What Are You Reading (2) ... and is it romantic?

By Gillian Hamer

So, February is the month of love. Ho-hum. Or so we are told. But in the spirit of all things romantic, in the second of our What Are You Reading articles we touch on love stories in all their guises.

In the hope of discovering a few more masterpieces, or at least adding to our ‘to be read’ pile, Triskele members share our current reads with you - and ask for your latest hot reads in exchange. Please join in the discussion and let's spread the word about some of the great books out there - whether classics or latest finds.

FEBRUARY - What are you reading?


LIZA PERRAT

The Lost Son of Philomena Lee by Martin Sixsmith

Not a romance in the true sense of the word, but plenty of love features in this true and tragic story of an unmarried mother whose son was forcibly adopted (stolen and sold) from Ireland in the mid-1950s.
The story follows firstly her atrocious experience with the nuns in the Irish convent, then the son's life adopted life in the USA, where he becomes a high-level Republican worker for Pres Reagan. His search for his mother and her search for him expose the crimes of the Catholic Church concerning forced adoptions. This books certainly pulled on my heartstrings far more than a classic tale of romance.



JANE DIXON SMITH

The Virgin's Lover by Philippa Gregory.

The title says it all and the cover is very pink ... It follows Elizabeth I as she finally ascends the English throne, with many pushing for her marriage to secure the future of England. Her eye is on Robert Dudley, but as always, everyone at court is jostling for power and there are enemies in every corner.





GILLIAN HAMER

Eleanor Oliphant is Completely Fine by Gail Honeyman

Again, not a traditional romance, but there is love in there, mostly of the 'unrequited', 'unexpected' and 'search for unconditional' varieties. This is a cleverly written novel from the perspective of a character who sees the world through very different eyes than most, and survives each day the only way she knows how ... because no one has ever shown Eleanor Oliphant how to live rather than simply survive. When the layers of her life are slowly revealed, the reader is dragged through every emotion possible.
Romance? Possibly not. But Valentines is probably a good time to read it to help you appreciate the good things in life.




 
J.J. MARSH

Mythos by Stephen Fry.

Mythos is a retelling of some Greek myths by Stephen Fry and it is most definitely romantic.
Fry’s urbane tones shine through as he tells legendary tales of passion and drama, and reveals all kinds of quite interesting facts in his footnotes.
Entertaining, educational and filled with genuine love for a good story.



CATRIONA TROTH

Sofia Khan Is Not Obliged by Ayisha Malik

Sofia Khan is a totally recognisable, flawed, modern young woman. She wears skinny jeans, smokes, swears, has issues with deadlines and agonises about getting fat while scoffing muffins and lemon puffs. So far, so Bridget Jones. On the other hand, she wears a hijab, doesn’t drink alcohol, prays five times a day and has no intention of having sex before marriage. And Sofia and her friends have to deal with things Bridget could never have imagined - from Muslim speed dating, to deciding whether it’s okay to become a polygamous second wife. As for emotional blackmail, Muslim aunties take it to new heights.

But Sofia Khan has something BJD never quite achieved – a sense of real heart. Do not expect this to end with Sofia ripping off her hijab and going on a binge. Nor with her settling down to be a ‘traditional’ submissive wife. This is about how you can be modern, independent, strong-minded – and still a faithful Muslim. Something most Muslim women have always known; Malik is just letting the rest of us in on the secret.

BOOKCLUB: The Keeper of Lost Things by Ruth Hogan

This month on the Triskele Book Club, we're discussing The Keeper of Lost Things, by Ruth Hogan.

About the book: Once a celebrated author of short stories now in his twilight years, Anthony Peardew has spent half his life collecting lost objects, trying to atone for a promise broken many years before.

Realising he is running out of time, he leaves his house and all its lost treasures to his assistant Laura, the one person he can trust to fulfil his legacy and reunite the thousands of objects with their rightful owners.

But the final wishes of the 'Keeper of Lost Things' have unforeseen repercussions which trigger a most serendipitous series of encounters...

Discussion:


I thought there was something completely captivating about this novel from the first page to the last and couldn't believe it was a debut novel. What appealed to you about Ruth Hogan's style?

(GH)  I think the feeling of confidence that comes from 'good' writing, whether a debut novel or not. Confidence in the story, confidence in the characters, and confidence to deliver a satisfying read to their audience.

