I read this courtesy of NetGalley. It’s out at the end of June, 2022.
You know those authors where you know you love their work but somehow they’re not automatically at the top of your mind and then you see a new book by them and you think, oh yeah I should read that; and then you do read it (perhaps eventually) and you think WHY DO I FORGET HOW MUCH I LOVE THEM?
Maybe that’s just me.
Sorry, AG Slatter. I really do love your work.
This novel is set in the world of Slatter’s mosaic novels – Sourdough and Other Stories, and The Bitterwood Bible and Other Recountings. You don’t have to know those stories to love and appreciate this one; they’re not about the same characters, or even necessarily the same places in the world. This is a world where magic is real, at least some of the time, but not everyone approves. Magic is mostly done (at least in these stories) by women, which feeds into the disapproval of that ‘not everyone’. It’s used for good and for ill and sometimes doing it for one reason ends up having the opposite consequences. In her Author’s Note, Slatter points that the world is a mishmash of the Victorian, Renaissance and Medieval – and asks readers not to go looking for historical accuracy. So there are moments that maybe kind of feel familiar from history, but they’re set with moments that really don’t.
What I particularly love about this and the other Sourdough stories is that they feel like fairytales, even though they’re definitely not tales that I know. There’s something about the ideas and themes – as Slatter suggests, “weird family dynamics, manipulation and lies, false faces, lost families and found, terrible acts and the potential for redemption”. There’s also something about the way Slatter writes, and here I am completely lost for words. I can’t tell you what words or phrases she uses to evoke a slightly eerie world, the sense that this is a world just slightly off from ours; that makes me a bit amazed that this is NEW work, rather than something that was told ages ago and has that patina of tradition, of being a well-worn and beloved story – of familiarity. And that last is particularly odd, frankly, because I really didn’t know what on earth was going to happen from page to page. She uses phrases and stories-within-stories that read like they SHOULD be as old and familiar as the wine-dark sea and Achilles’ rage, but … they’re not.
So: Asher goes to Morwood Grange, to be governess to three young children. She has a frightening experience on arrival, and brings with her some things that she immediately puts under a floorboard. And see, right from that, you just know things aren’t going to be straightforward. And so the story proceeds – making friends and enemies and figuring out how to do what she’s come to do; you already guessed that Asher didn’t come to Morwood accidentally, right? In some ways a bit claustrophobic – Asher mostly interacts with the family and few servants at Morwood – it’s saved from being TOO gothic the-house-is-trying-to-eat-me by occasional visits to the village and out into the grounds of the estate, and also through Asher’s occasional reminiscences, It’s an intense story, intensely inwards-focussed – and look, I read it in a day.
I loved it. A lot. It’s not always easy to read; the family is a deeply broken one, Asher’s not exactly perfect, and there are definitely actions that people regret (or should, but don’t). And yet, I loved it.