Talk given as Writer in Residence at Gladstone’s Library in 2018
I’m posting a link to a talk I gave at Gladstone’s Library last year. I dislike the sound of my recorded voice intensely, so it has taken me more than a year to get up the courage to listen to this. And what a relief to discover that the first voice on the podcast was not my own, but the wonderful Louisa Yates, Director of Collections and Research, who introduced me.
It’s a three part talk. The first part is a kind of Bibliomemoire where I talk about the role of historical narrative and detail in my childhood reading, including Jean Plaidy and Winston Graham’s Poldark series. The second part is a very brief history of the development of the historical novel in the 19th century and its impact on the novel form more generally. Part three is about a particular form of historical novel, the kind that tries to recover or reconstruct the history of those who are usually forgotten, disregarded or silenced by louder voices or brighter, shinier pens – they are usually the losers, in conventional terms at least. It’s here that I talk a little bit about my own novel, Miss Boston and Miss Hargreaves. There’s a really good discussion at the end of the talk too.
Below is a copy of the outline and links I circulated at the talk.
Gladstone’s Library, 10 April 2018: The Historical Novel: A Very Slippery Genre
This isn’t an outline of the lecture but a
selection of references, sources and links to material and discussions you may
find interesting.
1. Definitions
It is generally recognised that historical fiction is difficult to
define and that some aspects of the definition can be arbitrary.
‘To be deemed historical (in our sense),
a novel must have been written at least fifty years after the events described,
or have been written by someone who was not alive at the time of those events
(who therefore approaches them only by research).
We also consider the following styles of novel to be
historical fiction for our purposes: alternate histories (e.g. Robert
Harris’ Fatherland), pseudo-histories (e.g. Umberto
Eco’s Island of the Day Before), time-slip novels (e.g.
Barbara Erskine’s Lady of Hay), historical fantasies (e.g. Bernard
Cornwell’s King Arthur trilogy) and multiple-time novels (e.g. Michael
Cunningham’s The Hours).’
There’s a good selection of articles, short and long, which
take the discussion about definition further which you can access from the link
above.
2. Genre
Genres aren’t just ways of writing or sets of stylistic
tropes. They are also ways of organising
knowledge which shape how we read and think as well as markets and readers.
There are a number of organisations or institutions that play a part in the
definition, regulation and promotion of historical fiction. Here are a few of
the major ones in Britain, though they aren’t exclusively British.
The Historical
Writers’ Association: is an
association for writers, agents and publishers of historical writing, fiction
and non-fiction. The inclusion of both recognises the networks of writers
within the field, connections produced by conferences and festivals and authors
who write across both e.g. Alison Weir is one example.
The Historical Novel Society
(see above) has a more general promotional purpose and is more reader-oriented.
It is a membership organisation with a magazine, conference etc. The conference
intends to appeal to readers, writers, publishers and agents.
The Walter Scott Prize for Historical Fiction is a relatively new prize established in 2010
and offers £25000 to the winner. You can read more about it here http://www.walterscottprize.co.uk
Cultural prizes are promotional, raising the image of the field,
in this case historical fiction and individual titles within it at a time when
there are a very large number of new fiction titles (In 2015, 32,882 fiction
titles deposited at British Library, a legal requirement for new books, out of
a 173,000 new or revised titles – figures are from various sources collated by
the Publishers’ Association.)
4. Examples of historical fiction (mentioned
in the lecture)
Peter Carey, Jack Maggs (1997)
Michel Faber, The Crimson
Petal and the White (2002)
Philippa Gregory, The Other
Boleyn Girl (2001)
Winston Graham, The Poldark
series (first published between 1945-53 from 1973 to 2002)
Benjamin Myers, The Gallows
Pole (2017)
Daphne Du Maurier, Frenchman’s
Creek (1941)
Graham Swift, Mothering
Sunday (2016)
Sylvia Townsend Warner, Summer
Will Show (1936) and The Corner That
Held Them (1948)
Sarah Waters, The Night
Watch (2006) and The Little Stranger
(2009) (and the others!)
5. Farming
Short, Brian, Watkins, Charles, Foot,
William and Kinsman, Phil The
National Farm Survey, 1941-1943: State Surveillance and the Countryside in
England and Wales in the Second World War (2000)
Ronald Blythe, Akenfield
(1969) [There’s also a film of the same name which was made by Peter Hall in
1974 and has recently been reissued on DVD – both book and film are highly
recommended]
There are lots of questions here, probably too many for a single discussion. I do hope you find some of them interesting. If you read Miss Boston and Miss Hargreaves in your book group, I’d love to hear from you. Use the contact form below or contact me via Twitter @RachelMalik99 or on Instagram at RachelMalikWriter and let me know how you got on. Enjoy!
