One of my favourite themes in literature is mother-daughter relationships, all the more if they are complex or difficult. I’m currently reading May Sinclair’s Mary Olivier: A Life for #NYRBWomen24, which has been a wonderful read so far, particularly exploring the complicated relationship between Mary and her deeply religious mother, and it got me thinking of some of the other books I’d recently read and loved on this theme.
So without further ado, here are the eight books. You can read the detailed reviews on each by clicking on the title links…
A JEST OF GOD by Margaret Laurence
Set in the little, fictional prairie town of Manawaka, Margaret Laurence’s A Jest of God is a wonderfully intense and haunting novel, an incredible character portrait of a shy, socially awkward schoolteacher capturing her solitary life, her life-altering affair and the ensuing crisis thereafter.
Our protagonist is Rachel Cameron, a 34-year-old single woman living with her ailing, overbearing mother in the Canadian town of Manawaka. As the years pile on, and the prospect of finding a man and bearing children appears increasingly dim, she feels trapped in her role as a daughter, a sister, and a teacher, unable to break free from the expectations placed upon her by others. Enter Nick Kazlik, a university professor one year older than her, and very soon Rachel finds herself entangled in a passionate affair, one that will affect her deeply and possibly set her on a path of self-discovery.
A Jest of God explores the themes of loneliness and fear, sexuality and desire, faith and religion, the courage to break away from conventional societal mores essentially those forced upon women, and the small-mindedness of a conservative small town where nobody’s business goes unnoticed providing rich fodder for gossip and judgment. It’s about the complex ties between mothers and daughters, and between siblings, and also between friends and lovers. But, it’s also about the unfathomable tricks of Fate (lending the novel its name), particularly on a woman whose greatest fear is being made to look like a fool.
FORBIDDEN NOTEBOOK by Alba de Céspedes (Translated from Italian by Ann Goldstein)
There’s a scene in Forbidden Notebook where Valeria Cossatti, our protagonist and the narrator, is having lunch with her glamorous friend Clara at her place, a penthouse apartment in Rome. Divorced from her husband, Clara is now an independent woman and a successful filmmaker, but by then Valeria’s position has become much more complex. Her outward façade continues to be that of a traditional woman confined to the role of a homemaker and catering to the needs of her husband and two children, but inwardly Valeria has begun to seethe and resist these conventional norms she is expected to adhere to. Clara believes that Valeria has been lucky to achieve all that she wanted by marrying, but by then Valeria and the reader know the reality to be entirely different – Valeria has been experiencing a deep sense of disillusionment, a feeling she is unable to share with Clara.
It is this intense conflict, growing resistance, and the dual nature of her thoughts and emotions that forms the essence of Alba de Céspedes’s Forbidden Notebook – a rich, multilayered novel of domestic dissatisfaction and awakening seen through the prism of a woman’s private diary. Set in 1950s Rome, not only does the book boldly challenge the validity of restrictive, orthodox roles thrust upon women, and the heartaches of motherhood, but it also dwells on writing as a powerful tool for a woman to find her voice and be heard when those closest to her fail to do so.
Billed as a feminist classic, Forbidden Notebook is a masterclass of insight and imagination, brilliant in the way it provides a window into a woman’s interior life, an internal struggle that oscillates between the desire to discover her true self and also keep it hidden.
DADDY’S GONE A-HUNTING by Penelope Mortimer
Daddy’s Gone A-Hunting is a brilliant, superbly crafted tale of a challenging marriage, abortion, and the difficulties of a mother-daughter relationship told in Mortimer’s customary haunting, absorbing style.
We are introduced to Ruth Whiting, a bored housewife who lives with her well-to-do dentist husband Rex, a bully, in the posh neighbourhood called the Common. Ruth dotes on her children – her eldest daughter Angela and the boys, Julian and Mike. But they are growing up and have reached that age where they have lives of their own – the boys away at boarding school and Angela, an undergraduate at Oxford. In the holidays, when her children come down, Ruth’s home is filled with chatter, activities and noise, but for the better part of the year, the hours lie empty and the monotonous days stretch endlessly before Ruth.
When Angela, who is unmarried, becomes pregnant, she confides in Ruth expecting the latter to help her. The gamut of conflicting emotions felt by mother and daughter and how they deal with this tough situation forms the backbone of this novel.
COLD ENOUGH FOR SNOW by Jessica Au
Cold Enough for Snow is a haunting, beautifully sculpted novella of the mysteries of relationships and memories, familial bonds, finding connections, and life’s simple pleasures. The novel opens with a woman and her mother embarking on a short trip together to Japan, a journey and destination that promises the opportunity for both to bond and connect. But we get a sense from the outset that mother and daughter are not always on the same page.
What’s interesting about this novella is the nature of the relationship between the two women, which remains elusive despite the hazy impression that they get along well. The book is largely from the daughter’s point of view and so the mother’s reminisces and flashbacks are told to us from the daughter’s perspective lending it an air of unreliability or conveying the idea that the mother’s experiences are filtered through the daughter’s eyes so that it fits her narrative.
