Next book on my pile for Reading Ireland Month 2025, a brilliant work of historical fiction, set in 1540 -1561 Renaissance Italy, a gripping, excellent tale.
The Accidental Deaths of Young Wives
The Marriage Portrait opens with an historical note, prior to the opening chapter ‘a wild and lonely place’ in which our main protagonist Lucrezia de’ Medici has been brought to an isolated fortress by her husband, without her maid or usual retinue. In her state of fear, she recalls her sister-in-laws hoarse whisper ‘you will be blamed’.
Historical Note
In 1560, fifteen-year-old Lucrezia di Cosimo de’ Medici left Florence to begin her married life with Alfonso II d’Este, Duke of Ferrara.
Less than a year later, she would be dead.
The official cause of her death was given as ‘putrid fever’, but it was rumoured that she had been murdered by her husband.
Lucrezia de’ Medici, the replacement
The novel tells a story of Lucrezia of Florence, who, due to the death of her older sister Maria, becomes the intended fiance of the man her sister was going to marry, Alfonso of Ferrara, news that Lucrezia overheard before it was announced.
She had extraordinarily sensitive hearing: she could hear what was being said, sometimes, on the floor below, or at the other end of the largest state room. The palazzo was a place of strange acoustics, with sound and vibrations, whispers and footsteps journeying along the joists, behind the marble reliefs, up the spines of statues, through the bubbling waters of the fountains. Lucrezia, even aged seven, found that if she pressed the outer folds of her ear to the panelling or frame of a door, it was possible to find out all sorts of things.
Thanks to the close relationship she has with Sophia, a nurse-maid, they manage to hide her entry into womanhood at 13, delaying the pending marriage; however, by the age of 15 she becomes the new Duchess.
By the time the four eldest children of the ruling family were approaching the end of their childhood, their futures were already mapped out for them. Their parents and emissaries and secretaries and advisers had been working on these plans since the children’s births.
Life at the Palazzo Veccchio, Florence
After the creepy opening chapter in 1561, the narrative returns to 1544 Florence, the year of her conception, and subsequent chapters depict memories and events from her childhood in Florence. There is one scene where her father, orders a tiger to be brought to his palace. When the children are shown the tiger, Lucrezia lags behind and waits for it to appear from behind the darkened interior of its cage and lays a hand on it.
The appearance of the tiger, its entrapment and the suppression of its nature, perhaps foretell her own future, where women of such families are traded like exotic animals, chattels born into one family to be traded into another, expected to produce heirs, to facilitate territorial occupation, to be observed, painted; rarely to express opinions or be expert at much beyond the limits of the walls they are encased by.
While her brothers have been coached and trained to rule, she sees it is only her vital will that will protect her, that will never yield.
If she is to survive this marriage, or perhaps even to thrive within it, she must preserve this part of herself and keep it away from him, separate, sacred. She will surround it with a thorn-thicket or a high fence, like a castle in a folktale; she will station bare-toothed, long-clawed beasts at its doors. He will never know it, never see it, never reach it. He shall not penetrate it.
The more time she spends around Alfonso, the less she understands of his nature, one moment tender, the next cruel and indifferent.
A Year of Wifedom and Wretchedness
The novel moves back and forth in time during that year of her marriage, telling the story of the days leading up to her marriage, the initial stay with her new husband in a country villa, then flicking forward in time to a more sombre, fortified country property where he has taken her alone, where she feels threatened by a strong premonition that she is to die, by his hand.
During the early days of their marriage, Alfonso engages a well known artist of a certain style of portraiture and fresco art, one that Lucrezia doesn’t particularly like – to create ‘the marriage portrait’ of his Duchess.
A note sent early to her door, in her husband’s handwriting: she is to be painted in an outfit designed to his specification, which was delivered late last night. Would she please put it on, along with the betrothal gift, and come down to the salon?
The simultaneously told timelines all converge as the portrait is unveiled and the Duchess finds herself at her most vulnerable, alone, either in the grip of madness or about to become victim to the predator.
Vividly Imagined, Underlying Suspense, a Young Woman Honoured
I was totally gripped by the story from those suggestive opening pages, the effect of beginning the story so near its end, created an underlying tension and suspicion all the way through, even as she goes into the marriage with optimism.
The character of Lucrezia is beautifully constructed and rich in visual imagery thanks to her artistic inclinations, despite the fact that she is often confined to quarters. The era of Renaissance Italy, the day to day lives, the close environment of these dynastic families is intricately portrayed and sumptuously imagined. I love that Maggie O’Farrell has resurrected this fifth child, taken so young and breathed new life into her story.
Highly Recommended if you like lush period pieces and the hidden dramas of olden day, wealthy land owners with political and societal influence and historical characters who get to show us how it might have been.
Let us know in the comments if you have read The Marriage Portrait and what you thought of it.
Maggie O’Farrell is a Northern Irish novelist, now one of Britain’s most acclaimed and popular contemporary fiction authors whose work has been translated into over 30 languages.
Her debut novel After You’d Gone won the Betty Trask Award and The Hand That First Held Mine the Costa Novel Award (2010). She is the author of Hamnet, winner of the Women’s Prize for Fiction 2020, and the memoir I Am, I Am, I Am, both Sunday Times No.1 bestsellers.
Her novels include After You’d Gone, My Lover’s Lover, The Distance Between Us, winner of a Somerset Maugham Award, The Vanishing Act of Esme Lennox, The Hand That First Held Mine, winner of the 2010 Costa Novel Award, Instructions for a Heatwave, This Must Be the Place and The Marriage Portrait, shortlisted for the Women’s Prize. She lives in Edinburgh.
Continuing Reading Ireland Month 25 I finish the last of the three novels about the Dunne Family.
The final novel in the 4 book collection about the Dunne Family, first being the play about the Dad Thomas, the last superintendent of the Dublin Police, then his children Annie Dunne and Willie’s stories A Long Long Way and now Dolly, who we knew left Ireland for America as a young woman, but we never knew why.
Interestingly she too is based on a real ancestor, the Great Aunt of the author, whose true story only came out to him in recent years.
One Grievance Too Many
We meet her as Lily, a grieving octogenarian during the 2 weeks – each day a chapter – following the death of her grandson Bill, the boy she raised alone from 2 yrs of age, as she did her son.
I am so terrified by grief that there is solace in nothing. I carry in my skull a sort of molten sphere instead of a brain, and I am burning there, with horror, and misery.
So while in the present she is grieving and finding it difficult to find reason for still being alive, the novel is a form of her confession, an ode to herself, to all that has passed; so we are taken back to Dublin, to Wicklow, to what happened after the war, after the loss of Willie, to her meeting his young friend, the solider Tadg Bere and how their destinies become entwined.
A Fateful Meeting
‘The thing about Willie was,’ Tadg Bere was saying, ‘it wasn’t just you could be depending on him, you knew he was keeping a weather eye out for you, like you might a brother. So I was always thinking, that was a sorta compliment to his family, that they had reared him up in that frame of mind.’
Her father helps him find a job in the police force. Lily isn’t too sure about her feelings for him, their relationship has barely begun, when it reaches a significant turning point.
He was proud to be working, at something akin to soldiering, and something that would allow him to serve his country. He felt he was making a new beginning. He did not believe in any new Ireland, he devoutly loved the old one. The new force paid decently, but was otherwise poorly funded and put together in great haste. They barely had uniforms, and in the beginning wore bits and bobs of various forces, half army and half police, which is why they were dubbed the Black and Tans.
Ultimately the thing she desires, she can never truly embrace, as her life is lived always looking over her shoulder, always somewhat in fear.
Absence and Loss, Refuge in Cleveland
There are patterns in her life of men departing for war, her brother, her son, her grandson, and how it affected them all. And the departure of husbands, the losses she has borne, the perseverance, the continued service to others she has willingly offered, until the last revelation, the one that undoes her.
The title On Canaan’s Side is a reference to a bible story, to a song, about leaving a place of incertitude or danger to travel to a place of refuge. In the bible it is the “promised land”, in Irish history, it is to America they look as a place they ought to be safe and happy. It represents humbleness and receptivity, values that Lily has honoured, only to have encountered its curse, an inability to rise above her station.
Barry had this reference in mind too, after hearing it was mentioned by a newsreader in relation to the death of Martin Luther King, the tragedy of his killing, to be on Canaan’s side. There is a scene where King visits the house where Lily cooks, it seems out of place in the novel, but perhaps it is a nod to this reference.
Interestingly, Barry’s Canaan is Cleveland, Ohio, where Lily ends up; a place he developed an interest in due to the building of the Ohio Canal, a work of civil engineering designed to invigorate the northern territories up into Canada, already destroyed by the great flood in 1913.
The novel brilliantly portrays the struggle of making a new life, the lack of choices, the nostalgia of what has been left behind, the inability to prevent certain tragedies that arrive unbidden.