Miss Boston and Miss Hargreaves starts in June 1940. Why do you think that it starts there and not earlier or later?
What are the key differences between Rene and Elsie?
What draws the two women together?
What are the things that make Elsie vulnerable? What makes her strong?
Some readers have said that they found it difficult to like Rene after they discover she has left her children. How did you feel about Rene? Did you change your mind in the course of the book? Do you think you have to like the main characters in novels?
How important are place/countryside/nature in the novel? Think about all the farming, gardening and walking that happens in the novel, and the visit to the White Horse…
What is the significance of the actress Mona Verity (Vicky), and cinema more generally, to Rene as a character?
What does home mean in the novel? How important is home to Rene and Elsie?
Did you feel any sympathy for Ernest?
Why is the trial so devastating for both Rene and Elsie? Arguably it isn’t either the verdict or their temporary separation …
In what ways does the flood affect the trial? [clue: there was no flood in Winchester at the time of Rene’s trial!)
How important is the wartime and post-war setting to the story? Are Rene and Elsie of their time?
Is Miss Boston and Miss Hargreaves a love story? What other kind of story might it be?
Why do you think the novel is called Miss Boston and Miss Hargreaves?
I’m truly delighted and honoured to have been shortlisted for the Walter Scott Prize for Historical Fiction 2018, and in such brilliant company. The short list was announced on the 17 April and the winner will be announced and presented at Baillie Gifford Borders Book Festival, Melrose on 16 June.
This is what the judges said:
Miss Boston and Miss Hargreaves by Rachel Malik
“Miss Boston and Miss Hargreaves is a quietly beautiful and brilliant novel that captures the heart and essence of a love story in the years during and after the Second World War. Astonishingly, it is Rachel Malik’s debut, and her handling of the richness and simplicity of this story of farming life suggests that she is on the brink of a distinguished literary career. And this is no bucolic idyll but an unfolding of a plot that constantly twists and turns and surprises. A truly wonderful, memorable novel.”
I will be joining other short-listed writers in discussion about historical fiction at the Baillie Gifford Borders Book Festival, Melrose on Friday 15 June.
This has been a busy and exciting month for me and Miss Boston and Miss Hargreaves. On 1st March, the Walter Scott Prize for Historical Fiction longlist was published* [* I have since been short-listed and the winner will be announced in the middle of June]. I’m thrilled that Miss Boston and Miss Hargreaves is on it and in such fine company. A long time ago, I went to university to study history but changed to English Literature in my final year. I have long given up feeling either the original choice or the change was a mistake – I definitely needed both. But writing Miss Boston and Miss Hargreaves, which starts in 1940, travels back to 1913 and forward into the 1950s, definitively fused my love for writing fiction and reading history.
We had a lovely blog tour to mark the paperback which came out on February 1. I’ll post the reviews up soon on the reviews page. For this I wrote a number of blog posts about the novel and its contexts: the 1940 opening and the struggles over land in wartime Britain; Cornwall as a key setting; the black sheep family history behind the book; and my fascination with literary trials and how they impacted on the murder trial in Miss Boston and Miss Hargreaves.
I also did two interviews for the blog tour about the writing and research processes. With Cathy Johnson at WhatCathyReadNext I talk about an incredibly lucky meeting with someone who knew the real life characters on whom the novel is based. With Katherine Sunderland at Bibliomaniac, I share a trip I made to the Uffington White Horse (a key location), accompanied by my then young son who thought it a very long walk indeed.
Cathy was the first reviewer of the book when it came out last year and she has really rooted for it. I met Katherine live before I met her online at an event she was organising and she has been so generous with her excellent advice. Thank you to everyone else who participated in the blog tour or posted or reposted their views over this time.
I’ve given two very different kinds of talk about the book in London this month. The first was at the Highgate Literary and Scientific Institute or HLSI. I also teach a literature course there so it was nice to see familiar and friendly faces in the audience. One of the nicest things they do if you’re giving a talk is put your book in a beautiful display case – see below.
