I’d been looking forward to reading this novel for months and the Booker longlist gave me the push I needed. It has been described as the “first Brexit novel,” and it is that, but it is much more as well. Liz and Teresa have written terrific posts about the book and you should definitely go and read them. Teresa notes the dreamlike quality of the (excellent) writing, and Liz draws attention to the way the emphasis on the artist Pauline Boty’s collage style is reflected in the novel itself, something I hadn’t noticed as I was reading but should have.
I’m a pretty literal reader, even of writing that is more abstract and experimental. What stood out for me in the book were the different relationships and the context in which Elisabeth was navigating a challenging life of academic precarity, apparently without much of a support structure. She and her mother love each other but they don’t seem to have a lot in common, and although she has renewed her important relationship with Daniel, it’s temporary and somewhat one-sided as he nears the end of his 100+ years.
Smith is an amazing writer, and the way she incorporates Brexit and the current political climate is somehow both direct and subtle, in the sense that it’s very present but it doesn’t feel heavy-handed. There is a chilling sequence where Elisabeth is applying for a passport renewal and the post office clerk behaves like someone out of 1984, or Terry Gilliam’s movie, Brazil: