LRB online: Universities under Attack or Why I left

Universities under Attack

Rachel Malik

For a long time I believed that being an academic wasn’t just the best career for me – which it clearly was, I loved it – but one of the best it was possible to have, especially within a university system committed to expansion. Yet recently I took voluntary redundancy after teaching in the humanities at Middlesex University for 18 years, and for the foreseeable future I have no desire to work in any university in this country – or, I imagine, elsewhere.

The attack on universities takes many forms. My focus here is on attacks from within: attacks on staff, academic and administrative, and attacks on knowledge that come from inside universities themselves. ‘Universities’ is not a simple plural. The ‘academy’ is a messy conjunction of increasingly conflicting elements and interests and these cut across the familiar oppositions between old and new, rich and poor, deserving and undeserving. Thus Middlesex is not just or most importantly a struggling post-1992 institution. Its management worked out a long time ago that survival and success did not lie with domestic students. The university has two overseas campuses – in Dubai and Mauritius – and is actively searching for a site and partners for a third, probably in India. Like many others, it has attempted to commodify as many of its assets as possible: courses and programmes in the form of franchises; research; and various types of higher educational and pedagogical expertise.

It wasn’t always like this. When I arrived in 1993 and for a good number of years after that, it was a wonderful place to work. Demand in the humanities was buoyant, and this was crucial to the opportunities we had to build teaching programmes from scratch and rebuild others, and to do our own research, encouraged both by the intellectual culture in which we worked, and by something else that has become increasingly rare: sabbatical leave.

Today the most reliable communiqué from the institution is the corporate newsletter. By ‘reliable’ I mean that it arrives regularly and contains no bad news. It is the familiar story of visions delivered, research impacting, champions championing. This corporate version of the institution is completely at variance with the lived reality of the staff and most of the students. These representations, like much else, exist for the benefit and reassurance of foreign partners, actual and potential. Meanwhile, on another part of the website, the voluntary redundancy scheme is now permanently open, punctuated by frequent compulsory redundancy operations. Both are designed to erode morale and force staff to accept increasingly degraded conditions of ‘service’.

Discrepancies of this kind are a part of everyone’s working life, but at Middlesex they were particularly jarring. In nearly all respects ours is an institution with no past. I do not mean by this that it does not have 500 years, or 150 or 50 years of history and tradition to look back on. I am talking instead about the managerial embrace of a particularly degraded form of the modern. The management speciality is ‘radical’ reorganisations: of teaching programmes, organisational structures and research priorities, all of which must be achieved at absurdly accelerated rates. Such revolutions are always justified as a necessary response to external conditions and to a future whose only certain quality is its uncertainty. Emergency is our everyday: it is always wartime.

When yet another one of these restructurings is declared, what we do – teaching, thinking, writing, marking, planning – is never taken into consideration. It counts neither as activity nor as value. Anyone who expresses reservations about the direction chosen for the future is, by definition, inflexible and disloyal. This is a particularly cynical version of modernity. No one wants to be on the wrong side of the future, and that future is achievable only through a complete cancellation of the past.

This revolutionary tempo sits uncomfortably with the rhythms of teaching and research. Last year Middlesex closed down its philosophy department, which has since moved to Kingston. It was an excellent department. It also had all the contemporary indicators of ‘research excellence’. When I asked my dean about the decision, it was obvious that excellence hadn’t been enough to save the department, so I asked him why the extensive funding the unit had earned from its RAE scores and various other funding sources had been no protection against immediate closure. He was (for once) perfectly clear: ‘But that’s over, that’s finished,’ he said, meaning that what was already earned simply did not count.

Within this ‘logic’, it is virtually impossible for an individual or group to accumulate intellectual value or capital, much less trade on it. This may sound – and it obviously is – cack-handed and incompetent, but something of the same logic is at work in the short-termism that is currently remaking the academic workforce.