Second, I did a Q&A at Waterstones in Crouch End with my editor Juliet Annan. I was extremely anxious about both events (would anyone turn up, would I have anything to say etc. I also had a repeating anxiety dream where no one would tell me what I was supposed to be talking about and I couldn’t find the room where I was supposed to be speaking- incredibly boring and familiar but so vivid at the time! In the end, I enjoyed both but I don’t think my anticipatory self is ever going to learn this.
Last Thursday, 1st March, made a great change of focus. I got to interview Claire Fuller about her wonderful second novel Swimming Lessons and ‘A Book That Inspires Me’. Claire chose Shirley’s Jackson’s 1962 novel, We Have Always Lived in the Castle (of which I’m also a big fan) at Waterstones in Islington. It was unbelievably cold and very good fun just talking about books.
A quiet March now I hope, while I get on with book two and prepare for my residency at Gladstone’s Library. I’ll be staying there in April, reading, writing and giving a talk on 10 April called The Historical Novel – A Very Slippery Genre. So slippery that right now, I don’t where I’ll begin…
And finally, I’ve just changed the banner on my Twitter account to a photo of a letter sent to the ‘real’ Miss Boston and Miss Hargreaves from the Ministry of Agriculture in 1941. They’re named together at Starlight Farm and everything seems so simple. It wasn’t of course, but I like it all the same.
The blog tour for the paperback release of Miss Boston an Miss Hargreaves runs from Thursday 25 January till Wednesday 14 February. I’ve written a series of posts about writing and researching the novel, characters and how its influenced by other fiction and non-fiction.
Miss Boston and Miss Hargreaves is the story of two working-class women who come from different worlds: Rene Hargreaves, a restless, young woman from Manchester in flight from her marriage and Elsie Boston, a sole smallholder in Berkshire, thought of by the locals as irredeemably strange or ‘unked’. Rene comes to work at Elsie’s beloved farm, Starlight, in 1941 and the novel follows their relationship as Elsie loses the farm and the two women begin a journey together through England as itinerant farm workers. Rene and Elsie are resolutely unfashionable; a bohemian, queer world flickers at the edges of their lives, but is not for them it seems. WE WILL GO FORWARD TOGETHER say the wartime propaganda posters and Rene and Elsie do: the war obscuring some of their strangeness. But as peace settles and conventions are reasserted Rene and Elsie become more visible and start to look a little queer. Just as they seem set to secure a new life in Cornwall, a stranger from Rene’s past comes to stay and their whole way of life is threatened. Have a look at some reviews here.
Miss Boston and Miss Hargreaves is a novel about two women – Elsie Boston and Rene Hargreaves. It begins in 1940 when Rene arrives from Manchester with a secret to work at Elsie’s smallholding on the Berkshire Downs. It follows the changing relationship between these working-class and unfashionably queer women over twenty years, through war, eviction and (maybe) murder. Most of the novel is set on the land. The characters journey through Britain in the post-war years, living and working precariously in Berkshire, Cumbria and Cornwall. They are determined to make a settled and private life on the land and finally seem to have found a home, when the past returns to haunt Rene. This precipitates a set of events that expose their lives to the law and the public gaze, and threaten their life together.
Readers reviewers have particularly enjoyed the relationship between the two main characters and how the English countryside is represented during a particular period – the 1940s and 1950s. The book’s narrative includes a strand which explores the world of silent British cinema – Rene adores films. This screen world is crucial to the crime that lies at the centre of the book and the trial that engulfs them.
The novel is loosely based on the life on my grandmother, the Miss Hargreaves of the title. You can read more about this below.
Prizes and Awards
Winner: Gladstone’s Library Writers in Residence 2018
Walter Scott Prize for Historical Fiction 2018 – Shortlist
The judges said: “Miss Boston and Miss Hargreaves is a quietly beautiful and brilliant novel that captures the heart and essence of a love story in the years during and after the Second World War. Astonishingly, it is Rachel Malik’s debut, and her handling of the richness and simplicity of this story of farming life suggests that she is on the brink of a distinguished literary career. And this is no bucolic idyll but an unfolding of a plot that constantly twists and turns and surprises. A truly wonderful, memorable novel.”
