SCHATJE'S 25 BEST BOOKS READ IN 2020

Since today is the last day of the year, I’m presenting my list of the 25 Best Books I read in 2020.  All the books in the first four sections were published or translated into English in 2019 or 2020 and received at least 4 Stars in my reviews.

Best Canadian Fiction

Small Game Hunting at the Local Coward Gun Club by Megan Gail Coles:  https://schatjesshelves.blogspot.com/2020/03/review-of-small-game-hunting-at-local.html

How a Woman Becomes a Lake by Marjorie Celona:  https://schatjesshelves.blogspot.com/2020/05/review-of-how-woman-becomes-lake-by.html

The Pull of the Stars by Emma Donoghue:  https://schatjesshelves.blogspot.com/2020/08/review-of-pull-of-stars-by-emma-donoghue.html

Forest Green by Kate Pullinger:  https://schatjesshelves.blogspot.com/2020/08/review-of-forest-green-by-kate.html

Best American Fiction

Disappearing Earth by Julia Phillips:  https://schatjesshelves.blogspot.com/2020/01/review-of-disappearing-earth-by-julia.html

Courting Mr. Lincoln by Louis Bayard:  https://schatjesshelves.blogspot.com/2020/02/review-of-courting-mr-lincoln-new.html

The Dutch House by Ann Patchett:  https://schatjesshelves.blogspot.com/2020/06/review-of-dutch-house-by-ann-patchett.html

The Beauty of Your Face by Sahar Mustafah:  https://schatjesshelves.blogspot.com/2020/08/review-of-beauty-of-your-face-by-sahar.html

Redhead by the Side of the Road by Anne Tyler:  https://schatjesshelves.blogspot.com/2020/09/review-of-redhead-by-side-of-road-by.html

The End of the Day by Bill Clegg:  https://schatjesshelves.blogspot.com/2020/09/review-of-end-of-day-by-bill-clegg-new.html

Jack by Marilynne Robinson:  https://schatjesshelves.blogspot.com/2020/10/review-of-jack-by-marilynne-robinson.html

Best Fiction from the United Kingdom

A Thousand Moons by Sebastian Barry:  https://schatjesshelves.blogspot.com/2020/06/review-of-thousand-moons-by-sebastian.html

Love by Roddy Doyle:  https://schatjesshelves.blogspot.com/2020/06/review-of-love-by-roddy-doyle-new.html

Judith and Hamnet by Maggie O’Farrell: https://schatjesshelves.blogspot.com/2020/07/review-of-hamnet-and-judith-by-maggie.html  

Here We Are by Graham Swift:  https://schatjesshelves.blogspot.com/2020/09/review-of-here-we-are-by-graham-swift.html

Snow by John Banville:  https://schatjesshelves.blogspot.com/2020/10/review-of-snow-by-john-banville-new.html

Shuggie Bain by Douglas Stuart:  https://schatjesshelves.blogspot.com/2020/10/review-of-shuggie-bain-by-douglas-stuart.html

Big Girl, Small Town by Michelle Gallen: https://schatjesshelves.blogspot.com/2020/12/review-of-big-girl-small-town-by.html 

Best International Fiction

Djinn Patrol on the Purple Line by Deepa Anappara:  https://schatjesshelves.blogspot.com/2020/02/review-of-djinn-patrol-on-purple-line.html

The Mystery of Henri Pick by David Foenkinos:  https://schatjesshelves.blogspot.com/2020/09/review-of-mystery-of-henri-pick-by.html

Fresh Water for Flowers by Valérie Perrin:  https://schatjesshelves.blogspot.com/2020/11/review-of-fresh-water-for-flowers-by.html

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*I did read some books published prior to 2019 and of those, I’d recommend the following:

Ghost Wall by Sarah Moss:  https://schatjesshelves.blogspot.com/2020/11/review-of-ghost-wall-by-sarah-moss.html

A Gentleman in Moscow by Amor Towles:  https://schatjesshelves.blogspot.com/2020/05/review-of-gentleman-in-moscow-by-amor.html

