I really looked forward to reading this book. The cover design is beautiful and the plaudits are effusive.
I didn’t warm to the language in the introductory chapters: it seemed to me overblown, overthought, overworked. If I hadn’t agreed to read and respond for this thread, I should probably have given up at this point. However, I persevered and grew to appreciate the fine detail of the author’s observations and her meticulous attention to detail.
The last few books I’ve read have been page turners (Val McDermid, Ian Rankin, Alexander McCall Smith, Robert Galbraith...story tellers all). By contrast, this book made me slow down and savour the author’s knowledge, intelligence and linguistic expertise. She had clearly done her research on a Victorian age so like our own in so many ways, with issues of housing crises, intolerable rents, political sharp practice and social upheavals. Her depiction of Stella’s tuberculosis was particularly well portrayed.
However, and this is a purely personal response, I failed to engage with any of the main characters. I didn’t empathise with them and they simply didn’t leap off the page for me. At the end, I asked myself: if there was to be a sequel, would I want to read it? And, apart from the fact that I should like to have seen how Martha’s life developed, the answer was no. From the praise heaped on this book by others though, mine may well be a minority view. And I wish the author all the best.
My question for Sarah Perry concerns her PhD in Creative Writing. Looking back at your writing before and since, what would you say has been the main impact of this on your work?