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3.81 AVERAGE
3.81 AVERAGE
emotional
funny
lighthearted
reflective
sad
medium-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
They think it’s all over: after Jonathan Coe’s venture into Hollywood blockbusters in Mr Wilder and Me, we’re back on familiar ground, the postwar English Midlands and with our kind of people - in fact, relatives of the Trotter family who star in his Rotters’ Club sequence. As a follow on from Middle England, this is sturdy work, covid now added to the litany of modern day ills afflicting the disunited kingdom, all of which are embodied in the dramatis personae of Bournville.
It’s highly readable, with diverting strands taking in Welsh nationalism and the English blank incomprehension at why our fellow Brits might hate our guts, the chocolate wars between the British product emanating from the titular dormitory suburb and its more sophisticated continental rivals early on in UK membership of the Common Market, and a sour take on the 1966 World (football) Cup, portrayed as scarcely the well-organised festival of international bonhomie it’s now commonly commemorated as, these events being framed by the end of the war and various royal occasions. All stand proxy for the loss and nostalgia experienced by the English, even those not born until long after 1945, when contemplating her finest hour. (There’s probably a German word we can purloin for synthetic memories of glory - if there isn’t may I suggest Vollmelkshokolade?)
Coe is very good at this state of the nation articulated through the minor sadnesses and calamities that befall individuals and families thing, and some of Bournville clearly stems from his anger at the way our government handled the pandemic leaving people like his own mother to die in isolation; indeed Boris Johnson appears, early in his career, as a minor and disreputable figure, perhaps how he’ll be remembered in the long run. It’s too early for a full or in any way comprehensive disinquistion on the pandemic and its fallout, but this is an excellent interim report.
It’s highly readable, with diverting strands taking in Welsh nationalism and the English blank incomprehension at why our fellow Brits might hate our guts, the chocolate wars between the British product emanating from the titular dormitory suburb and its more sophisticated continental rivals early on in UK membership of the Common Market, and a sour take on the 1966 World (football) Cup, portrayed as scarcely the well-organised festival of international bonhomie it’s now commonly commemorated as, these events being framed by the end of the war and various royal occasions. All stand proxy for the loss and nostalgia experienced by the English, even those not born until long after 1945, when contemplating her finest hour. (There’s probably a German word we can purloin for synthetic memories of glory - if there isn’t may I suggest Vollmelkshokolade?)
Coe is very good at this state of the nation articulated through the minor sadnesses and calamities that befall individuals and families thing, and some of Bournville clearly stems from his anger at the way our government handled the pandemic leaving people like his own mother to die in isolation; indeed Boris Johnson appears, early in his career, as a minor and disreputable figure, perhaps how he’ll be remembered in the long run. It’s too early for a full or in any way comprehensive disinquistion on the pandemic and its fallout, but this is an excellent interim report.
emotional
funny
informative
reflective
medium-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
Complicated
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
Jonathan Coe has a knack for writing sharp, witty state-of-the-nation novels, and this one is no different. It explores the clash between patriotism and xenophobia through the experiences of one family across seven key moments in English history over the past 75+ years—many of them tied to the royals. Events like the Queen’s coronation and Charles and Diana’s wedding become moments where unlikely groups of people—such as the Indian neighbours or Martin’s Black girlfriend—gather around the TV to watch the spectacle. Early on, Germans are the enemy, then it shifts to people of colour, and later, European bureaucracy.
In true satirical style, the characters represent larger ideas. Geoffrey, the family patriarch, is openly racist, while his eldest son, Jack, is a self-serving Brexiteer. Mary, the matriarch, is an Everywoman figure—she had a fulfilling career as a PE teacher and loves her family, but always wonders what her life would have been like if she had left Geoffrey for a dashing journalist. It’s a sweet nod to how most lives carry some form of regret. But Mary remains a bit of a blank slate, while her sons Martin and Peter stand out more. Martin gets involved in Cadbury’s attempt to expand into Europe, while Peter, a musician, discovers his sexuality later in life.
Coe plays around with different formats—monologues, diary entries, and a long childhood letter (though David’s role felt unnecessary and out of place). Some sections jump between the main action and transcripts of speeches, TV commentary, or government regulations. The pandemic looms over the prologue and the highly personal final chapter, where Coe’s frustration with the government’s hypocrisy is loud and clear. Boris Johnson pops up throughout the novel as the real villain.
The book digs into themes of nationalism, nostalgia, and the way history gets mythologized. I only wish I could have gotten closer to Mary. But overall, it’s a sharp and engaging novel that does exactly what it sets out to do. Its Midlands focus and the "Chocolate Wars" storyline make a nice change from the usual London setting. I especially loved how it dissects Britain’s obsession with the royal family—the chapter on Princess Diana’s funeral felt eerily relevant after the Queen’s death. And while the novel might have felt even timelier a year or two ago, it still captures the weirdness of the lockdown era.
This was a family saga mixed with British social history. At time political (which I liked but not everyone would) and also moving, particularly the final section which covered the time of the pandemic (I was reading it on a train and cried), my criticism would be that at times the writing felt slightly clunky and the story lines a bit contrived. Overall though a very enjoyable read and a solid 4 star from me.
informative
reflective
medium-paced
hopeful
informative
reflective
relaxing
medium-paced
This is less a state of the nation novel from Coe and rather a personal ode to his mother and the years of change she would have witnessed. It is not without allusions to real life figures and events that have marred and scarred the British landscape as Coe uses the most important keystones of recent British history to furnish us with a further story or narrative about Mary, the fictive stand in for Coe’s mother, and her close family.
From VE Day 1945 to the 75th Anniversary of the same in 2020, we view episodes of these lives and how they are touched or even defined by the events of British history. The family dynamics and the background upon which they play out are immensely recognisable with grudges and irritations building over the years. The trauma of Lockdown is revisited in the latter stages of the book and the nightmare came back pretty vividly topped off with snippets of speeches from The Queen and Boris Johnson showing the way Britain lives in thrall to its past and traditions even with the transparency of how much Monarchy and Government truly mean.
On the whole, it isn’t a gripping or stirring book, but hugely readable in the style that Coe has honed over the years with realistic characters therein. Maybe one more for the Coe completists among us.
From VE Day 1945 to the 75th Anniversary of the same in 2020, we view episodes of these lives and how they are touched or even defined by the events of British history. The family dynamics and the background upon which they play out are immensely recognisable with grudges and irritations building over the years. The trauma of Lockdown is revisited in the latter stages of the book and the nightmare came back pretty vividly topped off with snippets of speeches from The Queen and Boris Johnson showing the way Britain lives in thrall to its past and traditions even with the transparency of how much Monarchy and Government truly mean.
On the whole, it isn’t a gripping or stirring book, but hugely readable in the style that Coe has honed over the years with realistic characters therein. Maybe one more for the Coe completists among us.
Charlie is a star! The book is very good on the silences of family life, what is allowed to be said and what not, and who gets to speak.
funny
informative
reflective
fast-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
I really liked this one - the characters were interesting and realistic, even if I'd wanted to spend a bit more time with some of them (and some do appear in other books, I learned at the end). A very enjoyable read, as always with Coe.