2026 Climate Fiction Prize longlist, and a shoutout to Australian authors of Eco-Fiction

Thanks to a heads-up from Stu at Winston’s Dad, here’s the longlist for the 2026 Climate Fiction Prize UK, and hey! there’s three Aussies  nominated (underlined, below) and I’ve read one of them!

  • Dusk by Robbie Arnott (Chatto & Windus, Vintage), see my review
  • Every Version of You by Grace Chan (VERVE books)
  • The Tiger’s Share by Keshava Guha (John Murray Press, Hachette)
  • Helm by Sarah Hall (Faber & Faber), on reserve at the library
  • Albion by Anna Hope (Fig Tree, Penguin Random House)
  • Awake in the Floating City by Susanna Kwan (Simon & Schuster)
  • The Price of Everything by Jon McGoran (Solaris, Rebellion Publishing)
  • Hum by Helen Phillips (Atlantic Books)
  • Endling by Maria Reva (Virago, Little, Brown)
  • The Book of Records by Madeleine Thien (Granta Books)
  • Juice by Tim Winton (Picador, Pan Macmillan), on my TBR
  • Sunbirth by An Yu (Harvill, Penguin Random House)

BTW on International Women’s Day, it’s notable how many of these authors are women!

You can read more about these books and their authors at the prize website.

The shortlist will be announced on 18th March. Ticket details for a free public event to celebrate the shortlist will be announced soon.

The winner will be announcement on 27th May followed by a winner’s event at Hay Festival on 30th May.


Perhaps it should come as no surprise that Australian authors are paying close attention to climate change.  We are not uniquely vulnerable to its impacts, but the increasing range and severity of bushfires is a frightening portent of what is to come.  We’re experiencing more and nastier cyclones, and widespread flooding that used to be an occasional disaster from which communities could recover and rebuild, are now impacting huge swathes of land and the waters are taking very long periods of time to drain away because our landscape is so flat.

So far, because we have good infrastructure and emergency services,  we have been comparatively lucky — there hasn’t been widespread loss of life as in Southeast Asia, China, and the Indian subcontinent (as in Megha Majumdar’s novel A Guardian and A Thief, see here) where floods have been catastrophic, costing thousands of lives and causing widespread food insecurity.  Nevertheless for Australians the cost of home and contents insurance is becoming prohibitive… and what happens to rural and regional communities, and to people on the urban fringe of our big cities when they don’t have insurance and have no money to rebuild after ‘natural’ disasters?  What kind of future is there going to be when already daytime summer temperatures reach 50°+ and 30°+ overnight?

Other Australian novels where climate change is the focus include those exploring species extinction, social disruption, economic disparity impacting on survival and the pernicious effects of climate change denial. Some of these titles show that authors like Jane Rawson, Meg Mundell and Sue Parritt were using speculative fiction to draw attention to these issues more than a decade ago.  Links go to my reviews:

I haven’t read widely in speculative fiction, so I welcome suggestions for other novels that tackle climate change and its associated issues. What have you read that’s left a lasting impact?

Image credit: longlisted books, from the Climate Prize website. 

Six Degrees of Separation, from Wuthering Heights…

Did you know that there are 11883 editions of Wuthering Heights listed at Goodreads, which Kate at Books are My Favourite and Best. has selected as this month’s starter book for #6Degrees?  I went looking to see if I could find the cover of the edition I read when I was a teenager, and even if I filter the results down to hardcovers there are 113 pages of results. So I tried AbeBooks, and found what might be the right one: the seller’s info doesn’t give the date of publication but my Odhams’ set of Dickens which has the same red boards doesn’t either.  My copy certainly didn’t have the lurid cover of the Abe Books edition!

When it comes to lurid cover art, nobody can match the Elek English translations of Émile Zola’s Rougon-Macquet cycle.  If you check out Jonathan’s Lurid, Gaudy or Tasteless Covers page at Reading Zola you can see a slide show that reveals just how ghastly they are.  Their translations weren’t great either: I started with the 1965 Alec Brown translation of The Beast in Man in the Elek edition (cover at right) and promptly abandoned it for the Oxford World’s Classics translation by Roger Pearson.  For me, La Bete Humaine (1890) turned out to be the best of the series, see my review.  Who knows how many readers were turned off by those execrable covers and so never read Zola?

Yes, I know we shouldn’t judge a book by its cover, but we do, don’t we?

Remember that fad for covers with headless women against a banal landscape? Kate Grenfell’s Sarah Thornhill wasn’t the most egregious but it was such a disappointment after the stunning design for The Secret River, which had all black boards, no writing on the spine or anywhere else, with a moody jacket and historic maps for the endpapers.  The Sarah Thornhill novel was a disappointment too, see my thoughts here. Actually, it’s been a while since Grenville wrote anything I’ve wanted to read, and yet she used to be one of my favourite authors.

Grenville credits the Women’s Prize for Fiction (formerly the Orange Prize) as giving her career a start with her 1991 novel The Idea of Perfection.  It’s not reviewed here on the blog but I really liked its quirky characterisation and a plot revolving around middle-aged love.

The Women’s Prize IMO hasn’t always delivered great fiction, but I enjoyed what I read of last year’s longlist though most of what I really liked didn’t make the shortlist.  I thought The Safekeep was a good but flawed novel (see my review) and I wouldn’t have given it the win.

OTOH I would have been hard pressed to choose between The Ministry of Time by Kaliane Bradley, A Little Trickerie by Rosanna Pike, The Artist by Lucy Steeds and  Fundamentally by Nussaibah Younis, so I don’t discount the difficulty of picking a winner!

I’ve read three of this year’s longlist and am impressed by Flashlight by Susan Choi, (see my review) and A Guardian and a Thief by Megha Majumdar, (see my review) but am leaning towards The Benefactors by Wendy Erskine, (see my review). It was also longlisted for the £10,000 Gordon Burn Prize, which celebrates exceptional writing with an unconventional perspective, style or subject matter.  

Would that there were more of that, eh?

Indeed, that might even be what saves the publishing industry from AI. At Paula’s Winding Up the Week, she posted this snippet:

The Korean Times: 1 year, 1 publisher, 9,000 books: AI-generated titles flood Korean shelves – Kim Se-jeong says the Korean “publishing industry [is warning] of [a] crisis of reader trust” over the recent flood of AI-generated books.

And to think we used to worry about self-publishing!!


Next month (April 4, 2026), we start with Virginia Evans’s epistolary novel, The Correspondent which has just been longlisted for the Women’s Prize for Fiction.

A Guardian and a Thief (2025), by Megha Majumdar

Longlisted for the 2026 Women’s Prize for Fiction, shortlisted for the 2025 National Book Award for Fiction (open only to US citizens) and winner of the 2026 Andrew Carnegie Medal for Excellence in Fiction, A Guardian and a Thief is the second novel of Megha Majumdar, born in Kolkata but resident in the US for 20 years.  So this novel that interrogates the life chances of two families in a Kolkata struck by famine and floods, comes from the pen of someone who understands acutely what privilege really means.

This is the book description:

In a near-future Kolkata beset by flooding and famine, Ma, her two-year-old daughter, and her elderly father are just days from leaving the collapsing city behind to join Ma’s husband in Ann Arbor, Michigan. After procuring long-awaited visas from the consulate, they pack their bags for the flight to America. But in the morning they awaken to discover that Ma’s purse, containing their treasured immigration documents, has been stolen.

Set over the course of one week, A Guardian and a Thief tells two stories: the story of Ma’s frantic search for the thief while keeping hunger at bay during a worsening food shortage; and the story of Boomba, the thief, whose desperation to care for his family drives him to commit a series of escalating crimes whose consequences he cannot fathom. With stunning control and command, Megha Majumdar paints a kaleidoscopic portrait of two families, each operating from a place of ferocious love and undefeated hope, each discovering how far they will go to secure their children’s future as they stave off encroaching catastrophe.

The novel begins with Ma getting her possessions sorted before departing for the US, where she will join her husband in Michigan.  Her fractious toddler Mishti doesn’t understand the break in her routine, and is only briefly placated by food which Ma has stolen from her job as manager of a shelter for homeless people.  Despite their comparative wealth and privilege— with a house, clean running water, aircon that works, a lifetime of possessions that  must be left behind and precious visas that enable migration to the US — the family does not have enough to eat.  Both Ma and her elderly father Dadu are hungry but they give most of what they have to Mishti.

Both have private reservations about the move they are about to make:

Dadu felt invigorated by the city around him, the only city in which he knew who he was—a young man, with a heart given to a love of small things.  The more banal and comedic, the more fervent his love.  In Michigan, he would never be able to share with a new acquaintance, if he even found one, that he did not want to introduce himself by his job.  His job represented very little of him.  Perhaps only his discipline, and his sense of responsibility.  But the parts of him that he delighted in—his creativity, his pull towards rhymes, his curious eyes and ears, his laughter—these he would never be able to claim in a new land, before a new peer.  These, too, would remain in Kolkata.  That old self would roam the vacant house like a ghost. (p.11)

In better years, in this kitchen, Ma had hummed as she cleaned chickens to roast, flesh like her flesh, washed potatoes sprouting white eyeballs and mushrooms with mud in their caps, measured and rinsed cups of rice, pouring the residue, like an overcast sky in the bowl, down the drain, not minding if a few grains slipped into the sink.  There had been years of such abundance.  In those years, she had relished the comfort of an hour to herself, songs playing, greens soaked, carrots peeled.  Goodbye, she thought, jubilant and not, to the drowsiest of those afternoon hours when she had carved out of the clock a turn for herself, made lemonades with three cubes of ice twisted from a tray and sat down on the floor to drink, nightie lifted up to her knees, like a girl.  But she knew too, she had said goodbye to those days a long time ago. (p. 24)

Not far away, the adolescent Boomba is planning his heist.  A refugee from a village beset by floods that have destroyed his family’s home and scanty livelihood, he has inveigled his way into Ma’s shelter meant only for families with children, and he has seen Ma purloining eggs for her family.  Boomba loves his family with a passion and sense of responsibility that is the equal of Ma’s.   He has worked hard in the city only to lose his savings time and again, sabotaging his promise to find a new home for his parents and little brother.  He is so hungry that the act of scaling Ma’s gate exhausts him.  The paucity of his resources means that when he steals the precious passports, he doesn’t know what they are because he can’t read.

Punctuated by occasional optimistic and encouraging missives from the oblivious husband in Michigan, the narrative juxtaposes the desperation of these two characters in their struggle for hope and survival.  It is heart-breaking to read, especially since we know that real life disparities in the wealth of individuals and nations make it possible for some to insulate themselves from the devastating effects of climate change, while others — not just on the Indian sub-continent — are experiencing the disasters caused by years of wilful collective inaction.  Climate-induced ‘natural’ disasters and food insecurity are not just fiction, they are already a reality for millions.

Despite the urgency of its theme and its devastating conclusion, A Guardian and a Thief has its lighter moments.  Mishti’s tempestuous voice lightens the mood as she interprets events from  her own understanding of the world:

‘The house can’t come with us?’ Mishti had asked some days ago.

It can’t,’ Ma had said.

‘But why?’

‘Why do you think?’

Mishit had considered this question. ‘Because, ‘ she had said after a minute, ‘ the house have no toes.’ (p.25)

And, considering the awful consequences of Boomba’s crimes, he somehow steals a place in a reader’s heart. After his bicycle is stolen…

Maybe, if he had had somebody caring for him in the city, he would not have surrendered his bicycle and his money so easily to the policemen or the robbers, whoever they were.  Now he felt ashamed, and resentful.  Where was the new person he had vowed to be, mean and free? He had retreated, conceding to the person he had always been, gentle and grinning, baffled before the barbed edges of the world.  That person would not survive in the city. (p.89)

The image of Boomba tenderly feeding Mishti is unforgettable.  Despite his exploitative intentions, he takes her to a feast in the Hexagon, a floating island of unimaginable wealth where the cynical host celebrates a wedding with a feast for the children of the city’s poor.  Spoonful by spoonful he feeds her one luxury item after another till she is sated.  This is what he would do for his little brother if he could.

I discovered Megha Majumdar’s writing during the pandemic via the digital Melbourne Writers Festival, and saw the same preoccupation with how vulnerable people prey on each other in A Burning (2020, see my review). A Guardian and a Thief blurs the line between the ambiguities of morality and the consequences of wrongdoings, large and small.

Highly recommended.

Author: Megha Majumdar
Title: A Guardian and a Thief
Publisher: Knopf (Penguin Random House), 2025
Cover design by Tyler Comrie
ISBN: 9781398555617, pbk., 205 pages
Source: Kingston Library

 

2026 Women’s Prize for Fiction Longlist

I wasn’t going to do a post about the 2026 Women’s Prize Longlist because I assumed it all the booklovers I know would already know about it, but I enjoyed last year’s nominations so much I decided to read as many as I can this year too, and I need to keep track of them.

Thanks to Cathy at 746 Books, I have a text-friendly list of the nominees.  I’ve printed this out, sorted into those I’ve already read (see links below), those I have on reserve at my local libraries, and those not available that I’ll probably need to buy if they make the shortlist.  (Breaking my retirement budget policy of buying Australian books and borrowing international ones.)

I’ll update this list with more links to my reviews as I complete them.

  • Gloria Don’t Speak by Lucy Apps (Weatherglass Books)
  • Paradiso 17 by Hannah Lillith Assadi (4th Estate, HarperCollins Publishers UK), reserved at the library
  • Moderation by Elaine Castillo (Atlantic Books), reserved at the library
  • Flashlight by Susan Choi (Jonathan Cape, Vintage, Penguin Random House UK) , see my review
  • Dominion by Addie E. Citchens (Europa Editions UK)
  • The Benefactors by Wendy Erskine (Sceptre, Hodder & Stoughton, Hachette UK), see my review
  • The Correspondent by Virginia Evans (Michael Joseph, Penguin Random House UK), reserved at the library
  •  The Mercy Step by Marcia Hutchinson (Cassava Republic Press)
  • The Others by Sheena Kalayil (Fly on the Wall Press)
  • Kingfisher by Rozie Kelly (Saraband)
  • Heart the Lover by Lily King (Canongate), reserved at the library
  •  Audition by Katie Kitamura (Fern Press, Vintage, Penguin Random House UK) , reserved at the library
  • A Guardian and a Thief by Megha Majumdar (Scribner, Simon & Schuster UK), finished last night, review coming, see my review
  • Wild Dark Shore by Charlotte McConaghy (Canongate), reserved at the library
  • The Best of Everything by Kit de Waal (Tinder Press, Headline Publishing Group, Hachette UK), reserved at the library

Image credit: cropped from the image at the Women’s Prize Facebook post.

Empathy (2025), by Bryan Walpert

Longlisted for the Ockham NZ Book Awards, Bryan Walpert’s absorbing new novel Empathy was unlucky not to make the shortlist. I had just finished reading  it and was mulling over the cunning way that the theme plays out when the news came through.  I can’t really comment on the shortlist of four because the only title I’ve read (is Catherine Chidgey’s The Book of Guilt (2025, see my review) and the other three are proving hard to get hold of, but they must be very good indeed to have trumped Empathy and Wonderland, (see my review) for a place on the shortlist.

Anyway…

What makes Empathy such a powerful novel is the way  it speaks to our yearning for a less divisive world. No matter how carefully we curate our ventures into social media (in my case, that means only BlueSky, Goodreads and (reluctantly) Facebook to keep abreast of family overseas, and no matter how scrupulously we avoid the nastiness of of Twitter, Instagram and TikTok, we still know about its malevolent effects because legacy media sites feed on it.  Scan through their tabloid headlines and you can see the hashtags bleeding through.  These days, being ‘informed’ means being tainted by the unfiltered basic instincts of people we would never otherwise want to have in our lives.

Walpert’s novel humanises the quest to create a fix for the miasma in which we find ourselves.  It traces the way a chemical solution to this quest derives from the interaction between commercial opportunism and the idealistic desire for greater connectedness.  If empathy in a perfume can be developed in a lab, then monetised and marketed, there’s money to be made and the manufacturer looks like a good corporate citizen.  If a role-playing video game that rewards empathetic choices can be developed, a start-up company can make near-instant wealth if it becomes very popular.  What could go wrong?  The world needs more empathy, right?

Walpert’s novel does not allow a naïve answer to that question.  Exploring the limits of empathy as an unmitigated good, he shows that the answer depends on context.  Do we really want to empathise with people doing evil things so that we allow them to continue doing it?  When does engaging with another’s point-of-view morph into making excuses for unconscionable behaviour? And what if others exploit empathy to get submission to what they want?

This is the book description:

Marketing executive Alison Morris bets her reputation on a project to sell empathy in a perfume bottle. Her husband, Jim, is inspired to try a similar thing in a game he’s developing – sinking all their money into EmPath, where people progress by learning to understand one another without direct communication. All at once Alison’s fragrance develops dangerous effects and Jim’s game falters in the market, then the chemist working on the perfume project vanishes. His son, David, seems to be the only one looking for him. A widower with two children, David is a man of routine who just wants to get on with his life, but his love for his father takes him into a murky world where empathy can be bought and sold and can lead to murder.

Set mostly in 2024, the novel begins with Edward Geller, a research chemist, tied up in the boot of a Lexus.  He thinks of his loved ones, and his thoughts wander to fond memories until he recognises that his mind is generating these inappropriate thoughts to distract him from the peril he is in.  And then his brain kicks into strategy, and recalling what he’s seen on crime drama TV shows, he does what he can to spread his DNA in the boot, forcing it into crevices where it will be found as a signal for the future to follow back to this moment. 

Ensuing chapters trace Edward’s son David doggedly pursuing a trail that seems to have gone cold, and these are interspersed with events from the year before, when Alison Morris is trying to make her mark in the all-male atmosphere of a marketing company.  It is her intervention in encouraging a younger colleague to speak up with what seems like a crazy idea, that is the catalyst for the development of a perfume to stimulate empathy.  She’s idealistic but she’s also ambitious.  So is her husband Jim, a computer engineer with a love of gaming, who has plunged all their finances into developing a game to achieve the same thing — and failed to practise due diligence in regard to his business partner’s contribution to expenses. Walpert has written each of these interwoven chapters to generate reader empathy with the ideals, ambitions, frustrations, self-doubts, follies and relationships of these characters who yearn to make a better world.

So imagine this reader’s horror when less altruistic forces arrive and under the influence of the game and the perfume,  we see these characters empathising with the amoral thugs…

Empathy is not a thriller is genre sense of the word, but once all these elements come together to form a horrifying scenario, it is certainly unputdownable.

Empathy is also reviewed at the NZ Review of Books where Guy Somerset writes

One moment you’re in a contemplative novel admiring Walpert’s sensitivity towards his characters and their relationships with each other, the past and the situations in which they now find themselves; the next you’re being shocked and scared witless by one of the most ruthless and unrelenting villains this side of Cormac McCarthy’s No Country for Old Men.

Empathy is available from multiple outlets in Australian and NZ, but it’s also available as an eBook at the publisher’s website.

Author: Bryan Walpert
Title: Empathy
Publisher: Makaro Press, an imprint of The Cuba Press, 2025
Cover design by Paul Stewart
Cover artwork: ‘Return’ by Claire Beynon and John Allison
ISBN: 9781067011314, pbk., 293 pages
Source: Personal library, purchased from Fishpond

 

2026 Ockham New Zealand Book Awards Shortlist

The 2026 Ockham New Zealand Book Awards Shortlist has been announced.  This is the Jann Medlicott Acorn Prize for Fiction shortlist.

I’ve read some of the remaining longlisted titles:

  • 1985 by Dominic Hoey (on reserve at the library)
  • Before the Winter Ends by Khadro Mohamed (not available in my libraries)
  • Empathy by Bryan Walpert (review coming)
  • Star Gazers by Duncan Sarkies (on my TBR)
  • The Last Living Cannibal by Airana Ngarewa (Ngāti Ruanui, Ngā Rauru, Ngāruahine), see my review
  • Wonderland by Tracy Farr  see my review

I’m disappointed to see that two very fine books didn’t make the cut, so I’ve only read one of the shortlisted titles, Catherine Chidgey’s The Book of Guilt. From the longlist, as you can see from my enthusiastic review, I thought Tracy Farr’s Wonderland was a pleasure to read, and I’m very impressed by the originality of Bryan Walpert’s Empathy which I finished just last night. (Review coming soon).

The finalists, winners and the four Mātātuhi Foundation Best First Book Award recipients will be celebrated on 13 May 2026 at a public ceremony held as part of the Auckland Writers Festival.

The Ockham New Zealand Book Awards are supported by Ockham Residential, Creative New Zealand, the late Jann Medlicott and the Acorn Foundation, Mary and Peter Biggs CNZM, BookHub, The Mātātuhi Foundation and the Auckland Writers Festival.

 

The Minstrels (2026) by Eva Hornung

A new novel from award winning Australian author Eva Hornung is always an event for booklovers.  A Victorian-born author who now lives in rural South Australia, Hornung is not a prolific writer,  and we have to wait a while before there is something new to pique our interest.

Writing as Eva Sallis, Hornung won the Vogel for her first novel Hiam (1998), (which I read pre-blog).  She won the  2004 Steele Rudd award for Mahjar (2003) while The Marsh Birds (2006) won the (now defunct) Asher Award and was shortlisted for the Commonwealth Writers Prize and the Age Book of the Year Award. Writing as Eva Hornung, she won won the Prime Minister’s Literary Award  for Dog Boy (2009, see my review), while The Last Garden (2017, see my review) was shortlisted for the 2018 Miles Franklin and Voss Literary Awards, and longlisted for the ALS Gold medal.

The Minstrels is worth the wait. Charting the course of one woman’s life from about the late 20th century into her old age in a near future becoming dystopian, the novel asserts the power and possibility of remaking identity in the face of changes which impose adaptation and acceptance. This is the book description:

Gem and Will grow up on a farm above the chasm and pool known as the Minstrels, a site where both are broken, each by the other. One will disappear. One will, eventually, be transformed.

Through her encounters with people and through art, land and language, Gem is remade while the world outside changes and time runs out.

This long-awaited new novel from one of our finest writers is a sweeping epic set in literal and figurative blight in a fictional Australian geography; a work of self, time and the very end of something. Wild, mythic and potent, The Minstrels is an apocalyptic redemption fable that weaves the history and probable fate of the world into the life of one woman.

Part I is the wholly absorbing story of Gem and Will, siblings of vastly different temperaments and abilities, growing up on a farm in a landscape drawn from the author’s imagination.

The Minstrels, unlike the drought, were real: a half chasm, half gorge through which the river ran and then reissued, changed, a mile downstream.  The chasm and pool at the base of the waterfall bordered their farm and the Covernses’ farm.  (p.12)

Just who owns The Minstrels isn’t clear, and no effort has been made to find that out.  For generations there had been unspoken access for all, and the notion of private property rights over it would have been faintly distasteful to those old farming families. It’s a place for picnics and swimming and diving.  It has a sad history of accidental deaths and suicides, and its own legends and mysteries.

Even on a breathless day, the Minstrels played a strange music of sighs, murmurs, whines, whistles and echoes.  This must have been how they were named, although no one really knew who had named them.  (p. 13)

The Minstrels are also the site for a bizarre end-of-year adolescent ritual.  Parents don’t talk about their own participation in this ritual, and the young people conceal their preparations for it with care.  A subsequent harvest of newborns is not the only consequence of ‘the run’…

Part II transitions into speculative fiction that traces the transformation of Gem from city aimlessness into a farmer confronted by changes that cannot be denied.  Her relationship with her parents had been unsatisfactory in many ways, but there was a brief period of intimacy (of sorts) with her father when she embraced learning about farm tools and machinery.  In her forties she celebrates her mastery of these skills as she returns to the farm, where unlike the other farmers, she is not burdened by debt, family responsibilities or future inheritance issues.  Initially she develops her model farm as ‘performance’, to impress the locals who had always treated her as an outsider.  But as time goes by, her acceptance of change and subsequent adoption of ‘best practice’ becomes part of her willing withdrawal from contemporary life and is more about reshaping her identity and sense of self.

(Although The Minstrels is utterly different, the portrayal of a competent and dynamic older woman adapting to climate change reminded me of Lucy Treloar’s Wolfe Island 2019, see my review.)

Hornung tackles contemporary issues that impact on farming in Australia today.  The threat of fracking is the catalyst for a long overdue relationship with the local Indigenous people with all that implies for access to and custodianship of the land.  It’s also a catalyst for Gem to begin learning their endangered language, with an urgency prompted by her discovery that there are only nine living speakers of that language. Hornung doesn’t shy away from the angst that surrounds this issue: as she says in the Acknowledgments, Hornung has drawn on her own experience learning the Adnyamathanha, Yura Ngawarla language being reclaimed in the Flinders Ranges.  In the novel some members of the community resent Gem’s contribution to the Ngawarla Reclamation Group because they don’t want outsiders being able to speak the language better than they can.  This attitude is what prevents access to learning my own local Aboriginal language.  I understand this attitude, and I respect the view that it’s not my decision to make.  Still, I believe that endangered languages need any and all available allies if they are to survive, and in the novel elder Uncle Jim agrees to teach Gem — for whom learning the ancient language of the farm is more than a whim.  It’s part of remaking her identity, and it’s also an act of (albeit imperfect) restorative justice.

In addition to the question of Indigenous access to lands not covered by Australia’s Native Title legislation, Hornung introduces the issue of the growing gulf between city and the bush.  Gem’s land is visited by vegan campaigners from the city.  Though she farms cattle, and their interference in treating a highly contagious and potentially fatal condition called pink eye is ignorant, Gem’s response is not intransigent.  Though she doesn’t resile from her own position, she listens to their point-of-view and takes time to explain the animal welfare issue.  She enlists their help to treat the cattle, and gives them one of the cattle to raise as a pet.  Their visit appears to be resolved with mutual respect on both sides, only for Gem to discover that she was wrong about that. Hornung illuminates the amoral positioning of protest when her generosity is betrayed:

He stood up.  He was stiff and formal again.  ‘Gem, you were decent to us.  And you wept when you shot the [diseased] calf. But they believe very strongly that kindred behaviours weaken us, and that the cause is more important that any obligation to you.  They had to be bigger than that.  They have to, even with their own families.’

A cult, that’s what it sounded like. (p.233)

A perfect example of how the extremist Left justifies contemptible behaviour towards those that it ‘others’.

As the novel morphs into speculative fiction, farming becomes a discredited occupation, and laws are passed to force landowners to share their land for public use in ‘Adventure Zones’.  There is a droll sequence when a group of medievalists arrive from the city to hold their jousting competitions (without horses), and food shortages start to occur as farmers struggle to adapt to changing climate patterns and the way their land is compromised by adventurers’ activity.   If ever a novel were an argument for genuine political representation for farmers, The Minstrels is it because it portrays so clearly how city interests dominate the political landscape with results that are sometimes disastrous for the farms that provide our food supply.  Rosalie Ham has traversed this territory in her novel The Year of the Farmer (2018, see my review) and so did Richard Anderson in his novel of small-scale farming in Small Mercies (2020, see my review).

I am thinking maybe I should create a tag or a category for FarmLit, because there’s also Locust Summer (2021), by David Allan-Petale (2021, see my review) and Stephen Orr has written novels that also tackle inheritance issues in The Hands (2015, see my review).

Whatever you think about veganism/vegetarianism or Big Ag or intensive (factory) farming or food miles, as development encroaches on the market gardens on the periphery of our cities and climate change impacts on crops, the vulnerability of our food supply becomes more and more obvious.  Even if we are able to import food in the climate-changed future, I don’t want to eat it, especially not from countries that allow unregulated use of ag-chemicals.  And yet my own vegie patch has proved yet again this summer that there are some plants just don’t produce a crop any more.  My preserving kit sits gathering dust on the shelf… yet tomatoes remain an indispensable ingredient in Italian cuisine. Will the time come when we can’t grow them at all any more?

As you can see from my responses to this novel, it would be an excellent choice for book groups.

Author: Eva Hornung
Title: The Minstrels
Publisher: Text Publishing, 2026
Cover design by Imogen Stubbs
Cover image by Eva Hornung
ISBN: 9781923058781, pbk., 359 pages
Review copy courtesy of Text Publishng

Once the Deed is Done (2025), by Rachel Seiffert

Longlisted for the 2026 Walter Scott Prize for Historical Fiction, Rachel Seiffert’s latest novel explores an aspect of WW2 that seems not to have had much attention in historical fiction: it tackles the nightmarish experience of DPs: displaced persons in the aftermath of the German defeat.

As the Allies advanced towards victory, they encountered chaos on an unprecedented scale.  Although The Aftermath (2014), by Rhidian Brook comes to mind as a novel of British Occupation in postwar Germany, not much fiction has been written from the perspective of those whose job it was to cope with the survivors of the conflict.  As Helen Lewis’s story of her father’s experience shows in The Dead Still Cry Out, the Story of a Combat Cameraman (2018), in the early days and as liberation progressed, these were military men who were utterly unprepared for the enormity of the Holocaust psychologically and logistically.   At the same time, there were places where soldiers came across the shattered remnants of the Nazi slave labour force that propped up the Reich.  The true enormity of this war crime became clear as the Western front was liberated and the fate of about six million displaced survivors was recognised, but Seiffert has focussed her novel through the small but illuminating lens of events in a small town in Northern Germany.

One of the reasons the Soviets fought so ferociously against the Nazis was they understood from what occurred in German-occupied Soviet territory that the threat was existential.  Nazi ideology classified Slavs as Untermenschen (subhumans) to be eliminated from their homelands in order to make space for the extension of the Third Reich into Eastern Europe.  Although slave labour was brutishly deployed throughout Occupied Europe and in North Africa, it was for those from the Eastern Front that conditions were the worst.  Men and women deemed fit to work were deported from occupied territories to farms and factories serving the war economy of the Reich.  So although they weren’t subjected to industrial scale extermination as the Jews were, they were regarded as expendable and they were often literally worked to death.

And of course those men and women had families.  They had children.

As the author’s note at the back of the novel tells us, their fate, as their parents were shunted from place to place, resulted in horrific numbers of surviving displaced children, collated into one register by the UN in 1948 as it tried to reunite families and organise repatriation:

They surveyed orphanages, hospitals, care homes and foster homes across the English, French and American zones, and the western sectors of Berlin [LH: i.e. not including those in the USSR], finding a total of 347,057 children.  191,199 were in institutions, 130,682 in German foster homes, and 21,176 had been adopted by German families. (p.445)

Seiffert portrays this unimaginable chaos with polyphonic viewpoints: local Germans of all ages and political perspectives; DPs from Ukraine, Poland and elsewhere;  and Ruth Novak from the Red Cross, working with the British Occupying forces to arrange repatriation of the DPs to their homelands. The novel begins with the  naïve perspective of Benno, younger brother of the more worldly Udo, who hangs out with the other bigger boys in the Hitler Youth and confuses Benno with their war-talk bravado.  Benno wakes up at night and witnesses his father, a policeman, being called out, together with a gathering of townsfolk,  On that same day he had seen — not the usual convoys of worker transports — but a straggle of women on foot, with only two guards.  He reads the cautious body language of his brother and parents, but he doesn’t understand what he has seen. His mother doesn’t allow war-talk, so he says nothing to anyone.

Further out of town on their hof (a homestead with a yard for the chickens) old Hanne Buchholz hears the siren too.  She’s waiting out the war, hoping her wounded son Kurt will be home soon, and wishing for the Allies to come soon too though she wouldn’t dare say so in public.  Her husband Gustav summons her to the woodshed, where to her astonishment there is a scrawny young woman wearing a torn patch ‘P’ identifying her as a Polish worker.  She lifts her shawl to conceal the tell-tale patch but still tries to shield the baby in her arms.

…Hanne could see that it was a girl, and little more than a baby yet.  A bare and curled head, a pair of child cheeks raw with cold, sore with grime, eyes large and tired and blinking.  The woman had wrapped the shawl to carry her, now she tried to wrap the girl to keep her warmer, only her fingers were too raw to manage it. (p.19)

Despite their fears of retribution, Hanne and Gustav do what they can for her, but in the morning she is gone, leaving the nameless baby behind.  And she has taken Gustav’s winter jacket as well.

Verdammt nochmal!

He pressed his old hands to his forehead.

The coat was worn, but thick and lined: brown corduroy.  Hanne imagined the woman, tearing along the verges, zipped into that warmth.  It’ll come to her knees, she thought.  But that was all to the good.  It would cover the woman’s torn patch, keep her from capture; it would keep out the cold too while she ran onwards — and the further she ran from here, the safer they all were. (p.23)

The mosaic of voices captures the confusion and chaos well.  There are the naïve, confused German children and brash adolescents shamed by the defeat;  the Occupying British adults overwhelmed by responsibility and the magnitude of the task and struggling to suppress their contempt for people who ignored what was under their noses.  There are resentful German townsfolk blaming each other and their British occupiers; and then there are the DPs relishing their liberation but cooperating only in varying degrees because they’re no longer willing to surrender their autonomy.

Readers looking for a love interest with be disappointed (though I bet Hollywood will add one if they make a film out of it). The Red Cross worker Ruth — daughter of German Jewish exiles in London — is wholly preoccupied with her role, which quickly expands to include the need to document DP details which will facilitate reuniting them with family.  But she is also unsettled by inconclusive evidence in the remains of a hastily burnt register that there were women workers unaccounted for.  By now she knows about the extermination camps but she does not know the depths to which the Nazis would sink with slave labourers.  Readers, however, can guess.  It becomes a matter of whether Seiffert will resolve the story by revealing their fate.  Similarly, readers become invested in the fate of the baby Ditte, and also the Ukrainian children Yeva and Sasha who refuse to leave the town where their mother might yet find them.

Suffice to say that Seiffert does not sacrifice realism for a tidy ending.

Author: Rachel Seiffert
Title: Once the Deed is Done
Publisher: Virago, 2025
cover design: Hannah Wood
ISBN: 9780349014173, pbk., 445 pages
Source: Bayside Library

 

Venetian Vespers (2025), by John Banville

Longlisted for the 2026 Walter Scott Prize for Historical Fiction, John Banville’s latest novel Venetian Vespers is a curious tale indeed. I can’t say that I was much invested in the mystery that bears the plot, but was puzzled enough to keep reading to discover what Banville was on about. I kept sensing allusions to other novels set in Venice, (most obviously but not only The Turn of the Screw), and a narrative voice channelled from Henry James, but I could not fathom any preoccupation of significance.

I’m not sure that I do now.  It’s not Banville at his finest, it’s just what Graham Greene used to call an ‘entertainment’: genre fiction written for the commercial market rather than the literary fiction which made his name.

Banville is a hit-and-miss author for me, and this is a miss.  It’s deliberately transgressive, in the sense that it has a central character of #understatement dubious character, whose narration is narcissistic and unsavoury, to say the least.  Venice as a gothic destination is overdone, and so is the depiction of an Englishman abroad as an uncultured boor who is not only scornful of everything about the city (including St Mark’s Basilica) but even the Italians who have a preference for speaking their own language.

If there is anything much to take from this novel, it’s that tourists project their own culture onto the places they visit.  For Evelyn Dolman the city of romance is a tawdry destination, tainted by his own slime.

Not even an allusion to Monteverdi’s Venetian Vespers can save this novel.


