Phillip is very fond of his lonely sister-in-law, Patricia – he tells us that this is her story. She dotes on her husband Reynolds, but he emerges from the lab infrequently, leaving her to raise their son Buckingham (Bucky for short) mostly on her own. In the summer of 1958, when Bucky is just seven years old, Patricia phones Phillip to say that Reynolds has committed suicide. But there’s rather more to the story than that, as the lack of a body suggests.
I think this is essentially a novella about envy, and the grass looking greener through a jaundiced eye. Phillip quietly envies his brother’s marriage, and is frustrated to see it so neglected. Reynolds, despite his own achievements, envies his brother’s artistic creativity, and seeks to artificially unlock similar talents within himself. He lets his frustration at being unable to create great art ruin his life, never understanding the joy of creating a work of art, even if it’s bad.
This novella is the third book I’ve read by Aliya Whiteley, after The Beauty and Three One Eight, and although it couldn’t be more different from them in plot and setting and tone, it’s of a similarly high quality, thoughtful and thematically rich. Cyril Connolly described the pram in the hall as the enemy of good art; The Creator reminds us that there’s a person in the pram, and asks if art is worth sacrificing his or her happiness.
The book is part of the 2025 NP Novella series, and so it is available in paperback and in a signed and numbered hardback direct from the publisher, while the ebook is available to buy on Kindle, and Kindle Unlimited subscribers can read it for free. I recommend that they do. The reader may be unhappy that it leads to such a strange, dark place, but it’s an ending that sticks with you long afterwards, and feels inevitable when you look back. ****
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