“I do believe writing for a writer is as natural as birdsong to a robin. I do believe you can ferry back a lost heart and soul in the small boat of a novel or a play. That plays and novels are a version of the afterlife, a more likely one maybe than that extravagant notion of heaven we were reared on. That true lives can nest in the actual syntax of language. Maybe this is daft, but it does the trick for me. I write because I can’t resist the sound of the engine of a book, the adventure of beginning, and the possible glimpses of new landscapes as one goes through. Not to mention the excitement of breaking a toe in the potholes.” Interview with Sebastian Barry, Words With Writers, 2011
Guardian review: On Canaan’s Side by Sebastian Barry – Sebastian Barry’s fifth novel is a lyrical evocation of trauma and exile, bearing a seemingly endless series of potent images
Author, Sebastian Barry
The 2018-21 Laureate for Irish Fiction, Barry had two consecutive novels shortlisted for the Booker Prize, A Long Long Way (2005) and the top ten bestseller The Secret Scripture (2008), before Old God’s Time was longlisted for the Booker Prize in 2023. He has also won the Kerry Group Irish Fiction Prize, the Irish Book Awards Novel of the Year and the James Tait Black Memorial Prize.
His novels have twice won the Costa Book of the Year award, the Independent Booksellers Award and the Walter Scott Prize. Barry was born in Dublin in 1955, and now lives in County Wicklow.
Continuing with the Dunne Family trilogy, after the play and the first novel Annie Dunne, comes a World War I novel, one that was shortlisted for the Booker Prize in 2005.
It is about the short life of Annie’s brother William Dunne, the harsh realities of the Great War and the conflicting loyalties of Irish men at war fighting for the British Army, while others at home were fighting for freedom, putting these men at a crossroads in history, during this revolutionary shift towards Irish independence.
Dunne Family #3 Willie Dunne
Willie Dunne was born in the withering days of 1896, named after an Uncle and the long-dead Orange King, because his father took an interest in such matters.
The only son in a family of four children, he couldn’t be held responsible for not meeting the first expectation his six foot six father held of him, to join the police force like himself.
For his growing slowed to a snail’s pace, and his father stopped putting him against the wallpaper, such was both their grief, for it was as clear as day that Willie Dunne would never reach six feet, the regulation height for a recruit.
Rather, he would join that group of young men:
piled up in history in great ruined heaps, with a loud and broken music, human stories told for nothing, for ashes, for death’s amusement, flung on the mighty scrapheap of souls, all those million boys in all their humours to be milled by the mill-stones of a coming war.
Losing their mother when Willie was twelve, after the birth of the youngest daughter Dolly, they would move with their father into Dublin Castle in 1912.
During the unrest after a lock out his father, now high up in the Dublin Metropolitan Police lead a charge against the crowd that brutalised some citizens, including a man named Lawlor he wished to make amends to. Which is how Willie met the man’s daughter, Gretta, a secret he kept from his father, a desire he would carry with him throughout the coming war.
The Promise of Home Rule, Just Send Us Your Boys
Though the Ulstermen joined the same army, it was for an opposite reason, to prevent home rule, so Willie’s father said, wholely approving. A Catholic and a Mason, it was for King and country and Empire he said a man should go and fight for, never expecting that his son would depart as soon as he did.
The Parliament in London had said there would be Home Rule for Ireland at the end of the war, therefore, said John Redmond, Ireland was for the first time in seven hundred years in effect a country. So she could go to war as a nation at last – nearly – in the sure and solemnly given promise of self-rule. The British would keep their promise and Ireland must shed her blood generously.
Willie joins the Royal Dublin Fusiliers in 1914 and is soon in the trenches in Belgium, thinking of home and Gretta, disappointed that she doesn’t reply to any of his letters, but remembering that she had not been able to give her word that she would marry him. He would write to her as if she had.
Dirt, Death and Ditties
Days at war were tough, dirty and relentless. As they marched between locations, the men would sing songs, most of which not everyone knew, but there was one that had everyone singing and learning, making them all feel a little better as they bawled out the lyrics.
Every man Jack of them knew ‘Tipperary’ and sang it as if most of them weren’t city-boys but hailed from the verdant fields of that country. Probably every man in the army knew it, whether he was from Aberdeen or Lahore.
But 1915-1916 was a complicated time to be fighting for King and country in Ireland. That used to indicate the same allegiances, but no longer, and for those young boys at the front, facing assault after assault, the thought of being perceived as an enemy by some back home became too confusing for them to handle.
An Uprising Confuses Irish Soliders
On his first leave in April 1916, all is well and Gretta seems to have softened towards him being away but as they are returning to the boat, they get called off and marched back towards the city to Mount Street, where they are confused by the sound of shots being fired. When a citizen offers a printed sheet to him to read, it provokes a violent reaction.
‘Step back in, Private,’ called the Captain. ‘Don’t parley with the enemy.’
‘What enemy?’ said Willie Dunne. ‘What enemy, sir?’
‘Keep back away or I will shoot him.’
When the Captain puts his gun against the citizen’s temple, Willie steps back, but none of them are given any explanation as to what the conflict was about. They are ordered to fight and in an interaction with a man who gets shot, Willie learns who the enemy are, his own countrymen, Irishmen fighting for Ireland, for freedom.
No Empathy in Judgement
When they return to the front in Flanders, thoughts and images of that Easter day won’t leave him.
Nothing had changed just here where he found himself – utter change was just across the plains. Nothing had changed. But something had changed in Willie Dunne.
Unable to reconcile what he had witnessed, Willie writes to his father of his feelings, not realising the storm erupting at home and the hardened position his father has taken, after the armed Easter Rebellion, a violent revolt against British rule. The soliders are kept deliberately vague about what is going on, for Willie saw only one of his fellow countrymen, not an enemy.
Despondency Destroys
They continue to fight on losing more and more of their compatriots and wondering what it is all for given what is happening back home in Ireland, where rows rage over conscription, Ireland no longer is willing to send their sons. Yet those who are there fight on, for each other, and for the memories of the many they have already lost.
Mothers in Ireland said they would stand in front of their sons and be shot before they would let them go…the Nationalists wouldn’t stand for it. Said King George could find lambs for the slaughter in his own green fields from now on.
From the loss of his mother, to his height and the brutality of war, Willie’s young life is beset with hardship, made all the worse by his father’s lack of understanding and other betrayals he will encounter. He finds solace and loyalty in his comrades, when his family and others disappoints him.
It’s not an easy read, but it evokes the comradary of Irish soliders during war time, the terror, cruelty and degradation of humanity war brings about.
Fiction and Storytelling Inform Us of History
Although it is not a history of Irish independence or the events that lead to it, it prompted me to read up about the Easter Rising and better understand the compromising situation those young Irish men fighting in the Great War would have been in.
It is a subject, the author said in an interview, that was not taught in schools, the focus being on the Easter Rising, than the tens of thousands of men fighting in Flanders.
In Remembrance
Reading about Willie’s experience in the Great War made me think of who in our own families was affected by World War 1. As I mentioned in my summary planning post Reading Ireland Month 2025, I discovered that my ancestor Edmund Costley, like Willie Dunne was born in 1896, and one of that decimated generation of youth born around then, who perished by the thousands.
Edmund was in the Irish Guards Second Battalion, the same regiment as John Kipling, son of Rudyard Kipling. John was killed within three months of going to the front and his father in 1917, committed to write a chronicle of what the Irish Guards did during the war. That book, The Irish Guards In The Great War: The Second Battalion: Edited and Compiled from Their Diaries and Papers is an incredible of information in which to understand how it was for these young men.
The 2018-21 Laureate for Irish Fiction, Barry had two consecutive novels shortlisted for the Booker Prize, A Long Long Way (2005) and the top ten bestseller The Secret Scripture (2008), before Old God’s Time was longlisted for the Booker Prize in 2023. He has also won the Kerry Group Irish Fiction Prize, the Irish Book Awards Novel of the Year and the James Tait Black Memorial Prize.
His novels have twice won the Costa Book of the Year award, the Independent Booksellers Award and the Walter Scott Prize. Barry was born in Dublin in 1955, and now lives in County Wicklow.
This year’s longlist includes 16 genre-spanning novels, offering an expansive world that pulls readers in with rich storytelling and deeply resonating themes.
“a highly emotive psychedelic read, with writing that is poetic and incredibly moving. Set in Berlin’s artistic underground, it follows Nila, a young woman born to Afghan parents, as she come to terms with her identity.”
In Berlin’s underground, where techno rattles buildings still scarred with the violence of the last century, nineteen-year-old Nila finds her tribe. In their company she can escape the parallel city that made her, the public housing block packed with refugees and immigrants, where the bathrooms are infested with silverfish and the walls are graffitied with swastikas.
Escaping into the clubs, Nila tries to outrun the shadow of her dead mother, once a feminist revolutionary; her catatonic, defeated father; and the cab-driver uncles who seem to idle on every corner. To anyone who asks, her family is Greek, not Afghani.
And then Nila meets American writer Marlowe Woods, whose literary celebrity, though fading, opens her eyes to a world of patrons and festivals, one that imbues her dreams of life as an artist with new possibility. But as she finds herself drawn further into his orbit and ugly, barely submerged tensions begin to roil and claw beneath the city’s cosmopolitan veneer, everything she hopes for, hates, and believes about herself will be challenged.
“This is a genre bending novel, it’s sci-fi, it’s romance, it’s a spy thriller, fantasy, and historical fiction about a civil servant who falls in love with a man from 1857. This book was addictive, propulsive and a total joy to read.”
In the near future, a disaffected civil servant is offered a lucrative job in a mysterious new government ministry gathering ‘expats’ from across history to test the limits of time-travel.