The Song of Achilles by Madeline Miller:  https://schatjesshelves.blogspot.com/2020/05/review-of-song-of-achilles-by-madeline.html

The Trout by Peter Cunningham:  https://schatjesshelves.blogspot.com/2020/03/review-of-trout-by-peter-cunningham.html

Review of THE HAND THAT FIRST HELD MINE by Maggie O'Farrell

3 Stars

I decided to end the year with another novel by someone who has become one of my favourite contemporary writers.  In this book, which won the 2010 Costa Book Award, there are two narratives, set over 50 years apart, which eventually do connect.

In the mid-1950s, free-spirited Lexie Sinclair leaves her family home in Devon and moves to London where Innes Kent, an art dealer, art critic, and art magazine editor, introduces her to the arts scene in post-war Soho and guides her into a career as an art journalist.  Later Lexie gives birth to a son and raises him as a single mother, while continuing to pursue her career.    

In contemporary times, Elina Vilkuna, a painter, is recovering from the difficult birth of her first child and navigating the first months of motherhood.  For her partner Ted, Elina’s near-death during delivery has triggered memories of his childhood.  He remembers nothing before he was about nine, but now starts to have flashbacks of suppressed memories which leave him increasingly confused.

The novel’s portrayal of motherhood is outstanding.  The author captures the women’s intense love for their children alongside their deep longing for independence and creativity.  The exhaustion, anxieties, and joys of motherhood experienced by Lexie and Elina will resonate with all mothers.  Parenting also challenges relationships, and Elina and Ted struggle to return to the relationship they had before the arrival of their son. 

An aspect of the novel which I found most interesting is the development of Lexie.  In the beginning, she seems immature and selfish but she slowly grows into a strong, capable, confident, independent woman.  Life is not easy for her; she is abandoned in more than one way, yet she perseveres.  She pays little heed to social norms; certainly her decision to raise a child as an unmarried woman in the 1950s is unorthodox.  Being the only female staff writer for a newspaper presents challenges but ones she manages without fanfare.  I love dynamic characters that change in a convincing, credible way. 

The book begins slowly; it is not until the end of the first part – almost exactly midway through the novel – that a pivotal event occurs that really propels Lexie’s story.  In the other narrative, Elina begins to feel well again and Ted begins reconstructing more and more memories.  It becomes obvious that the two stories will connect and that, as in many of O’Farrell’s novels, secrets and lies will be shown to affect future generations.

More than once, the author directly addresses the reader but in such a way that the comments are not intrusive.  For example, the novel opens with this paragraph:  “Listen.  The trees in this story are stirring, trembling, readjusting themselves.  A breeze is coming in gusts off the sea, and it is almost as if the trees know, in their restlessness, in their head-tossing impatience, that something is about to happen.”  Foreshadowing is very explicit:  there are sentences like “She has no idea that she will die young, that she does not have as much time as she thinks” and “She doesn’t know that this will never happen.”  Even before the connection between the two stories is obvious, the author describes Ted sitting “at the table where Lexie’s desk used to be.”

I would not say this is O’Farrell’s best book – that honour belongs to Hamnet and Judith – but this is still a worthwhile read.

Review of HIS ONLY WIFE by Peace Adzo Medie

 3.5 Stars

The novel is set in 2014 in the West African country of Ghana.  Afi Tekple lives with her mother in a humble home.  Beholden to a wealthy businesswoman, “Aunty” Ganyo, Afi’s mother agrees to an arranged marriage between Afi and Elikem (Eli) Ganyo.  Afi’s task, once she is married to Eli, is to win him away from a Liberian woman with whom he has a daughter.  The Ganyo matriarch and her sons and daughter disapprove of this woman whom they regard as having stolen Eli away from his family.  The marriage is not off to an auspicious start when Eli marries Afi in absentia.  Afi is moved into a luxury apartment in Accra, but does not see her husband for several weeks.  When he does eventually start dropping by, it is just to visit because the Liberian woman remains in his life.  Afi tries to be an ideal wife but seems to have limited success, so she decides to fill her time by enrolling in a fashion design school. Will Afi ever become Eli’s only wife?

