Anna Vaught

È bello il paesaggio là fuori. Sotto gli alberi del parco del St Andrew's Hospital una donna guarda nel vuoto e alza le braccia al cielo, richiamando a sé gli uccellini per dar loro semi e briciole. È lady Violet Gibson, ormai alla fine dei suoi giorni, molti dei quali trascorsi qui, rinchiusa in questo manicomio di lusso per aver attentato alla vita di Benito Mussolini nel lontano 1926. Questa è la sua storia, ed è anche la storia di altre donne che, come lei, sono state vittime dell'etichetta di pazzia e isteria. Donne sotto le grinfie di uomini curiosi di capire, ma con pochi strumenti per farlo. Donne vittime di un patriarcato ottuso e regole sociali volte a sostenerlo. Sarà un viaggio speciale, un volo vero e proprio. Lo spazio e il tempo non costituiranno limiti e non saranno d'ostacolo. Io sarò con lei, sarò con loro, per raccontare ciò che è stato dimenticato. Sono Lucia Joyce, e questa è anche la mia storia. Lucia Joyce rappresenta il non detto, il tabù della famiglia Joyce. Di fatto, dal 1932 al suo decesso trascorse la vita negli ospedali psichiatrici. Ogni suo scritto, ogni documentazione clinica venne distrutta dal nipote nel 1988, costringendola a una vera e propria damnatio memoriae. (fonte: retro di copertina)… (más)

“But now, you are not alone, you are no-one’s hysterical showpiece or study—and I promise we’ll discuss further company later; imagination has magic in its heart, don’t you know? And I promise: we tell your story and Lucia writes it down and it is saved so that you have a name and a life.”

This novel is an imagined interaction among four (real) women, two of whom were confined to the same mental institution. It starts with Lady Violet Gibson (who attempted to assassinate Mussolini) and Lucia Joyce (daughter of author James Joyce), portraying them as friends. Lucia begins writing Violet’s story and adds details from her own life. Two other women are introduced later in the narrative – Blanche Wittman (hysteria patients of Jean-Martin Charcot) and Bertha Pappenheim (patient of Josef Breuer whose case was documented as “Anna O” by Sigmund Freud).

The early parts of the book are fairly straightforward, but it gradually becomes fragmented. It contains many literary references, particularly to Joyce and Beckett. It feels like reading a lengthy dream sequence, as the women refashion their histories to what their lives could have been, if they had not been classified as “hystericals.”

It is not a quick or easy read. I prefer more straightforward storytelling, but I appreciated the commentary about issues that women had to face regarding mental health. It will appeal to those who enjoy innovative or experimental writing.… (más)

Almost Llewhellin has had an unusual upbringing on the coast of Wales, being brought up by his sister Perfection. He travels all over the coast and local area, playing in the graveyards, exploring the sea caves and he is intrinsically linked to the landscape where he lives. Rather than other children to play with he knows mermaids and mermen, morticians and his own family's undead. It feels to him like time has stopped, he is stood watching things as they drift on by. Even moving away has no effect, Pembrokeshire has its roots deep inside his soul and he returns once again.

I dreamed of pearls, full fathom five;

I sang of gales, the tang of salt

Almost as a character feels like he is not fully of this world, but rather he inhabits somewhere in between this world and the next as he mixes with mermaids and converses with the dead. This is a strange book in lots of ways, very surreal at times, blended with fantasy, a dash of folklore with hints of The Graveyard Book. It is a lyrical book and I really enjoyed the poetic elements, but personally struggled to engage with the characters at times… (más)