(JJ) I agree about the confidence. There's a gentle rhythm to the way she writes and you just know you are in good hands.

(LP) I enjoyed Ruth Hogan's charming, fairytale style of storytelling; the way she quietly moves you.


I would class this as my 'comfort read' of 2017 so far - did you feel the same?

(GH) Yes, although I came to the novel believing it would be quite a sad read, touching on love, loss and grief. And while there was certainly elements in there, it also had numerous touching and moving moments, glimpses of humour and jealousy, and a lot of happiness and awakening of minds. A real balance that couldn't help but put a smile on the reader's face.

(LP) Yes, I found this a quite a soothing kind of read, the heartwarming moments nicely balancing out the tragic moments.

(JJ) Exactly. Very human and although it takes in the sadness of loss, it was uplifting and left you feeling positive towards the rest of the species.


Although this is essentially a story of loss - from Anthony's wife to the assortment of lost items - it is also a 'feel good' book with more highs then lows - which is a clever balance. How do you think the author achieved her goal?

(GH)  It felt to me that the reader simply connected with her characters and let them get on with telling their story. That may sound simple, but it is anything but. However, I feel the writer was so in tune with the novel that she let the highs and lows write themselves. If it feels right to the author, it will feel right to the reader, and everything fitted perfectly in place here.

(LP) Yes, I did relate to it more as a "feel good" book, perhaps because of the clever, quirky moments, in particular with Sunshine, some of which were "laugh out loud".

(JJ) Well yes, there is loss but also recovery or at least learning to live with the absence. Plus the characters handle their misfortune in many different ways. Sunshine is certainly an endearing personality and wholly unpredictable.


The author examines many sides of human nature, using the lost items as a catalyst for each story, which I thought was uniquely clever. Did you enjoy this narrative - and could you name another book with similar structure?

(GH) I really enjoyed the narrative structure. I liked how the 'lost things' became plot points. And one of the main reasons I liked it was the uniqueness. I cannot think of a similar book!

(LP) Yes I too loved this unique narrative and can't think of another similar book.

(JJ) I've read/seen stories which feature items threading their way through different peoples lives, but not across such a range of time and place. The structure was perfect, with each sub-story retaining its own atmosphere.

Which was your favourite character - and why?

(GH) I'd like to say Sunshine but that's probably a little unoriginal. So, I'll say Anthony Peardew because without him there would be no story.

(LP): I didn't have a favourite. They were all enjoyable, unique and interesting in their own way.

(JJ) Eunice, I'd say. From a modern-day perspective, you could say she's not a great role model, but I admired her quiet dignity and generous heart.


The author carefully handled Sunshine as a character, not shying away from her Downs' Syndrome, but using it as a positive rather than negative trait. Did this work for you?

(GH) Sunshine lived up to her name. She brought an unpretentious quality to the story. Her simple honesty and genuine highs and lows were refreshing against the muddied lives of the other characters.

(LP) Very much so, as Gillian says, her child's innocence was a welcome break from the sadness.

(JJ) And rightly so. There's no self-pity in Sunshine, but a huge optimism and expectation of welcome. I thought she was great fun and a good lesson to many of us.


There was an element of the supernatural, particularly centred around Sunshine, that added an unexpected layer to the story for me. Did you feel the same?

(GH) I liked it but then I like books with an extra paranormal edge, and to be honest it felt perfectly natural to me that Sunshine would have a connection with the lost things. I felt as if Anthony always knew this, and it was all part of his big plan.

(LP) This was the only element of the story that I didn't really relate to. I found it a bit intrusive and not really necessary. However, it certainly did not spoil the story for me.

(JJ) I tend to agree with Liza there. The positive, moving-on thrust of the book was imbalanced by that particular thread. But we can't all love every element or it would be very dull.


There was little use of location in the book, except for Anthony's home, Padua. Did the description of the house and garden bring the setting alive to you?

(GH) I'm usually a big advocate of the use of location within a story. But Padua is the focus of the story so it didn't detract here.

(JJ) Padua would be my second favourite character. That's what got me looking for all the Shakespearian allusions, too.

(LP) Yes, I certainly felt "at home" at Padua, and could imagine it clearly in my mind's eye; even smell it!


One of my highlights was the mini stories inside the main plot - essentially the story of the lost things - did you enjoy these breakaway insights or did they detract from the main plot for you?