I did a related short Q&A about writing historically
‘The outstanding read of 2018 for me was Rachel Malik’s Miss Boston and Miss Hargreaves, the story of two women from the 1940s to the 1960s, their lives on the land and with each other. Tender, sometimes astonishing, always riveting, I simply loved this novel. It was shortlisted for the Walter Scott Prize and for that reason I had the joy of reading it twice. A stunning debut novel.’ (Alistair Moffatt, Books of the Year, Scottish Review of Books)
Summer Books: Irish Times
‘I like to head off into curious spaces for holiday reading. By that I mean books I wouldn’t normally be interested in. I rarely read historical fiction but was intrigued by the loose auto-fictional elements of Rachel Malik’s Miss Boston and Miss Hargreaves. “I think I was always aware that there were shadows, spaces at the table,” Malik wrote in an article about discovering her grandmother Rene’s clandestine past. When the author was in her 30s her mother told her that Rene hadn’t died young but had disappeared. She had run away from marriage and three kids to work as a landgirl on Starlight farm, where she met and lived with another woman, Elsie, and it seems they remained involved for a long time. Eventually Rene was hauled before the courts for allegedly murdering “Uncle Earnest”, a man who was not really an uncle the women were seemingly tasked to look after him on the farm. Rene is both a gender pioneer and a bit of a horrible wagon for abandoning her kids. The book is not only a whodunnit (or whydidyedoit?) but also a vivid exploration of family secrets uncovered and the effects of trauma, as well as a war story about women working the land and doing whatever they had to do to survive.’ June Caldwell, Books for the Beach and the Brain in The Irish Times
Media
Penguin website: ‘Uncovering my grandmother’s extraordinary secrets’, a piece I wrote Malik about how I came to write the novel.
Woman’s Hour, 28 April 2017 – Interview with Rachel Malik and reading from the novel
Press reviews
Sunday Times review, 30 April: an ‘unflamboyantly effective tale’; ‘this is a surprisingly moving account of hidden lives forced out of the shadows’
Daily Mail review, 21 April : ‘Part period piece, part courtroom drama, this is also a touching love story’
Sunday Telegraph, Stella magazine, 16 April, ‘We love’ selection
Red, Prima and Good Housekeeping magazines, April selection: ‘Breathtaking debut about two women’s friendship’ (Prima)
‘I really became immersed in the story and totally engaged with the two main characters, Rene and Elsie.
From the start, Elsie is an enigmatic character, cherishing her solitude and resisting intrusion from neighbours, seeing this as ‘encroachment’. At the same time, she has a ‘lonely power’ that proves strangely attractive to Rene: ‘Elsie wasn’t quite like other people, but that didn’t matter to Rene’. Elsie’s strangeness is communicated in small ways, such as by gestures. When Rene first arrives at Starlight Farm: ‘She had offered her hand to Elsie, and Elsie had reached out hers but it wasn’t a greeting – Elsie had reached out as if she were trapped and needed to be pulled out, pulled free’. Gradually, they find each meets a kind of need in the other – Elsie, for companionship and a conduit to the outside world, and Rene, for refuge from her past: “Elsie knew that Rene fitted. A stranger to be sure, but one who didn’t make her feel strange.’… This book is probably not everyone’s cup of tea (not that there isn’t plenty of tea drinking in it) but I absolutely fell in love with it.’
‘The core of the novel is the two characters, with Malik slowing building up detail about them. Rene’s past and her escape from her husband and children is classic historical novel material, but it is also at how the war could change lives in ways that would be irrevocably different when it was over….This is a slowly revealed and moving novel full of small details, with an appeal that stretches beyond its historical setting to anyone who enjoys reading about characters and carefully drawn relationships.’
‘I won’t say any more about the plot for fear of ruining it, as there is a surprising twist half way through, but this is a truly wonderful novel that is unexpected in so many ways. There is much left unsaid, and unexplored; glimpses are given of the women’s pasts and their relationship with one another that can be interpreted as the reader wishes. Were Elsie and Rene lovers, or was their contentment grounded in the satisfaction of a deep platonic bond? There is plenty of evidence for both readings, and it is up to us to decide what we feel best fits their characters. The period details are marvellous, and the depictions of countryside life and the characters found there are beautifully and realistically drawn. It is a thoughtful, intriguing and unusual tale of two women who fought against social and moral expectations to live a life that gave them the fulfilment their hearts longed for, carrying the weight of guilt, sorrow and blame along with them as they navigated a path through the barriers that stood in their way. What makes it even more powerful is the knowledge that Rachel Malik based this tale on the story of her own grandmother’s life, which can be read here (warning – this article does provide plot spoilers).
It makes you wonder how many more extraordinary stories there are, hidden within families, buried beneath layers of shame and embarrassment. A few newspaper clippings and a clutch of certificates can hint at so much, and yet still tell so little. It’s made me want to go digging into my own family history once more, and I already want to read this remarkable novel all over again. I can’t wait to see what Rachel Malik will write next!’