Her role is to work as a ‘bridge’: living with, assisting and monitoring the expat known as ‘1847’ – Commander Graham Gore. As far as history is concerned, Commander Gore died on Sir John Franklin’s doomed expedition to the Arctic, so he’s a little disoriented to find himself alive and surrounded by outlandish concepts such as ‘washing machine’, ‘Spotify’ and ‘the collapse of the British Empire’. With an appetite for discovery and a seven-a-day cigarette habit, he soon adjusts; and during a long, sultry summer he and his bridge move from awkwardness to genuine friendship, to something more.
But as the true shape of the project that brought them together begins to emerge, Gore and the bridge are forced to confront their past choices and imagined futures. Can love triumph over the structures and histories that have shaped them? And how do you defy history when history is living in your house?
“This was a beautiful book about a young child who escapes Poland and is adopted by a Scottish couple. It is an epic generational story about womanhood and living in a country even though you feel that home is somewhere else.”
Rosa Roshkin is five years old when her family are murdered in a pogrom and she is forced to leave behind everything she knows with only a suitcase of clothes and her father’s violin.
An epic generational novel about womanhood and Judaeo-Scottish experience across two World Wars, the creation of Israel and the fall of the Berlin Wall. Jenni Daiches’s Somewhere Else explores today’s most difficult and urgent questions, not least of which: how to find identity in displacement.
“I didn’t want this book to end. It’s a multi-generational story about a Sri-Lankan woman, her daughter and her grand-daughter, and spans decades and countries from Sri-Lanka to New Zealand. It shows how societal judgments on women have changed over time, and there are so many powerful scenes in it, that it stayed with me long after finishing the book.”
1951, Singapore. Ten-year-old Josephina kills her abuser. This event becomes the defining moment in the lives of Josephina, her daughter Sithara, and her granddaughter Annie. The effects cascade through generations as Annie sets out across the world to discover what happened to fracture her family.
Set in Sri Lanka, Singapore, New Zealand, Australia and London, Amma is a novel about how the past lives with us forever, and wherever we are. Written in sensuous, vivid prose, Amma is a story of the rich history and unknown future of the Sri Lankan diaspora – and of one family desperately trying to find peace.
“This book is set in Cape Town. It’s a sort of mystery book, but also about alcoholism. It made my skin crawl, in the best possible way.”
Deidre is a victim, of her family, her society, her history. That is how she sees herself, and so she feels free of all obligations, moral and practical. Until the police take her back to her family home… In a Cape Town where water is rationed and has to be collected from trucks each day, with the consequences of apartheid and the ending of it still evident, Deidre lives from day to day in squalor – largely created by herself – borrowing, persuading, cadging her way from the water trucks to the bar, testing the tolerance and pity of everyone she knows. Then she is contacted by the police, and taken by a respectful constable to the house where she grew up and where she lost her leg in a shattering explosion while still young. Faced with what is found there, she has to accept the truth of her past, and of her older brother, her parents’ golden boy. She must confront herself and her responsibility, and what it truly is to be a victim.
“This is a conversation starting book. The minute I finished it, I ordered copies for all of my friends. It feels like part manifesto, part battle cry.”
A semi-famous artist announces her plan to drive cross-country from LA to NY. Thirty minutes after leaving her husband and child at home, she spontaneously exits the freeway, beds down in a nondescript motel and immerses herself in a temporary reinvention that turns out to be the start of an entirely different journey.
Miranda July’s novel confirms the brilliance of her unique approach to fiction. With a wry voice, perfect comic timing, unabashed curiosity about human intimacy and palpable delight in pushing boundaries, All Fours tells the story of one woman’s quest for a new kind of freedom. Part absurd entertainment, part tender reinvention of the sexual, romantic and domestic life of a 45-year-old female artist,it transcends expectations while excavating our beliefs about life lived as a woman. Once again, July hijacks the familiar and turns it into something new and thrillingly, profoundly alive.
“It’s a book that explores the consequences of a society that becomes hyper reliant on algorithms. And the world created by Laila seems scarily within reach. I’ve not stopped thinking about it.”
Sara is returning home from a conference abroad when agents from the Risk Assessment Administration pull her aside at the airport. Using data from her dreams, their algorithm has determined that she is at imminent risk of harming her husband. For his safety, she must be transferred to a retention centre, and kept under observation for twenty-one days.
But as Sara arrives to be monitored alongside other dangerous dreamers, she discovers that with every deviation from the facility’s strict and ever-shifting rules, their stays can be extended – and that getting home to her family is going to cost much more than just three weeks of good behaviour…
The Dream Hotel is a gripping speculative mystery about the seductive dangers of the technologies that are supposed to make our lives easier. As terrifying as it is inventive, it explores how well we can ever truly know those around us – even with the most invasive surveillance systems in place.
“This book is full of larger than life characters, and rich in Iranian history and glamour. It’s funny, gutsy, confident writing with shifting voices and different modes of storytelling.”
Meet the women of the Valiat family. In Iran, they were somebodies. In America, they’re nobodies.
There is Elizabeth, the regal matriarch with the large nose, who remained in Tehran despite the revolution. She is kept company by Niaz, her young, Islamic-law-breaking granddaughter. In America, Elizabeth’s two daughters have built new lives for themselves. There’s Shirin, a flamboyantly high-flying event planner in Houston, who considers herself the family’s future; and Seema, a dreamy idealist turned bored housewife languishing in Los Angeles. And then there’s the other granddaughter, Bita, a disillusioned law student in New York trying to find deeper meaning by giving away her worldly belongings.
When an annual vacation in Aspen goes awry and Shirin is bailed out of jail by Bita, the family’s brittle upper class veneer is cracked open and gossip spreads like wildfire. Shirin must restore the family name to its former glory. But what does that mean in a country where the Valiats never mattered to anyone? And, will reputation be enough to make them a family again?
Spanning from 1940s Iran into a splintered 2000s The Persians is an irresistible portrait of a unique family in crisis that explores timeless questions of love, money, art and fulfilment. Here is their past, their present and a possible new future for them all.
“This book explores fragile female friendships and deals with race, with class, with motherhood, with the absence of motherhood. It’s completely vivid and real, fantastic dialogue, and stories that will stay with you long after you finish reading.”
Chiamaka is a Nigerian travel writer living in America. Alone in the midst of the pandemic, she recalls past lovers and grapples with her choices and regrets. Zikora, her best friend, is a lawyer who has been successful at everything until — betrayed and brokenhearted — she turns to the person she thought she needed least. Omelogor, Chiamaka’s bold, outspoken cousin, is a financial powerhouse in Nigeria who begins to question how well she knows herself. And Kadiatou, Chiamaka’s housekeeper, is proudly raising her daughter in America – but faces an unthinkable hardship that threatens all she has worked to achieve.
In Dream Count, Adichie trains her eye on these women in a transcendent novel that takes up the nature of love itself. Is true happiness attainable or is it a fleeting state? And how honest must we be with ourselves in order to love, and to be loved? A reflection on the choices we make and those made for us, on daughters and mothers, on our interconnected world, Dream Count pulses with emotional urgency and poignant, unflinching observations on the human heart, in language that soars with beauty and power. It confirms Adichie’s status as one of the most exciting and dynamic writers on the literary landscape.
“This book is written about a subject we don’t see written about enough. It’s about domestic violence. Really strong narrative voice, with lots of sympathy and empathy. And yet, all the information that you need, that we really should have, about what happens when people flee a domestic violence situation.”
An extraordinary and urgent debut by a prize-winning Irish writer, NESTING introduces an unforgettable new voice in fiction.
On a bright spring afternoon in Dublin, Ciara Fay makes a split-second decision that will change everything. Grabbing an armful of clothes from the washing line, Ciara straps her two young daughters into her car and drives away. Head spinning, all she knows for certain is that home is no longer safe.
This was meant to be an escape. But with dwindling savings, no job, and her family across the sea, Ciara finds herself adrift, facing a broken housing system and the voice of her own demons. As summer passes and winter closes in, she must navigate raising her children in a hotel room, searching for a new home and dealing with her husband Ryan’s relentless campaign to get her to come back. Because leaving is one thing, but staying away is another.
What will it take for Ciara to rebuild her life? Can she ever truly break away from Ryan’s control – and what will be the cost? Tense, beautiful, and underpinned by an unassailable love, hope and resilience, this is the story of one woman’s bid to start over.
“It is about the wonderful Tibb Ingleby, who is a heroine of epic proportions. It is wonderful, charming brilliant, it is almost Chaucerian.”
Born a vagabond, Tibb Ingleby has never had a roof of her own. But her mother has taught her that if you’re not too bound by the Big Man’s rules, there are many ways a woman can find shelter in this world. Now her ma is dead in a trick gone wrong and young Tibb is orphaned and alone.
As she wends her way across the fields and forests of medieval England, Tibb will discover there are people who will care for her, as well as those who mean her harm. And there are a great many others who are prepared to believe just about anything.
And so, when the opportunity presents itself to escape the shackles society has placed on them, Tibb and her new friends conjure an audacious plan: her greatest trickerie yet. But before they know it, their hoax takes on a life of its own, drawing crowds – and vengeful enemies – to their door…
A Little Trickerie is blazingly original, disarmingly funny and deeply moving. Portraying a side of Tudor England rarely seen, it’s a tale of belief and superstition, kinship and courage, with a ragtag cast of characters and an unforgettable and distinctly unangelic heroine.
“So this book really speaks to the reality of being a woman, not just now, but also coming of age in the 90’s, and the noughties. I highlighted the whole thing on my kindle.”
In a small seaside town, autumn edges into winter, gulls ride winds over the waves, and two women pass each other on the promenade, as yet unaware of each other’s existence.