Afi is a young woman caught between traditional Ghanaian culture and the contemporary world.  Because it is important for Ghanaians to maintain dignity, honour, and a good reputation, and the entire family shares any loss of honour, Afi faces pressure from her family to make a success of the marriage.  Her family also receives gifts and money from the Ganyo family, and these would cease should Afi not fulfil her marital obligations.  Though family obligations and female subservience take precedence in her culture, Afi has personal ambitions to become a fashion designer and have her own boutique.

Afi is a dynamic character.  At the beginning, she is timid and obedient.  She agrees to marry a man she doesn’t know because it is the desire of her mother and her mother’s benefactor.  When she arrives in Accra, she is very much an awe-struck village girl.  She tries to conform to the role of ideal wife.  She tries to be patient with Eli’s behaviour, as everyone advises her, but gradually she grows tired of the situation.  Once she enrols in the design school where she starts to realize her potential, she gains confidence and learns to advocate for herself.  Though it seems to take Afi quite some time to start questioning her circumstances, this book is a tale of female empowerment.

There are some decidedly unpleasant characters.  Afi’s Uncle Pious did nothing to help when Afi’s father died, but when Afi’s marriage to a wealthy man is arranged, he shamelessly claims the role of her “father” so he can reap the benefits of the marriage.  He expects regular financial contributions from Afi and the Ganyos, and even sends two of his children to Afi, expecting her to provide them a home.  Eli’s mother is a difficult, demanding woman who manipulates others to get what she wants; she doesn’t hesitate to lie.  Those who dare to question or defy her are harshly treated; even her children fear her.

Eli is an interesting character.  Being handsome and wealthy, he has many advantages.  At times he is a likeable, but then some of his behaviour makes him much less so.  Of course, he is very much a product of his upbringing; because he is a male, his culture has given him a sense of entitlement which has been further instilled in him by his mother for whom he is the favourite child.  However, it is possible to have some sympathy for him as well; the situation in which he finds himself is difficult.  Like Afi, he has filial obligations and is not always able to do what he wishes. 

I listened to this audiobook during my morning walks.  My reading comprehension is far better than my listening comprehension so I try to avoid “heavy” audiobooks.  This was a good choice for listening.  The book has as an interesting plot and characters and a breezy style; it is more than a romance but does not demand a great deal from the reader. 

Review of IT HAPPENED IN SILENCE by Karla M. Jay

 3 Stars

This historical novel, set in Georgia in 1921, has three first-person narrators.

Fifteen-year-old Willow Stewart is mute and so communicates by writing.  She leaves her Appalachian homestead tasked with finding a preacher to bury her baby brother but she also wants to find her oldest brother Briar to convince him to come home.  Thus begins a journey that takes her much further than planned with more than one misadventure.  The second narrator is twenty-year-old Briar Stewart.  Serving a sentence in penal servitude, he wants to do nothing to jeopardize his freedom in four months.  When he encounters an immigrant boy in dire straits, he risks that freedom by trying to help.  Ardith Dobbs, the wife of a wealthy businessman, is the third narrator.  Though she hides secrets about her past, she is proud of and open about her involvement with an organization, the Women of the Ku Klux Klan (WKKK).  Eventually events bring together these three characters. 

There is considerable suspense, especially concerning Willow.  She encounters unscrupulous people and people who claim to have her best interests in mind but disregard her wishes.  More than once she is in considerable danger.  Briar also finds himself in danger several times because Taggert, the work gang supervisor, is a cruel and unpredictable person who rules the workers with an iron fist. 

What I found most interesting is the information about the Women of the Ku Klux Klan.  I had not known about this group which held many of the same political and social ideas of the KKK.  The women of the WKKK in the novel support the KKK by reporting behaviour that is at odds with their extreme racist and intolerant views.  Ardith repeats the vow she took to become a member:  “I pay attention.  I report.  . . .  We are against northerners, blacks, Jews, schoolteachers, Catholics, Mormons, labor radicals, immigrants, bootleggers, theatre owners, dance hall operators, and feminists.” 

