Bad DreamsI was looking forward to reading Tessa Hadley’s new volume of short stories, Bad Dreams, but it was even better than I expected. I feel a strong connection to her writing, her contemporary settings and characters, and I couldn’t stop thinking about some of these stories afterwards. The stories in Bad Dreams range across different times and places but always focus on relationships and families, memories and women’s experiences, and the defining incidents in people’s lives: a moment of realisation, an event that set someone’s life on a different path or a childhood experience that they always remember.

There are many reasons that I like Tessa Hadley’s work so much: her characterisation and psychological insight, the way her characters seem alive, without any cliche whatsoever. The way she can describe and strongly evoke places, whether it’s suburbia in the 60s or modern-day Leeds and London. I especially notice the vivid way she describes houses and the secret life going on inside a home. Some of her stories miraculously capture a child’s point of view and the sense of viewing the adult world from an outsider’s perspective, with a child’s curiosity and anxiety and gradual understanding.

One of the most striking stories was the first, An Abduction, which is set in the 1960s and describes how a teenage girl ended up getting in a car with a group of older boys, students on holiday from university. Jane, the main character, is portrayed as ordinary, conventional, from a conservative background and lacking in confidence, while Daniel, the leader of the boys is charismatic, intellectual and self-destructive. The events of the story are surprising and show that Jane has more of a rebellious streak than first appears. The setting is rather dreamlike and nostalgic and to me it seemed to capture the youth culture of the 1960s and a sense of different worlds being thrown together. A sort of coda at the end of the story, which describes what happened to the characters later on, is very powerful, as it shows the different ways people can view the same event, how what is important and life-defining to one person can mean nothing to another, and how a successful person can have a buried past that not even they themselves really know about. There is a sort of understated anger and intensity to the ending.

Probably my favourite story however was Flight, the story of Claire, a 40-something woman with a successful career in America, returning to visit her childhood home and sister’s family in Leeds. I loved the way the family relationships were described and the sense of distance Claire felt from the others, which was something she had deliberately chosen and welcomed but also grieved over. I really liked how Hadley gradually revealed more about the family background and hinted that Claire was more troubled than she first seemed. The ending was perfectly written and I felt there was something heartbreaking about it.

Another story I enjoyed was The Stain, a story about a young woman working as a carer for a wealthy and elderly man. It’s a very realistic, contemporary story and it is really refreshing to see working-class characters who are complex and real and not cliched at all. A few stories move earlier into the 20th century; Deeds Not Words is set at the time of the first world war and women’s suffrage movement, while Silk Brocade is about two young seamstresses in the 1960s. Most of my favourites are the contemporary stories, however; apart from the ones I’ve mentioned, I really liked Experience, about a 20-something woman house-sitting for an older, more glamorous woman and what happens when she starts to reads her diaries. I felt this story had an emotional impact because of the contrast between the narrator, who feels she hasn’t really lived properly, and Hana with her destructive love affairs and unapologetic way of living. I really liked the way the narrator’s and Hana’s roles were reversed at the end of the story.

To sum up: in case it isn’t obvious, I thought this book was wonderful and I’m sure I will think about these stories for a long time to come.

Another Mothers SonSet in contemporary London, Another Mother’s Son is an intriguing and unusual novel which follows events in the lives of the narrator, Lorna, and her three sons as they struggle with adolescence and moving into adulthood.

Lorna, an archivist, is divorced from the boys’ father, Randal, who left her to start a new relationship and family. Oliver has left for university and hardly ever sees his mother, while Ross, the youngest son, has recently started going out with Jude, a girl from school, whose own parents are having difficulties in their marriage. Ewan, the eldest, is the most troubled, as he dropped out of university after a term and now lives in the attic room of Lorna’s house, barely speaking to her, not studying or working, and only occasionally leaving the house on solitary expeditions. The main focus of the novel, however, is an incident at Ross’s school involving his English teacher, Mr Child, and the consequences for the students and parents.

