This summer’s literary sensation is just a Netfix mini-series in waiting.
Twitter has been agog all year, or so it seems, about this book from first time novelist, Delia Owens. It firmly established itself as the book to read this year, and in normal summers, it would have furnished many a beach bag as the go-to holiday read. I was intrigued. Could it really be that good? Or was it just the latest example of marketing triumphing over substance? There was only one way to settle it and, firmly behind the curve, I bought it and settled down with a raised eyebrow, waiting to be convinced.
Unfortunately, dear reader, I was not. Convinced that is.
There is a lot to admire and enjoy about it. I finished it in three days, for a start. So, yes, it’s a page turner, and in my book, that is a powerful attraction. It’s an often under-appreciated skill to load a narrative with so much forward momentum that it’s easy to read seventy pages without really noticing it. Normally, even with books that I end up loving, I can be persuaded to break for a cup of coffee and a biscuit after twenty pages or so. It’s hard work reading and one needs to keep one’s strength up. But here the scenario, setting and characters are so well set up, structurally, that I found myself engrossed in wanting to know what actually happened.
Probably the most admirable thing about it is the fact that the author is a Seventy year old Biologist, whose only other foray into publishing has been Biology text books. A first novel becoming an international best seller is something that the rest of us mere mortals can only dream about. As an aspiring novelist of a certain age, depressingly familiar with the Publisher’s/Agent’s rejection email, this is a phenomenal achievement. So, notwithstanding the criticisms about to follow, I take my hat off to her.
Her intimate knowledge of Biology furnishes the book with its greatest strength. It’s a beautiful portrait of a wild eco system. There is a fabulous sense of place in the book. The coastal strip of North Carolina marsh land is vividly evoked by someone who clearly knows what they are talking about. This is, refreshingly, not the product of painstaking research, but the result of a lifetime of work and study. She knows her stuff and that sense of authority is absolutely convincing and compelling.
The Whodunnit, Crime element of the book is also very well done, (at least until the end) and she handles the switching back and forth from the past to the present very skilfully, creating tension and adding layers of detail to characters and relationships. There is some sense of satisfaction from the court room scene at the end, with the orderly presentation of prosecution and defence questions and their answers providing some welcome kind of resolution and clarification. The court room scene, of course, has haunting echoes of “To Kill A Mockingbird”, even down to the presence of the marginalised black families in the courtroom. I expected Scout and Jem to pop up at any moment. Kya Clark, the main protagonist, though white, is the victim of prejudice and suspicion by the mainstream community, and her main support and friends throughout her isolation were the elderly black couple, Jumpin’ and his wife Mabel. This Maycomb County type atmosphere resonates throughout the novel. For the most part, it’s another of the pleasures of the book, but like so many things, it’s not an unqualified triumph. There is a straining for this effect, a trying too hard. There are only so many times you can describe the eating and making of Grits, for example, before it becomes faintly ludicrous.
The court room scene, despite its satisfactions, is an opportunity missed. Too plain, too straightforward, with nothing on the same scale as Atticus’ forensic reveal of Tom Robinson’s left-handedness. I got the strong sense, that, like many first-time novelists, by the end Owens had run out of steam, and was just going through the motions. The “twist” right at the end is the least dramatic denouement in the history of murder mysteries. Not because of what is revealed, but the way in which Owens chooses to do it. It’s baldly described, with no character interplay, and the result is deflation. For me, a big “So what?” I’m afraid.
A few other gripes from the grinch. The notion of the main character, Kya, pulling herself out of her poverty stricken, school-refusing, backwoods abandonment, to become a highly literate published writer just wasn’t credible to me. I was willing to suspend my disbelief a little, to give myself to the novel, but I couldn’t sustain it I’m afraid. The two emblematic boys in Kya’s life, Nice Boy and Bad Boy, were similarly two dimensional and also had me running my disbelief down from the flagpole in annoyance.
And then there’s the poetry. Give me strength. It’s not that the poetry is so dreadful, it’s just that there’s far too much of it, and, again, it strains credibility that anyone one in the known universe would recite poems in response to things that happen to them as they mosey their way through the Mangrove to the beach.
As I was reading it, even in my enjoyment, I could imagine Reece Witherspoon rubbing her hands together with glee, cackling, “I wonder if we could get Gwyneth in this and maybe Bobbie May Brown to play Kya.” It’s absolutely set up to be the next “Big Little Lies” or “Little Fires Burning”. And it will probably be a much better Netflix mini-series than book.
So, there you have it. For all of you that read it, devoured it, enjoyed it and eulogised about it on Twitter, I’m sorry. Please don’t take this the wrong way. I’m not saying that you’re wrong or stupid. It just didn’t speak to me. That’s my Bad. There’s precious little enough pleasure in these COVID Neo Fascist times, so I’m glad you found some in this and wish that I had too. Now, let me just get back down to writing an international best seller. How hard can it be?