There’s an elusive, enigmatic feel to the novella, of things left unsaid that might mean more than what’s been stated, a sense that things lie outside our grasp, that full knowledge is always on the fringes, on the periphery of our vision. To me Cold Enough for Snow was like a balm – the quiet, hallucinatory prose style and range of sensory images were very soothing and I could easily lose myself in the dreamy world that Au created.
ELENA KNOWS by Claudia Piñeiro (Translated from Spanish by Frances Riddle)
Elena Knows is a forceful, thought-provoking, unconventional crime novel where Claudia Piñeiro effectively explores a range of social concerns such as illness, caregiving, crippling bureaucracy and a woman’s choice regarding her body. Elena, a woman in her sixties, suffers from Parkinson’s, a progressively devastating illness, characterized by loss of control over everyday movements. However, the real burden weighing heavy on her soul is the sudden, recent death of her daughter Rita who was mysteriously and inexplicably found hanging from the bell tower in the local church. The police classify her death as suicide, but Elena is convinced it is murder.
What makes Elena Knows so compelling is the richness of themes explored, a gamut of hard-hitting social issues. First of all, the book is an unflinching portrayal of a debilitating disease and the loss of dignity that it involves. Other themes explored are the challenges of being a caregiver and abortion. It’s a brilliant novel and the fact that the author manages to address these issues without being preachy or sentimental only enhances the book’s power.
MY PHANTOMS by Gwendoline Riley
My Phantoms is a brilliant, engrossing tale that explores the complexity of a dysfunctional mother-daughter relationship. Our narrator is Bridget Grant and through her eyes, we gradually begin to see a fully formed picture of her narcissistic father Lee and her emotionally detached mother Helen – parents who have continued to haunt Bridget’s psyche. The relationship with the mother forms the focal point of the novel, she is independent living in her own home, but portrayed as an insecure woman on many fronts and unable to really open up. However, we view the mother from Bridget’s eyes, and even if she is not someone you warm up to, Bridget is not always the ideal daughter either and comes across as cruel and deeply unsympathetic in certain situations.
Riley’s prose is biting and as sharp as a scalpel, but also suffused with tender moments. The primary characters are finely etched and the dialogues between them are superb, they feel very real. In My Phantoms, then, she explores the tricky terrain of fractured familial bonds with much aplomb.
IZA’S BALLAD by Magda Szabó (Translated from Hungarian by George Szirtes)
On the death of her husband Vince, Ettie goes to live with her daughter Iza in her flat in Budapest. Ettie is ecstatic at first, she looks forward to spending quality time with her beloved daughter, but alas things unfold quite differently. The first days of adjustment in the big, bustling city of Budapest are particularly hard for Ettie who has spent most of her time in a village taking comfort in its familiarity and sense of community. Pest frightens her, and with Iza too immersed in her career and social life, Ettie’s sense of isolation only heightens.
One of the biggest strengths of the novel is Szabó’s superb characterization. Ettie and Iza are such brilliantly etched, fully realised characters, and Szabó particularly excels in showing how their diametrically opposite personas and outlook set the stage for heartache and tragedy. The two are as unalike as chalk and cheese. Ettie is warm, Iza is frozen. For Ettie the past is an anchor, while Iza is forward-thinking, her gaze settled on the future. Ettie craves companionship, Iza wants to be alone. Iza’s Ballad, then, is a piercing, unflinching examination of a complicated mother-daughter relationship, a striking depiction of two women who are poles apart.
THE MIRADOR: DREAMED MEMORIES OF IRÈNE NÉMIROVSKY BY HER DAUGHTER by Élisabeth Gille (Translated from French by Marina Harss)
The Mirador is no ordinary biography. The byline below the title reads “Dreamed Memories of Irène Némirovsky by her Daughter” which is to say Gille has breathed life into her mother by giving her a voice and thus positioned this as a memoir. What we read, therefore, is a first-person narrative giving the impression that it is Irène herself who is speaking directly to us.
The Mirador comprises two sections – the first is Némirovsky’s imagined memoir penned in 1929 covering her childhood in Russia and Paris amid sweeping changes and a rapidly evolving political landscape; while the somber and hauntingly sad second section fast forwards to 1942, days before her arrest at a time when she was living in precarious circumstances with her husband and two young daughters in a small French village, isolated with a deep sense of foreboding with regards the future.
Élisabeth Gille traverses the zenith and nadir of her mother’s glittering but cruelly short life; The Mirador is not only a brilliant, immersive, and deeply humane account of Irène Némirovsky’s life lived in tumultuous Russia and France, but also a window into her legacy and fame as a writer par excellence.
And that’s it! I had fun compiling this post, and watch this space for more such themed pieces in the future. Happy reading!