In this book Matthew Green charts the decline and eventual abandonment of eight British settlements; a diverse selection ranging from the Stone Age settlement of Skara Brae in the Orkneys, through several Medieval villages and cities and up to the twentieth century, to an area emptied of its inhabitants during the Second World War and a village that was abandoned when the valley it inhabited was flooded to create a reservoir – although in that case ‘abandoned’ is the wrong word, since that particular story is a harrowing tale of folk driven from their homes at the diktat of decision makers far away, not even of their own country.
In each chapter he tells the story of the decline of the settlement drawing upon written records for all but the oldest, Skara Brae, for which he relies upon archaeological evidence, and some of the more recent, for which he uses a mixture of eye-witness accounts and the testimonies of those who had heard their stories at first hand. Of all the stories here, that of Dunwich is probably the most famous, with its myths of bells from long-drowned churches being heard far out under the waves, although the popular description of Dunwich as a ‘drowned city’ is inaccurate, as it fell away into the sea as the cliffs beneath it were eroded away. But much is known of Dunwich, with many extant records and maps of the city, enabling Matthew to chart its decline and eventual end in some detail.
Hirta is the biggest island of the St Kilda archipelago and was occupied for at least two thousand years until 1930, when the final thirty six islanders voted to leave. By then, most of the families and younger residents had left for the mainland, and their traditional way of life had become unsustainable. Until a couple of hundred years ago the islanders were virtually cut off from the rest of Scotland, due to the distance and the difficulty of making a landing at the island. Existing almost exclusively on a diet of seabirds (remarkably, they were apparently lousy fishermen!), the islanders lived a remarkably difficult life and it is no surprise that as they were exposed more and more to the outside world, more and more of the islanders opted to leave for a better life.
I found I was drawn deep into these stories not just because I found them so fascinating, but also because of Matthew’s skilful and easy style. A very well researched and beautifully presented book, I’d definitely give it five stars out of five.
Well, my favourite twelve, anyway. One a month, if you like, although that wasn’t how I read them. Or perhaps the twelve book reviews of Christmas – oops, no. Missed that one. Anyway…these are some of the books I read in 2022, not books that were first published this year. But I seem to have read so many good books in 2022, it’s difficult to make a choice and this has ended up being a little arbitrary.
Stranger in the Mask of a Deer by Richard Skelton. It has been a long time since I last read something new and immediately put it into my top ten reads, but this remarkable work is straight in there. A few weeks later I had to re-read it, captivated by its dream-like quality.
It is essentially a poetic narrative ranging between the present day and Palaeolithic Britain, told by humans both ancient and modern, and by non-human voices. Its essence is life and ritual, the connection between humans and animals, between humans and the land they occupy, and the elements surrounding them.
The remains of deer skulls complete with antlers, but with eye holes punched into the skull so they might be worn as masks, have been found at Star Carr in Yorkshire, dating to approximately eleven thousand years ago. It is presumed these masks would have been used in rituals…
Millstone Grit by Glyn Hughes. This very readable book was originally published in 1975, describing a fifty mile walk the author took through East Lancashire and the West Riding of Yorkshire; an exploration of the moorlands and villages alongside the industrial towns, all of them suffering in their own ways from the effects of the loss of traditional industries in that area. It is about Hughes’ attachment to this area he came to live in, the clash between human and non-human landscapes, and about working class history in these places, but above all else about some most remarkable people he meets along the way.
I re-read The Old Weird Albion by Justin Hopper. This is a book about tracing a mystery in his family’s past, beginning with a woman preparing to throw herself off Beachy Head, a notorious spot for suicides, but also about the effects the landscape of the South Downs has had upon people.
This is a book I reviewed on this blog when I first read it three years ago – the link is here – and I’ll just put an extract of that review here: ‘He has a gift for sifting and selecting the weird in these relationships, not just at sites that might be naturally expected to encourage the weird, such as Chanctonbury Ring, high on the Downs above Steyning or in old ruined buildings, but also in humdrum blocks of flats in modern developments. He references modern phenomena like crop circles and throughout there is the presence of ‘magic’, in the sense of a natural force. Many of the people he meets are an eccentric mix of the weird, too, although I choose this description carefully, largely in the old, original meaning of the word of ‘fate’ or ‘destiny’.’
Another re-read, this time of a book I first read some forty years ago. The Spire by William Golding is a novel set in medieval England, in an unspecified city somewhere in the south. It is a story essentially about pride and hubris, about the Dean of a church determined to have built a great spire on his church, despite warnings that the foundations will not be able to support such a colossal structure. The ending seems predictable and yet that is not really where the story is going, being more concerned with the characters inhabiting that space.