(GH) I loved them! Each little tale brought a smile (or tear) to my face. I thought it was so clever to sit and think about each item and bring to life the story behind it. It was one of most favourite things about the novel.

(LP) I agree with Gillian; I loved them!

(JJ) They were great fun and encouraged the reader to imagine what stories the other objects in Anthony's study might tell. It also relieved some of the  pressure on the main narratives, having some of these side stories to explore.


Many readers may not have heard of Ruth Hogan. Readers of which other authors do you think would enjoy this novel? Why should they give it a try?

(GH) I think it's a tribute to the author and the book that no names spring to mind! But I would say that Kate Hamer has a similar literary style, examining the tiny details and letting the bigger picture come to life by its own accord. But anyone who likes a modern day psychological thriller but with a more gentle pace would appreciate Hogan's writing.

(LP) Despite the fact that this is a very unique novel, a few authors who examine the finer details spring to mind, such as Kate Atkinson, Ann Patchett and Maggie O'Farrell.

(JJ) It does what it says on the cover - it's a feel-good story, perfect for when the nights start drawing in. Hogan's writing reminded me a little of Jojo Moyes in the way she handles emotion. I found it a cathartic read when managing a loss of my own.

Read an interview with Ruth Hogan here.

BOOK CLUB: Magpie Murders by Anthony Horowitz

This month on Book Club, we discuss Magpie Murders by Anthony Horowitz.

About the author

Anthony Horowitz is the author of the number one bestselling Alex Rider books and The Power of Five series. He has enjoyed huge success as a writer for both children and adults, most recently with the latest adventure in the Alex Rider series, Russian Roulette and the highly acclaimed Sherlock Holmes novels, The House of Silk and Moriarty. Anthony was also chosen by the Ian Fleming estate to write the new James Bond novel which will be published next year. In 2014 he was awarded an OBE for Services to Literature. He has also created and written many major television series, including Injustice, Collision and the award-winning Foyle’s War.

About the Book

When editor Susan Ryeland is given the tattered manuscript of Alan Conway's latest novel, she has little idea it will change her life. She's worked with the revered crime writer for years and his detective, Atticus Pund, is renowned for solving crimes in the sleepy English villages of the 1950s. As Susan knows only too well, vintage crime sells handsomely. It's just a shame that it means dealing with an author like Alan Conway...
But Conway's latest tale of murder at Pye Hall is not quite what it seems. Yes, there are dead bodies and a host of intriguing suspects, but hidden in the pages of the manuscript there lies another story: a tale written between the very words on the page, telling of real-life jealousy, greed, ruthless ambition and murder.
From Sunday Times bestseller Anthony Horowitz comes Magpie Murders, his deliciously dark take on the cosy crime novel, brought bang- up-to-date with a fiendish modern twist.

Discussion:

For crime fictions fans, this book is probably the ultimate red herring. Did you come to this book with any pre-conceptions?

(GH)  None at all. I actually listened to the audible version of the book, attracted both by my appreciation of the author (especially his Sherlock Holmes books) and the narrator, Samantha Bond. I had no idea that the main context of the plot was a story inside a story. But I totally appreciated the originality of the storyline.

(JJ) Apart from admiring everything Horowitz does, none. The book took me by surprise and carried me along in both its guises. I too listened to it first but then read it in paperback form. I needed to flip back and forth to remind myself of key clues. The central device is quite a literary sleight of hand, but it's done beautifully here, so most readers will go with the flow.

There was a feeling when reading the novel that the reader themselves was being placed right in the thick of things and used as a character in their own right. Did that feeling come across to you too?

(GH) I did think as I was reading the book that the reader would have far more appreciation of the work if they were crime fiction fans, schooled in the likes of Dorothy L Sayers and Agatha Christie. And as most of us avid crime fans started life in that era of crime fiction, it felt as if we were being included in an in-crowd with lots of nods and winks and Masonic type gestures to make us feel included. However, when it turned out that Alan Conway was actually putting two fingers up to the world that had made him a bestseller, I did feel rather defensive. So, was I included in the story, yes, clearly I had been sucked in!

(JJ) Yes, the reader is very much a character but not necessarily one I identified with. I felt a little as if this was the publishing world term, 'The Reader', which actually means very little. However, as Gilly says, there are all the allusions to classic crime fiction which make readers of crime feel part of the story. The feeling alternates between being included as someone in-the-know and manipulated as the author(s) lead you up the garden path. All these are elements of classic crime.