Many university departments simply could not function without the energy, talent and goodwill of part-time lecturers, but the pattern of a skeleton permanent teaching staff supported by part-timers and those on teaching-only contracts has become a model for staffing in many institutions, and not just because it is cheaper. Those small numbers of permanent staff are increasingly going to be employed to develop, write and monitor courses that they will not teach and that exist primarily as units for sale or rent to a variety of markets, national and global. Little, if any, thought has been given to the impact of this on teaching and learning by the universities adopting this model. This commodifying of a course or a degree programme or a set of quality procedures is bad news. For one thing, the majority of academics and students are becoming ever more remote from the places where knowledge is produced. It is now seen as naive to insist on the natural connections between teaching and research.

Further, the global market, rightly or wrongly, is seen as a very conservative place: the role of self-censorship, the weeding out of anything that might prove controversial, is a necessary consequence of the edu-business model. The result is courses that become ever more anodyne as they compete to imagine the inoffensive. In various departments at Middlesex, course content is already indirectly determined by partner institutions, national and international: it can’t be taught here, unless it is taught there.

There has been a good deal of discussion about the direct pressures put on academics to produce work that sits comfortably within the research assessment criteria. However, I would suggest that as the financial situation worsens, institutions will need to apply less pressure on researchers to go where the money is. Academics will make their own adjustments, will internalise the priorities of the funding councils, and adopt them as their own. Soon they will become adept at second or even third-guessing them. Such pragmatism probably doesn’t make for very good research. But that pragmatism is likely to be strengthened as the nature of research itself is redefined.

In various forms of higher educational discourse, research is already starting to float free of ‘content’, that tricky, highly specialised, fancy knowledge that presents such a challenge to institutions such as Middlesex. Education is becoming a training in learning. Students learn a good deal about how to ‘do’ team-work and assess their peers, but rather less about the Victorian Novel or the Role of Literature in the Contemporary. Similarly, research has come to mean one of two things: the quantifiable thing that needs to score well in the Research Excellence Framework, or a set of transferable practices or methods.

These practices, increasingly generic and cross-disciplinary, are being taught to postgraduates, and increasingly to undergraduates, particularly those in what are now called ‘research-rich institutions’ looking for ways to justify their fees. Just as the good manager takes pride in being able to manage anything, so the good researcher will take pride in being able to research anything. Not knowing much about a subject area will present no difficulty, rather it might be considered an advantage, for the researcher will be untroubled by disciplinary loyalty – just like the manager who comes in from outside.

This may seem hyperbolic, but there are already strong precedents for this sort of approach in both management and teaching. And perhaps it isn’t so very far away from happening in academia. I recently chanced upon a website that provides students in humanities and social sciences at a UK university with information about the various types of research training available to them. Some of these were valuable – training about writing for publication, conferences, the profession and so on (we would be fools to reject professionalisation) but I was brought up short by a workshop on ‘the literature search’:

This second interactive workshop will provide an opportunity to find out how to identify the most important and influential literature from the literature search. Participants will use measures to identify journals with high impact factors, articles with large citation counts, and influential authors. Strategies for reading will also be discussed, as well as understanding how much to read, when to stop, and options for taking effective notes from reading materials.

This doesn’t call for elaborate interpretation. However, I find the unthinking correlation between ‘influential literature’ on the one hand and ‘high impact factors’, ‘large citation counts’ and so forth, rather worrying. Even before the first REF has run, its metrics have been adopted as the primary indicators of value and esteem. This research programme is offered, I might add, by a Russell Group university. Of greatest concern, perhaps, is that the training offered here is totally divorced from any particular body of material. Faced with such a free-floating model of what knowledge is, perhaps we should all think a little more carefully about the future of that proprietary ‘my’ in ‘my research’.

About Rachel Malik

I was born in London and have lived there most of my life.