Some of Ardith’s beliefs will make the reader more than a bit uncomfortable, and that’s the point.  She believes that “the excessive mortality rates in the American Negro were not due to their daily conditions of life but was an inherent racial trait” and “Colored gals can tolerate pain better than white women.  I mean, everyone knows that.”  She celebrates the unjust laws which punish a white woman for miscegenation:  “Thanks to the civilized laws of our land, her mother is confined to an insane asylum in Virginia for having relations with a blackie.”  Though a black woman is raped by a white man, Ardith blames the woman, asserting that she is sexually promiscuous. 

Willow is the most engaging character.  Because she is mute, people tend to underestimate her intelligence.  She is a kind person whose love of family motivates her.  Briar, despite his missteps in life and his “protective shell,” is much like his sister.  Other characters, however, are not realistic; they tend to be totally good or totally evil.  Taggart and Ardith, for example, seem to have no redeeming qualities, whereas Ilya has nary a flaw. 

There are several examples of plot contrivance.   There are coincidences where characters come together at convenient times; several characters manage to make unlikely escapes; and there is a deus ex machina rescue.  The ending also stretches credulity.  Are we to take Taggert’s fate seriously?  And was the suggestion of romance really needed? 

In terms of style, it is the many country comparisons or “corny sayings” that stand out:  “as heartless as a chicken gizzard” and “Prettier than a mess of fried catfish” and “She was the freshness in the air after a fast-moving rainstorm.  The sugar in the rhubarb pie” and “crazier than an outhouse fly” and “useless as the H in ghost.” 

In the Author’s Note, there are explanatory notes and non-fiction reading suggestions for subjects which appear in the novel:  the WKKK, baby farms, chain gangs, and hobos.  It is obvious that the author did considerable research and her intention to give voice to those “silenced through fear, injustice, or discrimination” is admirable, but plot contrivance and unrealistic characterization weaken the quality of the book. 

Note:  I received a digital galley from the publisher via NetGalley.

Review of BIG GIRL, SMALL TOWN by Michelle Gallen

 4 Stars

Twenty-seven-year-old Majella O’Neill is an overweight reclusive who lives with her alcoholic mother in Aghybogey, a small town in Northern Ireland near the Irish Republic border.  She works in a fish-and-chip shop called A Salt and Battered!  The novel depicts a week of her life.

The book is set in 2003, five years after the Good Friday Agreement that ended most of the violence of the Troubles; however, the legacy of the Troubles looms over Aghybogey which remains a community divided between Taigs (Catholics) and Prods (Protestants), with little contact between the groups.  Certainly, Majella's family has been affected:  years ago her uncle died in a bomb explosion and her father “disappeared”; recently her grandmother died because of a beating. 

The book begins with a list of things Majella dislikes which extends to “ninety-seven items, with subcategories for each item.”    There are seven chapters, organized by day of the week and chronologically by time, but within each chapter there are sub-headings based on Majella’s dislikes.  For example, “4:04 p.m. - Item 12.2: Conversations: Rhetorical questions” and “7:15 p.m. - Item 3.4: Noise: Shite singing” and “10:00 p.m. - Item 8.4: Jokes: Repeated jokes” and “11:07 p.m. - Item 4.1: Bright lights: Fluorescent bulbs” are some of the subtitles in the Monday chapter.   This structure effectively elaborates items on Majella’s list.

The character sketch of Majella is the book’s greatest strength.  Though the term is never used, it is quite clear that she is on the autism spectrum.  She craves routine, enjoys repetitive actions, has difficulty reading faces for emotions, and finds social situations awkward.  To relieve stress, she has a habit of rocking and flicking her fingers.  She dislikes change so the monotonous routine of her job is perfect for her.  She tends to be gruff and straight to the point but is also kind-hearted. 