What do you think are the messages Horowitz may be giving here about authors and publishers?

(GH) I think there's a cross-section of lives on display here, and some of them may be modelled on people the author has met through his career. We see an editor who is committed to her work and her authors, yet feels somewhat trapped by her position. We have an author who feels his real genius is hidden by the restrictions of a publishing world who don't recognise the writer he truly wants to be, and he also feels trapped by the character and books he created. Does he forego fame and millions to write the book he truly wants to write? Although he chose the fame, he hates himself for it and his decision to turn his life around leads to his death. And we have the jealousy and greed inherent in many professions. I'm not sure there are any hidden messages from he author, Horowitz is clearly one talent who is not restricted in his writing, but I am betting one or more of the characters are based on real life.

(JJ) As in the classic central section, Horowitz plays with tropes. In our frame section of the story, those tropes are still there, but updated. He touches on the litfic versus genre fiction debate, takes on populism and snobbery, covers the publishing world with a layer of dust and at the same time, highlights its fragility as artistic endeavour in a commercial world. My favourite mirror trick was looking at the triggers of Conway's imagination. The author's own village, family, neighbours are easily traceable sources of factors in his book. Or are they? This is another favourite reader hobby, to assess how much the writer's real life informs her/his fiction. Another sly smile at the relationship between fact, fiction and interpretation.

So, Atticus Pund and his country house murder. It takes us back to leafy post-war times of Agatha Christie ... looking at the author's interpretation of Alan Conway as a writer - do you think it worked?

(GH) Well, I was just as frustrated as Susan Ryeland to discover the end of the novel was missing so I must have been suitably entertained! I thought the story and characters fitted the period and genre. I suppose nowadays we would tag it as cosy crime. However, even before the denouement of the novel, I did find myself inwardly criticising the writing of Alan Conway. Now, I look back and realise that's exactly what Horowitz intended. He wanted the faux pas in there, the info dumps, the clichés, the pace issues. Conway wanted to come across as all of those things, because he resented being forced to write that way in the first place. And for Horowitz, I can only imagine the level of skill required to deliberately write badly!

(JJ) The striking thing about how the author takes on these two authorial voices is the ability to blend the mechanics of plot with character and setting. The period piece delighted me in so many ways: trains, conversations, details, and slowed-down communication. There is also the innate prejudice of the British towards this odd little foreigner, who suffered his own private battle during the war. The contrasts and similarities with characters such as Poirot are handled with a deft touch.
Yet the painting-by-numbers feel of classic crime is slow in the extreme, yet the reader (The Reader) keeps turning pages because of the characters.

I mentioned the feeling of being part of an in-crowd of crime fiction fans, did you pick up any of the clues dotted throughout the Atticus Punt novel on first read through?

(GH)  Yes, I did. There were lots of mentions of Agatha Christie titles. The 3:50 from Paddington was casually tossed in as a real train journey taken by Atticus's bumbling assistant. There were many nods to Christie's use of nursery rhymes, even the very title is a link. But when Ryeland went through and listed them, I admit I did wonder how anyone could take Conway's writing seriously, but he was very clever in his approach. However, I admit I've never been great with anagrams ...

(JJ) To an extent while listening, but far more so when reading on paper. It's almost as if there's a third detective in this story - the reader, spotting clues and feeling smug at recognising an allusion to those that went before. This is actively encouraged by regular summaries and reminders by Susan's character in particular. It also echoes Alan's own obsession with acrostics and anagrams and clues in plain sight, something I delight in, being a bit of a word-nerd.

What were your feelings about the real-life murder of Alan Conway and the denouement of the novel?

(GH) I enjoyed it immensely. I though Susan Ryeland held her own as lead character and amateur investigator. It almost felt like two stories within one book, but the styles were so different that even though there were echoes in the plot, there was no confusion. The ending was cleverly plotted and believable, and I am glad that after Susan went through to discover the truth, she came through to tell the tale.

(JJ) While I relished the framing device of the contemporary story, I actually preferred the classic village murder story overall. The publishing world and authorial dealing with agents and editors feels a bit too much like a busman's holiday. Yet I can see this is deliberate. Horowitz reminds us all along that we are readers, and getting carried away in a story is to lose one's critical faculties. Getting swept up in the adventure requires resistance and analysis and thought. It's got some of the old Brechtian insistence on distance - a story is a story. Never forget you are reading a crime novel.