I cannot tell you how much I loved and enjoyed this book. Rachel Malik’s maternal grandmother was the inspiration – a woman who left a husband and three children (one of whom was Malik’s mother) and just got on a train and never looked back. She (Miss Hargreaves) became a Land Girl, working on farms in WW2, and was sent to Starlight Farm, where she met her soulmate, Miss Boston. They ran the little farm together until they were cheated out of it by a lie from the farmer next door who was on the county committee for categorisation of food production on farms during the war. They became itinerant farm workers, travelling from one farm to another, working for their keep and a roof over their heads until the late 1950s, when they settled in a small rented cottage in Cornwall.
As Malik tells you in the Afterward, this is a work of fiction, although the two characters are based on real people and her research traces the lives of the two women. But fiction or not, this is simply a magical book, even though the women are not really great talkers, so conversation is not the high spot of the book. The descriptions of life in the countryside, and the walks they take and the adventures they have are just wonderful. You know that they care for each other deeply, even though they do not speak about “love” or “closeness”, they just are. It is only half way though the book that a real threat arrives to rock the boat, and the book then changes it’s tone. I found myself reading faster because I needed to know how this would end, but also putting the book down because I didn’t want it to end. This is currently only available in hardback or on kindle – Penguin please note that I do hope it comes out in paperback because it needs to be on that front table in Waterstones! (Although the cover does not really lead you in, so perhaps a change there).
Recommended – it will continue to haunt me long after I pass it on.
I won’t give any more of the plot away, other than to say, it turns into a murder/mystery – and very good too! I got so attached to the characters that I cried toward the ending….always a good sign of a good read!
Malik has extrapolated an elegant and deeply moving work of fiction…
That these characters are more than figments of the author’s imagination is evident throughout. Malik tells her story, her grandmother’s story, with a gentle touch. Where this book might have had a whiff of gossipy tell-all, instead it is bound by the warmth of a confidence reluctantly shared. Malik tells the story cautiously, only hinting at secrets, almost testing the reader to see if she can trust you, so that you lean forward, careful in your attention and keen to know more.
… Malik’s achievement is to have applauded the small rebellion of these women against the expectations of their time and place. She has redeemed these ‘curious’ women to normality. Miss Boston and Miss Hargreaves celebrates the love, respect and loyalty at the core of their relationship.
While browsing the display tables and shelves of London’s bookshops, I was hoping to find another story like The Essex Serpent by Sarah Perry. Not a replica of the characters, setting or plot, but something matching its tone of fresh mixed with nostalgia. Something well-written and atmospheric. When Rachel (Book Snob) mentioned she was reading Miss Boston and Miss Hargreaves, I asked her if it was good. Little did I know just how perfectly it would fit the bill.
The prologue reveals two characters, the first is a woman scanning the landscape through a cottage window. The second is a woman on the verge of freedom outside the gates of Holloway prison.
It would have been easy to sensationalize the story of Elsie Boston and Rene Hargreaves, but there is none of that here. It’s a beautiful story with a bite; a slow simmer that turns into something of a boil. And to learn that it’s based in reality adds to the fascination – Rene Hargreaves is the author’s grandmother.
It is hard to write a review of a book I loved as much as I loved this one, a part of me just wants to tell you to buy it immediately. I haven’t read many novels published this year and this was an impulse buy, when it arrived I decided I wanted to read it right away.
Miss Boston and Miss Hargreaves is Rachel Malik’s debut novel, and it is a hugely impressive beginning to what I can only suppose will be a very successful publishing career. The story is based heavily on the life of the author’s maternal grandmother; Rene Hargreaves. While the author makes it quite clear that this is a work of fiction, she kept the names the same and all the incidents in the book seem to have come straight from Rene’s life – and it is a wonderful story spanning more than twenty years….
There is a night time expedition to the White Horse carved into the hillside, covered with turf because of the war the pair uncover it walk down the hill to gaze at it and walk back up to cover it back up, they laugh and swap confidences. Soon the two women can’t imagine a life a part. Rene is warm and sociable, has a great love of cinema, and slowly she begins to change Elsie, helping her overcome her almost crippling shyness.
