What if love were a disease...

Love, the deadliest of all deadly things: It kills you both when you have it and when you don't.

Delrium by Lauren Oliver is a novel set in a dystopian world where the whole of society sees love as a disease one has to be cured of. It is also undeniably a love story. The author repeatedly hints at Shakespeare’s’ Romeo and Juliet and draws parallels to the most famous, yet tragic love story of them all. Oliver creates a world where love has been cursed as a disease. Lena, the protagonist has grown up in this world, and is just a few months away from having her operation to ‘cure’ her from this disease.

Every citizen in America must legally undergo a procedure to ‘cure’ them of the ability to love anyone, even their families. Lena is counting down the weeks and days until she is cured, and will not have to worry anymore, unlike her best friend Hannah, who is completely blaze about the whole concept. Lena is the perfect candidate, and has been practising her answers that she must seamlessly repeat to the judges for months. She is the straight A student, girl next door type, at least, until she catches someone’s eye.

However, Lena has reason to be worried. Her mother was one of the ‘unfortunate’ people who could not be cured, and thus resulted in disgracing the family and tainting their family name. Lena has the ability to love in her blood, which she cannot suppress anymore. Her mother could not face the loss of her husband who she really loved after he died. Lena is taken in her by aunt, and strives to live as closely as possible to the rules and regulations. She tries to do this more so than anyone else her age to rise above the pitying looks people give her.

All love is stripped from this world. After the ‘cure’, couples are then matched by the government, according to interests and compatible rankings. The society is robbed of all empathy and passion, and instead replaced with convenience and ‘relationships’ that are more like business than anything else.

The whole concept of love being a hideous disease is drummed into everyone from a young age, at school, by parents and family and by the government. There is also an official book,  The Book of Shhh, which quotes from are used as epitaphs at the start of each chapter, emphasising the strictness of this society and the official style of them creates the idea that this movement actually happened in a time in history. It also helps the reader believe that this dystopian society could exist. As with other dystopian literature, it can sometimes be unimaginable or unrealistic, but Oliver manages to avoid this concept.

Oliver’s love story is heightened by her beautiful fluid writing. She writes almost poetically which enables the reader to really vividly imagine her scenes and understand the feelings the characters are going through and experience, most of which are almost impossible for us to imagine.

Overall, this book is probably more of a teenage futuristic romance; however the concept is intriguing and rather stimulating. Let’s just hope the world never ends up like this. After all, it is love that makes the world go round. 

Toby's Room.. War and Art.

Pat Barker’s latest novel Toby’s Room revolves around the unravelling tale of Toby Brookes’ suspicious death. He was pronounced ‘Missing, Believed Killed’ whilst serving as a doctor in the First World War. It becomes his younger sister Elinor’s obsession to reveal what really happened to her beloved sibling as she believes it is a cover up story. However, Toby’s death is not the central theme of the novel; it also discusses how art can be used as a cathartic relief from war by many of the characters, male and female.

The title echoes Virginia Woolf’s Jacob’s Room, and is written partly in tribute, although they are not similar novelist. Woolf’s 1922 novel is in memory of her brother, who died young, and is written in the aftermath of the war in which so many millions of young men were killed. Its central female character is a woman painter, a pacifist who is trying to remain outside the war. Her novel shows how unsparing and rigorous war art can be.

There are three interlocking main subjects of this novel: what has happened at the front to Elinor's brother, Toby Brooke; how a woman artist responds to the war; and – the strongest part of the book – how to treat, and look at, and not turn away from, the ruined faces of terribly injured veterans.

The novel begins in the summer of 1912 when Elinor, a student at the Slade School of Art, travelled from London, back to her childhood home. Her parents lived largely separate lives; her mother staying in the country for her health while her father’s life revolved around his club. Her elder sister, Rachel, was distant and critical of the choices she had made. But Elinor was close to her brother, a little too close. Something happened between them that summer that changed their relationship, and shook Elinor.

The novel really starts to unravel in Kit Neville’s, an injured soldier who was also a painter, morphine fuelled dreams, nightmares and unconsciousness. He re-lives the harrowing time spent at war and in doing so slowly reveals the secret that he has kept about Toby’s death.