The setting is the church and environs, and it evokes the feel of the ecclesiastic medieval as successfully as The Name of the Rose does. One test of how good a novel set in historical times is, is whether it transports the reader easily to that setting. I certainly found it did.
I bought Hemisphere by Pete Green at an event where poets read excerpts from their work. It is effectively a poetic journey around the northern hemisphere, beginning in Scotland, the journey approximating to the latitude of the arctic circle. The writing conveys a tremendous sense of place and feels very right for the cold edgelands described.
Holloway by Robert MacFarlane and Dan Richards, with illustrations by Stanley Donwood is a short book, describing a journey MacFarlane, Donwood, and Richards made in Dorset, essentially a revisit of a trip MacFarlane made previously with Roger Deakin for an earlier book, exploring holloways. Holloways, often known as sunken tracks or paths, are old – frequently very old – paths made over the centuries by the passage of feet, both human and animal, and perhaps by the wheels of wagons and carts. It is a short journey – perhaps ‘experience’ would be a better word – describing wild camps and walking, cycling and visiting old buildings; in some ways, perhaps it is really no more than a short camping trip, undertaken by a group of men acting out a boyhood adventure. The writing, though, by both MacFarlane and Richards is exquisitely poetic and Donwood’s illustrations never less than beautiful.
Notes on the Sonnets by Luke Kennard.
‘Luke Kennard recasts Shakespeare’s 154 sonnets as a series of anarchic prose poems set in the same joyless house party.
A physicist explains dark matter in the kitchen. A crying man is consoled by a Sigmund Freud action figure. An out-of-hours doctor sells phials of dark red liquid from a briefcase. Someone takes out a guitar.
Wry, insolent and self-eviscerating, Notes on the Sonnets riddles the Bard with the anxieties of the modern age, bringing Kennard’s affectionate critique to subjects as various as love, marriage, God, metaphysics and a sad horse.’
The Rings of Saturn by W. G. Sebald had been on my ‘to-read’ list for a long time, but I finally got around to picking up a copy this year. On one level, this is a walking journey taken by the author along the Suffolk coast in the early 1990’s, describing both places and people he comes across, but really, it is much deeper than that and is a psychogeographical work par excellence. Throughout the journey, we are never quite certain whether events are happening to the author, or have happened in the past, or perhaps to someone else at some other time. He goes off in unexpected directions, literary, historical, and physical, exploring a wide and eclectic range of subjects yet throughout there is a cohesion to the narrative.
The Birthday Letters are a not-quite-series of poems Ted Hughes wrote to his wife the American poet Sylvia Plath after her death. Personally, I find them to be probably his most accessible poems and wonder whether that says something about me, although this isn’t the time to go into that. Theirs was a difficult relationship, and her suicide (as well as that of a later lover of his) frequently colours people’s opinions of Hughes. Inevitably, these are often extremely personal poems, so much so that at times I feel a slight discomfort reading them, as if I’d opened someone’s private correspondence by accident, but Hughes wrote them as an attempt to restore her to him, and published them almost for the public to read as his own account of her life and death.
Sadly, Roger Deakin only wrote three books, of which Notes From Walnut Tree Farm is compiled from diary entries he kept during the last six years of his life. In these notes, he recorded his day to day life on the farm, walks on nearby Mellis Common, the yearly cycle of the natural world all around him, and his thoughts on literature, the importance of nature, and musings on the past.
Our Place by Mark Cocker is an exploration of the history of environmental thought and politics in Great Britain and, especially, the way forward. It asks pertinent questions like who owns the land and why? And who benefits from green policies? Not afraid to be radical in its suggestions, it asks why there is such a disconnect between the British public’s sympathy for and championing of the countryside and the reality of its current condition.
Digging up Britain by Mike Pitts tells the story of Britain’s history and prehistory in ten astonishing excavations. As someone who has always had an interest in history and pre-history, I found this book a timely reminder of the huge strides taken forward in our understanding of the past over the last ten years or so, due to such important tools as DNA analysis as well as the painstaking work of those who excavate and interpret these sites. There are some remarkable tales in this book.
It was Saturday 7th March, and we were in Chichester, Sussex, for the much-anticipated premier of Nathan James’ On Windover Hill cantata.