In the 90’s Lydia was a teen pop star, posed half naked on billboards with a lollipop, , letting the world happen to her. Now, three decades later, Lydia is less sure that what happened to her was okay. The news cycle runs hot with #MeToo stories, and a former lover has emerged with a self-serving apology, asking her to forgive him. Suddenly, the past is full of trapdoors she is trying not to fall through.
Joyce, in middle age, has never left home. She lives with her mother Betty. With matching dresses, identical hairdos and makeup, they are the local oddballs. Theirs is a life of unerring routine: the shops, biscuits served on bone china plates, dressing up for a gin and tonic on Saturday. One misstep from Joyce can ruin Betty’s day; so Joyce treads carefully. She has never let herself think about a different kind of life. But recently, something like anger is asserting itself, like a caged thing realising it should escape.
Amid grey skies, amusement parks and beauty parlours of a run-down seaside resort, these two women might never meet. But as they try to untangle the damaging details of their past in the hope of a better future, their lives are set on an unlikely collision course.
With mordant wit and lyrical prose, Birding asks if we can ever see ourselves clearly or if we are always the unreliable narrators of our own experiences. It is a story about the difference between responsibility and obligation, unhealthy relationships and abusive ones, third acts and last chances, and two women trying to take flight on clipped wings.
“Set during the First World War in Provence, it’s about a journalist who goes to interview a reclusive and eminent artist. The writing is beautiful, the description of the art is immersive. I could smell the paint, feel the fabrics, and see the light in the studio.”
PROVENCE, 1920 – Ettie moves through the remote farmhouse, silently creating the conditions that make her uncle’s artistic genius possible.
Joseph, an aspiring journalist, has been invited to the house. He believes he’ll make his name by interviewing the reclusive painter, the great Edouard Tartuffe.
But everyone has their secrets. And, under the cover of darkness, Ettie has spent years cultivating hers. Over this sweltering summer, everyone’s true colours will be revealed. Because Ettie is ready to be seen. Even if it means setting her world on fire.
“It’s a story about ordinary people and their stories are so wonderfully woven together here. It’s a book with a real symphonic feel, full of emotional truth, intimate conversation, and propulsive energy.”
A hopeful, healing novel about new friendships, old loves, and the very human desire to leave a mark on the world, from the Pulitzer Prize-winning, Women’s Prize longlisted author.
It’s autumn in Maine, and the town lawyer Bob Burgess has become enmeshed in an unfolding murder investigation, defending a lonely, isolated man accused of killing his mother. He has also fallen into a deep and abiding friendship with the acclaimed writer, Lucy Barton, who lives nearby in a house next to the sea. Together, Lucy and Bob talk about their lives, hopes and regrets, what might have been. Lucy befriends one of Crosby’s longest inhabitants, Olive Kitteridge, now living in a retirement community on the edge of town. They spend afternoons together, telling each other stories about people they have known – “unrecorded lives,” Olive calls them – reanimating them, and, in the process, imbuing their lives with meaning.
Brimming with empathy and pathos, TELL ME EVERYTHING is Elizabeth Strout operating at the height of her powers, illuminating the ways in which our relationships keep us afloat. As Lucy says, “Love comes in so many different forms, but it is always love.”
The Safekeepby Yael van der Wouden (The Netherlands)
“The writing is next level. It is a beautiful story about a character, who, is, to begin with at least, not likeable. And it’s a story that has not been told before, and yet something we all feel we should know. It’s great.”
An exhilarating tale of twisted desire, histories and homes, and the unexpected shape of revenge – for readers of Patricia Highsmith, Sarah Waters and Ian McEwan’s Atonement.
It is fifteen years after the Second World War, and Isabel has built herself a solitary life of discipline and strict routine in her late mother’s country home, with not a fork or a word out of place. But all is upended when her brother Louis delivers his graceless new girlfriend, Eva, at Isabel’s doorstep – as a guest, there to stay for the season…
In the sweltering heat of summer, Isabel’s desperate need for control reaches boiling point. What happens between the two women leads to a revelation which threatens to unravel all she has ever known.
“It’s a complex story about the bureaucracy of the UN. It opened up for me, a world I’d never ever thought about. It’s irreverent, it’s funny, it’s clever and it’s really enjoyable.”
‘By normal, you mean like you? A slag with a saviour complex?’
Nadia is an academic who’s been disowned by her puritanical mother and dumped by her lover, Rosy. She decides to make a getaway, accepting a UN job in Iraq. Tasked with rehabilitating ISIS women, Nadia becomes mired in the opaque world of international aid, surrounded by bumbling colleagues.
Sara is a precocious and sweary East Londoner who joined ISIS at just fifteen.
Nadia is struck by how similar they are: both feisty and opinionated, from a Muslim background, with a shared love of Dairy Milk and rude pick-up lines. A powerful friendship forms between the two women, until a secret confession from Sara threatens everything Nadia has been working for.
A bitingly original, wildly funny and razor-sharp exploration of love, family, religion and the decisions we make in pursuit of belonging, Fundamentally upends and explores a defining controversy of our age with heart, complexity and humour.
What Do We Think of the Longlist?
There is a lot to delve into here, lots of new authors and diversity in terms of backgrounds and influences, which is exciting.
I haven’t read any on the list, but I am definitely going to be reading Chimamanda Ngozi Adichie’sDream World and I’m interested in Nesting, Amma, Good Girl. I know Tell Me Everything will be excellent, having already read Olive Kitteridge, My Name is Lucy Barton, Anything is Possible and The Burgess Boys.
Let me know in the comments which titles you have enjoyed or a hoping to read.
Women’s Prize for Fiction Shortlist 2025
The shortlist will be announced on April 2nd and the winner of both the non-ficton and the fiction prize will be revealed on June 12th, 2025.
For Reading Ireland Month 25, I am reading Sebastian Barry’s three novels that are part of the Dunne Family series. Here, I introduce the four works and review the first novel Annie Dunne.
Three novels and a play
Sebastian Barry wrote a series of four literary works about one strand of the fictional Dunne family (inspired in parts by his own ancestral lineage), who for seven generations were stewards of Humewood Estate, 470 acres of parkland and a castle in Kiltegan, County Wicklow.
Originally built in the 15th century, the property was sold by the last of that continuous line of family, Catherine Marie-Madeleine (Mimi) in 1992 and she would present most of the estate cottages to the sitting tenants. The castle is now owned by an American billionaire.
Barry says he did have some “inkling” that he might want to explore other family stories. “But I had absolutely no idea that 20 years later these people would still be with me. I’m in a book of quotations saying that, as our ancestors hide in our DNA, so do their stories. I don’t remember saying that, but over the years I’ve come to believe it. It’s as if these hidden people sometimes demand that their stories are told.” The Guardian
The Dunne Family Tetralogy
The play is about the first son Thomas, who did not become a steward, the next Annie Dunne (2002) is about one of his daughters Annie, then A Long Long Way (2005) is the story of his only son Willie Dunne, who joins the Dublin Fusiliers and goes to the Great War (WWI), and the final novel On Canaan’s Side (2011) is about Lily Bere (or Dolly as we know her), the youngest of the three sisters, who left Ireland for America.
Dunne Family #1 The Steward of Christendom
The play The Steward of Christendom (1995) centres around Thomas Dunne, the high-ranking, ex-chief superintendent of the Dublin Metropolitan police, looking back on his career built during the latter years of Queen Victoria’s empire, from his home in Baltinglass in Dublin in 1932.
He was Catholic, and loyally in service to both the British King, and his country (Ireland), however those twin loyalties collided in the period leading up to the Irish War of Independence (1919-1921), when he found himself on the ‘wrong’ side of history to his countrymen, culminating in a sense of failure, including the recurring memory of the handover of Dublin Castle to Michael Collins.
I haven’t read the play, but I know that he becomes a broken man, committed to an asylum, unable to reconcile what had happened, as if it were the downfall and undoing of himself, his family and lineage.
Dunne Family #2 Annie Dunne
Following the play, he wrote the novel Annie Dunne (2002), about the unmarried middle daughter of the superintendent, which takes place over one summer in her early sixties, when she is staying at her cousin Sarah’s cottage and small acreage in Kelsha, “a distant place, over the mountains from everywhere”, having found herself homeless after the premature death of her sister Maud and the downfall of her family.
Seven Generations of Caretakers, Coppicers, Caterers and a Cop
In the opening pages of Annie Dunne, we learn a little about that family history, the prestige of the line of stewards of Humewood Estate, the different direction her father took and his demise, having to put him in an asylum. The guilt over the end of her once regular visits, his lonely death.
Compared to her childhood in Dublin Castle and that long line of important roles that sheltered her, she too is now alone in these latter years, grateful to her cousin for taking her in. Their glory days behind them, she senses eyes on her without sympathy, in that way people regard someone perceived as having been superior, then find themselves without a safety net.
Those days are gone and blasted forever, like the old oak forests of Ireland felled by greedy merchants years ago.
A New Purpose, Another Marital Threat
When her sister Maud was dying, Annie tended her and the children. Now one of those boys is going to London with his wife, while his two children, four and six will stay under Annie’s care for the summer.
Words are spoken and I sense the great respect Sarah has for their father Trevor, my fine nephew, magnificent in his Bohemian green suit, his odd, English sounding name, his big read beard and his sleeked black hair like a Parisian intellectual, good-looking with deep brown angry eyes. He is handing her some notes of money, to help us bring the children through the summer. I am proud of her regard for him and proud of him, because in the old days of my sister’s madness I reared him.