Horowitz has a talent for creating characters who although are real enough to step out of the page, are also often incredibly unlikable. It's a difficult task to get a reader to connect with that type of character, how do you think he achieves this?

(GH) I think believability is key. I am a writer and I've known writers like Alan Conway in real life. Frustrated by their own brilliance. And the in-joke is that Horowitz has doubtless known them too. So, although you don't 'care' about him, you care what happens and need to know how his story ends whether good or bad. Also, I think having secondary characters who have flaws but can create empathy in the reader is another reason we stick with the story and have to turn the page.

(JJ) His skill here is by breaking all kinds of writing 'rules'. He switches point-of-view with abandon in the classic story, turning the reader into viewer. We're in everyone's heads, privy to all their thoughts and interpretations, watching a theatre script, not reading a novel. Yet in the framing story, he allows us the smallest letterbox of perception through Susan's own interpretation. Susan dislikes Alan, thus so do we. She likes other characters (no spoilers) and therefore some revelations come as a shock to both of us.

Finally, how did you feel when you turned the final page?

(GH) I think I was tempted to raise a glass and congratulate the author on what was a stunning piece of writing. The talent needed to make something so layered feel to the reader amateurish at times, and yet complex at the same time, is the sign of a master craftsman. The distinct tones, voices and styles he achieves within one novel is amazing. Hats off to Mr Horowitz. And I'm also quite sad to see the end of Atticus Pund when I'd only just got to know him. Highly recommended.

(JJ) Entertained. Impressed. Amused. Sorry, as Gilly says, to say goodbye to certain characters. It's a very clever, sly, witty homage to those who went before. Not only that, but something every crime writer should read and understand. Magpie Murders is a work of craft, to be held up for every apprentice. I will read it again.



You can read our Bookmuse review by JJ Marsh here

Triskele Books’ New Release

 Come along on the latest Triskele Books’ journey to …

Another Time: 1970s.

Another Place: Wollongong, New South Wales, Australia.

The Silent Kookaburra is Triskele Books’ author, Liza Perrat’s new novel, a psychological suspense story that marks a departure from her previous French historical fiction trilogy: The Bone Angel series.

But what's it about?

All eleven-year-old Tanya Randall wants is a happy family. But Mum does nothing besides housework, Dad’s always down the pub and Nanna Purvis moans at everyone except her dog. Then Shelley arrives –– the miracle baby who fuses the Randall family in love for their little gumnut blossom.

Tanya’s life gets even better when she meets an uncle she didn’t know she had. He tells her she’s beautiful and could be a model. Her family refuses to talk about him. But that’s okay, it’s their little secret.

Then one blistering summer day tragedy strikes, and the surrounding mystery and suspicion tear apart this fragile family web.

Embracing the social changes of 1970s Australia, against a backdrop of native fauna and flora, The Silent Kookaburra is a haunting exploration of the blessings, curses and tyranny of memory.

Wollongong beach

A few questions from Liza's colleagues about The Silent Kookaburra: 

Triskele Books: Why did you decide to change from writing historical fiction to psychological suspense crime?
 
LP: I had written three historical fiction novels (The Bone Angel trilogy) based in the same French village, and about the same family. I feared another one might just be “too much of the same thing”. I also felt I needed a complete change, to refresh my writing. I will most likely return to writing historical fiction though, one day, as I love that genre.
 
Triskele Books: Did your Australian background help in writing this story?
 
LP: It certainly did. I grew up in Wollongong in the 1970s. Having first-hand knowledge of the place, the flora and fauna, and the mentality of those times, really helped. Though when I called on friends to help with memories from that time, I realized each of us remembered different things, which was nice and nostalgic.

What readers are saying about The Silent Kookaburra ...

Compelling psychological drama that delves into the dark heart of family secrets. Chris Curran, author of Amazon bestseller, Mindsight.

A real page-turner with fabulously engaging characters and a gripping plot, the outcome of which I did not guess before the final revelation. Claire Whatley, reader.

An amazing domestic thriller with a gripping storyline, vivid dialogue, a palpable sense of place and time, and a compelling cast of characters that I can't get out of my head. Carol Cooper, Contemporary Women’s Fiction author.

I have to say this was one of the most compelling reads I have read. Carol Ravensdale, reader.

Liza Perrat brings her sureness of touch, vivid characterisation and ability to convey a strong sense of time and place to this story set in 1970s Australia. Vanessa Couchman, author of The House at Zaronza.