It took place in the church at Boxgrove Priory, in the village of the same name a few miles outside Chichester. Just over a month ago I posted here about a walk we joined at Windover Hill, viewing and discussing the Long Man of Wilmington – the subject of the cantata, which gives some of the background to this work.
Nathan describes this piece as ‘a result of 3 years of writing and research into the ancient figure and how it has inspired writers, poets, artists, and musicians’.
Nathan introducing the cantata
It was performed by the Royal Philharmonic Concert Orchestra, Harlequin Chamber Choir, and Corra Sound, conducted by Amy Bebbington.
The cantata is in nine movements, with each movement scored around a piece from various times ranging from c 1340 BC to 1996. These diverse sources include English folk song, poetry, extracts from plays, literature, and even a piece from 14th century BC Egypt, used here because there is a carving on a chair found in the tomb of Tutankhamun which strongly resembles the Long Man.
The music has a very English feel to it, reminding me strongly at times of Vaughan Williams or Holst, another element that contributes to the sense of it being grounded in Sussex.
Much more about the music, and the story of the project, can be found on the On Windover Hill website, here.
Between several of the movements, there were readings chosen to help illustrate aspects of the mythology of the Long Man – poems, excerpts from books and an extract from an article arguing that the Long Man may have been, in fact, a Long Woman. All pieces by writers challenged by the meaning and significance of the figure. At the back of the church, too, there were a range of artworks inspired by the Long Man. And several times during the performance, a couple of dancers took the floor, their actions visually interpreting the subject of that particular movement.
This, what I might term holistic approach to staging the work, contributed strongly to the listeners total immersion in the work without, I think, distracting from it.
As well as the cantata, the program also consisted of several other pieces, all with a Sussex connection. It began with a beautiful piece by Thomas Weelkes (c 1576-1623) Hosanna to the Son of David. Weelkes, the program notes informed us, was frequently in trouble with the ecclesiastical authorities and was ‘noted and famed for a common drunkard and notorious swearer and blasphemer’. Strangely, I immediately felt an affinity to the fellow.
There were pieces, too, by Frank Bridge, John Ireland, an extract from Goblin Market by Ruth Gipps, and a piece largely unknown today: Wyndore (Windover) by Avril Coleridge-Taylor which was its first performance in this country for 82 years.
The acoustics in the church were wonderful, an especially appropriate setting for a choir. It was a hugely pleasurable and satisfying evening.
The Long Man, photographed on the pre-concert walk
During the afternoon before the concert we wandered around Chichester for a while and I bought a few old postcards of Sussex from the indoor market including, by chance, this one of the Priory church, where the concert was held, about a hundred years ago.
It seemed to fit comfortably into the feeling of history, myth and tradition I felt that day.
This is a collection of love poetry, with each poem inspired by a line or phrase from the poem Madonna of the Evening Flowers, by Amy Lowell.
If I hadn’t already read some of these poems on Frank’s blog I don’t think I would have approached this collection, since love poetry is not something that usually appeals to me. Poetry is a medium of emotions, but love poetry can sink all too easily into banality or cloying sentimentality, something which is best written privately for an audience of one. Frank avoids this trap, though, by writing about the lives of the lover and the beloved – the gardening, the brewing of the coffee, the shared music – rather than the more intimate details of the relationship. Sometimes these are little more than snapshots of shared moments, at others there is more of a narrative.
Yet this makes it no less a love poetry. Each poem speaks of feelings, sometimes telling overtly of love, but sometimes this emotion is reached by a more circuitous route. In each of them, though, there is gentleness and patience. This is a mature poetry, a poetry that recognises love is something that needs to endure.
Frank describes himself as a storytelling poet, and his three previous published books all work on that level as narrative. This collection manages to do the same, only without the timeline.
One poem shall suffice as an example: Tell me everything (about you), inspired by the line You tell me these things.
tell me everything (about you)
You tell me these things.
talk to me
tell me things
pour the yellow liquor
into my shot glass
speak of love
talk in tongues
tell me of your anger
of the passion
that is the same thing
all the things
that you believe
I will turn them
on my guitar
into a song
throw your glass
into the fire
all these things
and all there is
Although, as I mentioned earlier, I rarely read love poetry, I have to say I really enjoyed this collection and will certainly award it 5 stars out of 5.
The ebook is released on February 14th, and paperback on March 14th. It is available on Amazon, and can be pre-ordered before those dates.
Yesterday, we joined a walk to the Long Man of Wilmington, on the South Downs in Sussex. The walk was led by composer Nathan James, and Justin Hopper, the author of The Old Weird Albion.
