Even when women have taken over the world, fear lingers.
It is a deep-rooted fear of men. Not of the men they know, who they keep in their houses and make decisions for. But the fear of strange men; those without a controlling, subduing factor in their lives, prone to anger and violence. Because the sisterhood cannot conceive of any one man on his own who is good, and kind, and loving. They teach nonviolence as one of the main tenets of the Habits of Humanity, but when it comes down to it, these women are as capable of violence as the next man.
When a strange man appears on her doorstep with a very sick boy in tow, Kate must decide whether to give in to her fear and chase them away, or to help them. But her decisions, as slowly, as carefully, as distrustfully, as she makes them has repercussions on everyone: herself, her family, the man and his son, her community, the policies and laws that guide their new lives.
Women's Work starts off a little choppily, giving a glimpse through the main protagonist's eyes of the changed world that she lives in; it's not until the middle of the chapter, when she reaches the market, that names are assigned and identities established. Kari Aguila guides you gently into this strange, inconceivable world, where women finally have the upper hand. She's not all complimentary - Patrice and some of the women hold very extreme positions; Iris has her issues and has single-handedly built this community to where it is, but she is sympathetic enough to listen; Rhia and Sarah bring thoughtful, careful balance.
But at the core of it, as all our lives must be, it is Kate's own decisions and Kate's own heart that must guide her. She is wary, distrustful, and so is the stranger at her doorstep - him more so, because he has much more to lose. The need to value people as people is as urgent and important as ever, whether they are male or female. And though Kate is comfortable with the new society she lives in now, she also wonders - what's in store for her son? Will Jonah be able to be the doctor he wants to be? What's the terrifying age when he suddenly changes from an innocent child into a dangerous man? No one knows yet. They are the pioneers.
Aguila writes in third person, present tense, forming a very dream-like story; here, but not here, happening, but happened. It slows you down in your reading, helping you to savour the thoughts that are being thrown up. It's not entirely to my preference, but it works, for this story at least. It centres you on Kate's fears, the way she mistrusts people, even herself, the way she gradually opens up, the betrayal she feels over and over again.
If there's anything that doesn't work, it's the way that the ending feels rushed. I would have liked to see a little of what happens in between chapter 20 and the epilogue-like chapter 21, instead of a few summarising paragraphs.
* Note: I received a review copy via Edelweiss.