I’ve read some of the other nominations for the 2026 Walter Scott Prize for Historical Fiction, and I would rather they made the shortlist when it is announced in April.  The longlisted titles are:

  • Venetian Vespers by John Banville (Faber & Faber)
  • The Two Roberts by Damian Barr (Canongate)
  • Eden’s Shore by Oisín Fagan (John Murray Press)
  • Helm by Sarah Hall (Faber & Faber), reserved at the library
  • The Pretender by Jo Harkin (Bloomsbury)
  • Boundary Waters by Tristan Hughes (Parthian Books)
  • The Matchbox Girl by Alice Jolly (Bloomsbury), reserved at the library
  • Edenglassic by Melissa Lucashenko (Oneworld Publications)
  • Benbecula by Graeme Macrae Burnet (Polygon)
  • Once the Deed is Done by Rachel Seiffert (Virago) (I have this from the library to read next) see my review
  • The Artist by Lucy Steeds (John Murray Press), see my review
  • Seascraper by Benjamin Wood (Viking), see my review

Author: John Banville
Title: Venetian Vespers
Publisher: Random House, 2025
Cover design by Kelly Blair
ISBN: 9798217170166, pbk, large print edition, 400 pages (Normal size print editions are about 350 pages)
Source: Bayside Library

Wonderland (2025), by Tracy Farr

Longlisted for the 2026 Ockham New Zealand Awards, Wonderland is Tracy Farr’s third novel.  It won the 2024 NZSA Laura Solomon Cuba Press Prize: a prize set up by the family of novelist, playwright and poet Laura Solomon in her memory.  Open to NZ citizens and permanent residents, the prize calls for new writing with a ‘unique and original vision‘.  The winner receives a cash award of $2000 (as an advance) and a publishing contract with The Cuba Press.  Runners-up receive $1000 and it appears that some of them achieve publication too.  (See below for previous winners.)

Wonderlands is such a refreshing book, and it does indeed have a unique and original vision.  It feels refreshing because there is nothing strident or agenda-driven about it.  There are no dysfunctional characters, they are all just human.  It is a family story of love, kindness, generosity and the strength of what the term female friendship fails to convey… we used to call it The Sisterhood because it implied being at one with women around the world, not just the ones you like.  And — miraculously —the novel achieves all this without being sentimental.

This is the book description:

Doctor Matti Loverock spends her days and nights bringing babies into the world, which means her daughters—seven-year-old triplets Ada, Oona and Hanna—have grown up at Wonderland, the once-thriving amusement park owned by their father, Charlie. Then a grieving woman arrives to stay from the other side of the world, in pain and incognito, fleeing scandal. She ignites the triplets’ curiosity and brings work for Matti, diverting them all from what is really happening at Wonderland. In a bold reimagining, Marie Curie—famous for her work on radioactivity—comes to Aotearoa and discovers both solace and wonder.

The narration is sheer genius.  I nearly wrote that it is written from three points of view because there is one third person perspective, (the mother Matti’s) and two first person perspectives, (Marie Curie’s and the triplets’) but no, it’s five, because Ada, Oona and Hanna burst onto the page as one voice that is somehow three.

The sound of a bell ding-ding-dinging down the road, closer to home, wakes us.  We leap from the bed at the sound of our father’s familiar morning call—Rally, rally, rally, ratbags!—and slither bedwarm into our knickers and vests, then run through the house and stop in a pile by the front door to step our feet into cold canvas slippers. We open the door, and there is our mother, propping her bicycle against the verandah post, home and weary after her long night shift at the baby hospital in Newtown. She bends to kiss each of us in turn, then straightens to kiss our father last and longest. We watch her pause at the Lady’s door, listening, but not opening it.  Her doctoring bag looks heavy in her hand, unbalancing her.

On the first few days of the Lady’s visit, our routine was abandoned. But today it’s business as usual, starting with the calisthenics that our mother and father insist on, for health and vitality. We step off the verandah, past our mother’s big black bicycle, and sing our way into the day. We sing an exercise song

wind! rain!

sun! fog!

calisthenics, whatever the weather!

as we march across the road to the beach, through the low dunes, and onto the flat of the tide-wet sand. Our father is close behind us, his long-ago-wrestler’s belly (now pie, pork and beer belly) barely contained by his neck-to-thigh black stretch woollen swimsuit. Look at him! The fluff of his chest, the wire of his legs, the ham of his arms!  And look at the three of us! What a fine advertisement for modern life we make, our sleek, strong limbs, brown to the edge of our vests, our lily-white torsos underneath. (p. 38)

All these narrative voices combine their limited perspective to form a coherent whole.  The joyous, exuberant voice of the three children quietens when they are listening to the muffled anxieties of their parents or the conversations of their mother with The Lady.  (Though Marie Curie is here incognito, using her Polish name Marya Skwodovska, they are supposed to call her ‘madame’ or ‘professor’ but having overheard their impulsive, exasperated father refer to her as ‘Lady Bloody Radium’  — they call her ‘Lady’ as their private joke.)  Through Matti’s private perspective we learn about the state of Marie Curie’s health and Matti’s own concerns: managing the extra work while soothing Charlie’s views about Ernest Rutherford imposing their guest upon them.  We also learn about her friends with whom she occasionally lets down her hair for some boozy, raucous downtime.  (My goodness, there are so many references to smoking, I thought that disaster would strike when Matti fell victim to lung cancer, but no, it’s a different tragedy that derails the family.)

Marie Curie is multilingual, but her English is rudimentary, and so is Matti’s French, so there are moments of mutual incomprehension and Farr has fun with the Lady’s mishearing of verandah when she calls the ‘balcony’ a Miranda’.  But the depiction of her sickness, even as it gradually improves, is a chilling reminder of the real-life death of Marie Curie from radiation poisoning.  And the real-life poison of gossip and innuendo.

Early 20th century Wellington is superbly realised, making me remember once more how lucky we were not to have experienced its infamous wind when we were there in 2019.  Charlie’s Wonderland was a real amusement park on Wellington Harbour, but even if the triplets don’t join the dots and Matti doesn’t realise the extent of it, the reader can tell that it’s in financial trouble because the girls pester their father to open it for a Winter Wonderland… and that means there’s not enough patronage for it to be a year-round operation.  By the time we realise this, we readers are invested in the fortunes of this unforgettable family… and devastated by the disaster that befalls them.

So much so that the ending seems just right and not contrived at all.  That’s masterful writing!

Wonderland deserves a wide readership and I hope its nomination for NZ’s most prestigious literary prize gives it international attention.

Update, later the same day: I’ve just had an email from Tracy and she tells me that

The Cuba Press have just this month released the e-book of Wonderland (so recently that I haven’t updated my website yet!) – it’s on most of the usual platforms incl Kobo, Apple Books, though possibly not Kindle? [LH: No, I’ve just checked and it’s not there yet], as well as from the publisher.

Author: Tracy Farr
Title: Wonderland
Publisher: The Cuba Press,  2025
Cover design by Paul Stewart and Tracy Farr
Cover image: Wellington’s Wonderland at Miramar, The Water Chute by Zak (Joseph Zakariah), 1907 (modified)
ISBN: 9781988595931, pbk., 310 pages
Source: personal library, purchased from Fishpond, $29.95 +postage


Here are the previous winners of the Cuba Award.  Links are to Goodreads, except for Wonderland which links to Fishpond because that’s where I bought it from.  I have assumed that if I couldn’t find a title at Goodreads it hasn’t been published (yet) but as always am open to correction if I’m wrong.

2021: Lizzie Harwood, Polaroid Nights.
2022: Rachel Fenton, Between the Flags.  Runner-up: Philippa Werry, Iris and Me.
2023: Lee Murray, Fox Spirit on a Distant Cloud. Runner-up: Melanie Kwang, Faultlines.
2024: Tracy Farr, Wonderland.  Runner-up: Abigail von Ahse, Flawless.
2025: Susanna Elliffe, Relic Party.  Runner-up: Belinda O’Keefe, Trespassers Will Be Baked, Scrambled, Fried and Eaten


I read books from Indie publishers all the time but I read this book at this time for
Kaggsy’s #ReadIndies Reading Independent Publishers Month.

 The Cuba Press has a very tempting list.  It’s based in New Zealand so the best place for Australian readers to find their publications is at FishpondAU but note that they now charge for delivery. International buyers should choose Fishpond.com

 

Yes, I have (had to) change the look of my blog

Today was the last straw: on top of bullying its hapless users into using its horrible Block Editor, today I discovered that WordPress had removed my subscribe-by-email widget.  They removed my blogroll widget a while ago too.  No courtesy notification, they just did it.

So now I’ve had to cave in and waste an afternoon finding a new theme that approximates what I had — and there’s not much to choose from. (This is the one I wanted, it’s called Pilcrow, but ‘search themes’ couldn’t find it.  I may try again later when I’m not so grumpy.)

I loved my old theme.  Appropriately called Ocean Mist, it used my favourite colour blue, and it suited me perfectly.  We were all used to it, my readers and me.  It had a nice small header which I had customised with a photo of some books that represent the best of Australian literature.  More importantly, you didn’t have to scroll down to get the waste-of-space header out of the way.  This new intrusive header is too big and too fat and it’s ugly and I dislike hate it.  I had a look at it on my phone and you can hardly see my lovely books behind that clunky black heading.  So apologies to anyone who uses a phone to read my blog.

Plus the bottom footer which showed major categories has gone too.

Maybe I can get it back, and maybe I can restore my old blog roll and rearrange the widgets so that they are where I want them but I have already wasted enough time, because what I wanted to do today was to write my review of Tracy Farr’s terrific new book, Wonderland which has been nominated for the 2026 Ockham New Zealand Book Awards.

That is why I am here, that is why I do what I do.  I don’t want to spend my time responding to changes I never asked for and don’t want.

Why can’t things that work well just be left alone?!

 

Green Hands (1943), Barbara Whitton

Many years ago when we were having one of those ‘Did we do the right thing?’ conversations that migrant families inevitably have about leaving their birthplace, my mother said something that I did not really understand at the time.  ‘I don’t ever want to live again in a country that can’t feed itself.’  I knew she was referring to wartime food rationing in Britain, but I didn’t know then that Germany and Finland deliberately used starvation as a military strategy in the Siege of Leningrad (1941-1944).

Well, according to the Introduction to Barbara Whitton’s Green Hands (1943), even before war, [and certainly before the brutally effective German strategy of trying to starve Britain into surrender by targeting the Merchant Navy convoys], the Brits had worked out that food shortages were going to be a problem.

The WLA [Women’s Land Army] had originally been formed during the First World War. It was re-established in June 1939 when it was identified that if war came, an extra two million acres of productive agricultural land was needed to offset the loss of imported food from the empire. Without a substantial number of women helpers, this would have been impossible.  To make up the labour shortfall (although being a farmer was a reserved occupation, being a farm labourer was not) Land Girls found themselves working alongside older male labourers, German and Italian prisoners of war, and even schoolchildren, who were allowed up to 20 days off school each year to help on the farms. (p. viii)

The first thought that sprang to mind from that paragraph was: huh? a women’s land army formed during WW1??!  A quick search and I found that others have been there before me, and at the Women’s Land Army website there is a history called Holding the Home Front, the Women’s Land Army in the First World War by Caroline Scott. The accompanying photo shows some women wearing trousers as they fork some hay, which must have been rather risqué at the time.  From there I also learned that in WW2 there was also a Women’s Timber Corps, formed in 1942 after the German Occupation of Norway caused a shortage of timber. The women were called Lumber Jills, and the page includes photos of them hard at work, including one that shows a woman wearing shorts.

The issue of clothing is not as trivial as it might appear…

A young woman, wearing the Land Army uniform, stands with a pitchfork in her left hand and holds her jacket in her right. She surveys a field of wheat.The Introduction also tells us that for the first time ever, in WW2 single women were conscripted into the services, and could choose to join the female versions of the military services i.e. WAAF, the ATS or the WRNS), or work in a factory manufacturing war production essentials, or join the ‘Land Girls’.  But recruitment for the Land Girls ceased in 1943 because it was more popular than the other options. This was possibly because of the idealised ‘healthy outdoor life’ promised by the recruitment posters, but also because women liked the WLA uniform.  Many of us have seen this in TV re-enactments, such as this one:

However… as any reader of Green Hands will immediately see, the uniform that was issued was #understatement lacking. Written from personal experience by Barbara Whitton (the pen name of Margaret Hazel Watson (1921-2016), the novel begins on a freezing cold farm in Scotland, but the women have not been provided with warm clothing, rainproof outerwear, tough gloves or even boots that fit.  In stark contrast to the idyllic sunshine portrayed in the recruitment posters, Bee and her co-workers Pauline and Anne are soaked through to the skin from their first day when the sleet arrives at about eight-thirty.  Deployed without any training, they are billeted with stingy hosts in shabby accommodation where there isn’t even hot water for a bath at the end of their day’s labour, which began at six in the morning, with no breakfast until nine o’clock. The work, harvesting mangolds (a root vegetable used for feeding cattle and pigs), is back-breaking.