The Long Man is a chalk figure etched through the grass into the hillside, below the summit of Windover Hill, revealing the chalk that lies beneath. When and why it was first cut is the subject of myth and speculation – and that brings us neatly to Nathan’s new composition.
On 7th March, Nathan will premier his fantastic new choral work On Windover Hill at Boxgrove Priory, Chichester, Sussex. This has been inspired by the Long Man, its mythology, and the art that has arisen around it, as well as the written history and the geography of the surrounding land. It has a very English feel to it, in the tradition of Vaughan Williams or Holst.
Full details of the work and the performance can be found here. Tickets can also be bought by clicking ‘The Premier’ link in the sidebar there. We have ours, and it would be great to see it sold out!
This walk was by way of a taster for the concert, with a mixture of history and mythology imparted along the way, a poem from Peter Martin, read by himself, and extracts from stories read out by Justin, all of which referenced the Long Man. Also Anna Tabbush sang two folk songs, one of which was the only song known about the Long Man, appropriately enough called The Long Man and written by the late Maria Cunningham.
I’m not sure How many people I expected to see, but we were around forty, with a surprisingly large number being artists of one sort or another.
The weather was so much better than we had a right to expect – the forecast had been for clouds and rain, but the clouds cleared during the morning, and we had plenty of sunshine as we ascended, although it rather lived up to its name at the top, with more than enough wind for everyone.
Here, the remains of prehistoric burial mounds sit overlooking the Long Man, and the rest of the surrounding countryside.
Some landscapes seem to muck around with your perception of time, and Downland seems especially prone to this. I’m not entirely sure why this should be, but suspect it is a combination of factors.
It is a very open landscape, and other than the contours of the land and a few trees, frequently the only features that stand out are prehistoric ones, such as barrows and chalk figures. Due to the uncertainty around their origins, these have a timelessness about them, a fluidity when it comes to grasping their history. We see the long view, which perhaps works on our sense of time as well as space. The more recent additions to the landscape are usually in the form of fences, which can easily seem invisible as we look around for something less ephemeral than the open sky to fix our eyes on.
The Downs are an ancient landscape, in any case. When human beings recolonised what is now Britain after the last Ice Age, at first they kept to the higher ground which gave less impediment to travel and settlement than the marshy and thickly wooded lowlands. Most standing stones and burial mounds from the Neolithic or earlier are found on these higher areas.
I do not get these feelings in more recent landscapes. At a medieval castle or manor house, it is easy to imagine the inhabitants baking bread or sweeping corridors; activities as natural to us today as they were then. I feel a comfortable mixture of the old and the new, a recognisable timeline connecting the past with me.
But barrows, standing stones and hillside figures have a purpose alien and unknown to us. Step on the ground near these remains and you can feel the presence of the unknown. No wonder the belief in the past in faeries and elves who inhabited the underground, and who lived essentially out of time.
They offend our carefully erected sense of order and belonging and, perhaps, still pose a barely acknowledged threat to us today.
I might be imagining it, of course, but listening to the extracts from On Windover Hill on the website, I think I recognise that feeling in places, an unexpected musical response to my own feelings. And then Nathan’s description of his creative process on the website echoes some of this too.
I wrote this just over a month ago, and never got around to posting it, for some reason.
I have just finished reading Wilding, and I am almost overwhelmed with several feelings. The first is that I need to come back to this book after a month or two and re-read it, since there is just so much to take in. The second is that this book presents so much information that appears new to us in the twenty first century, yet was common knowledge some fifty to a hundred years ago and was hiding all the while in plain sight, as well as some new conclusions that were also, really, hiding in plain sight. And third, a feeling this might just be one of the most important books I have ever read.
This means I am attempting what appears to be ridiculous, and that is to review a book I don’t think I am yet ready to fully appreciate. But first impressions count for a lot, so here goes, although to keep this brief enough for one blog post, I can hardly even skim the surface.
Knepp is an estate in Sussex, England, which the author and her husband farmed for many years the way most farming is done nowadays – intensively. But as returns gradually diminished and the soil became more and more degraded despite the application of the usual chemical cocktails, they decided in desperation to take a leap of faith and re-wild part of the farm. The reasoning was they were going broke farming traditionally, so something new was needed – perhaps something revolutionary. What had they got to lose?