Majella’s observations of life in Aghybogey and her comments about its residents are astute.  The tensions between the Catholics and Protestants are mentioned often.   Though she is Catholic, Majella sees flaws in her religion too.  A priest tells Majella they have not been able to find her father to notify him that his mother has died:  “the Catholic Church had feelers stretching into every home that hung a crucifix on its wall, a reach wider, deeper, creepier than the police.”  One of Majella’s co-workers is Polish and though everyone accepts them because they’re hardworking, she knows that in truth, “the Poles were welcomed because they were Not Prods.  Every Pole who came over to Northern Ireland tipped the scales another wee bit lower in favor of the Catholic side.  Majella reckoned it’d be a different story if the Poles were Muslim.”  And typical of a small town, before the day is over, everyone knows that Majella went to a lawyer for a reading of the grandmother’s will and even knows the contents of that will.

The dialogue is phonetic.   For example, Majella greets customers with “’What can ah get chew?’”  Some dialect does present some confusion.  Oxters, craic, gurning, minging, boke, stocious, guldered, cleastered, rifted and redd are some of the words that had me checking a dictionary.  Like Majella’s Polish co-worker, I learned some new words for drunk:  blootered, lamped, mouldy, peeshed, lashed, stoven, langered, goothered, and gee-eyed. 

There is considerable humour.  Someone who has drunk too much can be described as “full as a sheugh” or “full as a bingo bus” or “full as a Catholic school”!  Some of the humour arises from Majella’s literalness.  When Marty complains about a constantly flickering fluorescent light by saying, “’Well, fuck me if ah don’t take a hammer tae that light the nights,’” Majella’s thought process is hilarious:  “Majella knew Marty didn’t have a hammer and so wasn’t likely to attack the light.  She was not sure of the relationship between him not hammering the light and her having to fuck him.”  When a woman wants to build bridges across community divisions, Majella has to be told that the bridges are not literal bridges:  “This struck Majella as a much more difficult engineering project, one complicated by the fact that although most people would see the need for rebuilding the literal bridges, no one had an eye for invisible bridges.  Majella herself did wonder why no one had considered drawbridges in the whole scheme of things, which could serve as bridges when the need arose.”

This is not an action-packed novel.  It focuses on life in a small Irish town as seen through the eyes of an usual protagonist who simply wants to live an untroubled life.  Majella will remain with the reader long after the book is closed.

Review of THE DARKNESS by Ragnar Jónasson

 2.5 Stars

This is the first instalment of the Hulda Hermansdóttir Icelandic crime fiction trilogy.

Sixty-four year old Hulda is nearing retirement.  Wanting to make the most of her remaining time as detective, she sets out to investigate the case of Elena, a Russian asylum-seeker whose body washed up on shore.  Her death, about a year earlier, was deemed a suicide but Hulda thinks the initial investigation was sloppy.  Very quickly, Hulda is convinced Elena was murdered.

The most interesting part of the book is the character of Hulda.  Other than the Vera Stanhope series by Ann Cleeves, police procedurals do not tend to focus on older female detectives.  Throughout her career, Hulda has faced challenges as a woman in a male-dominated field.  Nonetheless, she loves her job and worries about adjusting to retirement.  From the beginning, there are hints that Hulda has dark secrets which are only slowly revealed.

It is the nature of these secrets that kept my interest.  The case Hulda investigates is bland and simplistic.  The clues are so obvious, beginning with the revelation that Elena spoke very little English.  Only a totally inattentive reader would not identify the murderer from the very first clue.  The murderer and his motive are stereotypical.  There is no nuance.  The writer seems to lack imagination because there are no twists and investigative leads just appear fortuitously.  The ending will come as a shock but it is manipulative because this is the first book of the series. 

