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Is it Her?
One painting.
Two authors.
Two very different stories.
Inspired by Rod Buckingham's enigmatic 'Is it Her?', Jonathan Hill and Kath Middleton present two novellas, their own takes on this painting.
Is it Her? - Jonathan Hill
The celebration, as Violet so determinedly put it, is falling away before their eyes. Her attempt at buoying up everyone has resulted only in her being drawn farther into a web so complex that no one thread can ever lead to the entire truth. Violet. Cliff. Tom. Jack. Each holds and withholds. Each knows and doesn't know. Each chooses what and what not to say. The picture can never be complete for any of them. Never.
Tonight four sit round a table playing cards. Tomorrow two leave to fight. Over an evening already fraught with tension, emotions run deep and life-shattering secrets threaten to escape.
Is it Her? - Kath Middleton
I'm quite ashamed to remember how rarely we spoke about the politics of the day. The dark cloud that loomed over all our futures. We were simply looking the other way.
Frank and Vera fall in love the summer before the war. They vow that when it's all over they'll marry. But war has a way of tearing lives apart.
Two authors.
Two very different stories.
Inspired by Rod Buckingham's enigmatic 'Is it Her?', Jonathan Hill and Kath Middleton present two novellas, their own takes on this painting.
Is it Her? - Jonathan Hill
The celebration, as Violet so determinedly put it, is falling away before their eyes. Her attempt at buoying up everyone has resulted only in her being drawn farther into a web so complex that no one thread can ever lead to the entire truth. Violet. Cliff. Tom. Jack. Each holds and withholds. Each knows and doesn't know. Each chooses what and what not to say. The picture can never be complete for any of them. Never.
Tonight four sit round a table playing cards. Tomorrow two leave to fight. Over an evening already fraught with tension, emotions run deep and life-shattering secrets threaten to escape.
Is it Her? - Kath Middleton
I'm quite ashamed to remember how rarely we spoke about the politics of the day. The dark cloud that loomed over all our futures. We were simply looking the other way.
Frank and Vera fall in love the summer before the war. They vow that when it's all over they'll marry. But war has a way of tearing lives apart.
97 pages, Kindle Edition
First published March 26, 2016
2 people are currently reading
14 people want to read
About the author
Jonathan Hill
25 books76 followersJonathan Hill is an author from Manchester, UK.
His work isn’t confined to one genre, but he has already published a number of gay literary fiction books to high critical acclaim. His debut novel 'FAG', a hard-hitting story set in an English boarding school in the 1930s, was named as the overall winner in the Self-Published and Small Press 2014 Book Awards.
He has also penned the hit comedy series of Maureen books, in addition to numerous short stories and 100-word drabbles. Jonathan firmly believes that writing should not only entertain but also enhance and change the way readers view the world.
When he’s not writing and working as a pharmacist, he enjoys painting, photography and going to the theatre.
www.jhillwriter.com
www.fagthenovel.com
His work isn’t confined to one genre, but he has already published a number of gay literary fiction books to high critical acclaim. His debut novel 'FAG', a hard-hitting story set in an English boarding school in the 1930s, was named as the overall winner in the Self-Published and Small Press 2014 Book Awards.
He has also penned the hit comedy series of Maureen books, in addition to numerous short stories and 100-word drabbles. Jonathan firmly believes that writing should not only entertain but also enhance and change the way readers view the world.
When he’s not writing and working as a pharmacist, he enjoys painting, photography and going to the theatre.
www.jhillwriter.com
www.fagthenovel.com
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Displaying 1 - 16 of 16 reviews
June 14, 2021
Two great novellas, with a common inspiration in the painting which forms the book's cover. They are very different with the only point in common being that both commence during World War II. I loved the tension and drama of the first, with its opening scene of three men and one woman sitting around a kitchen table during the blackout, on the evening before two of the men about to depart for the front. The present tense used and superb dialogue meant that this was almost akin to a stage play. The second story has an emotional power, being told by the three characters in the painting, each giving their own viewpoint on a romance cut short by war but perhaps with hope at the end. A thoroughly enjoyable read, hence 5 stars.
August 12, 2016
The concept of this book, which I thought was really refreshing, is that two writers each have a go at interpreting a painting. So what we have here is two well-crafted, surprising novellas in one volume.
For its original and striking plot alone, the first novella gets five stars. It actually reminds me of a play, in that the action is confined to one setting for most of it. And when I say confined, what I mean is that it is claustrophobic. Which is a good thing. This plot is as tense as a fishing line.
The story takes place during World War II, and the bombings and conscription knocking on the door of the characters’ lives only add to the sense of claustrophobia. This was a time when people couldn’t talk about certain things. So they were limited to their actions. And this led to unusual and often tragic situations, such as the one described in this novella. The mounting suspense is helped along by some lovely description and the piece is full of portents, like rising smoke, a cat of a certain colour and— well I don’t want to spoil the story, so I will let you read it for yourself.