Aussie parrot

It’s a delight to watch an author grow into her talent. I admire Perrat’s historical fiction, but here she really comes into her own. In moving closer to the present and to her own Australian background, she produces a riveting tale of human frailty and deceit that kept me enthralled even as I dreaded what might happen next. C.P. Lesley, author of the Legends of the Five Directions series.

… nothing better than a good twist or two in a plot, but this was a first for me – one final hammer dropping on the very last page that made my jaw drop! Cindy Taylor, Book Blogger.

The mystery keeps you turning the pages; the description transports you to another place, another time; and the characters by turns amuse, infuriate, entertain and conjure a sense of poignancy and regret. Tricia Gilbey, writer and reader.

… as well-written psychological thrillers often do, it makes you question everything you think you know, culminating in a true twist of an ending that both shocks and makes you ask "Why didn't I figure this out sooner?" Courtney J. Hall, historical fiction, romance and contemporary author.



EXTRACT from The Silent Kookaburra…

Chapter 1

2016

Knuckles blanch, distend as my hand curves around the yellowed newspaper pages and my gaze hooks onto the headlines.

HAPPY AUSTRALIA DAY. January 26th, 1973. 165-year anniversary of convict ships arriving in Sydney.

Happy? What a cruel joke for that summer. The bleakest, most grievous, of my life.

I can’t believe my grandmother kept such a reminder of the tragedy which flayed the core of our lives; of that harrowing time my cursed memory refuses to entirely banish.

Shaky hands disturb dust motes, billowing as I place the heat-brittled newspaper back into Nanna Purvis’s box.

I try not to look at the headline but my gaze keeps flickering back, bold letters more callous as I remember all I’d yearned for back then, at eleven years old, was the simplest of things: a happy family. How elusive that happiness had proved.

I won’t think about it anymore. I mustn’t, can’t! But as much as I wrench away my mind, it strains back to my childhood.

Of course fragments of those years have always been clear, though much of my past is an uncharted desert –– vast, arid, untamed.

Psychology studies taught me this is how the memory magician works: vivid recall of unimportant details while the consequential parts –– those protective breaches of conscious recollection –– are mined with filmy chasms.

I swipe the sweat from my brow, push the window further open.

Outside, the sun rising over the Pacific Ocean is still a pale glow but already it has baked the ground a crusty brown. Shelley’s gum tree is alive with cackling kookaburras, rainbow lorikeets shrieking and swinging like crazy acrobats, eucalyptus leaves twisted edge-on to avoid the withering rays.

But back in my childhood bedroom, behind Gumtree Cottage’s convict-built walls, the air is even hotter, and foetid with weeks of closure following my parents’ deaths.

Disheartened by the stack of cardboard boxes still to sift through, uneasy about what other memories their contents might unearth, I rest back on a jumble of moth-frayed cushions.

I close my eyes to try and escape the torment, but there is no reprieve. And, along with my grandmother’s newspaper clipping, I swear I hear, in the rise and dump of its swell, the sea pulling me back to that blistering summer of over forty years ago.

Where to buy The Silent Kookaburra ...

Ebook

Paperback

The Silent Kookaburra

Bookclub Discussion: Our Endless Numbered Days

Triskele Bookclub’s October novel up for discussion is Claire Fuller’s Our Endless Numbered Days. 

I first became interested in this book when I read the review by Triskele author, Gillian Hamer on the Bookmuse review site.

About the Author ... Claire Fuller trained as a sculptor before working in marketing for many years. In 2013 she completed an MA in Creative Writing, and wrote her first novel, Our Endless Numbered Days. It was published in the UK by Penguin, in the US by Tin House, in Canada by House of Anansi and bought for translation in 15 other countries. Our Endless Numbered Days won the 2015 Desmond Elliott prize. Claire's second novel, Swimming Lessons will be published in early 2017.

About Our Endless Numbered Days ... Peggy Hillcoat is eight years old when her survivalist father, James, takes her from their home in London to a remote hut in the woods and tells her that the rest of the world has been destroyed. Deep in the wilderness, Peggy and James make a life for themselves. They repair the hut, bathe in water from the river, hunt and gather food in the summers and almost starve in the harsh winters. They mark their days only by the sun and the seasons.