One thing I really liked about this book is the realistic way it describes modern urban life. Everyday details are narrated in a detached, emotionless tone, which distances the reader from them and makes them appear fresh and even slightly surreal at times. The deadpan narration brings out the humour or strangeness in minor events and encounters. It reflects Lorna’s alienation from most of the people around her: the parents at Ross’s school, her ex-husband, a disturbing visitor to her archive who wants to write a novel abut a historical transport disaster, and the irritating Jane, who appears to have set her sights on marrying Lorna’s elderly father.

The novel explores motherhood and more generally the relationships between the generations. Lorna sees her sons’ generation as under pressure and at risk from modern technology and social media in a way she wasn’t when growing up. Ross’s school, Lloyd-Barron Academy, is portrayed as a terribly unsympathetic, humourless and over-regulated environment. The headmaster is obsessed with management-speak and only concerned with marketing and creating a perfect image for the school. Meanwhile, the group of middle-class parents and their attempts to interfere with issues at school is described precisely and wittily.

The dialogue between Lorna and her sons seemed very believable to me. I could feel Lorna’s anxiety and attempts to build relationships with her sons, as well as their irritation with her. The relationship between Lorna and Jude was interesting because they seemed to grow to like each other, despite their initial awkwardness and distance. Lorna sees everything from the outside as no one really confides in her and so she has to piece events together, always discovering the truth later than others.

Although I liked the book, I found its events at times almost too mundane and disconnected from each other, lacking in any meaning. I was most interested in the events at Ross’s school, the interactions between the parents and teachers. The novel left me wanting more; for example I found Ewan’s situation intriguing and wanted to explore that. I wondered why he seemed to have given up on life and spent his time in bed or sitting at his desk for hours on end. I liked the description of his intricate artwork, elaborately drawn but executed in the most throw-away materials possible, cheap biro and lined A4 paper. Perhaps the mystery and lack of explanation reflected the way Lorna felt, as if she had no idea how Ewan had reached this point and had already exhausted all possible ways of helping him. The whole novel is written in a muted, melancholic tone, as if Lorna is just watching events unfold and is unable to help her sons or have any impact on the world around her.

I have now read and enjoyed all Janet Davey’s novels. Another Mother’s Son seemed a more personal book than the others, with its introspective first-person narration. If you enjoy fiction by Anita Brookner and Tessa Hadley, I would recommend picking up Davey’s books.

Certain Women

Recently I went to see Certain Women, the new film by American director Kelly Reichardt, which tells three separate but very loosely connected stories about women living in the US state of Montana. It is the kind of film which divides opinion. In the group I went with, most people found it slow, boring or pointless, and I noticed a few audience members left the cinema before the end of the film. So I feel the need to write about it and explain why I liked this film so much.

The stories in Certain Women are told slowly but so realistically that I became absorbed in the women’s lives. The film shows people going about everyday life in the same way that the French director Eric Rohmer’s films do, revealing how it feels to live that particular life in those circumstances and environment. While Rohmer’s films are usually about groups of middle-class characters and the relationships between them, Certain Women focuses on both middle and working-class characters, the experiences of solitude, loneliness and self-sufficiency, and the difficulties in connecting with other people. It’s not true to say that nothing happens; quite a lot happens but it’s presented in a low-key, realist style and partly happens internally, within the characters’ emotions. The film gives you time and space to immerse yourself in the characters and the beautiful, remote, sometimes desolate setting, a place of vast mountains, small towns, diners and empty highways.

The first story follows a lawyer, Laura, played by Laura Dern, who is representing William (Jared Harris), a middle-aged man who wants to bring a court case against his previous employer. It emerges that there was some sort of incident at work and William suffered injuries and ongoing health problems and no longer works. It becomes clear that he is spending a lot of time at the lawyer’s office, turning up uninvited, and carries a lot of anger towards his former employer. It turns out that it is impossible for him to bring the court case because he has already agreed to take the small compensation initially offered to him by his employer. Laura has been attempting to explain this to him for months, but it takes a male lawyer to tell him before he can accept the truth. Laura’s relationship with William is complicated, as she sympathises with his situation and endeavours to be kind to him but also feels uncomfortable with his erratic behaviour and threats of destruction. At one point he insists on getting in the car to drive home with her and then says he wants to shoot his employers with a machine-gun. In this unnerving situation Laura tries hard to maintain boundaries and a professional distance. Somehow Kelly Reichardt manages to capture on film the way in which a woman can feel unsafe in very mundane, undramatic circumstances. I don’t know how the film achieves this; maybe it’s through the cinematography, which I remember in those scenes as being cramped and oppressive, or the excellent, emotionally convincing acting by Laura Dern and Jared Harris.

