Grand: Becoming My Mother’s Daughter by Noelle McCarthy

A thought provoking memoir that won the Best First Book in the General Nonfiction category of the New Zealand Book Awards 2023, ‘Grand’ is a reference to the good old Irish vernacular, a bit like the way others use the word ‘fine’, when it covers a multitude of sins, lies, omissions – a word that sums up an aspect of societal tendency, used to avoid expressing what is actually occurring.

Grand Becoming My Mothers DaughterGrand, tells the story of Noelle McCarthy’s growing up in Hollymount, County Cork and the highs and lows of being around a mother, who had already lost two children before she was born and was herself never comforted by her own mother. Seeking to self-regulate through the effect of alcohol, Grand demonstrates numerous effects of having been raised under those circumstances and how a multi-faceted generational trauma passes down.

McCarthy finishes university and after a chance encounter with a New Zealander in a cafe where she worked, decides to travel to New Zealand and finds herself propelled into a media career after a stint in student radio, then becoming a sought after broadcaster and interviewer.

Though it does wonders for her freelance prospects and professional reputation, the lifestyle also pushes her deeper into addictive tendencies, denial and dysfunctional relationships, until the day arrives when she knows she has to change.

She doesn’t hold back from sharing the increasingly ugly detail of late nights, memory lapses and destructive episodes. She notices her inability to schedule morning appointments, in anticipation of planned hangovers and realises it is not normal.

I do not know, at this point, how the people I work with are able to ignore the general air of chaos that surrounds me.

There is a moment in a conversation with an experienced friend, while contemplating whether or not to attend meetings, she is confronted with a moment of choice.

I ask her: ‘What will happen if I go back to the meetings, but I’m not really an addict or an alcoholic?

She shrugs her narrow shoulders. ‘I don’t know. I guess you go for a while, and then stop because you don’t need to be there? Not that big a deal really.’

A pause. ‘ And what if I am an alcoholic, and I don’t go? What will happen then?’

She moves her spoon to one side, picks up a pair of chopsticks delicately. ‘It will get worse. Addiction is progressive.’

The feeling better part after having given up alcohol takes some time to manifest and is beautifully described in one scene by simple observations through the window of a bus. As the vehicle picks up speed, she is filled with “a fierce, clean joy that comes out of nowhere”. She is nearly 31 years old and her life is beginning anew.

The bushes that line the road are full of passionfruit vines and spiky, colourful bird-of-paradise flowers. I watch the kids in their school uniforms chugging Cokes, women at the bus stop, just normal workers going about their business, and I don’t hate them the way I used to. I am just a person among people, no better and no worse. I am nearly six months sober.

The memoir tracks her path to sobriety and to a coming to terms with who her mother is and was, and to her own ‘becoming a mother’.

Noelle McCarthy Grand

Photo by Doug Brown on Pexels.com

It’s interesting that subtitle, because to me she doesn’t “become” her mother’s daughter, if anything that is who and what she is fated to be, without healing or recognition of the generational trauma that lead to her addiction. What she does “become” is’ a mother to her own daughter’, the one role where there is an opportunity to heal from the past and choose to do things differently, to learn how to self regulate her own distorted central nervous system, in order to nurture her daughter in a way that will mitigate what they have all inherited.

It is a compelling read, a deeply honest and vulnerable account of a women in self-imposed exile, trying to live differently, dealing with her own inner demons and having a kind of love/hate relationship with her mother.

The thing that really stood out to me, something that isn’t exactly written, but that is understood, was that Noelle McCarthy was the first child, her mother was able to keep. Though she struggles as a mother, Caroline kept that daughter and loved her fiercely, so this daughter, though she has to deal with the effects of her mother’s alcoholism, she has not inherited the complex-PTSD that babies who were not ‘kept‘ are cruelly gifted with. Ironically, it appears that the mother suffered this neglect, it being suspected that her own mother, most likely suffering from post natal depression, never or rarely held her own daughter.

I want to tell her then, about the study I read about baby monkeys. The ones that don’t get touched and cuddled as much, don’t grow as well, physically or mentally.

Though the relationships are a challenge to navigate, there is a sense of knowing, a sense of belonging to both that family, those siblings and the place she grew up, that leaves the reader appreciating the importance these things contribute to the wholeness of a life.

A compelling memoir and an important contribution to literature that captures the chaos, pain and steps towards healing from alcoholism and addiction.

Noelle McCarthy, Author

Noelle McCarthy Author MemoirNoelle McCarthy is an award-winning writer and radio broadcaster. Her story ‘Buck Rabbit’ won the Short Memoir section of the Fish Publishing International Writing competition in 2020 and this memoir Grand won the Best First Book General Nonfiction Award at the NZ Book Awards 2023.

Since 2017, she and John Daniell have been making critically acclaimed podcasts as Bird of Paradise Productions.  She has written columns, reviews, first-person essays and features for a wide range of media in New Zealand including Metro, The NZ Herald and Newsroom. In Ireland, she’s provided commentary for radio and written for The Irish Times, The Independent and The Irish Examiner.

She lives in the New Zealand countryside with her husband and their daughter, and she misses Irish chocolate.

Grand Becoming my mother's daughter

New Zealand Book Awards 2023 winners #theockhams

Back in February I posted on the long longlist of 44 books in four categories for the New Zealand Book Awards 2023, also known as  “the ockhams”. The shortlist whittled that down to 16 titles and now we have a set of winners in each of those four categories and a handful of ‘Best First Book’ prizes.