The second story is just as good – another five stars from me – and written in a conversational style that flows so smoothly it draws you in before you even know what’s happening. I found the details about World War II realistic and interesting (a balance that isn’t easy to achieve), as the narrator gets into the air in a Wellington bomber. Actually, I found it completely immersive and never for a second doubted that the events actually happened. And while the war is going on, romance is blossoming back home. What I like about this part of the story, the romantic point of it all, is how realistic it is and gently handled.
Another thing I'm impressed by is the choice of language. Phrases like ‘miserable beggar’ and ‘done for’ might not sound impressive read out of context, but in the story they’re the exact right choices to make me believe that all of this actually happening and that this character is real. I even learnt a new word: bogie. But I’ll let you read the story to find out what it means. And it’s probably not what you think.
After finding love and learning to fly, the story changes completely. As with the novella above, I really don’t want to spoil the plot for anyone. I’ll just say that loved one particular pair of really well drawn and surprising characters. And I loved the ending – it was poignant and perfect.
I would like to read more from Kath Middleton in this style, because the voice and setting really appeals to me. I’m a sucker for anything to do with the Second World War, but even if I wasn’t I think I would still enjoy this novella for its narrative drive, realistic love story and wonderful characters.
For its original and striking plot alone, the first novella gets five stars. It actually reminds me of a play, in that the action is confined to one setting for most of it. And when I say confined, what I mean is that it is claustrophobic. Which is a good thing. This plot is as tense as a fishing line.
The story takes place during World War II, and the bombings and conscription knocking on the door of the characters’ lives only add to the sense of claustrophobia. This was a time when people couldn’t talk about certain things. So they were limited to their actions. And this led to unusual and often tragic situations, such as the one described in this novella. The mounting suspense is helped along by some lovely description and the piece is full of portents, like rising smoke, a cat of a certain colour and— well I don’t want to spoil the story, so I will let you read it for yourself.
The second story is just as good – another five stars from me – and written in a conversational style that flows so smoothly it draws you in before you even know what’s happening. I found the details about World War II realistic and interesting (a balance that isn’t easy to achieve), as the narrator gets into the air in a Wellington bomber. Actually, I found it completely immersive and never for a second doubted that the events actually happened. And while the war is going on, romance is blossoming back home. What I like about this part of the story, the romantic point of it all, is how realistic it is and gently handled.
Another thing I'm impressed by is the choice of language. Phrases like ‘miserable beggar’ and ‘done for’ might not sound impressive read out of context, but in the story they’re the exact right choices to make me believe that all of this actually happening and that this character is real. I even learnt a new word: bogie. But I’ll let you read the story to find out what it means. And it’s probably not what you think.
After finding love and learning to fly, the story changes completely. As with the novella above, I really don’t want to spoil the plot for anyone. I’ll just say that loved one particular pair of really well drawn and surprising characters. And I loved the ending – it was poignant and perfect.
I would like to read more from Kath Middleton in this style, because the voice and setting really appeals to me. I’m a sucker for anything to do with the Second World War, but even if I wasn’t I think I would still enjoy this novella for its narrative drive, realistic love story and wonderful characters.
March 27, 2016
What a great concept with some equally great writing!
I found the first story by Jonathan Hill to be atmospheric, tense and claustrophobic - all in a very good way!
From the off you get the feeling the celebration isn't quite as it should be which gives it a page turner feel. There's a great sense of time evoked in the tale too. Partly from the striking artwork but mostly from the words.
The second story has a less claustrophobic feel but is no less punchy for it. A very strong feeling of time and place was evoked in all of the descriptive passages.
I had to know what was going to happen to the main characters and I found the ending to be extremely satisfying. Especially, I might add, after reading the final page.
Two very different stories but with hope as the enduring emotion at the end.
Thoroughly enjoyable.
I found the first story by Jonathan Hill to be atmospheric, tense and claustrophobic - all in a very good way!
From the off you get the feeling the celebration isn't quite as it should be which gives it a page turner feel. There's a great sense of time evoked in the tale too. Partly from the striking artwork but mostly from the words.
The second story has a less claustrophobic feel but is no less punchy for it. A very strong feeling of time and place was evoked in all of the descriptive passages.
I had to know what was going to happen to the main characters and I found the ending to be extremely satisfying. Especially, I might add, after reading the final page.
Two very different stories but with hope as the enduring emotion at the end.
Thoroughly enjoyable.
May 23, 2016
I was intrigued by this book as it was an interesting idea. Two skilled authors, each writing a novella based on the scene from a painting. The two stories were both based on wartime Britain but the tales as well as the writing styles were quite different. Both were very enjoyable, satisfying reads. I particularly like the way both authors tied their stories into the painting and the title, even including details such as the red coat. It's a lovely painting too and I can see why both authors were drawn to it.
May 12, 2016
I'll try to write a fuller review ASAP, but for now, I'll say the two stories in this book are both brilliant, emotional reads. Both are set in the era of WWII, but they are two entirely independent stories (sharing the same inspiration) with different characters, all of whom are beautifully/tragically real. The settings are vivid, the events authentic. Buy tissues.
March 27, 2016
I found the concept of this book whereby two authors look at a piece of artwork then use their craft to fill in the gaps both intriguing and stimulating. The reader also gets to study the piece as it is the cover art of the work.
