworth on May 2nd. My thanks to the publisher for the proof copy for review. They also sent a stylish tote bag!
Nicola Upson
Nicola Upson is best known for her seven Josephine Tey crime novels. She has also published nonfiction, including a book on the sculpture of Helaine Blumenfeld. This is her first stand-alone novel.
*Until now. On a gorgeous Easter Saturday that felt more like summer than spring, I had my husband drop me off on his way to a country walk so I could tour the chapel. I appreciated Spencer’s “holy box” so much more having read the novel than I ever could have otherwise – even though the paintings were nothing like I’d imagined from Upson’s descriptions.
You enter the chapel through the wooden double doors at the center.
What struck me immediately is that, for war art, the focus is so much more on domesticity. Spencer briefly served in Salonika, Macedonia (like his patrons’ brother, Harry Sandham, to whose memory the chapel is dedicated), but had initially been rejected by the army and started off as a medical orderly in an English hospital. Both Salonika and Beaufort hospital appear in the paintings, but there are no battle scenes or bloody injuries. Instead we see tableaux of cooking, doing laundry, making beds, inventorying kitbags, filling canteens, reading maps, dressing under mosquito nets and making stone mosaics. It’s as if Spencer wanted to spotlight what happens in between the fighting. These everyday activities would have typified the soldiers’ lives more than active combat, after all.
I was reminded of how Stanley explains his approach in the novel:
“There’s something heroic in the everyday, don’t you think?”
“Isn’t that what peace is sometimes? A succession of bland moments? We have to cherish them, though, otherwise what was the point of fighting for them?”
The paintings show inventive composition but are in an unusual style that sometimes verges on the grotesque. Many of the figures are lumpen and childlike, especially in Tea in the Hospital Ward, where the soldiers scoffing bread and jam look like cheeky schoolboys. There are lots of animals on display, especially horses and donkeys, but they often look enormous and not entirely realistic. The longer you look, the more details you spot, like a dog raiding a stash of Fray Bentos tins and a young man looking at his reflection in a picture frame to part his hair with a comb. These aren’t desolate, burnt-out landscapes but rich with foliage and blossom, even in Macedonia, which recalls the Holy Land and seems timeless.
The central painting behind the altar, The Resurrection of the Soldiers, imagines the dead rising out of their graves, taking up their white crosses and delivering them to Jesus, a white-clad figure in the middle distance. There’s an Italian Renaissance feeling to this one, with one face in particular looking like it could have come straight out of Giotto (an acknowledged influence on Spencer’s chapel work). It’s as busy as Bosch, but not as dark thematically or in terms of the color scheme – while some of the first paintings in the sequence, like the one of scrubbing hospital floors, recall Edward Hopper with their somber realism. We see all these soldiers intact: at their resurrection they are whole, with no horrific wounds or humiliating nudity. Like Stanley says to Elsie, it’s more heaven than war.
If you are ever in the area, I highly recommend even a quick stop at this National Trust property. I showed a few workers my advanced copy of the novel; while the reception staff were unaware of its existence, a manager I caught up with after my tour knew about it and had plans to read it soon. She also said they will stock it in the NT shop on site.
Bookish Beck = Rebecca Foster. American transplant to England. Freelance proofreader and book reviewer.
Bookish Beck 