Though Hulda is an interesting character, there are problems with her portrayal, particularly as concerns her work.  Regardless of the situation and her understandable empathy, Hulda’s decision concerning the woman she is interviewing at the beginning makes no sense.  A dedicated career police officer would not behave as she does.  Hulda’s repeated disregard for procedure calls into question her experience.  She has limited time to conclude the investigation but she lets herself sleep in for two days?!  She ignores phone calls and more than once turns off her phone though “she liked to be available day and night.  You couldn’t always, or maybe ever, conduct complex police investigations within normal office hours.”  And a supposedly intelligent and experienced investigator misses the obvious and instead focuses on someone just because of his appearance?!  She comes across as a bumbling amateur instead of the intelligent, seasoned investigator she is supposed to be. 

Interspersed with Hulda’s investigation is the story of a single mother in 1948 struggling to care for her illegitimate daughter.  Considering Hulda’s conversation with Pétur during their first interaction in the novel, it is not difficult to guess who this woman is.  The question is why so much attention is given to the woman’s story.  The details seem unnecessary.    The story also has the effect of lessening the tension that the reader would feel if the narrative had focused on Hulda’s investigation. 

There are unrealistic scenes.  The suicide of a 13-year-old would not be thoroughly investigated?  Even if there is an underlying medical condition, wouldn’t an autopsy be performed when someone dies unexpectedly?  Medication can easily be replaced with a useless substitute without anyone suspecting? 

At best, this is a mediocre contribution to the genre of Nordic noir.

Review of THIS MAGNIFICENT DAPPLED SEA by David Biro

 3 Stars

In 1992, Luca Taviano lives with his grandparents Letizia and Giovanni “in Favola, a tiny, out-of-the-way town in the hills of Piedmont – a town of fewer than three hundred people.”  He is diagnosed with leukemia which does not respond to conventional treatment.  A nurse, Nina Vocelli, becomes very attached to the spirited 9-year-old boy and risks her job to seek out other medical options for him.  When a bone marrow transplant is recommended, it is discovered that Luca’s genes are typically found in Ashkenazi Jews.  In fact, a possible donor is found in Brooklyn, but Rabbi Joseph Neiman’s wife objects to her husband donating his bone marrow to an Italian; during World War II, her father was held in an Italian detention camp and her grandparents were shipped to Auschwitz because an Italian woman identified them as Jewish.  What is the connection between an Italian Catholic boy and an American Jewish man? 

The theme of the novel is that we are all connected.  Its title refers to the “magnificent dappled sea of bone marrow.”  After the transplant, Luca "felt like his marrow donor was living inside him, that all his blood donors were living inside him.”  But of course Luca is also connected to many others with whom he shares no genes.  Rabbi Joseph, who works with a priest and an imam to build bridges between religions, decides, “Even if he weren’t directly related to Luca Taviano – or the relatedness went too far back to track or even if there was never one at all and the genetic similarities happened by pure chance – they were still related.  The Catholic boy in Favola and the Jewish rabbi in Brooklyn shared important genes, and now they shared the same blood.  They might not be members of the same tribe as defined by today’s sectarian standards, but they were members of the same tribe on a more fundamental level.  Here was the perfect example of the blurring of boundaries that separated people:  we are all connected.”

Pacing is a bit of an issue, and there are gaps in plotting.  At times the plot moves very slowly as even minor events are described in detail.  Later, major events are merely mentioned and their impact on Luca left unexplored.  At the beginning, there is a great deal of focus on Nina’s affair with the married Dr. Matteo Crespi; later, we are told that Nina “moved in with Matteo” with no explanation of what happened to his wife.  One minute Rabbi Joseph’s son is behaving criminally and the next minute he undergoes a transformation?  Characters that feature fairly prominently just disappear from the plot.  And at least two characters manage to convince authorities to “make an exception” and “bend the rules”? 

It is obvious that the book was written by a doctor.  Who else would write passages like “An assistant cleaned the skin with iodine and handed the surgeon a fifty-cubic-centimeter syringe fitted with a long, large-bore needle” and the bone marrow “contained stem cells – large, purple spheres with thin blue rims that didn’t look much different from Luca’s malignant lymphoblasts” and “the blood cells began to materialize, red and blue and shades in between, different shapes and sizes, representing distinct lineages and stages of development.”  At times the tone is rather didactic:  “But on the spectrum of human sbagli [mistakes], there was a lot worse than Nina’s recklessness.  There were husbands who beat their wives, like Zev Saferstein; men who killed other men, like the Mafiosi who murdered the brave judges in Sicily; the old Italian woman who sold out Sarah Neiman’s grandparents for a few thousand lira; the Italian Fascists who worked with the Nazis, rounding up Jews and sending them to concentration camps.”