So, given the real-life experience of the author, the novel could have been a barely disguised misery memoir, but it’s not. It is laced with dry humour, though that’s a bit too often at the expense of Pauline who is mocked relentlessly by everyone.  But it’s also fascinating to read a slice of wartime life from the perspective of someone who actually did this work for the best part of the year, first in Scotland, and then in somewhat more congenial conditions on a dairy farm in England.  The work was still physically taxing, but at least they were fed generously, and there were opportunities for a bit of recreation and the chance to meet a nice man or two.

Reading Green Hands from a 21st century perspective, despite Whitton’s light touch, we notice the explicit and casual sexism; we notice the women accepting the prevalence of ‘a slap on the rump’; and we notice the disparity in pay which meant that they barely had pocket money after paying for room and board (which in Scotland was rudimentary to say the least).  But we also notice working conditions for all the workers, that no one would accept today.  Extremely long hours, without weatherproof clothing, and without proper training in the use of tools and equipment that could be perilous. On the dairy farm Bee’s role is in part to do the daily deliveries, and she gets one day to learn to drive the van and the route and no written instructions about who gets how much milk!

After half an hour has gone by, the van is at last started; but not until it has been pushed down the hill and hauled back up again many times, and we are all feeling very warm.

We take it back to the yard and the crates are once again loaded.  By this time, milking has stopped, and wonderful smells of cooking breakfasts are being wafted out of the cottage doors.  I am ravenously hungry after all our exertions, but we have already dallied too long. Leaping into the driver’s seat, Charlie drives away like a madman.  We rocket down the road.  I cling desperately to the swaying van, and my springless seat leaves my tail and hits it again repeatedly.  We shoot round a corner, the milk bottles banging in the back with a noise like a machine gun, and the crates rattling together, so that I am almost deafened.

‘Have to be careful round this bend,’ says Charlie, accelerating at it on the wrong side of the road. ‘Nasty in the winter when the wet leaves are about.’

I long to point out that wet leaves and snow have much the same skidding tendencies, but we fly round it on two wheels. (p.87)

Aspects of this novel make me wonder who its intended audience was in wartime. People of Whitton’s own class, I expect. She wrote under a pen-name, but her real-life companions had the names Pauline and Anne, and the Introduction says that despite the mockery of their characterisation in the book, they remained in touch for many years. Call me cynical if you like but I suspect that the butt of Whitton’s humour is actually based on some other Land Girls who worked with them, and not her friends at all (who would have enjoyed the joke).

Whitton writes with humour about the rivalry between the women and some boys who are more experienced and competent than they are, but would she have been as sanguine about them missing school if they had not been working class lads? There’s not much biographical detail to be found out about her, but what there is (due to study Art in Paris, her training was curtailed by the outbreak of the Second World War), suggests she was upper middle-class or more.

Despite these reservations, I enjoyed reading Green Hands and I’d be interested to know if there were any other accounts of Land Army experiences.


Was there an Australian Women’s Land Army? Yes, there was, and they waited a long time for recognition of their service too.

Author: Barbara Whitton
Title: Green Hands
Publisher: Imperial War Museum 2020, first published 1943
Introduction: Imperial War Museum i.e. not credited to the individual who wrote it
Series: Imperial War Museum Wartime Classics
Design by Clare Skeats
Cover illustration by Bill Bragg
ISBN: 9781912423262, pbk., 195 pages
Source: Personal library, purchased via AbeBooks


I read books from Indie publishers all the time but I read this book at this time for
Kaggsy’s #ReadIndies Reading Independent Publishers Month.

The Imperial War Museum has a wide range of wartime publications.  It’s based in London.

 

 

Spell the Month in Books February 2026

Spell the Month in Books is a linkup hosted on Reviews From the Stacks on the first Saturday of each month, but that’s the day for #6Degrees, so here we are, a week later instead. This month, is a ‘Freebie’ themed Month…

So I’ve chosen to do a kind of ’round the world’ theme.  The books below are by authors who come from countries that begin with letters from the month of February. I’ve chosen to make it harder for myself by not choosing the obvious countries that come to mind for F, B, R and U.  Links go to my reviews.

F:

No, not France…. Finland!

The Islands (2022), by Emily Brugman

E:

Ethiopia

The Shadow King (2019), by Maaza Mengiste

B

No, not Britain… Belgium

War and Turpentine (2013), by Stefan Hertmans, translated by David McKay

R

No, not Russia: Rwanda

The Past Ahead (2008), by Gilbert Gatore, translated by Marjolijn de Jager

U

No, not the US… Uruguay

The Woman from Uruguay (2021), by Pedro Mairal translated by Jennifer Croft

A

Albania

The Fall of the Stone City (2008), by Ismail Kadare, translated by John Hodgson

R

Still no, not Russia: Romania

Sword (2020), by Bogdan Teodorescu, translated by Marina Sofia

Y

Yemen

Hurma (2012), by Ali Al-Muqri, translated by T.M. Aplin


Next month:

March 7: Take your pick from Pi Day, March Madness, or Green Covers

April 4: Easter OR Pastel Covers

Out of Time (2019), by Steve Hawke

If anything in this review raises issues for you,
contact Beyond Blue or White Ribbon Australia or services in your own location.

There is discussion about dying with dignity when dementia has been diagnosed.


Melbourne-born but based in Western Australia since the 1970s, Steve Hawke is an Australian writer who deserves more attention than he’s had so far.  He’s a playwright, screenwriter and author, and has published nine books, mostly non-fiction, and some in collaboration with Indigenous communities.  But of course it’s his fiction that I like because he tackles most interesting themes, and I’ve reviewed The Valley (2018), and The Brothers Wolfe (2023). Out of Time was published in 2019 but I didn’t come across it until I spied it at Ulysses Bookshop in Hampton on Love Your Bookshop Day in 2023.

This is the book description:

Joe and Anne’s relationship has finally found the sweet spot and they are looking forward to what retirement brings. But time is not on their side. Inexplicably, Joe – a gifted architect – finds himself losing things, making miscalculations, blanking parts of his day. As Joe’s condition worsens, he and Anne face the agonising question: what is the point of no return?

Sometimes, in fiction, a character with dementia is mentioned as part of a patchwork of human experience:  as long ago as 1948, Ruth Park did this with the characterisation of Granny Kilker in The Harp in the South, while more recently Catherine Chidgey’s The Beat of the Pendulum (2017) documents her day-to-day life while revealing the encroaching tragedy of Nana’s encroaching Alzheimer’s.   Sometimes dementia is used as a device to interrogate the reliability of truth and memory, as in Our Shadows (2020) by Gail Jones, and in Miles Allison’s In Moonland (2021) which depicts the frustrations of seeking out a father’s history from dementia-addled friends.

Less common is a novel devoted to the experience of coming to terms with dementia, usually via a character who has a loved one with the condition. The award-winning Delirious (2024), by Damien Wilkins features a man haunted by memories of his dead mother who had dementia, while The Spoon and the Sea (2025) by Rachel Caplin, shows us a character who learns from carers about ways to keep communication going for as long as possible.

Even less common are novels that depict the experience of a character who articulates encroaching dementia.  Thea Astley’s Coda, (1994) is the earliest example that I know of, but there is also A Hundred Small Lessons (2017) by Ashley Hay and the more recent You Must Remember This (2025), by Sean Wilson.  It’s written from the confused perspective of Grace, portraying her chaotic thoughts in a non-linear way, while readers can deduce the present from the perspective of her daughter Liz, who struggles to navigate the loss of her mother’s capacities.

I don’t know of many novels that depict early-onset dementia.  There is A House Built on Sand by Tina Shaw, which alternates between Maxine’s confusion and distorted reality while at the same time showing that her daughter Rose often doesn’t understand what’s going on either.  Steve Hawke’s Out of Time, however, is the first novel I know of that is written from the perspective of a man with early-onset dementia, and more significantly, it portrays the terror that people can feel about the looming diagnosis, while confronting the moral complexities of wanting to take action to forestall an intolerable future.

Last year at an author talk, I had a glimpse of what might be Kylie Ladd’s next novel.  Because her day job as a psychologist is diagnosing dementia, she was toying with the idea of writing a novel about the moral complexities of Australia’s laws about Voluntary Euthanasia, which — so far — prevent people from using its provisions for dying with dignity when dementia has been diagnosed.  That is the dilemma that Joe faces, and Out of Time portrays the experience of his loving wife when she realises what he wants to do.

The book explores how Joe thinks he is the first to notice the gaps in his thinking and his memory lapses, and it shows his efforts to manage at work without anyone knowing that something is wrong.  His period of denial lasts longer than is good for him, and the novel shows how hard it is for his wife Anne, who struggles with wanting to respect his wishes and having some certainty in her own life.  She hates his desire to keep the diagnosis from his daughter because she hates keeping secrets but also because it denies her the support that her daughter can provide.

Out of Time, however, is not all doom and gloom.  Joe and Anne are a loving couple who share a good sense of humour. Along the way there is the stuff of family life: managing projects for Joe’s architectural practice and his mentoring of a successor; Anne’s work as a teacher; not getting along with a son-in-law, and the excitement about a grandchild on the way.  Anne is a keen bird-watcher, and she takes solace from getting out into the Kimberley to catch a glimpse of rare birds. But there is also a terrible moment when Joe reveals what he wants to do and how he wants to do it, and I had to close the book and put it aside while I processed the confronting dilemma that this family faces.  I think we all know people who say that they would like to pre-empt their fate in this situation, but this novel doesn’t shy away from what that might really mean.

Steve Hawke’s mother Hazel — the very popular and respected first wife of Prime Minister Bob Hawke AO (1929-2013) — was diagnosed with Alzheimer’s Disease when she was only 72, and had made the decision to go public about it in 2003 to raise awareness of the disease.  She died ten years later aged 84.  The dedication in the book reads Always thinking of you, Mum. In the Acknowledgements he writes:

Perhaps inspiration is not the right word in the circumstances, but my mother Hazel was an inspiring person to me and to many others.  Being a witness to her journey into the badlands of dementia is fundamental to why I decided to tackle this book, and has informed its writing in many ways.

Hazel Hawke’s daughter Susan Pieters-Hawke also published a book called Hazel’s Journey: A personal experience of Alzheimer’s (2004, co-authored with Hazel Flynn.)

Update 15/2/26: We have learned not to get too excited about ‘promising breakthroughs’ in dementia research, but using a new CAR T-cell therapy to fight brain tissue inflammation in mice, may have potential to treat numerous neurodegenerative disorders.

Author: Steven Hawke
Title: Out of Time
Publisher: Fremantle Press, 2019
Cover design by Nada Backovic
ISBN: 9781925815283, pbk., 290 pages
Source: Personal library, purchased from Ulysses Bookstore, $27.99


I read books from Indie publishers all the time but I read this book at this time for
Kaggsy’s #ReadIndies Reading Independent Publishers Month.

Fremantle Press is an indie publishing company based in Fremantle WA.

 

The Gowkaran Tree in the Middle of Our Kitchen (2025), by Shokoofeh Azar, translation anonymous

One day in the future, our bloody dance will continue in the free and joyous laughter of our children and grandchildren and great-grandchildren, even when we are forgotten.  (p.513)

It is hard to read these final lines of Shokoofeh Azar’s magnificent new novel The Gowkaran Tree in the Middle of Our Kitchen, right now when it appears that the theocratic regime has crushed the protests that began in December 2025, with a death toll of at least 3000 according to official sources, and somewhere between 6000 and 25000 according to reports that are unverifiable due to the internet blackout imposed by the regime.  America, which promised help to the protestors, is instead now ‘in talks’ which appear to be more about Iran’s nuclear ambitions.  Freedom for the Iranian people seems a long way away at the moment, and my heart goes out to the diaspora who do not even know the fate of their loved ones.