Billy Kerr, a local man who does odd jobs, arrives unexpectedly early two mornings in a row to share a tea, Annie wonders why. And how her life became like this. The attention he gives Sarah unnerves her, “it is the air of the man”, and much of the novel delves into Annie’s inner world and outer efforts to secure her place.
At the mercy of influences outside her realm of control, she struggles to remain calm, and fears what she might be capable of. She must defend what she sees as her last refuge, her last stand.
Poor Annie Dunne, they must say, if they are kind. They will find other things to say, if they are not. Well, if we were something then, I am nothing now, as if to balance such magnificence with a handful of ashes.
A Strange Innocence, New Understanding
Annie is a complex character, she worries for the children, tries to care for them, observes behaviours that disturb her, jumps to conclusions, looks for support and doesn’t find it, fears herself and her reactions most of all. Her insecurities have made her paranoid, her need to blame risks falling on the innocent. Her desire to harm frightens her.
Her words are so simple, small, and low. Whispery. I feel myself the greater criminal by far than Billy Kerr. I should have kept my own opinions to myself, and let this story take its course, as I have always allowed every story that has come to me. She is open and raw to my wounds. That is why I have wounded her.
Taking place over that summer, the first half is rather mundane, the second half more dramatic as events occur that Annie is implicated in or threatened by, in which she takes some action, some thought out and calculated, other times over-reactive and hysterical. We wonder if she is becoming unravelled like her father, nothing is ever certain in a world that is constantly changing.
The summer comes to an end and none of them will be the same again; changed by their experience, further along in their understanding of themselves and others.
Even the halves of songs I know, our way of talking, our very work and ways of work, will be forgotten. Now I understand it has always been so, a fact which seemed to heal my father’s wound, and now my own.
I enjoyed the novel, but I admit I started it some time ago and set it aside, then went back to start again. It’s more of a winter read when you set more time to pushing through when a novel isn’t quite gripping you. The second time I started it felt very different and I had no trouble continuing on, but by then I also knew I was going to read all three and get the bigger picture.
There are issues in Annie Dunne that are not fully explored, and Annie represents that past characteristic of the Irish to knowingly suppress certain issues, lest it disturb their current situation, however over the course of the summer, she has transformed.
Sebastian Barry was born in Dublin in 1955. The 2018-2011 Laureate for Irish fiction, his novels have twice won the Costa Book of the Year award, the Independent Booksellers award and the Walter Scott Prize.
He had two consecutive novels shortlisted for the Booker Prize, A Long Long Way and The Secret Scripture and has also won the Kerry Group Irish FictionPrize, the Irish Book Awards Novel of the Year and the James Tait Black Memorial Prize. He lives in County Wicklow.
An island of approximately 7 million people, it has a successful and supportive literary culture, including four nobel prize winners (George Bernard Shaw, William Butler Yeats, Samuel Beckett, Seamus Heaney) and six Booker Prize winners (Iris Murdoch, John Banville, Roddy Doyle, Anne Enright, Anna Burns, Paul Lynch), plus an honorable mention for William Trevor, who never won, but was shortlisted five times.
Language and Life Intertwined
If you’re interested in a contemporary insight into Irish culture, literature and history, I highly recommend The Passenger – Ireland (reviewed here), which features long form essays, investigative journalism, literary reportage and visual narratives. It takes us beyond the familiar stereotypes to portray the country’s shifting culture and identity, public debates, sensibilities of its people, its burning issues, pleasures and pain. It was published by Europa Editions in March 2022.
One of the essays, An Ocean of Wisdom by Manchan Magnan, a man fascinated by the Irish language and its connection to fishing, tells of his travels to three Gaeltachtai (Irish speaking) areas uncovering local words and phrases that expressed aspects of the sea, weather and coastal life. He captured linguistic nuances that described a way of life fast disappearing and shared the complex reasons behind it.
More Ireland Island Literature, The Colony
My first book for reading Ireland 2025 is the excellent novel The Colony by Audrey Magee. This had rave reviews everywhere and I have long been wishing to read it. It did not disappoint, it has many thought provoking themes, yet can be read at quite a pace.
Mr Lloyd, an English man has come to an island, a rock three miles long and half a mile wide to paint the cliffs and have an authentic experience. He is trying to find inspiration and revive his career (and life).
We get to know his type immediately in the sardonic opening pages, which are illustrated on the cover of the copy I read. A man being rowed across the water to the rock where he will spend the summer, wants to recreate an authentic experience he’s seen a picture of somewhere. Reality, nothing like a still-life.
He looked down again, at his backpack, his easel, his chest of paints bound already to the journey across the sea in a handmade boat. He dropped his right leg, then his left, but clung to the ladder. self-portrait I: falling self-portrait II: drowning self-portrait III: disappearing self-portrait IV: under the water self-portrait V:the disappeared Let go, Mr Lloyd. I can’t. You’ll be grand.
The people on the island cater to his needs while fifteen-year-old James is curious about painting and drawing. He begins to learn, to practice, to observe what My Lloyd is incapable of seeing. The islanders have asked My Lloyd to respect certain privacy’s, lines he doesn’t take long to cross.
Rival outsiders on a mission
A while later, another man will arrive for the summer, Mr Jean-Pierre Masson, a Frenchman, returning for his fourth summer.
You speak the language Mr Masson? Yes, I study Irish, or Gaelic, as you prefer to call it. I have no preference. Then we’ll go with Irish. Masson drank from his cup. I’m a linguist, Mr Lloyd, and I specialise in languages threatened with extinction. And you’re here to save Gaelic?
The novel observes the effect these two outsiders have on the islanders, the rivalry and antagonism between them and the inability of the islanders to stop the change these two herald.
Lest We Forget
Interspersed between the chapters, single pages in short paragraphs, recount acts of terrorism, the names and details of those who are victims, targeted by different sides of the Irish divide. Thus the novel depicts the external colonising forces and the internal country conflict on the people.
Alexander Gore is a full-time member of the Ulster Defence Regiment standing outside his barracks on Belfast’s Malone Rod just after eleven on Wednesday morning, June 6th. He is twenty-three years of age, Protestant and has been married for four months. His nineteen-year-old wife is pregnant with their first child. A truck drives down the Malone Road towards the barracks. Two IRA men in the truck open fire and kill Alexander Gore.
In addition to the islanders, there is the ghostly presence of the three fishermen who drowned, their absence keeping some endlessly waiting, anchored to that rocky outcrop, as if expecting them still to return.
Three good men lost on an autumn day. My son-in-law, my grandson and my grand-daughter’s husband. Gone. Never to come home. Not even for their own funerals. That was a hard time, JP. But as I say, you get hard times wherever you are. They have a great way of following people. Though it took a long time for the island to recover.
The Painter and the Academic, neocolonialism at work
Both visitors have backstories that reveal more about them and question their motives. They discover they can take more than what they initially came for and neither hesitates to expand their remit, because it serves them, it takes them away from looking at themselves, at their own story.
The islanders see all, some stuck in their ways, others with more freedom to slip in and out of what is expected and others have the desire to rebel or seek opportunity. As the visitors time on the island comes to an end, true colours are revealed, change is challenged by the old order and young James weighs up his options.
I very much enjoyed the reading experience and the delving into the different motivations of all the characters. The dialogue was excellent, the humour biting, the prose sometimes poetic and spaced out on the page, other times fluid like the incoming and outgoing tides, occasionally dense when it delved into the political and linguistic aspects and violent when those extracts are shared.
Highly Recommended!
Have you read The Colony? Are you reading any Irish literature this month? Let me know in the comments below.
Audrey Magee was born in Ireland and lives in Wicklow. She worked for twelve years as a journalist.
Her first novel, The Undertaking, was shortlisted for the Women’s Prize for Fiction, for France’s Festival du Premier Roman and for the Irish Book Awards. It was also nominated for the Dublin Literary Award and the Water Scott Prize for Historical Fiction. The Undertaking has been translated into ten languages and is being adapted for film.
Her second novel, The Colony was longlisted for the Booker Prize 2022 and shortlisted for the Orwell Prize for Political Fiction (2022).
A new novel by Eowyn Ivey is like no other anticipated novel for me. I still remember the effect of reading her debut The Snow Child, my One Outstanding Read of 2012 and now with Black Woods, Blue Sky, she has created that magic again.
It is extraordinary.
No Madeleine in Sight
The title is a reference to this quote from Marcel Proust:
Now are the woods all black but still the sky is blue May you always see a blue sky overhead my young friend and then even when the time comes which is coming now for me when the woods are black when night is falling you will be able to console yourself as I am doing by looking up to the sky.
A Nature vs Nurture Conundrum
On the cover, we see the blue sky and the black woods and an image of a standing bear, whose shadow is a man.
It is the story of troubled Birdie, her six year old daughter Emaleen and a reclusive character Arthur, who Birdie is entranced by. In the opening scene Birdie awakens with a hangover, goes off into the woods with a fishing line, leaving her daughter alone sleeping, forgetting to take her rifle.
The large more fearsome grizzly bears were rarely seen, leaving only paw prints or piles of scat in the woods. But now and then, a bear would surprise you. They were too smart to be entirely predictable.
