Readingjay's Reviews > There Should Be More Dancing
There Should Be More Dancing
by Rosalie Ham
by Rosalie Ham
Readingjay's review
bookshelves: 2012, australian, australian-woman-writer, aww-challenge-2012, domestic, humour, book-club, literary
Feb 08, 12
bookshelves: 2012, australian, australian-woman-writer, aww-challenge-2012, domestic, humour, book-club, literary
Read from February 01 to 07, 2012
There Should be More Dancing took me far longer to read than it should have, largely because I was not compelled to keep on, despite its many fine qualities. Humour is so subjective - for me there were no 'laugh out loud' moments, but enough 'smile in recognition'. It's largely black humour, and the whole tone of the book is a dark one.
Margery Blandon is an interesting protagonist: woman of nearly 80 who has lived for the past 60 years in the Melbourne working class suburb of Brunswick. On page 266, well into the book, she muses:
And this, essentially is what the book is all about.'This room' is on the fourth floor of a hotel (a countdown room, 4321) where she is planning to plunge to her death after realising that her little life has amounted to not very much at all. Her children are appalling: the aspirational Judith and her real-estate-obsessed husband Barry; the never-present Morris (he's languishing in a Thai prison) and Walter who is brain-injured after a boxing injury, but who presents as the most sympathetic of the lot in his simpleminded way. Her husband Lance has been dead 20 years but is still very much present as Margery reminisces and he has a great deal to do with the denouement.
The 'signs' certainly are all there to the reader as the voice switches from Margery's second person conversations with her dead twin Cecily, and the third person. Margery's philosophy of life is summed up by the sayings that she works in cross-stitch and covers every possible surface of her cottage, as well as foisting them upon the neighbours, and there is a sound-track of references to the music of Margery's younger days.
The story explores the gentrification of Brunswick with long time residents having to cope with the ways of incomers, including immigrants. It's a story of many betrayals and secrets, but also kindnesses. Margery and Walter's relationship with next-door Mrs Parsons is touching, and Mrs Parsons' death and the backstory of her life that we gradually become aware of is moving.
Many of the characters - and they are memorably depicted - are elderly, and the novel serves to highlight elder abuse, neglect and the availability of services, but too often the black humour slips into farce, and for me the awkward structure and changes of voice interrupted the narrative flow.
I haven't read this author's highly acclaimed The Dressmaker but I will add it to my list as she makes sharp observations and creates larger-than-life characters. This one though, was a bit of a disappointment, despite some real strengths.
Margery Blandon is an interesting protagonist: woman of nearly 80 who has lived for the past 60 years in the Melbourne working class suburb of Brunswick. On page 266, well into the book, she muses:
It's never occurred to me that there was anything wrong with my little family, but as I sit here in this room ...
You could say that, in hindsight, the signs were all there.
They were never apparent though.
Well, alright then, I just never saw them.
And this, essentially is what the book is all about.'This room' is on the fourth floor of a hotel (a countdown room, 4321) where she is planning to plunge to her death after realising that her little life has amounted to not very much at all. Her children are appalling: the aspirational Judith and her real-estate-obsessed husband Barry; the never-present Morris (he's languishing in a Thai prison) and Walter who is brain-injured after a boxing injury, but who presents as the most sympathetic of the lot in his simpleminded way. Her husband Lance has been dead 20 years but is still very much present as Margery reminisces and he has a great deal to do with the denouement.
The 'signs' certainly are all there to the reader as the voice switches from Margery's second person conversations with her dead twin Cecily, and the third person. Margery's philosophy of life is summed up by the sayings that she works in cross-stitch and covers every possible surface of her cottage, as well as foisting them upon the neighbours, and there is a sound-track of references to the music of Margery's younger days.
The story explores the gentrification of Brunswick with long time residents having to cope with the ways of incomers, including immigrants. It's a story of many betrayals and secrets, but also kindnesses. Margery and Walter's relationship with next-door Mrs Parsons is touching, and Mrs Parsons' death and the backstory of her life that we gradually become aware of is moving.
Many of the characters - and they are memorably depicted - are elderly, and the novel serves to highlight elder abuse, neglect and the availability of services, but too often the black humour slips into farce, and for me the awkward structure and changes of voice interrupted the narrative flow.
I haven't read this author's highly acclaimed The Dressmaker but I will add it to my list as she makes sharp observations and creates larger-than-life characters. This one though, was a bit of a disappointment, despite some real strengths.
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Bree
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Feb 08, 2012 12:38am
I've been thinking of reading this one as I heard it praised on the First Tuesday Book Club. It sounds so depressing! I'm glad I read your review first, from the cover it looks like a totally different read, lol.
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I agree, humour *is* so subjective. What could have made the narrative more compelling, do you think? More sympathy for Margery? Stronger identification with her? Or was it the subject matter that made it slow going?
I have been thinking about your question, Elizabeth, and I think it's to do with both characterisation and the lack of poignancy in the telling. Most characters other than Margery and Mrs Parsons are just so awful they verge on caricature. No shades of grey. And the storyline from an elderly woman's POV shows Margery as a victim of circumstance and the people in her life. Her powerlessness leads her to blinker her view of her world; a world that we as readers can only shudder at. There should be more poignancy :). I don't want to put people off reading this book - there are many strengths and you will find far more glowing reviews than mine on GR.
You make some really valid points, Judi.If authors start looking at feedback of this type, it can only help their writing. That's why I love honest reviews. Other people reading your opinion will make up their own mind, of course - but, in some ways, it even makes the book seem more interesting, because we can enter into a conversation about it.
Have you read Katherine Stewart's Men of Bad Character? That one had very mixed reviews, too.
I agree that honest reviews are good, Elizabeth but dispute that authors learn from them. Readers' reactions are generally too varied and subjective for that - the very thing many readers hate other readers love.I know a lot of writers and they all say that even professional reviewers don't have the space or the training to say anything helpful to authors in their reviews. That's OK. Reviews are for readers. We don't have a tradition of real literary criticism in Australia.
The real engagement we get with our work happens if we're lucky enough to get good professional editing in the lead up to publication. There's a depth of critique and level of detail there that cannot be imagined until you've gone through the process. Having said that, it's interesting and sometimes a little alarming to see just how varied readers' takes on the same work are.
'A book review is a conversation that excludes the author of the book.' Terrific article on reviewing by Adam Mars Jones who just won Hatchet job of the year award:http://www.guardian.co.uk/books...
Thanks for your thoughts, Claire and Elizabeth. I agree that the writer must be true to the story that they need to tell, and that truth will resonate with some readers more than others. As readers, we can only call it as we find it at the particular time of reading. I have come back to some books that on first reading I responded to in a lukewarm way, only to find them a different experience altogether. The book hadn't changed :) I think the writer / editor partnership is crucial, as you say, Claire. The editor can provide such valuable impartial insight. It is a rare self-published book indeed that doesn't demonstrate a need for editorial input. The Guardian article is terrific. Authors are so brave to put their creations out there and then lose all control of what happens next.