Toby’s Room revolves around the same bases as Barker’s previous work, especially her well known trilogy, Regeneration, set in Craiglockheart hospital, as it is a novel about middle class men in War and how they use the arts to heal their wounded souls and bodies, especially from shell shock, but predominately, their traumatised minds. Siegfried Sassoon and Wilfred Owen mediated their pains and experiences of war through writing poetry and are encouraged to talk about their experiences in order to free their psyche of the recurring nightmares that drag them unwillingly back to the war.  However, the characters in Toby’s Room are the men who survived the war and the women left behind who must cope. All of them use art to do so; drawing and painting portraits and landscapes.

Tonks, the man who taught the majority of the characters, Elinor, Catherine, Neville and Paul, uses his gift in the only way he feels he can help the men of war, by drawing their facial injuries before and after their surgery at Queen Mary’s facial hospital. His cathartic use of art differs vastly from Elinor’s use; hers is selfish. After Toby’s death Elinor escapes inside the walls of her family home alone and paints the landscapes she shared with Toby as children, as she vowed she would in the event of his death.

Tonks's drawings are medical illustrations, and also artworks. After Neville’s nose is blown off, he becomes one of the patients at the hospital, and a subject for what Tonks calls his Rogues Gallery. The treatment given is to fit a "nose pedicle" – flesh taken off the man's chest, rolled into a tube and sewn on to the face – and to wait to see if it takes. Often, it doesn't: one man in the hospital has had 23 operations. When he gets back to working, Kit paints futuristic, mutilated machinery. Paul, as a commissioned war artist, paints landscapes but "the landscapes are bodies".

Toby’s bedroom becomes a shrine to him for his estranged sister. It stopped in time from when he was pronounced dead, as if by not touching it, it would perhaps bring Toby back, or at the least preserve him in some vain hope.

Finally, the truth is revealed in a climactic scene with Kit Neville during a violent storm in a Suffolk village, whose marshy landscape reminds him of Ypres (a replay of a very similar scene in Regeneration). These personal stories, which also involve the victimisation in wartime of Germans in England, and of pacifists and homosexuals, give the book a strong and intense plot-line.

Everything is recorded in Barker's incomparable third-person free indirect technique, slipping in and out of characters' thoughts that "floated to the surface ... and burst like bubbles": cool, assured and virtuosic. The interpolated diary elements add little to this intimate address.

This is an insightful novel showcasing one facet of war that was not and since, has not been covered much, yet it was not as strikingly powerful as Barker’s trilogy. Barker’s new angel of focusing on the room itself, as opposed to the affects the art has on the men suffered in war could be behind this feeling. Barker’s inclusion of a link www.gilliesarchives.org.uk to Tonk’s real drawings at the back of the book, reminds the reader that the novel is based on reality. It is insightful and horrifying to see these drawings, but extremely worth looking.

Carving Up Society...!

Jonathan Coe’s latest novel, What a Carve Up!, ambitiously satirises English society in the decade of greed under Thatcher’s control. Coe uses the grotesque members of a beastly upper class family, the Winshaws, to ridicule society of the time. They each have one of their greedy fingers in each of the pies which constitute the society they endeavour to ‘carve up’. Ultimately their morals, or rather lack of, catch up with them as meet their unsuspecting yet fitting comeuppance at the reading of their father’s will in their family home in Yorkshire.

What a Carve Up! is Coe’s first ‘long’ novel, which differs from his earlier work not only in length, but also in complexity; all of his previous work has been less multifaceted. What a Carve Up! interweaves various characters together, who stretch right back to the Second World War, where the centre of the history of the Winshaws begins with the death of Godfrey Winshaw. Godfrey’s sister Tabitha later pronounced mad, claims his death was due to the conniving plan of their brother Lawrence. The novel then moves right up to 1990 to Michael’s present day life, climaxing in the first section on New Year’s Day 1991; a new era without Margret Thatcher.

Michael Owen, a middle aged writer finds himself coincidently, or so he thinks, writing a history of a certain family; the Winshaws. He begins to realise, after putting the pieces and events of his past and present together, that he is not as detached from the Winshaws as he once thought, he is not simply writing their family history; he is in it. He was specifically chosen by Tabitha Winshaw the supposed mad Aunt of the six siblings that ruin the British society, to write this family history for a very specific and personal reason.

Coe’s every thickening plot differs to his previous works which mainly consists of basic humour as opposed to how he satirises society in his latest novel. The extent to which he clearly criticises society in this novel is indicative of his feelings towards the Conservative government.

