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desterman's review against another edition
4.0
Graham Swift's interesting little novella, Mothering Sunday (2016), was recommended to me quite a while ago. Set in 1924 in the English countryside, the protagonist, Jane Fairchild, is a housemaid to the Nivens - a kind couple whose staff have been reduced since the death of both their sons on the battlefields of France in World War One. Jane is an orphan and so on "Mothering Sunday" has no one to visit and nowhere to go. After being bestowed some additional pocket money by her benevolent employer she considers the day her own to do with what she sees fit - perhaps a long walk or time spent reading a book. At the same time, the Nivens are planning to meet with the Sheringhams and the Hobdays whose son and daughter respectively (Paul Sheringham and Emma Hobday) are to be married soon. The families intend on meeting in nearby Henley to celebrate the impending nuptials of their only remaining children, and the subsequent joining of the families.
As Jane prepares to depart, she receives a phone call which changes the course of her day. Jane is summoned to the Sheringham's house as Paul has the morning and house to himself. We discover that Jane has been Paul's secret lover for years, but that their meeting will not only adjust the course of Jane's day but her entire life. Jane will become a writer and continue to reflect on this day as the start of her journey down this path.
Essentially a short story, the novella just managed to engage and hold my attention for the duration. The lightness of the beginning of the story turns deftly to darkness with the arrival of the unforeseen tragedy that interrupts what begins as a seemingly ordinary Sunday. The writing is very English - contained, yet elegant and thoughtful. There is a strange sense of foreboding throughout, but also aspects of humour, romance, and eroticism. It's a well-crafted examination of the nature of fiction, but also the way writers hone their craft through observation and reflection, carefully choosing what to include and omit. Thematically it tackles the unpredictability of life, intimacy, loss, and grief, as well as the small moments that can completely pivot one's intended direction. There are lots of tropes of the fairy tale genre used too, which causes further consideration of Jane’s musings on where story telling really begins for us – in childhood, or is it awoken in us when we begin to become the lead protagonist in our own life story?
As Jane prepares to depart, she receives a phone call which changes the course of her day. Jane is summoned to the Sheringham's house as Paul has the morning and house to himself. We discover that Jane has been Paul's secret lover for years, but that their meeting will not only adjust the course of Jane's day but her entire life. Jane will become a writer and continue to reflect on this day as the start of her journey down this path.
Essentially a short story, the novella just managed to engage and hold my attention for the duration. The lightness of the beginning of the story turns deftly to darkness with the arrival of the unforeseen tragedy that interrupts what begins as a seemingly ordinary Sunday. The writing is very English - contained, yet elegant and thoughtful. There is a strange sense of foreboding throughout, but also aspects of humour, romance, and eroticism. It's a well-crafted examination of the nature of fiction, but also the way writers hone their craft through observation and reflection, carefully choosing what to include and omit. Thematically it tackles the unpredictability of life, intimacy, loss, and grief, as well as the small moments that can completely pivot one's intended direction. There are lots of tropes of the fairy tale genre used too, which causes further consideration of Jane’s musings on where story telling really begins for us – in childhood, or is it awoken in us when we begin to become the lead protagonist in our own life story?
automne's review against another edition
dark
hopeful
informative
inspiring
reflective
sad
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? It's complicated
4.5
ann_223's review against another edition
reflective
tense
slow-paced
- Plot- or character-driven? A mix
- Strong character development? No
- Loveable characters? N/A
- Diverse cast of characters? N/A
- Flaws of characters a main focus? No
3.5
geowilmer's review against another edition
4.0
Mothering Sunday bases a lot of its initial set up between the unspoken moments, instead Swift creates a world in which you feel utterly immersed and frustrated at the characters lack of action; nobody acts on their internal feelings, similar to that of Normal People.
It captures a post war sadness with tentative tip toes around death, loss and love, and the surviving youth living up to the expectations of their parents. A thought that I had whilst reading this, is that, all of the characters must have loved so greatly before the First World War, that now they're too scared to express it again. That classic British tripe of lack of expression!
The plot shifts later in the novel to a significant moment, that grips the reader, contrasting greatly to the slow pace of the language that went before. Swift uses flashes forward to where the reader finds our heroine and ultimately accesses some likability, and (although short-lived) happiness.
It engages class, social politics and feminism in the form of sexuality, equality and education. I started reading this novel feeling slightly disconnected to the people in the world, but as it progressed I couldn't help but want them to get the ending they deserved.
It captures a post war sadness with tentative tip toes around death, loss and love, and the surviving youth living up to the expectations of their parents. A thought that I had whilst reading this, is that, all of the characters must have loved so greatly before the First World War, that now they're too scared to express it again. That classic British tripe of lack of expression!
The plot shifts later in the novel to a significant moment, that grips the reader, contrasting greatly to the slow pace of the language that went before. Swift uses flashes forward to where the reader finds our heroine and ultimately accesses some likability, and (although short-lived) happiness.
It engages class, social politics and feminism in the form of sexuality, equality and education. I started reading this novel feeling slightly disconnected to the people in the world, but as it progressed I couldn't help but want them to get the ending they deserved.
kikola's review against another edition
sad
slow-paced
- Plot- or character-driven? Character
- Diverse cast of characters? No
3.0
tsadooni's review against another edition
3.0
Very frustrating read, with beautiful prose. The author seems to be holding back the story. it could of been a great Romance/Thriller.
This is definitely NOT a Conradian story *wink wink*
This is definitely NOT a Conradian story *wink wink*
neclinton's review against another edition
3.0
3.5. This was recommended to me by a good friend who is a writer. Though I liked it. I can see why she loved it.
toesinthesand's review against another edition
3.0
This was... Weird. The writing was beautiful and had this dreamy quality to it, you could picture everything but after this one event, nothing happens. It's supposed to be a turning point in Jane's life and you're supposed to see how it shapes her but it just fell flat after that. I felt like this is one of those books I'd read as an English major that the professor would gush over. The writing is great but I must be missing the whole deeper meaning behind it.
kasyahilhorst's review against another edition
challenging
emotional
reflective
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? N/A
- Diverse cast of characters? N/A
- Flaws of characters a main focus? No
5.0
bigbookmaus's review against another edition
3.0
“People read books, didn't they, to get away from themselves, to escape the troubles of their lives?”