The story progresses when William takes a security guard hostage at his former employer and Laura is called in to help speak to him and persuade him to give himself up to the police. I found this section absorbing because it was so realistic, capturing the way it might feel to be caught up in this situation and all the small decisions Laura needs to make to achieve her aim, while obviously feeling fear and anxiety. William makes a bargain with Laura but she fails to keep her side of it. The scene ends with a shot of Laura, with an expression perhaps of doubt over whether she had made the right decision or of pain that she had betrayed William, even though she did what she needed to do as a lawyer and to prevent a crime taking place.

The second story follows Gina (Michelle Williams), who is married with a daughter. In contrast to Laura, she is less solitary and more involved in family life. She seems harassed and impatient with her husband and moody teenage daughter. I found Gina’s character the least appealing of all the women portrayed, as she seemed quite hard and even slightly ruthless, and I found her story rather disconcerting. We find out that Gina and her husband Ryan (James LeGros) are building a new house. They decide to stop at the home of Albert (Rene Auberjonois), an elderly man they know, to persuade him to give them some sandstone that is on his property. Those few words summarise the plot of this section of the film. For me, the film focuses on the sense of unease surrounding this decision, as Albert is confused and it is unclear if he understands what they are suggesting. They initially offer him money but in the end he is not paid. Although he did agree to give them the stones, it is debatable whether they should have tried harder to pay him. The scenes between the characters also felt awkward as it is clear that Albert is very lonely and vulnerable but Gina and Ryan are only really visiting him to try and obtain the sandstone. Both Ryan and Gina do have some doubts about whether to proceed, but the last time we see Gina she is looking at the stones contentedly, maybe envisaging the house they will build. Maybe, as Gina suggests, they will make something wonderful from the stones to make up for the way they came into their possession.

The final section is probably the most emotionally powerful of all three. Kristen Stewart plays a young lawyer, Beth, who is teaching an evening class on school law to a group of bored teachers in a small town called Belfry. The grumpiness and apparent reluctance of the teachers to be there results in some amusing moments. Jamie (Lily Gladstone), a young woman who works on a ranch nearby, also attends the class and the film depicts the relationship developing between the two. Beth tells Jamie that she is driving four hours each way from the city of Livingston to teach the class, in need of extra money and experience as she is just starting out in her career, and she is obviously exhausted. Jamie lives an isolated life on the ranch. It is clear she loves horses and other animals and the work suits her very well, but her life seems very lonely and lacking in human connection. The film evokes strongly, both through the way the scenes are cut and filmed and through Lily Gladstone’s wonderful acting, how the law class is the highlight of Jamie’s week and the focus for all her hopes. She tells Beth she wasn’t enrolled but just walked into class when she saw other people go in, this detail showing her desire for human contact and company. This story mostly takes place at night, and the dark, quiet settings, from the ranch to the diner to the schoolroom in the evening, conjure up a mood of mystery and isolation. We can see how Jamie is falling in love with Beth, while Beth is friendly but concerned with her own problems and mainly sees Jamie as someone to unload to. She sees her time in Belfry as transitory and peripheral to her real life.