It was a huge learning curve for them, and many of the steps they took had unforeseen consequences. By allowing the land to revert to the condition it would have been in thousands of years ago, they discovered that many of our birds and insects, for example, actually favour environments and foods different to those we have assumed they do. Interestingly, on reading books written a hundred years or so ago about, for example, birds, they were simply rediscovering what was known then, but overlooked since. Just one example – pigeons do not actually prefer the seeds of cereal crops, but wild grass seed. The fact that they eat so much cereal seed today is due to the destruction of the areas of wild grass they would gave grazed before.
Probably the most important conclusion to take from this book is that a return to a more traditional, environmentally-friendly form of farming is not only better for the environment, but in the long term is even better for farmers who might be initially worried about losing out financially. It’s a win-win situation in that it would enable much wildlife to recover from its precarious, endangered, situation, it would reduce the risk of flooding during periods of heavy rainfall, restore soil fertility without pumping massive loads of chemicals onto the land and, consequently, into the water systems, and reward farmers with not only a better environment but healthier crops and stock which, in turn, would be healthier and more nutritious for the consumer.
Along with most others, I have always understood that back in the Neolithic period, when man was first making his mark upon the landscape in what would become Britain, most of the land was covered in thick, dense, woodland. I also understood that the large wildlife here – the megafauna – consisted of the likes of elk, cattle (aurochs), wild horse, mammoth and the such-like. Basically the kind of large animals that graze and browse the open, lightly wooded, grasslands of the African savanna today. Could we really not see the contradiction in this? This strongly suggests that the natural post-glacial vegetation of the British Isles was an open woodland, rich in undergrowth and grass, maintained by the regular grazing and browsing of this megafauna.
And from that, we understand that much of the habitat association we make today with our native wildlife is just plain wrong – we see birds and animals favouring a particular habitat and assume that is their preference, rather than understanding we have forced them into this by removing their real preferred ones.
There is so much to take in and think about in the this book, as I said at the beginning of this post, that a single review can only begin to hint at the mass of information to take in.
If you have any interest at all in our environment and what we have done to it, this book is an essential read.
For anyone who loves the English South Downs – and whodunnits – this book makes an interesting read.
On the one hand, it is a fairly average 1930’s detective murder mystery, although I have certainly read much worse, but on the other it provides some marvellous insights into the South Downs in the area specifically around Chanctonbury Ring in that time, which is really what took my interest.
Personally, I prefer murder mysteries involving ‘normal’ people, rather than the typical country house full of assorted Colonels and ladies and royalty and such-like, so popular at the time – other than the thought of bumping off the Upper Classes, of course! But this book delivers in that it is set on a downland farm, where the farmer goes missing, believed murdered. It even has, as a cover, an adaptation of one of the fabulous Leslie Carr railway posters of the 1930’s – what’s not to like?
The introduction mentions its ‘sense of place’, and the writing seems to me especially good at conveying an accurate feel of the landscape. One thing that comes over very strongly is the emptiness of the countryside at that time. The Downs have been sparsely inhabited since Roman times; before then, much of the population chose to live on the higher, drier, lands of the chalklands of South and South East England, away from the forested and frequently marshy lower areas where travel was difficult and clearance very hard work. After the arrival of the Romans, however, all this changed, and since then the chalklands have been left largely to a small population living mainly by farming sheep.
We now have many people visiting for leisure purposes and on fine days popular routes such as the walk to Birling Gap from Eastbourne (or from convenient car parks much closer!) may easily see hundreds of visitors striding along the footpaths and hanging off the edge of the cliffs taking selfies (other stupid ways to kill oneself are available). On the same day, though, nearby footpaths may see no visitors at all. It is still a sparsely populated area.
John Bude evokes this sense of emptiness well. His descriptions of the roads and paths on and around the area really allow the reader to feel this. His characters walk the lanes and roads of the downs frequently without meeting anyone else on their journeys. Farms and houses are ‘isolated’, and even at a time when most people would travel by public transport to cover any distance, the population is so small that when questioned by the detective on the case, a bus conductor can remember who was on his bus several weeks before.
There are four lime kilns near Washington, on the edge of the area described in the story, which I suspect were the inspiration for the lime kiln featured on the farm in the book. No spoilers, but you might well guess their relevance to a murder mystery.
But it is the descriptions of the roads and paths that particularly take my interest, roads and paths virtually empty of footfall or traffic even during the day, emphasising how lightly populated the area was, and still is today, to a degree. Other than popular footpaths such as the long distance South Downs Way, and those footpaths running between popular tourist spots, it is still easy to find solitude in this quiet area of the otherwise heavily populated South East England.