This entire scene is a foreshadowing of the novel, of the attempt of a young, single mother to do right, who doesn’t have sufficient awareness of certain red lines she should not cross, which have nothing to do with the depth of love she has for her child and the determination to do better than how she was mothered.
Though she doesn’t yet know him that well, and despite his odd way of being and other clues that might make her question going off to be with him, she and her daughter depart for the cabin in the mountains where Arthur dwells, not realising they will be living off the grid.
Arthur has some strange tendencies that Birdie tries to understand. Emaleen understands more than her mother and is both sympathetic to him and afraid of him.
The novel charts their relationship and brings the Akaskan landscape and botanical life alive, in all its beauty and bite.
The novel is told in three parts, each one introduced with a black and white pencil illustration of a native Alaskan plant, one that symbolically has something to say about what will pass.
It is also a study in the nature of the bear, of the similarity of some of their their instincts to humans.
A sow grizzly appeared to care for her cubs with the same tender exasperation as a human mother, and when threatened by a bear twice her size, she wouldn’t hesitate to put herself between the attacker and her offspring. She was the most formidable animal in all of the Alaska wilderness, a sow defending her cub.
In the Wilderness Pay Attention
While the initial period of their stay is encouraging, the signs of discontent are already present and like Icarus who flew too close to the sun, Birdie’s judgement is impaired.
It was impossible, what Birdie wanted. To go alone, to experience the world on her own terms. But also, to share it all with Emaleen.
In an attempt to try and appease Birdie, he suggests she takes a day to herself, to be free as she desires. All is well until she is lured by shrubs of blueberries that lead her off course, or was it when she stepped into a ring of mushrooms igniting an age-old curse.
Don’t you dare go blundering into it. That’s what Grandma Jo would say. Witches and fairies danced in a circle here on moonlit nights, the mushrooms sprouting up where their feet touched. If you trespassed inside the circle, they would punish you. You might be forced to dance away the rest of your life in the ring, or, if you escaped, the curse would follow you back home and weave mischief and sorrow through your days.
The novel has a strong element of suspense at the same time as it explores the effect of decisions made by adults on children, on the things that might be overcome and others that are unlikely to. Every character carries something that contributes to our understanding of the story and the responses of the little girl Emaleen highlight much that demands our attention.
Autobiographical Elements
Eowyn Ivey describes Black Woods, Blue Sky as her most personal yet and the most important story she has ever told, with Emaleen being the closest to an autobiographical character she has written. It is a story the author had been trying to figure out how to write her entire life, as she wrote into ‘the darkest fears and most magical memories of childhood’, while demonstrating how people’s choices have a ripple effect through time.
“…the little girl’s fear and sense of magic, the feeling she loves about being so far out in the wilderness of Alaska, but also the thing she is afraid of, that is all directly from me”
It is a heart-stopping, captivating read, unpredictable and nerve-wracking in parts and yet we are able to bear witness, knowing we are safe in the hands of an empathetic, nature loving author, whose authenticity and understanding of human nature resonate throughout the text. Just brilliant.
If you enjoyed The Snow Child, you will love this too. If you haven’t read Eowyn Ivey yet, you’re in for a treat.
Outstanding. Best of 2025.
Author, Eowyn Ivey
Eowyn Ivey is the author of The Snow Child, an international bestseller published in thirty countries, a Richard and Judy Bookclub pick, a finalist for the Pulitzer Prize, and winner of a British Book Award.
Her second novel, To the Bright Edge of the World, was longlisted for the International Dublin Literary Award, shortlisted for the Edward Stanford Travel Writing Award, and was a Washington Post Notable Book.
A former bookseller and reporter, she was raised in and lives in Alaska.
March is Reading Ireland month, an initiative created by Cathy at 746 Books and it is simply a way of being in community, while reading anything written by Irish authors or that relates to Ireland, there are no fixed rules, just the intention to Read Ireland, whatever that means to you! There’s even a Spotify playlist if you’re interested in a bit of musical culture.
Getting a Jump Start
For me that means reading more Irish authors from my bookshelves. I did read two in January, in fact my first read of 2025 was Donal Ryan’sIrish Book Award 2024 winning, heart, be at peace, a novel about multiple characters in a rural town in County Tipperary facing the different issues that face them a decade or so on from his debut novel The Spinning Heart.
Then I picked up a beautiful second hand hardback Water by John Boyne on holiday, and read it on my flight home. It is the first of four novellas in his The Elements series and now I want to read the next three, Earth, Fire and the final one Air due out in May 2025. But not yet, I’m prioritising what I already have!
Reading From the Shelves
So here is the pile from my bookshelves, from which I will be choosing what to read in March 2025.
There are also three titles languishing on my kindle, which doesn’t get as much attention as it should, because out of sight is out of mind when it comes to reading. So I’m jogging my memory and will try to read at least one of these e-books.
On the kindle I have Listening Still by Anne Griffin, The Quiet Whispers Never Stop by Olivia Fitzsimons and Quickly, While They Still Have Horses by Jan Carson. In physical print I have another CarsonThe Raptures, that I picked up at the annual Ansouis vide grenier in September 2024.
Audrey Magee’sThe Colony (2022) was longlisted for the Booker Prize, shortlisted for the Orwell Prize for political fiction and the Kerry Group Irish Novel award, so it gained a lot of attention and I have been keen to read it.
When Fiction Reminds Us of Those Who’ve Passed
I really enjoyed Sebastian Barry’sOld God’s Time (2023) and want to read more of his work, so I chose his Dunne Family trio of books, Annie Dunne (2002), A Long Long Way (2005) and On Canaan’s Side (2011) to delve more into his storytelling. I am part way through reading these now.
I love that this collection of novels and the play that was the first in the series, were all inspired by characters from his own ancestral lineage. That inspired me too.
After reading A Long Long Way, I became curious, as I too have an ancestor, born in the same year as his character Willie Dunne (1896), who like Willie, went to France in World War I, was in an Irish regiment and did not return. My ancestor Edmund Costley died on 9 April 1916, in Ypres, West Flanders, Belgium at the age of 19. I’ll be writing a post about him in April.
Historical Re-Imaginings, True Crime, Women’s Lot
I have read two novels by Mary Morrissey, Mother of Pearl (1995) and Penelope Unbound (2023). Morrissey tends to take historical stories and/or characters and re-imagine their lives. Mother of Pearl was inspired by a notorious baby-snatching case in 1950’s Ireland, that she chose to fictionalise, having said that the truth would have come across to readers as unbelievable; while Penelope Unbound re-imagines the life of Nora Barnacle, if in Trieste, Italy, when James Joyce made her wait all day outside a train station for him, she decides to leave.
This year I’m going to read her imagined autobiography, The Rising of Bella Casey (2013); she was the sister of the acclaimed playwright Sean O’Casey, and it is set at the turn of the century Dublin, a social commentary on the lives of women in that era.
Then there is Maggie O’Farrell’sThe Marriage Portrait (2022), another historical re-imagining, this time of the short life of Lucrezia de’ Medici, a sixteenth century member of the renowned aristocratic House of Medici in Italy. I enjoyed O’Farrell’s riveting memoir I Am, I Am, I Am – Seventeen Brushes With Death (2017), the first of her works I read, and then the multiple award-winning, Hamnet (2020) and The Hand That First Held Mine (2010), so I’m looking forward to immersing in this one.
Irish Non-Fiction
There are two non-fiction titles on my pile, Missing Persons, Or My Grandmother’s Secrets by Claire Wills, author, critic and cultural historian, winner of the Irish Book Award for non-fiction, who has written a family history that blends memoir with social history. She explores the gaps in that history, brought about by Ireland’s brutal treatment of unmarried mother’s and their babies, and a culture of not caring, not looking into or asking questions, rolling back a dark period of its history of loss and forgetting.
The second non-fiction title is the candid Fierce Appetites – lessons from my year of untamed thinking, also subtitled, Loving, Losing and Living to Excess in my Present and in the Writings of the Past by medieval historian Elizabeth Boyle.
The title is a reference to Vivian Gornick’s memoir Fierce Attachments, which is part of what intrigued me, but also the uniqueness of someone finding sense of three dramatic events in their life through medieval literature.
Every day a beloved father dies. Every day a lover departs. Every day a woman turns forty.All three happening together brings a moment of reckoning.
Boyle writes on grief, addiction, family breakdown, the complexities of motherhood, love and sex, memory, class, education, travel (and staying put), with unflinching honesty,deep compassion and occasional dark humour.
Remembering Edna O’Brien (15 December 1930 – 27 July 2024)
I couldn’t read Ireland without adding a title from Edna O’Brien, who died in 2024 at the age of 93. In 2023, I read The Country Girls trilogy, made up of three stories The Country Girls (1960), The Lonely Girl (1962), and Girls in Their Married Bliss (1964) released in 1986 in a convenient single volume.
Credited with breaking the silence on issues young girls faced growing up in Ireland, it was a subject she would often return to. She was punished for it, but lead the way for others to eventually follow.
O’Brien described her work in this way:
I have depicted women in lonely, desperate, and often humiliated situations, very often the butt of men and almost always searching for an emotional catharsis that does not come. This is my territory and one that I know from hard-earned experience. Edna O’Brien (Roth, 1984, p. 6)
Cathy at 746 Books and Kim at Reading Matters are spending a year reading Edna O’Brien and are reading Country Girls in February, you can see their reading schedule for the year if you go to their blog.
