A friend recently mentioned that she’d been reading and enjoying Maggie O’Farrell’s novels, so the next time I was at the library I checked out two of them: Instructions for a Heat Wave and The Vanishing Act of Esme Lennox. Both are essentially family dramas; both turn on long-held secrets and their repercussions, though in Instructions for a Heat Wave the consequences are mostly moral and emotional, while by the end of Esme Lennox two people have paid (in very different ways) with their lives. Both are very good–well written, evocative, psychologically astute, and thematically layered — but it’s Esme Lennox (both the novel and the eponymous character) that’s really going to stick with me.
Instructions for a Heat Wave follows its family members through a few fraught days during a grueling heat wave that hit Britain in 1976. Robert Riordan tells his wife he’s going out for the paper and then he doesn’t come back: his disappearance brings his children together again, face to face with each other and with an array of unresolved issues from their family history. O’Farrell uses the sweltering temperatures both literally and figuratively: the characters’ physical discomfort in the inescapably stifling heat matches their inner restlessness as the narrative shuttles us back and forth between their childhood memories and the complications of their current situations.
Instructions for a Heat Wave ends on a faint note of optimism: the novel’s ultimate revelations may be initially devastating, but as people’s secrets come out, healing seems possible — no harm is ultimately irredeemable. The Vanishing Act of Esme Lennox, on the other hand, offers no such soothing hope: some wrongs, it suggests, can never be made right, at least not through forgiveness. The novel is a compelling blend of chilling and heartbreaking: as it takes us from Esme’s childhood to the present-day life of her grand-niece Iris, splicing in segments from the point of view of Esme’s sister Kitty, now suffering from Alzheimer’s, we gradually realize just how Esme came to spend 60 years confined to an asylum. One of O’Farrell’s sources is Elaine Showalter’s The Female Malady: Women, Madness and English Culture, 1830-1980; Esme’s story dramatizes the horrors of a society that conflates nonconformity with “hysteria” and madness, and punishes it accordingly. I was a bit disappointed in the novel’s ending, but it’s a haunting story, both poignant and gripping.
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