When Peggy finds a pair of boots in the forest and begins a search for their owner, she unwittingly begins to unravel the series of events that brought her to the woods and, in doing so, discovers the strength she needs to go back to the home and mother she thought she’d lost.

After Peggy's return to civilization, her mother learns the truth of her escape, of what happened to James on the last night out in the woods, and of the secret that Peggy has carried with her ever since.

Along with fellow Triskele colleague, Gillan Hamer, reader Claire Whatley and book blogger, Linda Hill joined in the discussion of this book.

Liza: Personally, I found this book a 5-star read, and whilst it has garnered mostly excellent reviews on Amazon and Goodreads, it also has a few not-so-great reviews. I put this down mainly due to the novel’s disturbing and depressing themes of mental illness, kidnap and child abuse. “Disturbing … horrifying … just plain wrong… nauseous…” were some of the comments. However, in my view, the author deftly handled these dark themes through captivating, lyrical prose and by creating a sense of realism, despite the apparent incredibility of this “adventure”. For example, the deep forest in which Peggy’s father takes her to live becomes a third, very well-rounded character: a dark and threatening but very beautiful thing. Indeed, the Chicago Tribune’s review states ... Fuller weaves a hypnotic intensity of detail into her narrative that gives every lie the feel of truth.

So, how do you rate something so disturbing but so well-written?

Gillian: I don't think I considered the book disturbing at all, there are worse things out there in routine crime procedurals. The book stayed with me for a long time after I'd read it and I rated it 5 stars. To be honest the cleverness of the writing comes from writing this through a child's eyes so the naivety and perception we see masks the real horror of the situation. As an author I know how difficult this is to achieve so I have nothing but praise for the author and the writing. I'm actually about to read her next book 'Swimming Lessons.'

Claire: Overall, I’d give it 4 and ¾ stars. It’s very much a novel in three acts: one - life before Peggy is taken to the forest, two - the forest years, and three – what happens after. Acts Two and Three are definitely 5-star whereas the first part of the novel (before their years in the forest) has quite a slow build-up and it is occasionally quite hard to see where the story is leading. I think this is to some extent because we’re seeing mysterious adult behavior through the eyes of a child. However, I would say to any potential reader it’s absolutely worth persevering with what might seem a slow start. Fuller’s prose is definitely 5-star and all in all, it’s a brilliant debut.

Linda: I found it hard to rate Our Endless Numbered Days highly enough. When I read it I didn't realize that the author had been a sculptor and that doesn't surprise me in the least. The attention to the most essential detail in this pared down novel was perfect. I felt there was a deceptive simplicity in the prose that was almost hypnotic.


Liza: Given the disturbing themes, I would hesitate to recommend this novel to certain friends I know would not enjoy the story, however I would definitely recommend it to most reader friends. Would you recommend Our Endless Numbered Days and why?

Gillian: Yes, I would. Maybe it isn't the book for everyone, but I'm afraid there isn't a book out there to suit absolutely everyone's tastes - and nor should there be! I think you would have to be very thin skinned to find anything about this book distasteful - the six o'clock evening news is probably more graphic! But I think as human beings, we need to explore everything humanity throws at us in order to understand there are so many layers of what it is to be human and how important it is to be open to all of them.

Claire: I’m one of those readers who avoids graphic violence, cruelty or abuse in fiction, but I wouldn’t hesitate to recommend Our Endless Numbered Days, perhaps with a caveat that the ending is pretty grim and dark. I loved Claire Fuller’s exploration of both the physical challenges of survival in the forest and even more so, the psychological elements. The ‘dark’ scenes were sensitively handled, in my opinion.

Linda: I don't agree entirely, Liza. I would recommend it to all readers, even those who have experienced similar themes in real life as I feel it would help them realize they are not alone and others can understand what they are suffering. For those of us for whom Peggy's experiences are way beyond our knowledge I feel Our Endless Numbered Days provides such emotional insight into these topics and themes that we become better able to understand the world around us and to empathise with those like Peggy.

Liza: Narrating a story entirely from the point of view of an eight-year-old girl might be cumbersome for authors as well as readers. As in Emma Donoghue’s Room, I felt the author handled this expertly. Do you think Claire Fuller handled this well?

Gillian: I thought the author handled Peggy perfectly in all aspects and I think for anyone considering writing from a child's POV reading this book is a must! I found the voice solid and believable throughout and the inner thoughts and feelings of a girl of her age, in that position, were handled superbly. Because of that I found I connected with her, despite the age gap, I understood what she was going through.