I have decided to read one my shelf, The House of Splendid Isolation (1991), the first book in her Modern Ireland trilogy, a political novel, depicting the relations of an Irish Republican Army terrorist and his hostage, an ageing Irish widow, in a house that represents the troubled nation.
Suggestions, Recommendations?
That’s the selection I have made, no guarantees on what I’ll get through, but I’m looking forward to the immersion. Have you read and enjoyed of the titles I mention above?
Are you going to read any Irish literature in March? Let me know in the comments below.
The International Booker Prize 2025 longlist has been announced by this years judging panel, made up of a novelist, a poet, a translator, a critic and a songwriter, all of whom cross boundaries into other art forms. In their various ways, they are steeped in the world of words.
These are the 13 books they have chosen in the first cut, from 154 books submitted – 11 novels and two collections of short stories, translated from 10 original languages representing 15 nationalities and 11 independent publishers:
The Book of Disappearance by Ibtisam Azem (Palestine) translated from (Arabic) by Sinan Antoon
– The shocking premise of Azem’s novel can be summed up in a sentence: what would happen if all the Palestinians in Israel suddenly disappeared?
Alaa is haunted by his grandmother’s memories of being displaced from Jaffa and becoming a refugee in her homeland after the Nakba. Ariel, Alaa’s neighbour and friend, is a liberal Zionist, critical of the military occupation of the West Bank and Gaza, yet faithful to the project of Israel. When he wakes up one morning to find that all Palestinians have suddenly vanished, Ariel begins searching for clues to the secret of their collective disappearance.
That search, and Ariel’s reactions to it, intimately reveal the fissures at the heart of the Palestinian question. Between the stories of Alaa and Ariel are the people of Jaffa and Tel Aviv – café patrons, radio commentators, flower-cutters – against whose ordinary lives these fissures and questions play out.
Spare yet evocative, intensely intelligent in its interplay of perspectives, The Book of Disappearance, critically acclaimed in its original Arabic edition, is an unforgettable glimpse into contemporary Palestine as it grapples with both the memory of loss and the loss of memory.
On the Calculation of Volume I by Solvej Balle (Denmark) translated by Barbara J Haveland
– a woman is trapped in a time loop, waking up each morning to find it’s the 18th of November, again and again.The first book of a planned septology. Five books have been published in Danish so far, with translations underway in over 20 countries.
She no longer expects to wake up to the 19th of November, and she no longer remembers the 17th of November as if it were yesterday. She comes to know the shape of the day like the back of her hand – the grey morning light in her Paris hotel; the moment a blackbird breaks into song; her husband’s surprise at seeing her return home unannounced.
But for everyone around her, this day is lived for the first and only time. They do not remember the other 18th’s of November, and they do not believe her when she tries to explain. As Tara approaches her 365th 18th of November, she can’t shake the feeling that somewhere underneath the surface of this day, there’s a way to escape.
There’s a Monster Behind the Door by Gaëlle Bélem (La Réunion) translated (French) by Karen Fleetwood & Laëtitia Saint-Loubert
– in 1980s La Réunion (an overseas department of France, in the Indian Ocean), a young girl with a zest for life rises up against her jaded, bitter parents.
La Réunion in the ’80s is a place of high unemployment and low expectations, the legacy of postcolonialism. Here, a little girl makes a bid for escape from her sadistic parents’ reign of terror and turns to school for salvation. The name Dessaintes is one to reckon with. A bombastic, violent and increasingly dangerous clan, little do they know that their downfall is being chronicled by one of their own.
Rich in the history of the island’s customs and superstition and driven by a wild, offbeat humour, this picaresque tale manages to satirise the very notion of freedom available in this French territory, and perhaps even the act of writing itself and where it might lead you.
Solenoid by Mircea Cărtărescu (Romania) translated by Sean Cotter
– partly inspired by the author’s years as a teacher in Romania, spiraling into a bizarre account of history, philosophy and mathematics, with flashes of nightmarish body horror. Said to have been written in a single draft, at 627 pages, the longest book on the list.
Grounded in the reality of communist Romania, the novel grapples with frightening health care, the absurdities of the education system and the struggles of family life, while investigating other universes and forking paths.
In a surreal journey like no other, we visit a tuberculosis preventorium, an anti-death protest movement, a society of dream investigators and a minuscule world of dust mites living on a microscope slide. Combining fiction and history with autobiography – the book is partly based on Cărtărescu’s experiences as a teacher – Solenoid searches for escape routes through the alternate dimensions of life and art, as various monstrous realities erupt within the present.
Reservoir Bitches (short stories) by Dahlia de la Cerda (Mexico) translated (Spanish) by Heather Cleary & Julia Sanches
– follows the efforts of 13 memorable Mexican woman, from the daughter of a cartel boss to a victim of transfemicide, to survive against the odds.
In the linked stories of Reservoir Bitches, 13 Mexican women prod the bitch that is Life as they fight, sew, cheat, cry and lie their way through their tangled circumstances. From the all-powerful daughter of a cartel boss to the victim of transfemicide, from a houseful of spinster seamstresses to a socialite who supports her politician husband by faking Indigenous roots, these women spit on their own reduction and invent new ways to survive, telling their stories in bold, unapologetic voices.
At once social critique and black comedy, Reservoir Bitches is a raucous debut from one of Mexico’s most thrilling new writers.
Small Boat by Vincent Delecroix (France) translated by Helen Stevenson
– the fictional account of a group of migrants’ attempt to cross the English Channel in an inflatable dinghy, which results in the deaths of 27 of those on board. Told from the point of view of a French woman who received, but rejected, their desperate calls for help.
Despite receiving numerous calls for help, the French authorities wrongly told the migrants they were in British waters and had to call the British authorities for help. By the time rescue vessels arrived on the scene, all but two of the migrants had died.
The narrator of Delecroix’s fictional account of the events is the woman who took the calls. Accused of failing in her duty, she refuses to be held more responsible than others for this disaster. Why should she be more responsible than the sea, than the war, than the crises behind these tragedies?
A shocking, moral tale of our times, Small Boat reminds us of the power of fiction to illuminate our darkest crimes.
Hunchbackby Saou Ichikawa (Japan) translated by Polly Barton
– an unflinching account of sexual desire and disability about a protagonist born with a congenital muscle disorder who uses an electric wheelchair and a ventilator. Hailed as one of Japan’s most important novels of the 21st century.
Within the limits of her care home, her life is lived online: she studies, she tweets indignantly, she posts outrageous stories on an erotica website. One day, a new male carer reveals he has read it all – the sex, the provocation, the dirt. Her response? An indecent proposal…
Written by the first disabled author to win Japan’s most prestigious literary award and acclaimed instantly as one of the most important Japanese novels of the 21st century, Hunchback is an extraordinary, thrilling glimpse into the desire and darkness of a woman placed at humanity’s edge.
Under the Eye of the Big Bird by Hiromi Kawakami (Japan) translated by Asa Yoneda
– leaps back and forth across thousands of years and finds humankind on the verge of extinction, but still clinging to the impulses that make us human.
In the distant future, humans are on the verge of extinction and have settled in small tribes across the planet under the observation and care of the Mothers. Some children are made in factories, from cells of rabbits and dolphins; some live by getting nutrients from water and light, like plants. The survival of the race depends on the interbreeding of these and other alien beings – but it is far from certain that connection, love, reproduction, and evolution will persist among the inhabitants of this faltering new world.
Unfolding over geological eons, Under the Eye of the Big Bird is at once an astonishing vision of the end of our species as we know it and a meditation on the qualities that, for better and worse, make us human.
Eurotrashby Christian Kracht (Germany) translated by Daniel Bowles
– a Swiss writer named Christian, embarks on a tragicomic road trip with his wealthy, elderly mother in this tragicomic and absurd semi-autobiographical novel.
Realising he and she are the very worst kind of people, a middle-aged man embarks on a dubious road trip through Switzerland with his 80-year-old mother, recently discharged from a mental institution. Traversing the country in a hired cab, they attempt to give away the wealth she has amassed from investing in the arms industry, but a fortune of such immensity is surprisingly hard to squander. Haunted in different ways by the figure of her father, an ardent supporter of Nazism, mother and son can no longer avoid delving into the darkest truths about their past.
Eurotrash is a bitterly funny, vertiginous mirror-cabinet of familial and historical reckoning. The pair’s tragicomic quest is punctuated by the tenderness and spite meted out between two people who cannot escape one another. Intensely personal and unsparingly critical, Eurotrash is a disorientingly brilliant novel by a writer at the pinnacle of his powers.
Perfectionby Vincenzo Latronico (Italy) translated by Sophie Hughes
– an expat couple attempt to live their dream in Berlin, but find themselves beset with the dissatisfaction and ennui of the modern world.
Millennial expat couple Anna and Tom are living the dream in Berlin – in a bright, plant-filled apartment in Neukölln. They are young digital creatives, freelancers without too many constraints. They have a passion for food, progressive politics, sexual experimentation and Berlin’s 24-hour party scene. Their ideal existence is also that of an entire generation, lived out on Instagram, but outside the images they create for themselves, dissatisfaction and ennui burgeon.
Their work as graphic designers becomes repetitive. Friends move back home, have children, grow up. An attempt at political activism during the refugee crisis proves fruitless. And in that picture-perfect life Anna and Tom feel increasingly trapped, yearning for an authenticity and a sense of purpose that seem perennially just out of their grasp.
With the stylistic mastery of Georges Perec and nihilism of Michel Houellebecq, Perfection is beautifully written and brilliantly scathing.
