The Inconvenient Past

I have been such a bad blogger lately and I do apologize. I just have too much on at the moment, and when something has to give, it has to be the least work-related activity. Also, the last couple of months I’ve reviewed books a lot less here in order to write reviews for Shiny New Books. Instead, I’ve enjoyed writing more personal pieces on this blog. However, there are plenty of weeks – and I call them good weeks – when nothing much happens of interest to tell you about. Having just written that, I should confess that I was at the Cambridge literary festival on the weekend, which theoretically is a good blogging topic but I can’t quite work the enthusiasm up for writing about it. It was good! Really, writers talked about their work, they were witty and clever, the audience enjoyed themselves. You get the picture.

Instead, let me tell you about a couple more of the books that didn’t quite make it into Shiny and my probably very contentious reasons for not putting them there: two historical novels from debut writers, The Tutor by Andrea Chapin and The Hourglass Factory by Lucy Ribchester.

Okay, so here’s a question: why set a novel in the past? Ostensibly there’s a simple answer to that – Andrea Chapin is writing about a part of Shakespeare’s life for which there is no actual historical record, Lucy Ribchester about the Suffragettes. Historical characters, in other words, for whom we still have a measure of curiosity. But I found myself wondering about the heroines of these novels and the role they served.

In Chapin’s lushly romantic novel, young widow, Katherine de L’Isle lives with her uncle and his family, having lost two families of her own. They are Catholics at a time of great persecution and all sorts of disturbing events occur, beginning with the murder on their grounds of the family priest. Katherine’s uncle, fearing his presence as the main cause of persecution flees to France, leaving a power vacuum behind in his family. Into this chaos comes the young Will Shakespeare, occasional player, unconventional tutor to the family’s young children, and would-be poet. This Will is a shameless flirt and a charmer, constantly on the lookout for opportunities to weasel his way into rewarding relationships. Realising Katherine is a keen and astute reader, he ends up sending her his poem on Venus and Adonis for Katherine to critique, and as the poem proceeds, so Katherine begins to fall for Will and to imagine that their responses to one another are echoed in the verse. More fool Katherine, for Will is a tease and too interested in his own aspirations to care for her; she is about to hit a rocky end.

In The Hourglass Factory, Frankie George is a rookie reporter for the London Evening Gazette, determined to make her name despite her gender. At present she is a reluctant ‘odds and sods’ columnist, teamed up with the overblown and demanding Twinkle, so when she is asked for a profile of infamous trapeze artist, Ebony Diamond, Frankie leaps at the chance. Particularly when she is quickly made aware that Ebony, with her Suffragette leanings, is swimming in dangerous waters. Following her to the London Coliseum to pursue her investigation, Frankie is as astonished as the rest of the audience when Ebony seems to disappear into thin air, the mystery compounded by an escaped tiger from an earlier act – which may or may not have eaten her. Frankie risks the ire of her boss, the vengeance of corrupt police officers and a variety of reckless and dangerous characters around her to pursue the truth.

Both of these novels are very well-written and carefully plotted with swooping stories. They’ve got everything: corpses, love affairs, mysteries, famous figures from the past, exotic locations. They have, in other words, a wholly 21^st century mentality, nowhere more evident than in their female heroines who rush into the heart of the action without a backward glance.

So I get it; a lot of readers find it hard to forgive the past for its ideologies and don’t want to read about the sort of mindset women of those ages might likely have had. But why, in that case, write historical fiction employing such 21^st century characters? Why not place them where they belong, in the current day? And weirdly, what’s the trend in popular contemporary novels but women struggling against their own weakness and dissolution, like the dreadful The Girl on the Train. If we still like the women-in-peril novel, if we are fascinated by women as their own worst enemies, why are we so insistent that women in the past should behave with autonomy and ambition? Is it only me who thinks that odd?

For my money, the only reason to write about the past is to inhabit the strange otherness of the past, the way it differed so profoundly from life as we know it. And for sure, we see that in the backdrop of both of these novels. Are we to think, then, that history is only used as intriguing scenery? A particularly attractive backcloth? If I go down this track, then I become cynical. Are authors latching onto these famous names – Shakespeare, the Suffragettes – just because they will sell? The reader gets a little bit of a history lesson from the details, and can enjoy a rambunctious story with lots of strong characters?

It’s the current style, and I am out of step. But in my heart, I find myself uneasy with this sort of falsification of history. This is not how it was. And it’s important we remember how it was, the reasons human beings chose eventually to live and think differently and the reasons why we do not wish to go back to those old habits. The past was not a nice place and women certainly did not think as if they were free. And the world today is not a nice place, with all sorts of self-serving ideologies still doing the rounds and holding us hostage. I hope future writers will not spare us by prettying it up and pretending we valiantly rose above it all.

In all fairness, Lucy Ribchester does give a very vivid portrait of what Suffragettes went through at the hands of the police and the jailors and Andrea Chapin makes it clear how brutal persecution of Catholics was in the time of Queen Elizabeth I. As I said, they are very good books on their own terms, with a lot of verve and color. You will probably enjoy them! You should certainly try them to see what you think.