His previous novels collectively are humour based, but this latest book sees Coe use satire to expose the money grabbing antics of the upper classes during a difficult period in English history. His characters are selfish, cruel, uncaring and more often than not, inhuman. Mark Winshaw’s materialism is evident when a bomb intended for him explodes in his car; killing his newlywed wife. Yet he appears to be more concerned by the damage the car has endured rather than murderous death of his newlywed wife, which to add salt to the wound, he describes as only having been “useful”!

Not only is Coe’s plot complicated through the amount of characters and interweaving stories, but he is also highly adventurous with his use of narrative. The use of a shifting range of narrative form grasps the reader’s attention from the offset. The range of narratives he uses is vast; including first person, manuscript, tabloid newspaper article, diary entries, TV manuscripts and third person. Shifting narrative form like this all adds to the fast paced over-the-top fragmented image of reality that Coe is trying to create. Coe uses these forms clearly in an uncomplicated way to work well in the novel; the plot is so fragmented that a single narrative approach would not have worked, or perhaps not as well as this multitude does.

The title is perhaps the biggest signpost that the novel encompasses more than one story and meaning and Coe uses it skilfully to mean many things. Not only does the title mirror the fact that the novel is a re-make of the 1960s film of the same name, but it also reflects the regimented structure of the novel itself; therefore ‘carving’ up the novel. Coe uses a prologue to introduce the Winshaw family history to the reader and to set the scene. The main story is then told in ‘Part One: London’ where Coe alternates the focus of the chapters between Owen and a different Winshaw.  He then employs Part Two ‘An Organization of Deaths’ to detail the reading of the father’s will. Lastly, he ends with the preface of Owen’s Family Chronicle of the Winshaws, ironically where it all started.

Coe cunningly introduces each chapter with a caricature of the Winshaw relevant to the chapter. These Tenniel like sketches represent the whimsical nature of the characters, much like that of Alice in Wonderland, albeit a little over the top. It helps give the reader a physical idea of each character, even though it is obviously Coe’s way of offering a comical image to the reader to aid his satirical devices. 

Coe carries the ’carving up’ metaphor from the title and uses it to document the careers of the Winshaws throughout the novel. The Winshaws personify satire with their corrupt careers as they bridge the gap between appearance and reality as their occupation choices reflect their gluttonous lust for money and power. There is Dorothy producing super low cost food from battery farms, which she refuses to eat herself, Henry the MP who dismantles the NHS, Thomas the merchant banker who trades favours with Henry, Mark the arms dealer, Roddy the art dealer who only sees money and not art and Hilary the tabloid columnist who writes what she thinks people want to hear.

 Each Winshaw presents themselves in society as something they aren’t. Hilary poses as a loving woman who adores children; except when it comes to her own. In an interview just after she has given birth to her first child, Hilary claims she wants to spend as much time with Josephine as possible, only to moan after the interview “Now, what’s the matter with it” when Josephine starts crying.

This novel is the first of Coe’s to win a literary prize, the John Llewellyn Rhys Prize, the second oldest prize in the UK, therefore sealing his reputation as a writer. As the novel is a satire, there is an obvious moral message behind the humorous patchwork of the plot; greed is bad. At times, Coe does appear to be preaching this moral message a little too often, although this can be attributed to the (occasionally) over the top satirical style that he uses.

However, one question that can arise in the reader’s mind after reading the novel surrounds the character of Michael. Although he is the protagonist, at times one is left wondering whether or not he is strong enough for this prominent role. He is, for most of the novel very passive. He spends most of his time staring at his television, or rewinding his VCR to ‘that’ all important moment in the film What a Carve Up!, wasting away his life. But for Coe this seems to be a recurring theme, as in his first novel, The Accidental Woman, the protagonist Maria is also a passive, companionless and motionless woman. Robin in A Touch of Love also shares these characteristics. Michael appears to evolve though, as he manages to carry the role in the end, when he realises the truth.

 Although the novel is bursting with politics, the embedded satire suppresses the political anger as opposed to building it up and therefore the feeling released by the reader is laughter opposed to the reader substantially engaging with the real political state of affairs, which is ultimately what Coe is trying to do, although he subtly hides these ideas with the essence of laughter. Coe’s politics are authentic, detailed and not too obtrusive; his novel manages to attain the right level that is needed.

If you have enjoyed Coe before, you will certainly like this extended work– or if you are one to dabble in the thought of reading a politically satirical novel, then don’t hold back on this one.