And this week Nobel Peace Prize winner Narges Mohammadi who campaigns for women’s rights, has been sentenced to six more years in prison.  It is hard not to feel despair about the intransigence of this evil regime.

And yet, I finished reading The Gowarkan Tree in the Middle of Our Kitchen with hope in my heart.

Shortlisted for the Victorian Premier’s Literary Awards, Shokoofeh’s novel sets the scene for these events.  It’s an historical novel, but not as you know it.  Fabulous events (somewhat like those in Rushdie or Marquez) occur alongside the story of a large and dynamic family, who live in a large mansion in the provinces from the waning years of the Shah to the Iranian Revolution (1979) and the Iran-Iraq War (1980-1988). The spirits (and the machinations) of people long dead are the voices of the silenced, and they are there in the novel to show that they will not be forgotten.

The family’s mission is to keep alive ancient Iranian culture, traditions and artefacts despite the encroaching imposition of Islam, which in fundamentalist Iran and elsewhere tolerates no other religions.  As Zoroastrians, believers in an ancient monotheistic religion, they are the guardians of the sacred fire, and it is their ethical responsibility to  protect books and artefacts from seizure by the Revolutionary Guards. You know of this religion’s prophet if you recognise Richard Strauss’s tone poem, Thus Spoke Zarathustra, Op 30,(1896).

Detail from Raphael’s The School of Athens, 1511

After I’d read the book, I found that clicking on this link at the BBC enriched my understanding of some aspects of the novel such as the significance of birds in burial traditions and the power of the Ball of Light, given by the matriarch Khanom Joon to Shokoofeh when she sets out on her perilous journey to find her brother Mehrab, missing in the war.  Aunty Malek, who is only sane when she sees the need, gives her a centuries old jade stone, and I learned about pre-Islamic jade and its power to ward off the evil-eye and ensure victory for its wearer here.  Not that it matters, this is the kind of novel where strange things happen and don’t immediately make sense.  Shokoofeh uses magic realism, mythic texts and ancient Iranian lore to develop her theme of celebrating the culture and artistic beauty of Iran and the necessity to confront the imposition of authoritarian power.  There are some explanatory footnotes but the wise reader leaves Google alone and just reads on.

(It is helpful, however, to jot down the names of the characters as they emerge, to form a family tree.)

Trees, BTW, are significant in the novel, and not just the Gowkaran tree that emerges in the middle of the kitchen.  It is a symbol of permanence, rooted in the country’s soil and nurtured by an indefatigable family.  Its diverse fruits and birds represent luxuriant life, and opportunity.  (One of the siblings climbs its branches to a future that no one can see.)


#Digression: Oh. Oh no! I had almost finished this review yesterday, and all that was needed was to prune it a bit because it was too long, but I did not want WordPress to do it for me and chew up more than half of it!  I suspect that the changes they have made to access the Classic editor, means that it no longer automatically saves changes to a draft, which could be accessed using the Revisions feature.  So a momentary loss of power because of a thunderstorm means that hours of work can disappear.  Forever.

#DeepBreath.  #FirstWorldProblem.  #Moving on…


Narrators come and go as the years pass, but the voice that emerges is a strong female voice. Even when she is just a teenager mulling over the mysteries of love, her voice is confident, determined, and impressive.  She has a mind of her own and some very forceful opinions, and while others struggle with the dilemma between resistance and capitulation, she has no hesitation in rejecting injustice. At school, she refuses to obey the command to reject a girl of the Baha’i faith despite the principal’s firm order that nobody was to shake Monireh’s hand, play with her, or talk to her, because she was unclean.  And like Monireh, when she’s had enough, she leaves.

For some time I had been experiencing an emotion that was novel to me.  The ten-day nervous madness had abated but had given way to something more deadly: disgust.  Disgust for school. Disgust for my classmates.  Disgust for the streets.  Disgust for Behnam.* Disgust for the television, the radio, the newspapers. (p.192)

*Behnam is the young man she fancies, but like many who were opposed to the corruption of the Shah, he supported the revolution.  He believed it would lead to a better, fairer and socialist society.  What he was not expecting was that a pro-Western secular monarchy would be replaced by an anti-Western theocracy dedicated to the destruction of Israel and determined to enforce Shi’ite political ascendancy and Sharia Law.  Shokoofeh helps Behnam to smuggle dissenters across the border to the USSR, but she doesn’t agree with his political opinions, and not just because her parents as ‘capitalists’ would lose everything they have.  It’s because of her family’s role as guardians of Iran’s ancient history and culture.

Restrictions under the Islamic regime pile up. Even as a young woman she chafes under the intolerance towards all other religions including Zoroastrianism.  As I showed in a Sensational Snippet last week, the dress code is unbearable. ‘Divine justice’ means mass public executions, and there are book burnings to stamp out any autonomous thought.  What she hates most of all is the ugliness of it all: the grey buildings devoid of colour and imagination; the women shrouded in black chadors, never allowed on the streets except in the company of a male relative; the men screeching ‘Death to America’ and ‘Death to Israel’ and old men in beards justifying their isolation from the rest of the world.  She wants colour and light and music and beauty, and she decided that she will focus only on that.

I would walk in the forest and repeat to myself, ‘I am only eighteen.  I am only eighteen and I want to live happy and free.  That’s it.  I shouldn’t have to feel guilty without reason.  I should not let the laws of the Sharia that are served up to me and us all day and night on radio and TV penetrate my body and soul and thought.  My body depends on me.  I organise my own thoughts.’

<snip>

I must not surrender to the uglinesses and narrow-minded laws and bad news.  I promised myself that I would not allow fear and sorrow and despair — in short, the common culture of those days — to penetrate me.  All of a sudden I would shout in a loud voice, ‘My duty is to be joyful.’ (p.204)

But for Azedah, Uncle Bijan’s only daughter, it is also a duty to bear witness.  And when in later years she becomes a journalist, she sends copies of a cassette tape to exiles in Europe as evidence of the crimes carried out by this regime, in the hope that one day an international court would condemn them.  [Indeed.  That would be something to see…]

However, the time comes when staying at home celebrating beauty has to come to an end.  Brother Mehrab went off to fight in the Iran-Iraq War, and in Book 2, when he is missing, she goes to find him.  There are some very confronting scenes in this second part of the novel, but they should not come as a shock when we know how violent the regime is, and how laws that oppress women do nothing to protect them from hypocritical male assault and state-sanctioned violence. Any woman alone is fair game, and though the author imagines a fellowship of women offering comfort and a punitive role for the Ball of Light, these scenes are hard to read.

Still, there are also scenes of great beauty and it is fascinating to learn about Iran’s ancient achievements.  Eblis, a character from ancient lore, is like a sort of fairy godmother, who prays to the earth and food and wine appear.  She conjures up a time before the Arabic colonisation of Persia, when the ancient Iranians invented scripts for all sorts of different purposes — one that was exclusively for recording the sounds of nature, animals, birds, rain and streams;  another that was for correspondence between kings, one for science and philosophy and another for religious texts.

I thought of how, despite all these lost sources of pride, being Iranian was still a great reason to feel proud.  As usual she read my mind, and said something I have never forgotten.  ‘All the same, bear in mind: you are Iranian with what you build, not with what you have lost.’ (p.289).

I loved The Enlightenment of the Greengage Tree, and I love The Gowkaran Tree in the Middle of Our Kitchen even more. Yes, it’s long, and it’s complicated, and it’s demanding, but it is magnificent.

Author: Shokoofeh Azar
Title: The Gowkaran Tree in the Middle of Our Kitchen
Translation from the Farsi: anonymous, for security reasons
Publisher: Europa Editions, 2025
Cover design: Ginevra Rapisardi
Cover image: detail of a painting by Shokoofeh Azar
ISBN: 9781787706040, pbk., 513 pages
Source: Kingston Library


I read books from Indie publishers all the time but I read this book at this time for
Kaggsy’s #ReadIndies Reading Independent Publishers Month.

Europa Editions are an indie publishing company based in New York.

 

Image credits:

The School of Athens by Raphael, 1511: https://en.wikipedia.org/wiki/The_School_of_Athens#/media/File:%22The_School_of_Athens%22_by_Raffaello_Sanzio_da_Urbino.jpg

 

Escape from Communist Hungary (2013) by Zsuzsanna Bozzay

It’s Hungarian Lit Month, hosted by Stu from Winston’s Dad and although I’ve read a few books from Hungary, I didn’t have anything on the TBR.  So I explored the lists at Goodreads, and found Escape from Communist Hungary (2013) by Zsuzsanna Bozzay and (after a lot of mucking about with the download), I was able to acquire a copy using the Kindle Unlimited subscription that I intend to ditch the day before the trial expires.  It really is a dead loss, because the range is so limited, and the majority of them are self-published.

Anyway…

Escape from Communist Hungary is a self-published memoir by a refugee who managed to escape with her mother Mimi during the failed 1956 Hungarian Revolution.  The Cold War politics of this revolution is known to many Australians because it took place shortly before the 1956 Melbourne Olympics.  Although the Melbourne Olympics were marketed as ‘the friendly Olympics’, it became infamous for the ‘Blood in the Water’ water-polo semi-final between the Soviets and Hungary.  To the approval of the crowd, Hungary defeated the USSR 4-0 in what was a brutal match, and there literally was blood in the water when one of the Soviets punched one of the Hungarians in the final minutes of the game.

With some similarities to the recent uprising against an oppressive government in Iran, the Hungarian Revolution had been crushed by Soviet tanks and troops and thousands were killed. Among the quarter of a million Hungarians who fled the country were Zsuzsanna Bozzay and her mother.

The memoir begins with a brief recapitulation of Hungary’s postwar history when it became part of the Soviet buffer zone, as agreed at the Yalta Conference by Churchill, Roosevelt and Stalin.  Bozzay refers to this as Hungary once again [being] punished for being on the wrong side of the war, without acknowledging that being ‘on the wrong side’, in WW2, meant being complicit in one of those most evil regimes in history.

Wikipedia’s page about Hungary during WW2 explains that Hungary entered the war as an Axis Power in 1941, and fought on the eastern front for two years.  In 1943 when it became obvious that the Germans were losing the war, Hungary attempted to forge a secret peace deal with the Allies, but when Germany learned about this in 1944, they occupied Hungary, and installed a puppet government.  Later in the book, Bozzay makes a scanty reference to this abortive peace deal with the Allies in the context of her friendship with an aristocratic family who had connections with one of the negotiators.

Although the title suggests a book about the evils of communism in Hungary and why one would want to escape it, some historical context would have made this a better book.  For example, to put food shortages in context, and to clarify what is meant by ‘life returning to normal’ it would have been helpful if the memoir noted that while postwar reconstruction was funded in Western Europe by the Marshall Plan, Hungary (however unwillingly) was part of the eastern bloc and therefore not eligible. According to Wikipedia:

The Soviet Union had been as badly affected as any other part of the world by the war. The Soviets imposed large reparations payments on the Axis allies that were in its sphere of influence. Austria, Finland, Hungary, Romania, and especially East Germany were forced to pay vast sums and ship large amounts of supplies to the Soviet Union. Those reparation payments meant the Soviet Union itself received about the same as 16 European countries received in total from Marshall Plan aid.

Born in 1941, Bozzay would of course have been only a child at the time, preoccupied by school and ballet lessons and so on, but as an adult writing this memoir in 2013 after completing a Creative Writing course at the Open University, she might be expected to provide some explanatory details for a 21st century English-speaking audience who probably know little about Hungary’s war and its postwar period.  It’s not readers who should have to do the research!