Together they endure sadness and hardship; a conniving neighbour helps the Ministry for Agricultural take Starlight from Elsie, so he can get his hands on the land – there is nothing they can do. Determined to work the land they love and stay together; the pair become itinerant farm workers and move from farm to farm across the country – starting in Cumbria and ending in Cornwall in the late 1950s. It is a hard life – they no longer have the comfort of their wireless, though they do get to live in a series of tiny farm cottages, dividing the household tasks between them. Sometimes Rene has to work away at other farms, looking forward to Friday evening when she comes home. This though is nothing to the battles that lie ahead of them.
As they begin to think of settling for good at Wheal Rock in a small Cornish community, with a dog a cat and a wireless, part of Rene’s past arrives, threatening their way of life – and much more. Their lives will be turned upside down, held up for examination by the media, and subject to a high-profile court case.
“At dusk though, the exterior began to change: the chimney smoke wreathed and twisted against the darkening sky, the rickety extensions turned opaque and the dishevelled garden grew blurry and indistinct. By the time it was dark and the lamps glowed orange in the windows, the cottage seemed invulnerable. Rene loved returning when it was dark, her first sight of the lights through the trees as she cycled up the lane. Coming home: Elsie in the kitchen window, standing at the sink, washing, waiting. Sometimes it felt to Rene as if they would always live at Wheal Rock; it was foolish, but sometimes she couldn’t help herself.”
What I particularly loved about this book was how strongly rooted in the British countryside it is, showing a fierce love and understanding for the countryside and the lives lived by agricultural workers. The relationship between Elsie and Rene is sensitively and delicately portrayed – we never know exactly how far their relationship progressed, whether they in fact were lovers – it doesn’t matter at all – their commitment to their shared way of life is what is important.
To think, that this incredible story was hidden away inside Rachel Malik’s family history, waiting for her to discover it. What an exciting discovery it must have been, and how lucky we are that she chose to share it in this way. (Oh, and the cover art for this hardback edition is just perfect).
Susan Osborne, A life in books (best books of 2018)
‘In her historical note at the back of the book, Malik explains that Miss Boston and Miss Hargreaves is based very loosely on her grandmother’s life, knowledge which makes her novel all the more poignant for this is not always a happy story. Smoothly shifting perspective back and forth between Else and Rene, threading their memories through her narrative, Malik combines quietly understated prose with appropriately cinematic, vivid episodes. The passage in which Rene and her friend stumble onto a film set, charming the crew and triggering a life-long passion for the movies, is quite magical. The relationship between Elsie and Rene is delicately sketched, its changes subtly shaded in. Their lives were so very ordinary, except perhaps in one or two respects sums up these two women beautifully as it must have for many other couples like them, discreetly living their lives together. As Elsie says in court to much sniggering derision We were rich, and indeed they were. A touching, thoroughly absorbing novel – I’m looking forward to reading what Malik comes up with next.’
Emma Moyle, Books and Wine Gums (best books of 2018)
‘The relationship which forms between Elsie and Rene (‘Bert’) is both beautifully simple and complex: a connection based on unspoken understanding, a relationship which doesn’t fit easily within conventional definitions of women’s behaviour at this time. After a period apart,
‘They agreed and accorded and yes-ed and of-coursed, but they weren’t in harmony. Elsie was wordier than usual, still speaking the paragraphs she had composed so carefully for her weekly letters.’
These are women on the margins, at times regarded with a degree of suspicion by some around them, and in the latter stages of the novel, their relationship is subject to the sometimes prurient scrutiny of a society which is uncomfortable when faced with anything different. However, Elsie and Rene refuse to compromise, pursuing the life they choose together, and they make much of the little they have, believing that ‘if you have all you want, you are rich.’ Having a female relationship like this at the heart of a novel was both refreshing and beautiful.’
‘Elsie Boston is not keen on opening up her farm and her life to a stranger. But a Land Girl is coming to Starlight farm to help Elsie during the war. Little does Elsie realise that Rene Hargreaves will change her life irrevocably.
There is a gentleness to the story, one that allows the reader to be pulled along with the story. Time passes by swiftly, so much so that months or years can pass in a single chapter. This speeding up of time means that the story has a slight surreal quality to it. One minute Rene Hargreaves has arrived at Starlight Farm, the war in full swing, then the next the war is over, though it seems that Rene is still only the new girl…..
The story is engaging. During the first half of the novel not much happens yet everything happens. We see Rene and Elsie meet, become friends, become inseparable. We see them go through winters and summers, through personal trials and through the everyday mundane aspects of life. The book is well written, the prose at times almost poetic…’