The old John Barnes department store on Finchley Road just up the road from where I grew up

I grew up in West Hampstead, where the streets were full of big, shabby houses that were then mainly flat or room rents. I was the child of two very different immigrants, two runaways. My mum left Shropshire for London at sixteen, determined never to return. My dad left Karachi in the newly formed state of Pakistan in his mid-twenties to come and study.  Both of them fell in love with a certain idea or dream of London. For myself growing up it took the form of walks on Hampstead Heath with a stop at the Coffee Cup cafe in Hampstead, and croissants in the Cosmo coffee house on Finchley Road, lots of museums and art galleries which I resented.

The Cosmo Restaurant on Finchley Road.

At school I was very, very good – till right near the end – and just brown enough to be one variety of the distinguishable different. At home I was bookish, always reading, always writing.  English and history were the subjects I really loved and for a long time they competed painfully. I studied history and then English at Cambridge and then linguistics at Strathclyde in Glasgow. Over the next couple of years, I did a variety of short-term jobs while everyone told me that time was running out and I needed to decide who I wanted to be.  On what appeared to be a whim and perhaps to avoid more prodding, I decided that I would do a PhD and become an academic. After some scary part-time teaching in Goldsmiths’ English Department at the University of London, which gave me a serious case of imposter-syndrome, I got a job at Middlesex University where I taught more or less happily for a number of years.

Over time, as has become familiar in many universities, our working conditions were severely degraded and when we were required – forced – to reapply for our jobs for the third time, I think, in less than five years, I decided to take voluntary redundancy and take the plunge into a new world.

At that point I had already started Miss Boston and Miss Hargreaves, so the plunge wasn’t quite as cold as it could have been. I don’t think I knew it was going to be a novel then, but I was already obsessing about a world that was solid – there were books, articles, records, documents – and elusive. I was trying to ‘discover’ two women, one of whom was my grandmother, who were publicly writ large and clear for one very particular and extreme moment, but who spent most of their lives invisible.  Writing a second novel now, which I am finding if anything more difficult than the first, I have finally recognised that this space where there is at once an abundance of detail and record, and also nothing about the exact world you wish to write about – because it doesn’t exist yet – is the place where I feel most uncomfortably at home.

About Miss Boston and Miss Hargreaves – interviews, reviews

 

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.

Read the prologue here

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

Waverton Good Read Award 2017 -2018 – Longlist

 

Books of the Year: Scottish Review of Books

‘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)

 

Some blogger reviews

WhatCathyReadNext (Best Books of 2017)

Full review here

‘I really became immersed in the story and totally engaged with the two main characters, Rene and Elsie.

landgirlsFrom 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.’

 

Siobhan Dunlop /Fiendfully Reading

http://fiendfullyreading.tumblr.com/post/158998503126/miss-boston-and-miss-hargreaves

‘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.’

 

Booksnob (Best books of 2017)

https://bookssnob.wordpress.com/2017/07/19/miss-boston-and-miss-hargreaves-by-rachel-malik/#comment-36402

‘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).

Rene wedding

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!’

Mac Adventures with Books http://mac-adventureswithbooks.blogspot.co.uk/2017/06/miss-boston-and-miss-hargreaves-rachel.html

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.

 

Loopy Angel

https://angesbookcorner.wordpress.com/2017/05/03/miss-boston-and-miss-hargreaves/

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!

 

Book Witty / Sultana Bun https://www.bookwitty.com/text/miss-boston-and-miss-hargreaves-by-rachel-malik-a/58e4bb2e50cef76431c10287

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.

 

Cosy Books (Best Books of 2017) at http://cosybooks.blogspot.co.uk/2017/08/miss-boston-and-miss-hargreaves-by.html

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.

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.

 

Heavenali (Best books of 2017)

Full review here:

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….

Uffington-White-Horse-sat

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)

Full review here

‘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)

Full review here

‘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.’

Janet Emson, From First Page to Last

Read full review here

‘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…’

 

 

 

 

 

 

 

Contact me

My agent is Clare Alexander at Aitken Alexander

For publicity and events related enquiries, please contact Hannah Ludbrook at Penguin Random house (hludbrook@penguinrandomhouse.co.uk)

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