When it is announced that Beth will not be teaching the class any longer, Jamie on impulse drives the four hours to Livingston to find Beth. Her early morning wanderings round Livingston reveal the contrast between rural and city life. She looks curiously through softly-lit windows at people talking in late-night cafes or bars, as if seeing a life she didn’t know existed. Meanwhile, a shop window displays cowboy hats and check shirts, the ranch lifestyle being sold to wealthier city dwellers. The film perfectly captures the sense of dislocation experienced in the small hours of the morning. Eventually Jamie finds Beth and in a sad scene understands that Beth is not interested in a relationship with her. It is all the more poignant because Jamie doesn’t express her disappointment to anyone; all she can do is get in the car and drive away again. The film leaves the viewer to draw their own conclusions. Although I very much empathised with Jamie and felt she was a very likeable character, I could understand Beth’s reaction, as she perhaps found it disturbing to realise the feelings Jamie had built up for her without her knowledge. I felt there was a link to the first story, with Laura and William, in that a greater connection between the characters was prevented by the need for self-protection.

When I watched the film, I felt it was like reading short stories and it reminded me a little of the writing of Alice Munro. I discovered afterwards that it is based on short stories by an American writer called Maile Meloy. The sense of short stories remains in the interiority and introspective nature of the film, the feeling that it is exploring the significance of these events to the characters, giving glimpses of their histories and emotional lives. The three sections are very loosely related to one another (for example, one character appears in both the first two) but there are no real connections between the stories. Maybe the real connection is the mood or atmosphere of the film, which weaves a spell around all the characters. It depicts self-contained episodes in these characters’ lives but the film ends by returning to each of them in turn, without a clear resolution, with a sense that there is more to be imagined and known about these four women.

This must be the placeThis Must Be The Place is a novel like a patchwork quilt that weaves together many stories, all starting out from the central character of Daniel, a linguistics professor from Brooklyn, who now lives in a remote area of Ireland with his wife Claudette. Claudette used to be a famous film star but notoriously disappeared from that world about 15 years ago and now lives a reclusive life in an isolated cottage with Daniel and her children. One day Daniel is listening to the radio when he hears an interview which reveals to him a shocking fact about an incident from his student days. He has tried to put the incident behind him but now feels compelled to discover the truth about what happened years before.

The novel is told from many different points of view, moving back and forth in time and across the world. Each chapter starts with a different person, a year and a place, and although the narrative is told in the third person, we experience events through that particular character’s eyes. I really like the technique of different viewpoints when it is done well, as it is here. Each character has a distinctive voice and way of thinking that mostly feels true to life and makes the novel interesting to read. The leaps backwards and forwards in time kept me absorbed, as events from the past revealed more about Daniel and Claudette’s previous lives. Some chapters introduce new characters’ viewpoints or are set in unexpected time periods and I liked the unpredictability. These small glimpses into minor characters’ lives (for example, Maeve or Rosalind) left the rest of their stories untold, which I found intriguing.

I liked the complexity of the characters, particularly Daniel, Claudette and some of Daniel’s friends from his university days. I think one particular strength of this author is how she captures the way people’s family backgrounds and early life experiences can influence their later lives, without bludgeoning the reader over the head to make the point. The parts of the novel I liked the most were the depiction of the central incident which affected Daniel so much, the encounter with his friend Todd, and in general the stories of both Daniel’s and Claudette’s lives in their early twenties. I felt the novel describes vividly how it is (or was) to be a student or recent graduate. OK, so it’s set in glamorous environments but it captures realistic emotions and experiences from that time of life, both the excitement and the darker side. I was slightly less interested in Claudette’s experiences as a film star, although I liked the character of the director, Timou, who I imagined to be a Lars Von Trier figure, while Claudette would be more of an Isabelle Huppert! O’Farrell also experiments with different ways of telling the story, for example there is an interesting chapter which is written in the form of an auction catalogue at a sale of some of Claudette’s personal belongings.

Because of how much time, space and plot the book encompasses, it doesn’t seem to have a central theme and maybe the variety is the point. Perhaps the intention is simply to explore how this incident affects Daniel and his marriage, or to express how complicated and sprawling one person’s life can be, particularly today when global travel is more commonplace and people are less likely to stay in the same place they grew up, around the same people, for their whole lives. If I had a criticism, it would be that later in the book O’Farrell crams too many themes and issues into one family and it became slightly clicheed and superficial how complicated it all was. Despite this, in general I enjoyed the novel because of the main characters and central plotline. I wondered why O’Farrell chose the title This Must Be The Place and think maybe it expresses the sense of recognition that someone feels when they find home, either in a physical location or with a person. I am still thinking about the novel a couple of weeks later and will be looking for more books by Maggie O’Farrell.