This is Australian poet Frank’s third collection of poems, and in a way this is a return to the narrative arc of his first collection; Small Town Kid, after the heartbreak of his second collection, Devil in the Wind, which dealt with the horrors of the bush fires in Australia on what became known as Black Saturday in February 2009
Not only is this a personal, time-ordered narrative like Small Town Kid, but it takes up Frank’s life where that collection left off, with his taking a job at the institution in his home town housing people with mental health problems. At that time (around forty years ago), these institutions were generally known as ‘mental asylums’ although that name, as well as a lot of the attitudes that coloured people’s ideas of them, have supposedly been consigned to history.
These poems take us on Frank’s journey from his visits to the institution where both his parents worked, then as naive and wide-eyed Trainee Psychiatric Nurse through to today, introducing us to a wonderful collection of colourful, sad, genial, well-meaning and, yes sometimes, mad characters, both staff and residents of the institution and, latterly, the hostel that acts as a ‘half-way house’ between incarceration and release.
All these characters are realistically and sympathetically drawn, and I suspect that not a few readers will be surprised at the humour (occasionally black) and warmth that comes through from the average day in their lives. Frank does not shy away from showing the attitudes prevalent in those earlier days, when patients were severely regimented and often treated less than sympathetically, although I suspect there is much he does not reveal. But where he is at his best, I feel, is in depicting the almost unutterable sadness of many of the inmates. In ‘Huntington’s Marionette’ it is for the young victim of this, one of the cruellest of all diseases, In ‘Lost: One Cockerel’ it is for another youngster, this time a young man with his mind destroyed by illicit drugs. Then there are the families of these victims, often victims themselves in so many ways – dealing with loss or aggression, blame, or just the horror of watching a loved one disintegrate before their eyes.
And the institution is frequently under-staffed and the staff are over-worked, a situation all too familiar to anyone working in public health today as well as then. The final poem ‘Still its Creature’ is the book’s epilogue, and it is worth quoting the first few lines..
First, a disclaimer: I received an Advance Reading Copy of this book with no obligation to post a review.
A psychological crime procedural novel set in Delhi, You Beneath Your Skin quickly paints a vivid picture of the streets, drawing the reader into a dark and desperate world. Although Indian society is divided into the haves and the have-nots more starkly than many, here the two worlds soon collide.
The central character, Anjali, is the divorced mother of a teenaged boy with a form of high-functioning autism that makes him extremely challenging and demanding. She is having a long-term affair with Jatin, who is both the Special Commissioner of Crime in the Delhi Police Force, and the married brother of her best friend, Maya.
Jatin has been charged with investigating a crime supposedly committed by an opposition member of Parliament, but while the government want a conviction, the politician has friends who will pull strings to ensure it is hushed up. The crime under investigation never made clear, but this conflict has resulted in pressure being brought on Jatin to have the case dropped. On top of this, a series of brutal murders are being carried out in the slum areas of Delhi, and although there are elements of the police and the wider establishment who don’t consider them worth investigating, Jatin and his team are determined to track down the perpetrators.
As the tension increases, and the investigations unexpectedly threaten to draw in more of the central characters, one of them is suddenly the victim of an acid attack. And from now on, there are two main storylines, one being the on-going police investigations into the murders, and the other following the victim of the acid attack and the search for reasons and answers to that.
The unfolding storyline, the large cast of different characters and the continuing atmosphere of menace is handled skilfully throughout. Both the brutality both of the criminal underworld and of the police themselves is an ever-present threat, as is both the desperation felt by the poor and the sense of privilege and entitlement by the rich and powerful. And throughout it all, the misogyny intrenched in Indian society overlays everything that happens.
Damyanti Biswas is a Delhiite, writing with the knowledge and authority of someone who knows their area intimately. This a remarkable achievement for a debut novel, powerful and fluent. I was hooked from the beginning, sympathising with the characters and intrigued by the twists and turns of this powerful plot.
Acid attacks are a horrendous phenomenon, scarring and disfiguring, and even killing the victim. I think that many people view them as almost ‘minor’ crimes, and assume that the victim merely suffers a bit of pain and discomfort, and a bit of damage to their skin, but these attacks can inflict injuries as terrible as the burns from fires, and cause almost unbearable pain. Yet partly because of the easy availability of corrosive liquids, they have become almost commonplace in some ways, being used as revenge for perceived slights and ‘dishonours’ as well as for gangland feuds.
This novel, as well as relating an excellent detective story, is also Damyanti’s vehicle to help bring understanding of this horror to the attention of the wider world.