Fiction Prize

No surprise that the winning novel that has captivated not just the nation (winning The People’s Choice), but also the twitterverse, narrated by Tama the magpie, @TamaMagpie, Catherine Chidgey’s The Axeman’s Carnival won the $64,000 Jann Medlicott Acorn Prize for Fiction.

I’m very much looking forward to reading this, and hoping that since Europa Editions UK published her excellent novel Remote Sympathy in 2021, it won’t be long before we see this novel available in Europe and the rest of the English reading world.

Catherine Chidgey Tama the magpie

Chidgey’s masterful writing explores the diversifying of rural life, the predicament of childlessness, the ageing champ, and domestic violence. She provides a perspicacious take on the invidious nature of social media and a refreshingly complex demonstration of feminist principle.

“The unforgettable Tama – taken in and raised by Marnie on the Te Waipounamu high country farm she shares with champion axeman husband Rob – constantly entertains with his take on the foibles and dramas of his human companions. Catherine Chidgey’s writing is masterful, and the underlying sense of dread as the story unfolds is shot through with humour and humanity.

“The Axeman’s Carnival is unique: poetic, profound and a powerfully compelling read from start to finish.”

Poetry Prize

I was particularly intrigued by acclaimed Māori poet and scholar, Alice Te Punga Somerville’s poetry collection, Always Italicise, How To Write While Colonised and was pleased to see it win this category.

‘Always italicise foreign words’, a friend of the poet was cautioned. Alice Te Punga Somerville does exactly that. With humour and rage, regret and compassion, she ponders ‘how to write while colonised’ – penning poetry in English as a Māori writer; tracing connections between Aotearoa, New Zealand and the greater Pacific region, Indigenous and colonial worlds; reflecting on being the only Māori person in a workplace; and how – and why – to do the mahi anyway.

Alice Te Punga Somerville Always Italicise

“Readers are challenged but crucially invited in to accept that challenge and reach a new understanding of what it is to be a Māori woman scholar, mother and wife in 2022 encountering and navigating uncomfortable and hostile spaces.

“Always Italicise stood out amongst a very strong field for its finely crafted, poetically fluent and witty explorations of racism, colonisation, class, language and relationships. It’s a fine collection, establishing and marking a new place to stand.”

General Non-Fiction & Illustrated Non-Fiction

Broadcaster, music critic and author Nick Bollinger won the Booksellers Aotearoa New Zealand Award for Illustrated Non-Fiction for Jumping Sundays: The Rise and Fall of the Counterculture in Aotearoa New Zealand.

Drawing on archival research and rich personal narratives, Nick Bollinger has written a compelling account of an epoch-making period, linking international trends to the local context in a purposeful-yet-playful way.

“A joy to read and to hold, Jumping Sundays is a fantastic example of scholarship, creativity and craft.”

Historian and lawyer Ned Fletcher won the General Non-Fiction Award for his work, The English Text of the Treaty of Waitangi, shedding new light on New Zealand’s founding document’s implications, contributing fresh thinking to what remains a very live conversation for those that call Aotearoa New Zealand home. The treaty was made between the British Crown and about 540 Māori rangatira (chiefs) on February 6, 1840.

Best First Books

Home Theatre by Anthony Lapwood, a collection of interlinked short stories won the Hubert Church Prize for Fiction; Khadro Mohamed’s We’re All Made of Lightning takes the reader to distant lands, Egypt and Somalia, in heightened sensory language as she grieves for her homeland, winner of the Jessie MacKay Prize for Poetry; the Judith Binney Illustrated non-fiction, first book award went to Christall Lowe’s Kai ,which offers whānau stories and recipes that provide wider insight into te ao Māori, creating a homage to food that is grounded in tradition yet modern, the new Edmonds!

Finally, the E.H. McCormick Prize for General Non-fiction and the book I am currently reading, (left with me by a friend visiting from NZ) went to Noelle McCarthy for Grand, Becoming My Mother’s Daughter. This book was running neck-a-neck with The Axeman’s Carnival for The People’s Choice, up until the last few days, when Chidgey’s book surged ahead.

An exquisite debut, it masterfully weaves together the threads of Noelle McCarthy’s life, and her relationship with her mother, in a memoir that connects with truths that unite us all. Poignant and poetic language renders scenes with honesty and colour. Intimate, but highly accessible, the fragility and turbulence of the mother-daughter relationship is at times brutally detailed. Despite this, Grand is an uplifting memoir, delicate and self-aware, and a credit to McCarthy’s generosity and literary deftness.

NZ Book Awards

A Special Mention

Non fiction NZ art assessment 50 years as an artistOne that didn’t win, but that was Number 4 in The People’s Choice and one I have heard a lot about and sighted on a recent visit to London, is Robin White: Something Is Happening Here.

Described as more than an exhibition turned art book. It features stunning reproductions, historical essays and the insights of two dozen contributors that do justice to the institution that is Robin White. As iconic screenprints flow seamlessly into large format barkcloth, White’s border-crossing practice is temporally divided with the savvy use of typographic spreads. Space, too, is given to the voices of her Kiribati, Fijian and Tongan co-collaborators.

More recently in her life, collaboration with others has become important, a way of working in the space between cultures, enriching and liberating from the confines of self.

Strikingly elegant yet comprehensive, excellence is what’s happening here.

Check out Robin White’s Artist Profile here.