The war left Hungary devastated, destroying over 60% of the economy and causing significant loss of life. In addition to the over 600,000 Hungarian Jews killed, as many as 280,000 other Hungarians were raped, murdered and executed or deported for slave labour.  After German occupation, Hungary participated in the Holocaust, deporting nearly 440,000 Jews, mainly to Auschwitz; nearly all of them were murdered. The Horthy government’s complicity in the Holocaust remains a point of controversy and contention. (See Wikipedia’s Hungary/history page.)

Bozzay’s mother Mimi had Jewish relations who perished in the Holocaust except for her brother Feri who survived in time to be liberated from a concentration camp by the Soviets, though Bozzay doesn’t name which one it was, and seems to have little to say about her mother’s trauma.

Anyway, moving on…

The memoir details the oppression of the Soviets, determined to replace a postwar coalition government with communists in power.

It took two years to achieve their aim by starting a reign of terror; deporting, imprisoning and executing leaders of the opposition as well as ordinary people. My father’s brother was imprisoned for political activities with the Smallholders Party and held in the headquarters of the secret police, the AVO on Andrássy út 60, which is now the Terror House, a museum and memorial for the victims of communism who were tortured and died there. My mother had a cousin who was a high ranking communist official there and she persuaded him to release her brother-in-law. Later this cousin committed suicide when he realised that communism was not what he thought it was.

People had to be careful of what they said in public places in case they were accused of being anti-communist and thrown into prison. We were frightened if there was a knock at the door, especially late at night in case it was the secret police. If we happened to be listening to the BBC we not only switched off the radio, but we also changed to a different station, because listening to western radio was punishable and could result in a prison sentence. But we knew that the only reliable source of news came from the BBC World Service. People could be imprisoned for no apparent reason, maybe because someone with a grudge against them accused them of being ‘enemies of the people’ and that was enough for the secret police to call and take them away. (p. 7)

Her parents’ first attempt to escape was in 1949.

The only way to get out of Hungary was to walk through the border illegally which was very dangerous, especially crossing into Austria in the west where the border was well guarded. But apparently it was easier to cross from Czechoslovakia into Austria. The border between Hungary and Czechoslovakia was not especially well guarded in the east, close to the Ukrainian border, as most people did not think of crossing there from one communist country into another. (p.8)

Their plans included a failed attempt to send treasured possessions to England with friends, and this sequence reveals one of the dilemmas faced by refugees.  Apart from the problem of leaving financial assets behind, most people have property that has sentimental value too, and Bozzay’s tells us that her parents were in dispute about this.  Her mother thought that possessions can be replaced but her father felt differently about pieces of furniture that were family heirlooms.

I had to grit my teeth when reading the casual way in which Bozzay recounts moving into a furnished flat that once belonged to a friend called Serényi Aranka, a Jewish lady, who left for London before the war.  No mention of the reasons why she might have left: no mention of the Horthy government’s pre-war oppressive laws that excluded Jews from almost all aspects of everyday life.  Some of these are briefly mentioned later in passing in the backstory about her mother, but there should have been an explanation in this part of the book where it is relevant.

Bozzay seems to lionise her mother as the hero of this family history, and she accepts what she has been told at face value.  She states that Mimi would have liked to emigrate to Israel but was frustrated by the requirement to be able to speak Hebrew.  This is not obviously not correct because it would have denied Holocaust survivors from migrating, even if they could read it as a sacred language.  There was then and still is a Right of Return for all Jews in the diaspora, regardless of language proficiency in Hebrew.

Whatever, that plan was abandoned for reasons Bozzay hints at, i.e. her parents’ differences about wanting to leave Hungary:

It takes a very special kind of person to leave all their possessions behind and move to a new country but she was not frightened by the prospect. It took all her powers of persuasion to convince my father of her plan. He was a staunch Hungarian, with very deep roots in Hungarian culture, had no talent for languages and found it hard to imagine living anywhere else, but eventually she had her way as she always did. (p. 13).

The chapter about the first escape attempt when Bozzay was eight details the plan for her parents to leave separately, the journey through Czechoslovakia, their capture near the border with Austria, and — reading between the lines — the somewhat naïve trust in a people smuggler. Her mother was imprisoned only for a couple of months because she had a convincing story about wanting to leave her husband after a row, but in the interim Bozzay was placed in an orphanage until her father could collect her, and there she caught polio.

From here, the narrative becomes more of a family history, obviously drawn from her mother’s memories, and some of it is repetitive.  The chronology breaks to provide the back story of Bozzay’s grandparents, and her paternal grandmother’s opposition to her son marrying a Jew. It covers her mother’s brief sojourn in Paris in more nostalgic depth than it needed to be, and then Mimi’s dutiful return to Budapest to look after her ailing parents.  It goes on to cover her parents’ marriage and some happy childhood memories of her father, but it also includes her childhood memories of the battle for Budapest and the vicious behaviour of their Russian liberators. Any euphoria about the end of the war was short-lived.

The narrative then switches back to Bozzay’s experience as a victim of polio, and her mother’s remarkable efforts to help with her rehabilitation, supplemented by a physiotherapist who had trained in the USA under Sister Kenny.

Bozzay was fifteen when the Hungarian Revolution broke out, and her vivid memories of it are the best part of this memoir. But optimism evaporated as the tanks rolled in and once again it was Bozzay’s mother who had the foresight to take advantage of the chaos to flee. Again leaving her father behind, they managed to cross the border into Austria and to seek asylum at the British Embassy.

In England they were taken in by Mimi’s brother Raoul and his wife, and despite communication difficulties because Bozzay had refused to learn English at school, she soon became friends with her cousins.  The usual adjustment problems were exacerbated by the Hungarians’ complete ignorance about British life and the privations suffered during the war.  But her mother’s multilingualism meant that she soon found good work and (having fudged her birth year on official documents) was able to keep working until she was 75.

Meanwhile Bozzay herself went to a convent where she received a very good education and went on to make a success of her life.  She gained a degree in Chemistry at London University where she met her husband Michael Snarey and went on to have a career in teaching while raising their family, followed by a second career in chiropody.

All through this book, which privileges Bozzay’s mother’s point-of-view, I kept wondering what had happened to Bozzay’s father because I knew from other sources that the Soviets severely punished the relations of those who left illegally.  Though late in the book we learn that after six years he was eventually given permission to be reunited with his wife and daughter, and that despite not knowing English he was able to get a job, there is nothing about his experiences during the separation or his feelings about his new life in Britain.

I’ve been hard on this book because I was disappointed by the inadequate editing, the failure to consider its audience, and its over-reliance on a selective family history at the expense of the expectations I had from its title.

Author: Zsuzsanna Bozzay
Title: Escape from Communist Hungary
Publisher: Self-published
ASIN: B07NCBRZQS
Purchased for the Kindle from Amazon.

You can find out more about Zsuzsanna Bozzay from her profile at the Open University here.

Six Degrees of Separation, from Flashlight…

It doesn’t often happen but for once I have read the starter book for #6Degrees, hosted by Kate at Books are My Favourite and Best. Flashlight, by Susan Choi was nominated for the Booker and I reviewed it here.  Flashlight features a father who disappears in mysterious circumstances, so I could start the #6degrees chain with any one of countless books featuring lost family members, though few would have an explanation as strange as in Choi’s novel. However…

Sometimes this trope can be inverted to explore other aspects of modern life, as Gail Jones did in The Name of the Sister, (2025) where a person not known to be missing is found.  As I wrote in my review…

The Unknown Woman given the placeholder name of ‘Jane Doe‘, is found in the Outback, not lost.  Hers is an appearance, not a disappearance.  But she is a mystery because she cannot speak.  She can’t be identified, and authorities don’t know what trauma lies behind her emergence onto the road, where Terry Williams (known as Tezza to his mates), almost ran her down.  Angie, the freelance journalist, is interested in approaching the story from a different angle.  She wants to explore the stories of people who ring Crime Stoppers, people who are convinced that ‘Jane’ is a long-lost loved one.

Philip Salom ventured into this territory with his novel The Fifth Season  (2020). Jack is a writer who has rented a getaway so that he can work on his book, but he’s not keen on the fussy décor put in place by his host Sarah.

Jack’s project is a book about ‘found people’: the Somerton Man, the Gippsland Man, the Isdal Womanthe Piano Man, Cornelia Rau.  All people who are found dead or amnesiac — their identities unknown by accident or design.  But in one of a series of eerie correspondences, Sarah is an activist in search of missing people, and her life is consumed by the absence of her sister.  She paints massive portraits of Alice in public spaces, along with portraits of other people who are missing, in order to raise awareness of the Missing Persons Advocacy Network (MPAN).

As Salom points out in his novel, not everyone who is missing wants to be found, which reminds me of Why Do Horses Run? (2024) by Cameron Stewart.  Ingvar in this novel is so overwhelmed by grief after the death of his daughter that he walks out of his own life and tramps like a modern-day swaggie for three years in the solitude of the Australian bush.  He refuses all engagement with other people, including refusing permission for a kindly policeman to tell his wife that he is, at least, alive.

I was troubled by Why Do Horses Run? because I felt for the missing character in the novel: the wife, bereft of her child and then of a husband who might have consoled her in her grief.  Alicia Mackenzie’s A Million Aunties (2020) offers a different way of transcending profound personal pain.  Her characters are a ‘found’ family, people not related in any way, but who share a loving relationship. This is a novel that asserts that all kinds of grief can be assuaged by the love and affection of others. Successive chapters are narrated by different characters, each of whom has a story to tell.  A story of damage and endurance, and a journey towards healing.

Alicia Mackenzie is a Jamaican author and that reminded me of Siena Brown’s Master of My Fate (2019).  Born in Jamaica, and raised in Canada, Siena Brown is a multi-talented creative who came to Sydney to graduate from the Australian Film Television and Radio School, and wrote her first novel after discovering the story of William Buchanan.  Shortlisted for the 2020 ARA Historical Novel Prize, the novel tells the story of a Jamaican slave who is transported to Australia during the colonial period.  It’s a very good example of an historical novel  being used to bring ‘hidden history’ to light, and it was IMHO unlucky not to win the ARA Prize.

And that brings me to another example of what I call ‘hidden history’, this time the unforgettable story of Chinongwa (2008, Australian edition 2023), by Lucy Mushita. Mushita, from Zimbabwe, is another creative, who made her way to Australia to gain her Master’s in Creative Writing and reissued her debut novel Chinongwa here. It is a powerful reminder that sentimentalising traditional lifestyles risks obscuring the very real harm done to girls and women in patriarchal societies in Africa and elsewhere.


Next month (March 7, 2026), we start with Wuthering Heights by Emily Brontë.  I know my first link already: books I loved as a teenager but #yawn am underwhelmed by the melodrama as an adult!

The Last Living Cannibal (2025), by Airana Ngarewa

Well, Airana Ngarewa’s The Last Living Cannibal certainly has an attention-getting title. Longlisted for the 2026 Ockham New Zealand Book Awards, it’s Ngarewa’s third work of fiction.  The brief bio at the back of the book tells me that his first novel The Bone Tree (2023) was a bestseller in NZ but I abandoned it in frustration, and his short story collection Patea Boys (2024) is uniquely designed to be read one way in English and the other in te Reo Māori. 

So I may as well say at the outset that The Last Living Cannibal is full of Māori words and dialogue and there isn’t a glossary.  Most of the time, a reader like me who doesn’t know Māori can make sense of it from the author’s subsequent paraphrasing in English, but sometimes it’s a case of press on without understanding words that are perhaps common knowledge in NZ but not elsewhere.  Just something to bear in mind.

Anyway, this is the book description:

Muru is not revenge. Muru is about balance. You put your hands on one of theirs and they had every right to take from you and yours whatever they meant to take, short of a life.

Aotearoa in the 1940s, and the Māori men of Taranaki have refused to join the Māori battalion because of the severity of their land confiscations. Koko is the oldest man in the village, a legend within his community – he’s lived through the land wars, Parihaka, imprisonment in Dunedin, and they whisper of him as the Last Living Cannibal. Koko dotes on his grandson Blackie, who has lived with him ever since Blackie’s mum left in troubling circumstances years earlier.