Claire: Yes, I do. I found Peggy’s narrative voice convincing throughout and at no point did the author lose the authenticity of that. Peggy’s trust, anger, confusion were all very real to me. If anything, I would have been interested in a deeper exploration of how she dealt with the challenges of puberty without any reliable adult to explain or assist her with that. It’s an aspect of the story that was rather skimmed over, I felt.

Linda: Absolutely. In fact, as I read I completely forgot Peggy's age, but just immersed myself in the narrative. This wasn't a character of any age, this was a real human being to whom I felt an emotional attachment. There is a clear 'voice' behind the writing, but it isn't Claire Fuller's, it's Peggy herself, regardless of age. I loved the fact that Peggy's voice wasn't a contrived childish one, but was simply that of an individual who had a story to tell.


Liza: Throughout the story, we flit back and forth between Peggy as a child before the “event”, her time with her father in the woods, and 1985, when she is found, an adult back home with her mother. I enjoyed reading each timeline as it gave insight into Peggy’s life before, during and after, as well as the consequential effects of the kidnapping and abuse. Did you enjoy it too, or did it disrupt the rhythm of the story?

Gillian: I thought it added extra depth to the story and I had no problem keeping track of the story. I think flashbacks, if handled correctly, work really well - and the author got it spot on here.

Claire: Hmm. Initially I found myself having to keep up with the time swaps but once I was engrossed in the story I accepted them and had no problem with them. However, I think it could be argued that a more straightforward chronological narrative might have worked just as well and would have given fewer clues to later outcomes.

Linda: I'm not usually a great lover of novels that switch between different time scales, but I loved this in Our Endless Numbered Days. I felt I was being given real insight into the characters - and indeed into a psychological world I'd never normally encounter. I also think that the iterative image of music helped draw the strands together so that transitions felt seamless and fluid.

Liza: There is one scene towards the end of this book that I won’t forget in a hurry, but I don’t want to give anything away! Was there any particular scene that remained with you, after you finished reading?

Gillian: Not so much one scene maybe for me - but the location in the woods. It was so vivid to me, maybe because it was Peggy's whole world for so long that she knew every tree, every knot of wood in the cabin. It became very real to me and I think that was one thing I recalled long after I finished the book.

Claire: Oh yes – the scene you’re speaking of! Grim as it was, it needed close and careful reading to be sure of what was going on as the author clearly wanted to retain a degree of ambiguity. It’s a clever piece of writing, but I won’t say any more than that…

Linda: There isn't an individual scene that sticks in my mind especially, rather a resonance of feeling and emotion that is still with me some 18 months after I first read Our Endless Numbered Days. I can still picture the cabin and the woods in my mind's eye incredibly clearly.


Liza: And lastly, the end of this novel had me wondering whatever became of Peggy. How could anyone mature into a “normal” functioning adult after this kind of experience? Any thoughts on that?

Gillian: I think it probably very much depends on the person. It's amazing what a human being can go through and come out again the other side. I would like to meet a grown up Peggy actually. I feel she would be a very determined and driven person as an adult, who would find it hard to trust anyone but when she finally did give her heart, she would give it for life. I think some people (and I'd probably include myself here) have a way of packing away the 'bad stuff' and 'bad memories' into a far corner of their brain - and if Peggy was able to do that I think she would mature into a good person who refused to be a victim of her past and went on to achieve great things.

Claire: It’s a good question. And of course, it begs another question: what is ‘normal’? Over the years there have been several real life cases of young people being kidnapped and locked away from society for years. As far as ‘normal’ functioning is concerned I suppose it depends on a) the individual’s predisposition, b) on the quality of counselling they receive, and c) most importantly, the support network they have around them. It would be a long hard adjustment but I think anything is possible.

Linda: I think it's surprising just what the human psyche can live through and still behave and appear 'normal'. We are incredibly resilient. Had I been Peggy, I doubt I would have dealt with the situation so well, but then until we are in certain situations we don't know just how we will respond. I certainly have taught youngsters whom I can't believe are so well balanced when I've discovered their past and their home lives. I could see Peggy developing problems in the future, perhaps having difficulties with relationships, but equally I could see her becoming a psychologist or psychiatrist to help counsel others!


Liza: Thanks everyone for your comments! If anyone else would like to say anything about Our Endless Numbered Days, please feel free to comment below.