Heart Lamp (short stories) by Banu Mushtaq (Southern India) translated (Kannada) by Deepa Bhasthi
– the author, an activist and lawyer vividly captures the extraordinary everyday lives of Muslim women and girls in southern India, in 12 stories, originally published in Kannada between 1990 and 2023.
Praised for their dry and gentle humour, these portraits of family and community tensions testify to Mushtaq’s years as a journalist and lawyer, in which she tirelessly championed women’s rights and protested all forms of caste and religious oppression.
Written in a style at once witty, vivid, colloquial, moving and excoriating, it’s in her characters – the sparky children, the audacious grandmothers, the buffoonish maulvis and thug brothers, the oft-hapless husbands, and the mothers above all, surviving their feelings at great cost – that Mushtaq emerges as an astonishing writer and observer of human nature, building disconcerting emotional heights out of a rich spoken style. Her opus has garnered both censure from conservative quarters as well India’s most prestigious literary awards; this is a collection sure to be read for years to come.
On a Woman’s Madness by Astrid Roemer (Surinamese-Dutch), translated (Dutch) by Lucy Scott
– a classic of queer literature, as electrifying today as it was when it first appeared in 1982, tells of a courageous Black woman fleeing her abusive husband to embark a new life in the Surinamese capital.
When Noenka’s abusive husband of just nine days refuses her request for divorce, she flees her hometown in Suriname, on South America’s tropical northeastern coast, for the capital city of Paramaribo. Unsettled and unsupported, her life in this new place is illuminated by romance and new freedoms, but also forever haunted by her past and society’s expectations.
Amid tales of plantation-dwelling snakes, rare orchids, and star-crossed lovers, it is also a blistering meditation on the cruelties we inflict on those who disobey. Roemer, the first Surinamese winner of the prestigious Dutch Literature Prize, carves out postcolonial Suriname in barbed, resonant fragments. Who is Noenka? Roemer asks us. ‘I’m Noenka,’ she responds resolutely, ‘which means Never Again.’
A Leopard-Skin Hat by Anne Serre (France), translated by Mark Hutchinson
– captures the love and despair of an intense friendship between the book’s narrator and his best friend from childhood, who suffers from severe psychological disorders.
A series of short scenes paints the portrait of a strong-willed and tormented young woman battling many demons, and of the narrator’s loving and anguished attachment to her. Serre poignantly depicts the bewildering back and forth between hope and despair involved in such a relationship, while playfully calling into question the very form of the novel.
Written in the aftermath of the death of the author’s little sister, A Leopard-Skin Hat is both the celebration of a tragically foreshortened life and a valedictory farewell, written in her signature style.
Newbies, First Timers and a Classic Translated
Many of the books on the list are by authors being translated into English for the first time, which is a great sign for translated fiction, indicating that publishers and reading more widely and looking further than the already known. Not surprising I haven’t read any of these and only heard of one Solenoid, which won the Dublin Literary Award in 2024. It is not one I will be reading, way too long!
I like the sound of Heart Lamp and On a Woman’s Madness, not just for their premise, but for the language and locations they hail from! The Danish novel, The Calculation of Volume 1 sounds intriguing and something of a cult following, you’ve got to bat for someone who went ahead and self-published and is now being translated into over 20 languages.
Anything on the list tempting you? Let me know in the comments below.
The International Booker Shortlist and Winner 2025
The shortlist of six books will be announced on Tuesday, 8 April.
The winning title will be announced at a ceremony at London’s Tate Modern on Tuesday, 20 May.
Seventeen years ago, the author Rosa Ribas was taken by friends to visit a strange monument to a broken era in Seseña; it was a housing development known as ‘The Manhattan of La Mancha’.
Built in 2008, it was designed to house 40,000 people in 13,500 affordable apartments – a ready made settlement emerging from the dust-bowls of remote farmland 40 kilometres from Madrid. It now looked something like between an eerie ghost town and an abandoned building site.
One representation of many, it was a stark reminder of a housing bubble, burst by a rampant, unchecked building boom bust, and a global financial crisis that created an unprecedented unemployment rate and the deepest economic recession Spain had experienced for fifty years.
“When you walked around, you’d see the blocks where people were living, the blocks that were semi-inhabited, and then all the skeletons of buildings in different stages of completion,” she said. “From one day to the next, they told the workers not to come back the following day. And it all stayed like that.”
As night fell and three lights came, the realisation that they were the only people living there spawned the idea for a novel, Lejos in Spanish, now translated by Charlotte Coombe into English, brought to us by an excellent new imprint Foundry Editions, created in 2023 out of a love of these three things:
a love for discovering and sharing new voices, a love for the Mediterranean and the people and lands that surround it, and a love of internationalism and reading across borders.
The patterns on the covers of their books have been designed to capture the visual heritage of the Mediterranean. This one is inspired by the architecture of Santiago Calatrava’s City of Arts and Sciences in Valencia. It was created by Hélène Marchal.
Far, A Novel
I loved this novel, it is evocative of this semi-abandoned place, it depicts a demarcation between the legals and the illegals, the rightful inhabitants and the opportunistic outsiders, the followers of rules, those that want to make their own, and those that fall into the cracks.
The entire development was constructed on a pile of poorly concealed sleaze, a chain of bribery, corruption, intimidation, and complicit silences. No ancient manuscripts, no mythical foundations. If these lands had been the scene of some momentous event, back when battles of conquest and reconquest were being fought all over the area, no one had bothered to record it. It was a bleak place, devoid of stories, where it was impossible to satisfy any yearnings for greatness.
The entrance to the development still shows billboards offering apartments for sale, the middle one depicting the fugitive developer Fernando Pacheco in his suit and tie, the others depicting scenes of golfing, swimming pools and cocktails, a far cry from the reality within which they sat.
The opening lines of Far stayed with me for the entire novel, they foreshadow the dénouement, a future turning point, that could even be the beginning of a follow up novel. For me it was a delightfully transgressive ending that I wasn’t even looking for, it arrived abruptly, though more regular readers of noir fiction might have seen it coming.
That night, he had no idea he was walking over a cemetery. A secret cemetery with no gravestones or crosses, and only two dead bodies. There would be three by the time he left.
The lyrical prose is clever, compelling and nothing is lost in translation.
The Lost and Fallen
We meet two unnamed characters, the first is the man we meet walking across that unconsecrated ground. He has just walked out of his office, his job, his life and is looking for a temporary refuge, when he remembers this place, this lost dream of many that one of his colleagues bought into. He needs to stay in hiding and at first is vigilant in keeping away from others, but the forced isolation and the desolate nature of the place loosen his discipline and he makes a friend in an older widower, Matias.
The second character is a woman living in one of the villas alone. Experiencing a double abandonment, she is sticking it out, she works from home and writes the minutes of the resident’s association meetings. Since the realisation that the development had truly been abandoned, the association had turned its focus onto other items.
Hegemons Harmony Hampered
Then, given the inhospitable environment, efforts became focused on the interior, on the decor of the apartments and villas. And on the “dignification” of the settlement. Swept pavements, manicured gardens. Being dressed properly in the street. “So, no more going out in your dressing gown to buy bread,” said Sergio Morales, the chairman of the residents’ association, at one of their meetings, in that jocular tone which often masks inconvenient or ridiculous orders.
In this place that promised a kind of utopia, those that bought into it begin to realise that they have become neighbours with the marginalised, as the unfinished houses become occupied by people in equally difficult, but entirely different circumstances and they don’t like it. They begin to obsess over it, becoming paranoid, arguing about whether to call the police or take care of things themselves.
The destruction of their fantasy, the deterioration of an imagined life, of people’s mental states and even their physical states, emulates the disintegration of the country’s economic situation, that contributed to the depth of suffering inflicted on the population, as millions of jobs were lost and opportunities for youth disappeared, creating a surge in racism and xenophobia.
Light Always Illuminates
And there, amid the chaos, insecurity and fear, unlikely friendships and connections develop, between the man and the widower on the unfinished side of the settlement, the woman from the deteriorating utopia on the other side and the Dominican who doesn’t ask questions, working at the petrol station.
Brilliantly told, infused with sardonic humour, it is a disturbing yet revelatory tale of what happens when severe change arrives unbidden and the effect it has on the ‘haves,’ the ‘have-nots’ and those that fall through the cracks in between.
Rosa Ribas was born in El Prat de Llobregat in 1963. She has a degree in Hispanic Philology from the University of Barcelona, and spent time in Frankfurt at the Goethe University and the Instituto Cervantes. She now lives and works in Barcelona again and the city plays a big role in her writing.
Rosa is widely considered one of the queens of Spanish noir, achieving critical and commercial success in Spain with her Dark Years Trilogy (Siruela) and her Hernández trilogy (Tusquets). Far is her first foray away from crime fiction, into a more menacing social commentary. It is her first book to be translated into English.
Translator, Charlotte Coombe
Charlotte Coombe translates works from French and Spanish into English. She was shortlisted for the Queen Sofía Spanish Institute Translation Prize 2023 for her co-translation of December Breeze by Marvel Moreno. In 2022 she won the Oran Robert Perry Burke Award for her translation of Antonio Diaz Oliva’s short story ‘Mrs Gonçalvesand theLives of Others’, and she was shortlisted for the Valle Inclán Translation Prize 2019 for her translation of Fish Soup by Margarita García Robayo.
Word by Word 