But the ghosts of the past are bound to come calling, and when they do, they come with muru in mind.

Richly set in Taranaki during the 1940s, The Last Living Cannibal is the epitome of a classic Aotearoa novel, from one of this generation’s most promising writers.

The story is mostly narrated by Koko, who at 90, is the oldest man in the community, and he takes pride in the warrior culture of his people. (Mercifully, there is not much about his epithet, but what there was, was nauseating.) By the 1940s, the days of warfare between tribes and against the British are over, but resentment still festers, so much so that unlike 16,000 other Māori who served with distinction, these Taranaki Māori refuse to fight in WW2.

When Koko’s grandson Blackie gets into trouble at school, Koko’s ire is roused and he rides to confront the teacher on an irascible horse called North.  He dies on the return journey when the horse throws him, and from then on the story is (mostly) narrated by his ghost, which remains unsettled until the elaborate funeral rites are completed.

Māori communities have strict protocols for entering their spaces, and when these are violated by an armed tribe that turns up uninvited, it’s not to pay respect to the dead but to exact muru, a concept not listed at NZ History but I found an explanation at Wikipedia. It was a form of restorative justice, recognised by the courts for thefts and assaults in colonial times until 1893, when bicultural applications of the law were abolished.  Ngarewa hints at what has caused this dispute but the reason is not revealed until much later in the novel, after there have been various tense confrontations, a show fight between two of the men, a shared meal, and then a return to the meeting house to talk it through (and reveal the backstory).  Meanwhile, however, the matriarch Nanny Foreshore has been orchestrating events with two of the younger boys, which results in a devastating attack by three angry bulls released from their paddock.

As the reader learns from the narrative of Koko’s dead wife ‘Duchess’, women play an important role in community decision-making, and Ngarewa’s depiction of older women having power, agency and respect is interesting to see.

As a window onto aspects of Māori culture, The Last Living Cannibal has its interesting moments and Koko’s voice is thoughtful, engaging and sometimes droll, but some sequences like the blow-by-blow fight and the bulls let loose are stretched out with far too much padding.

But my reservations about this novel are more than that: I don’t admire ‘warrior culture’ and its justifications for violence which I’ve come across in other Maori literature, notably in Witi Ihimaera’s The Matriarch. So the concluding reconciliation seemed more like an idealisation of muru than a likely outcome.  Ngarewa is not an author that I might want to read again.

The Last Living Cannibal was also reviewed by Jordan at MaoriLitBlog.

Author: Airana Ngarewa
Title: The Last Living Cannibal
Publisher: Moa Press (an imprint of Hachette), 2025
Cover design by Megan van Staden
ISBN: 9781869718312, pbk., 292 pages
Source: Kingston Library

 

Bird Deity (2026), by John Morrissey

I am too fond of reading at whim to participate much in challenges, but John Morrissey’s debut novel Bird Deity is a serendipitous addition  both to Kaggsy’s Reading Independent Publishers Month, and also to the #SpeecyFicChal hosted at Book’d Out.  It qualifies for two of Bec’s categories: it’s published in 2026 and it’s a speculative novella of less than 250 pages.  But it’s more than just speculative fiction…

Contemporary authors keen to revisit history via a less familiar perspective on the past while sidestepping historical or cultural baggage are using two forms of genre fiction to explore it: historical fiction and speculative fiction, often blending the two.

For example, African authors of historical fiction who’ve written what I’ve labelled ‘hidden history’ include Fred Khumalo who introduced me to this hybrid genre with his article about how contemporary historical fiction is being written in South Africa as an activist’s tool and with attitude and a breathless literary intensity; a fire in its belly.  I read his novel Dancing the Death Drill (2017) which uses the sinking of a ship carrying Black South African soldiers during WW1 to explore other issues.  Amongst others that I’ve categorised as ‘hidden history’,  I’ve also read:

First Nations Australian authors have used historical fiction in this way too:

I don’t read much speculative fiction and what I have read is mostly dystopian climate-change fiction, but some Australian authors that I’ve categorised as ‘genre-benders‘ have used speculative fiction to cast a different light on history:

John Morrissey’s Bird Deity is another example of speculative fiction being used to shed light on the impacts of colonialism.

This is the book description:

David is a scout. For ten years he has plundered the ruins of an alien civilisation about which he knows nothing. Now his contract is ending, and he’s ready to go home, a wealthy, successful man.

Except that everything seems to be slipping out of his control. His mentor Tom vanished on a recent expedition. David doesn’t know what has happened to him. And, as he waits for the ship that will take him away, he begins to question the choices he has made.

That’s when he is visited by a researcher, a specialist in non-human societies. She has travelled far to learn about this strange world and wants to hire David as her guide. One more expedition, one more trip to the rainswept wasteland of the plateau—and he can go home at last, rich beyond his dreams.

But he comes to realise that he may yet lose everything, as he is drawn inexorably towards an encounter with the terrifying soul of this world. John Morrissey’s Bird Deity is a novel like no other. At once disconcerting and eerily familiar, it’s a cosmic horror story about power, theft, love, loss, and destiny.

Morrissey’s achievement in rendering the exploitation of an indigenous society is to show that the taking of ‘artefacts’ is not just the removal of objects.  The parasapes are not just physically hurt by the removal of bracelets and other jewellery, they are spiritually injured.  What’s more, the scouts ‘harvesting’ these items have no understanding of their significance.  They do not understand the complexity of the civilisation they have plundered.  Through fleeting narrations by these parasapes and mystical sequences that are deliberately unexplained, the reader grasps an entirely different perspective from the dominant narrative about the project to civilise the Other:

The creature lies at the rear of the cage, in an odour of urine and straw, stupefied by heat and overfeeding, with half its body in shadow and half in sunlight.  It looks out at us with dull, sleeping eyes — not, one would think, the eyes of a predator.  And certainly we can stop feeding the creature whenever we please, we can refuse to refill the trough it drinks from, we can let it lie in shit until it becomes sick and weak and dies that way.  If we do not want to wait we can impale it from all directions with spears pushed between the bars of the cage.  Or we can shoot it full of arrows.  It should be completely defenceless against us!

Except it isn’t really our prisoner.  It’s only lying there in the cage out of sloth, and because it finds the situation convenient.  I realise that I have just a short time in which to civilise the creature and make it harmless.

I unlock the cage, causing the rest of the crowd to flee in terror.  The creature gets to its feet and I lead it by hand across the empty market.  As we walk I explain the history of our city, how it was founded in ancient times by a great magician, our forefather, who invented the arts of design and metallurgy.  The creature pants along beside me, not listening.  It doesn’t like exerting itself.

While I talk, a cool wind begins to blow, gently lifting the awnings over the deserted stalls.  Dark blots of rain appear here and there across the market square.  The creature wrinkles its nose in appreciation.  It doesn’t know anything about weather and its causes.  (p.133)

Although complex characterisation isn’t usually a feature of speculative fiction or SF, Morrissey has developed David, the scout, as a flawed character with personal issues so that the novel doesn’t just focus on his limited perspective about this planet where he has lived for ten years.  Bird Deity shows his values being tested as well.

John Morrissey is a Melbourne writer of Kalkadoon descent. His collection of short stories, Firelight (2023) won an Aurealis Award and a Queensland Literary Award.

Author: John Morrissey
Title: Bird Deity
Publisher: Text Publishing, 2026
Cover design by W H Chong
ISBN: 9781922790781, pbk., 203 pages
Review copy courtesy of Text Publishing

 

I read books from Indie publishers all the time but I read this book at this time for
Kaggsy’s #ReadIndies Reading Independent Publishers Month.
Text Publishing is an indie publisher based in Melbourne.

and also for the #SpeccyFicChal 2026 Speccy Fiction challenge hosted by Book’d Out,

 

2025 Aurealis Awards Shortlists

BEST SCIENCE FICTION NOVEL

Letters to Our Robot Son, Cadance Bell (Ultimo Press)

Arborescence, Rhett Davis (Hachette Australia), see my review

Volatile Memory, Seth Haddon (Pan Macmillan Australia)

Dark Sands, J S Harman (self-published)

Wastelands, Samira Lloyd (Arianhrod Press)

All We Have, Tony Shillitoe (Millswood Books)

BEST FANTASY NOVEL  

House of the Rain King, Will Greatwich (self-published)

Honeyeater, Kathleen Jennings (Pan Macmillan Australia)

Greenteeth, Molly O’Neill (Little, Brown)

Slashed Beauties, A Rushby (HarperCollins Publishers)

Grave Empire, Richard Swan (Little, Brown)

Upon a Starlit Tide, Kell Woods (HarperCollins Publishers)

BEST HORROR NOVEL

Orpheus Nine, Chris Flynn (Hachette Australia)

The Farm, Jessica Mansour-Nahra (Hachette Australia)

This Stays Between Us, Margot McGovern (Penguin Random House Australia)

Slashed Beauties, A Rushby (HarperCollins Publishers)

Nightmare Reef, Deborah Sheldon (Severed Press)

The Crimson Road, A G Slatter (Titan Books)

BEST YOUNG ADULT NOVEL

Blood Moon Bride, Demet Divaroren (Allen & Unwin)

Lady’s Knight, Amie Kaufman & Megan Spooner (Allen & Unwin)

Dark Sun Rising, A A Kinsela (Plainspeak Publishing)

The Serpent Called Mercy, Roanne Lau (New Dawn)

This Stays Between Us, Margot McGovern (Penguin Random House Australia)

Unhallowed Halls, Lili Wilkinson (Allen & Unwin)

BEST COLLECTION

The Leper’s Garden and Other Contagions, Jeff Clulow (Third Eye Press)

Playing Nice Was Getting Me Nowhere, Alex Cothren (Pink Shorts Press)

Songs of Shadow, Words of Woe, Matthew R Davis (JournalStone)

This Dark Architect and Other Grim Tales, Pamela Jeffs (Four Ink Press)

Drowning in the Dark and Other Stories, Matt Tighe (IFWG)

BEST ANTHOLOGY

Never Say Die, Canberra Speculative Fiction Guild (Ed.) (Canberra Speculative Fiction Guild Publishing)

AUSTRAL 2025, Matt Richardson, Michaela Teschendorff & Ciar Fhearchair (Eds.) (Meridian Australis)

Fission #5: An Anthology of Stories from the British Science Fiction Association, Gene Rowe & Eugen Bacon (Eds.) (BSFA)

Midnight Echo Issue 20, Marty Young (Ed.) (AHWA)

BEST HORROR NOVELLA

The Nga’phandileh Whisperer: A Sauútiverse Novella, by Eugen Bacon whose novel Serengotti I reviewed here (Stars and Sabers)

Sideshow Souls, J J Carpenter (self-published)

Parasitic Omens, Jessica A McMinn (self-published)

Willow Close, Helena O’Connor (IFWG)

“Walpurgis”, Ron Schroer (Strange Legacy 2025: Creature Feature, Thorncroft Legacy)

The Cold House, A G Slatter (Titan Books)

BEST FANTASY NOVELLA

Hol(l)o(w)metabolism, Lee Cope (Whimsy and Metaphor Enterprises)

Cinder House, Freya Marske (Pan Macmillan)

Parasitic Omens, Jessica A McMinn (self-published)

Trickster Tales, Leanbh Pearson (Brigid’s Gate Press)

“Crown Tourney”, Tansy Rayner Roberts (Crown Tourney: Ten Tales of Deadly Damsels, Cursed Castles and Edged Weapons, self-published)

BEST SCIENCE FICTION NOVELLA

Quiet Like Fire, Cameron Cooper (Stories Rule Press)

“Photo in the Chip”, Callum Lewis (Andromeda Spaceways Magazine #98)

“The Hidden God”, T R Napper (Asimov’s Science Fiction March/April 2025)

Homecoming, Thomas K Slee (Refraction Publishing)

All My Guns are Trans and Gay and They’re Ruining My F—— Life, Corey Jae White & Maddison Stoff (Patreon)


For more information and to see the shortlists for children’s fiction and short stories, click here.