Station ElevenStation Eleven sparked my imagination like no book had for a long time. This post-apocalyptic novel presents a vivid and perfectly created world: a setting that is deeply atmospheric, both chilling and beautiful. It has been categorised as science fiction but I would say it is a dystopian novel related to the works of Cormac McCarthy and J.G. Ballard. I think Emily St John Mandel resembles Ballard in her visual imagination and ability to portray a civilisation breaking down, although Station Eleven presents a much less bleak and cynical view of human nature and society than Ballard’s works.

The novel opens when a famous actor, Arthur, collapses and dies on stage playing King Lear in a theatre in Toronto. At around the same time a flu pandemic begins to spread throughout the world, killing the majority of the world’s population and causing a complete breakdown of the modern, technologically advanced society we know. The novel then moves forward twenty years to follow Kirsten, who was a child actress on stage with Arthur in the production of King Lear and is now a member of the Travelling Symphony, a band of actors and musicians performing Shakespeare plays in the settlements that have developed following the pandemic. The novel also follows various other characters, all connected with Arthur in some way, and mixes present-day events with flashbacks to their lives before the collapse.

I found Station Eleven completely absorbing and very inventive. Set in a recognisable, everyday world, the effects of the pandemic are plausible and realistic. The pandemic is gripping and frightening to read about, but this section is relatively short. The main action of the novel, set twenty years later, has a distinctive tone of nostalgia for the world we live in now, which I found interesting. The characters longingly remember everyday objects and technology that most of us take for granted. St John Mandel also explores how this nostalgia affects different generations. Children born after the collapse know nothing else and consider descriptions of, for example, electricity as incredible fairy stories. Alternatively, they show no interest at all. The book asks if those who are older adults and spent most of their lives in the pre-pandemic world are more or less fortunate, as they have lost more but have a greater store of memories to recall. Kirsten falls somewhere in between, as she was eight years old and therefore has only a few, almost dream-like, memories. I wondered if this was the most difficult position to be in, as Kirsten and her friend are constantly searching through abandoned buildings trying to find tokens of civilisation, such as books half-remembered from childhood or magazine photos of Arthur.

In this novel, material objects are repositories of memory. Trivial objects attain an intense significance to people once they become scarce. One of the older characters sets up a Museum of Civilisation, in which items such as laptops, phones, shoes and newspapers are preserved. The importance of the museum is to keep the memory of the former world alive, both for those who knew it and those who never experienced it. The book has an elegiac tone and creates a distance from the present-day world that made me see it as more precarious.

In fact, the novel really succeeded in making me imagine what it would be like to live in a world where modern civilisation had disappeared. It is always implicit in the novel that it would be impossible to communicate with anyone elsewhere in the world, and that without the internet or even a postal service, you would never know what had happened to people you were separated from at the time of the pandemic. I think for me this is the most striking aspect of this imagined world.

Although it is disturbing, I felt the novel also imagines a certain beauty in a post-technological age, describing how, following the pandemic, plants and animals start to encroach on the built environment humans had created, or how the stars appear much brighter at night. It creates parallels with the Shakespearean age, when plague frequently swept through London, and makes it seem appropriate that the Travelling Symphony perform only Shakespeare plays to their audiences. Nevertheless, I agree with other reviews I have read that it is strange that no one seems to create any new art or music after the collapse. I don’t know if this is a deliberate decision by the author, to show that people would concentrate on survival to such an extent that the creation of art would be an impossibility. Another unexpected aspect of this world is that traditional religion seems to be almost entirely absent, and in its place new cults have emerged in certain settlements. Again, the novel never mentions traditional religion so I wondered if its disappearance was something the author felt would be inevitable in these circumstances.

The post-pandemic world begins as a violent and dangerous place in which many people are killed and those who survive are traumatised. However the novel keeps returning to the fact that, after twenty years, the world is becoming kinder and more civilised again. I felt that the author sees civilisation as a strong, perhaps innate, human impulse that can survive almost anything. Even with the limited resources they have, people start newspapers, libraries and, of course, the theatre of the Travelling Symphony. I don’t describe it well but in the novel it is a very moving and powerful theme. There is almost the sense that a new cycle of history is starting, which will rebuild what has been lost.

Perhaps because there was such a large cast of characters, some were memorable, while others, such as Kirsten’s friends in the Travelling Symphony, weren’t particularly distinctive. I felt sympathetic towards Kirsten, who is perhaps the character the reader identifies with and follows the most. Jeevan, a paparazzo who photographs Arthur, was one of my favourite characters, as I found him likeable and the scenes involving his brother Frank moving. I also found Clark, Arthur’s friend, very sympathetic. Although I enjoyed the flashback parts of the novel, I never particularly grasped what everyone saw in Arthur and was unsure whether he was powerful enough as the central pivot for all the other characters. To me, Miranda was one of the most interesting characters, an artist and very private person who I felt prioritised her art and internal, imaginative life above everything else, organising her existence so she could concentrate on the creation of her new world.

Overall, I would recommend Station Eleven as a beautiful and unsettling novel that lives in the memory long after reading.

lucia-berlinI hadn’t heard of Lucia Berlin before picking up this book but soon became engrossed in this collection of vivid, moving and surprising short stories. The author was born in Alaska in 1936 and lived in Chile, New Mexico, California and Colorado, places in which many of her stories are set. A Manual for Cleaning Women is a selection of stories published between the 1970s and 1990s. Although she was appreciated and celebrated by readers during her lifetime, it seems that this posthumous collection has brought her to a wider audience and greater acclaim.

I really liked this book and read most of the stories over a few days. Because some of the same settings, characters and themes appear repeatedly in the stories, I found I read the book as quickly as a novel, while still appreciating the impact of each story on its own. Set mainly in Chile, Mexico and the USA, the stories mix realistic detail with the unexpected, and certainly took me, as a reader with no experiences of those places, into a different world.

Some of the stories look back to unconventional and sometimes difficult childhoods and adolescence (Stars and Saints). Others are set in adult life, veering from the glamorous and adventurous to the precarious or lonely, or encompassing all those within the same story. Some describe the experience of alcoholism in an ironic and self-aware way (Her First Detox, 502). Often the stories explore the protagonists’ experiences at work, teaching, nursing and cleaning, in a witty and absorbing style (Emergency Room Notebook, 1977, El Tim).

One of my favourite stories is Toda Luna, Toda Ano, about a woman who travels to Mexico after her husband dies and joins a group of locals who teach her to dive. I also thought Here It Is Saturday, a story about a creative writing class in prison, was brilliant, for its dialogue, wit and emotional impact. Good and Bad, a story about a wealthy teenage girl and her Communist teacher, was also memorable. A few of the stories are very sad, especially those about grief, and the author doesn’t go for the sentimental or easy resolution. At other moments she somehow captures happiness and vitality in a story’s vivid details.

I’d describe the writing style as plain but evocative. The stories are often written in a first-person and colloquial narrative that is intimate and amusing. I have read that Lucia Berlin has been compared to Jean Rhys and Raymond Carver. I can see the truth in both of these comparisons but also think her way of looking at the world is very original. I would highly recommend this anthology.

I would like to think that books, like people, can be extroverts and introverts; if that is the case, Peter Hobbs’ novel The Short Day Dying is definitely an introvert, concerned with an inner life and a man’s private experiences of the world. Published in 2005, it is a very quiet book which faithfully records the thoughts and feelings of the main character, Charles, a young blacksmith and lay-preacher living in a remote coastal area of England in 1870. Not quite a diary, it does have the feeling of a personal journal, recording changes in Charles’ life as he passes through the seasons of a year.

Charles works during the week in the forge and on Sundays he travels across the country to preach at small, almost deserted chapels in the wild country where he lives. He pins up biblical tracts in the hope that they will inspire people, despite the decline in the importance of religion to people’s lives. He also visits the sick and one person in particular becomes very important to him, a young blind girl called Harriet, who is suffering from a serious illness that is never defined.