The novel tells an interesting story, but it would benefit from revision to tighten the plot.  More focus on only what is most important to the main narrative would strengthen the book’s impact. 

Note:  I received an eARC from the publisher via NetGalley.

Review of THE DISCOMFORT OF EVENING by Marieke Lucas Rijneveld

 3.5 Stars

The title can be seen as an understatement because a reader will experience more than just brief discomfort when reading this book.  Opening the pages of the novel (the winner of the 2020 International Booker Prize) means entering a world of pain from which there is virtually no reprieve.

The Mulder family belongs to the strict Dutch Reformed Church.  When the eldest son Matthies dies after falling through the ice while ice skating, the family falls apart.  The parents retreat into silence so the remaining three children are left to deal with their emotions and confusion.  Ten-year-old Jas, the middle child, is the narrator describing growing up in the aftermath of loss and unexpressed grief.  Emotional turmoil is unspoken but becomes displayed in increasingly disturbing ways. 

The mother starves herself, eating less and less, whereas the father grows more distant from his family.  Jas comments that, “Mum and Dad are there, but at the same time they aren’t.”  Jas’ mother avoids touching her and her father doesn’t see her:  “He looks at the ground or up at the sky more than at the things at eye height.  At my current size I’m right between those things, and I’ll either have to make myself bigger or smaller to be seen by him.”  Jas remembers a comment:  “According to our teacher, eye contact isn’t necessary for love, touch is more than enough.  I wondered then what you should call it when both of them are lacking:  eye contact and touch.” 

Because the children are neglected, “Mum and Dad don’t see our tics.  They don’t realize that the fewer rules there are, the more we start inventing for ourselves.”  Unable to verbally express their emotions, they manifest them in physical terms.  Obbe, for example, obsessively bashes his head against his bedframe and starts abusing animals.  Jas sticks a thumb tack in her navel and develops chronic constipation.  Forbidden to discuss their brother’s death, they try to understand the mechanics of death and what Matthies might have experienced by performing experiments on animals and each other.  Though curious about death, they also fear it.  They perform sacrifices to keep death away from the family.  Anxious about when death might come for her, Jas (whose name means “jacket” in Dutch) refuses to take off her coat which she thinks of as her protective layer; in the pockets she stores “all the things I want to hang on to, the things I’m collecting to become heavier.”  As time passes, their behaviour becomes more and more disturbed; cruelty and acts of violence express the pain and loss not mentioned. 

Since Jas is the narrator, the language is appropriately plain.  Childish similes abound:  when cows are slaughtered because of foot and mouth disease, Jas describes a loader picking up the carcasses “like cuddly toys at the fair”; “I imagined the diarrhoea splattering onto the grass like the caramel sauce my granny poured onto the rice pudding”; when she blushes, “I feel my cheeks fill with colour like the circles after multiple-choice questions.”  The subject matter reflects Jas’ age as well.  As a young girl, she has limited knowledge of the world so often resorts to magical thinking:  if her pet toads breed, then her alienated parents might once again become intimate.  Like any pre-pubescent, she is fascinated by bodily functions and body fluids.  She and her siblings also have a natural curiosity about sex but it does not develop in a healthy way.  Since sex is a topic that is not discussed in the home, the children engage in sexual games and experiment with masturbation without recognizing what it is.  At times the narrative is disjointed and episodic but this lack of cohesiveness is also appropriate to the narrator.

This novel is certainly not for everyone.  It is dark and mournful.  Scenes of torture and abuse are graphically described - I was reminded of the work of the Dutch painter Hieronymus Bosch.  Readers should prepare themselves for an intense, unsettling book.