The Other Hand by Chris Cleave is a thought provoking, and rather philosophical novel entwined with complicated relationships.

After reading the blurb and quotes on the back of the novel, I was somewhat dubious about this book as they were far too over the top for the novel, and, once I finished the book, I stood by my first thoughts. However, I did actually find myself quite gripped my this novel, even though I think it is more of a holiday novel.

The two female protagonists, Little Bee and Sarah take it in turns to narrate each chapter. Sometimes the distinct separation between the two women is lost, and the author appears to want to draw strong parallels between them. On the surface, this seems impossible as Little Bee is a teenage girl from Nigeria who has fled her country after her family were brutally murdered victims as a result of an oil war, and she is now an illegal immigrant. Sarah, "on the other hand", is a young married woman, the editor of a popular culture magazine and a mother; their worlds could not be further apart.

 However, the similarities that Cleave draws upon are the human feelings such as putting someone else first and freedom. Sarah claims the reason for her affair is for freedom. Her freedom is for time away from her husband, a mental freedom. Little Bee's freedom is a necessity of fleeing a dangerous country where if she was to return to, she would be killed. Their desire for freedom cannot be assessed on the same scale.

It becomes easy to forget that Little Bee is actually so young. She has learnt the "Queen's English" as she believes it will save her once she is released from the detention centre. Her philosophical thinking also becomes the basis of the novel which is revealed when Sarah and her husband Andrew meet on a beach in Nigeria. Andrew's inability to put a stranger before himself is the catalyst that sets the philosophical outlook Little Bee retains for the rest of the novel, which in places is endearing and others extremely touching.

Cleave's writing style is sarcastic and most characters become cynical about life, but it is something the reader can relate to and retains the seriousness of the situation. The mysterious beginning and setting is intriguing, and unfolds well, yet when the mystery is revealed Cleaver slightly loses his grasp of the plot and it loses its way and becomes somewhat weak, especially towards the end of his novel. The mystery created was not too intense for the situation, but was aided with short punch sentences that creates suspense in the right places.

This is a novel about the decision to give your life, in more than one meaning, to save another. Bee's final decision summarises the novel beautifully, "I first thought, of course I must save him, whatever it costs me, because he is a human being. And then I though, of course I must save myself, because I am a human being too".

First Blog! - How literature literally saves lives.

Well, here it goes, my first blog!



Lloyd Jones' book Mister Pip reassures us that literature and more specifically, the classics can still to this day here and around the world, be life changing and awe inspiring. One of the novel's key messages is that education is the key to saving one's life. The novel is based around Charles Dickens Great Expectations and is framed by the retelling of the story to school children. When the book is destroyed, the children, and one in particular, become obsessed with remembering the story in order to write it down again as if it will save them and their island in more ways than one.

The protagonist Matilda is a young girl living on Bougainville island, who is caught in the middle of the war that inevitably rips her life apart. Her life is changed by a white man named Mr Watts and the only book on the whole island; Great Expectations. Mr Watts starts a school on the island, and reads Great Expectations to the children. Matilda finds a special connection with Pip, and her life ends up following a similar path. She escapes the war after losing her beloved Christian mother and, sadly, Mr Watts too. Yet she has learnt and loved literature enough for it to save her. She is finally reunited with her father in Australia and her determination allows her to educate herself. Matilda goes on to New Zealand,Mr Watts home land, and goes to the trouble of finding his wife to tell her what became of Mr Watts, but finds herself with a lonely , slightly bitter woman who has tried to forget his existence in order to ease her pain, and decides it would be more decent of her not to reveal the atrocity that became of her husband.

Lloyd writes a heart warming novel, that in turn shocks and horrifies in parts, along with twists and turns. I enjoyed Lloyd's  natural writing style and simple tone. He highlights childhood innocence, but not in a way that mocks or patronises islanders. He is successfully able to portray a young girl who retrospectively looks back on her traumatic island life in a way that is believable and sympathetic.

I love how this one English classic book is responsible for so much in this one short book. Dickens, a man that Matilda has and never will meet, literally saved her life with his words. Near the end of the novel, Matilda explains, "I point to the one book that supplied me with another world at a time when it was desperately needed. It gave me a friendship in Pip." I hope most people can remember that one book that made them fall in love with literature, and perhaps even, saved their life.