Charles visits Harriet’s family regularly and begins to look forward to the time he spends with Harriet, talking or just sitting with her while she rests. He is inspired by her religious faith, which he comes to realise is stronger than his own despite all her suffering in life. His visits to her are moments of happiness in his sometimes arduous and wearying life. It is easy to realise how Charles feels about Harriet even though he never says it. Although, as I said, the book is introspective, Charles is still something of a mystery to himself and sometimes the reader can see or sense what Charles would never put into words. The book is full of emotion both expressed and unexpressed.

Reflecting the introverted nature of the book, we see all the characters through the way Charles experiences them and his feelings about them; therefore they are always at a slight distance from us. Charles’ family lives far away from him and although he is always intending to go and see them, pressures of work keep him away. However, he often meets his elderly godfather, Mr Pendray, who always shows him kindness and guides him through difficulties. Mr Pendray has dedicated his life to the church after being converted from a life of alcoholism. Charles knows that because of everything he has experienced, Mr Pendray understands far more than he does. ‘He knew sorrow for things beyond my imagination’. Charles’ childhood friend, James, another preacher in a different part of the country, also visits him and they go for long walks along the clifftops together. James is Charles’ main confidant, even though he keeps his deepest feelings to himself.

Hobbs’ writing about the landscape is very beautiful. It contains wonderful, dramatic visual descriptions and conveys how much the natural world means to Charles. This was something I loved about the book, the way I could imagine the wildness of the moors and the sea. The passage below also shows you the unusual way the book is punctuated, as if to recreate Charles’ speaking or thinking voice.

The farmland fell behind us and the land changed we came onto the cliff and I first saw the sea it were a beautiful thing a fine living cloth spread out to the horizon. I could not believe it were so vast. A deep shifting blue richer than the sky. The smell of salt so keen I could taste it on my tongue. The sight awed me furnished a view which has burned in my memory these years. It felt as though the scene had been waiting for me a long time.

To Charles, the landscape forms part of his religious belief and is a way of viewing God all around him. This was an aspect of Charles’ character that I could feel sympathy with.

That the trees are brought to breathe by his divinity in them that the very life of us all is that part of his Nature which he has provided us. Men who are impoverished in the spirit and much afflicted by doubt go to search for God in dry books or close themselves off in thick-walled churches as if he hides there well their blessings are few if they cannot see evidence of him in all things.

Charles has a critical side to his character and he complains to himself about people’s lack of religion and sins such as drunkenness. I suppose in this way he is quite unusual as a character in modern fiction. He is less judgemental than his father and grandfather, who were also both preachers, and he can understand why people break the rules of religious observance because he also has the same desires himself. I thought that many of his more hard-hearted feelings towards other people were caused by the depression that afflicts him; as depression sets in, Charles’ attitudes and feelings change and his work inspires him less and less. As the novel is set in the nineteenth century and the feeling is suffered by an extremely private person like Charles, it is never called depression or given any name at all. But the presence of despair in his life is very cleverly suggested through his interactions with other people and, in more lyrical passages, it is beautifully described.

The darkness in my heart is a disc that matches the size of the sun seems to obscure the bright light. It came to me as a friend the darkness to embrace me. Stood by my side and rested an arm across my shoulders as though it knew me.

Darkness in the novel is partly related to the passing of time, which is something that Charles frequently feels anxious about. He is always concerned about the shortness of his life  and making the most of time. I also wondered if the gathering darkness was related to the disappearance of religious faith from the country Charles lives in and the decline of the mines which is causing poverty and weariness among the people.

But they will hollow out the earth until there is no more profit in it and what then. The whole land will be empty the old mines in the West are nearly done with they have reached as deep as they can they have uncovered the tin beneath the copper and dug that too. And it seems they have mined from the spirit to a similar extent they have exhausted the life in it so the chapels are also empty.

I would highly recommend The Short Day Dying. It is a unique and beautifully written novel which memorably describes the thoughts and feelings of the main character and the beauty of the coastal landscape.