The two stories are very different though the underpinning issues of love, loss and betrayal feature in each. The styles of narrative are unique to each author.
The first novella is a deep love story in every sense with marvellous, complex characters, and a tense atmospheric plot which leads to a very satisfying conclusion. The opening scene in the sitting room was full of unease and hinted enticingly of secrets still to be revealed. As the tension ramped, I had to remind myself to breathe. The literary quality of the prose was exquisite and memorable.
The second story was told from the perspective of the three people who feature in the painting: Frank, who has to leave his first love to fly in terrifying raids over Germany. Vera, who finds the strength to carry on her ordinary life in extraordinary times and finally the watcher who is a bystander as the tale reaches its unexpected conclusion. This novella was in turn moving, compelling and poignant.
In keeping with the artful premise I will finish with the maxim that many of the most detail perfect portraits are found in miniature format and this was indeed a masterpiece in miniature.
The two stories are very different though the underpinning issues of love, loss and betrayal feature in each. The styles of narrative are unique to each author.
The first novella is a deep love story in every sense with marvellous, complex characters, and a tense atmospheric plot which leads to a very satisfying conclusion. The opening scene in the sitting room was full of unease and hinted enticingly of secrets still to be revealed. As the tension ramped, I had to remind myself to breathe. The literary quality of the prose was exquisite and memorable.
The second story was told from the perspective of the three people who feature in the painting: Frank, who has to leave his first love to fly in terrifying raids over Germany. Vera, who finds the strength to carry on her ordinary life in extraordinary times and finally the watcher who is a bystander as the tale reaches its unexpected conclusion. This novella was in turn moving, compelling and poignant.
In keeping with the artful premise I will finish with the maxim that many of the most detail perfect portraits are found in miniature format and this was indeed a masterpiece in miniature.
April 27, 2016
This is a book of two halves, literally: it consists of two novellas each inspired by the same painting. The painting itself is atmospheric and compelling, begging to have its story told, so it is fascinating to read two possible stories by these two accomplished writers.
Both are set around the Second World War, and both are love stories, but there the similarities end. JH’s is a tense, brittle account where every word is weighed, beginning with a claustrophic family evening and, through war intervenes, barely allowing us out of that closeknit relationship which is not all it seems, even though we see into the minds of each of the characters in turn. KM’s has a broader range and setting, which moves from prewar ideals to two parallel and deeply tragic war stories, which are themselves enveloped in a love story with a tension of its own. Both stories accomplish a range which is impressive in a novella. Both use the painting as a scene of high emotion in their narrative – and most importantly, both mention the dog!
Both are set around the Second World War, and both are love stories, but there the similarities end. JH’s is a tense, brittle account where every word is weighed, beginning with a claustrophic family evening and, through war intervenes, barely allowing us out of that closeknit relationship which is not all it seems, even though we see into the minds of each of the characters in turn. KM’s has a broader range and setting, which moves from prewar ideals to two parallel and deeply tragic war stories, which are themselves enveloped in a love story with a tension of its own. Both stories accomplish a range which is impressive in a novella. Both use the painting as a scene of high emotion in their narrative – and most importantly, both mention the dog!
June 23, 2017
Two writers, Jonathan Hill and Kath Middleton, have each produced a tale based on a painting by Rod Buckingham. The first tale finds four characters spending an evening together on the eve of war. The mood is tense, unsurprisingly, yet there are other reasons for the tensions that are bubbling away beneath the surface. The first part of this tale felt like watching a stage play, and I could imagine it being adapted for the stage. The second tale, again set in the context of war, is very different, and uses three perspectives to great effect. The style here contrasts beautifully with the first tale. Apart from the undoubted poignancy and depth of these two tales, there is the fascination in watching them move towards the image captured in the painting – a painting that implies a narrative. The two writers have taken very different, and equally imaginative, routes to interpret what this narrative might be, and both ultimately have produced fine, satisfying, thought-provoking tales that resonate with Rod Buckingham’s intriguing painting. A brilliant idea and a thoroughly enjoyable read. Highly recommended!
June 8, 2016
I like the concept behind Is It Her? Two fine writers interpreting the art work of the cover to produce a pair of novellas that complement each other in terms when read together.
There are similarities, as you might expect. Each has a wartime theme and each deals with a reunification of sorts after the world has been ripped apart by violence.
The opener, by Jonathan Hill is a taught, tense piece that explores the lives of four people whose lives are interlinked as they sit playing cards. Two of the men are going off to fight the next day. The situation brings out issues for everyone as they try to come to terms with what’s about to happen. The emotional weight of it bears down on them all and soon the cracks in their world begin to appear and then to widen.
This story has the feel of an edgy piece of theatre to it. The confines of the setting and the sharply drawn lines kept me in mind of a play where the claustrophobia is palpable and the tale is told as much through the actions of the characters as their words.
Kath Middleton paints with broader brushes. Her story is told in two parts, each from the perspective of pre-war sweethearts as they struggle with the events that wartime brings. The arc of each story is huge and Middleton has done a good job of condensing the tale into a novella. There are tasters of what it was like to live through a war from the battlegrounds of the air and on the home-front and neither side had it easy.
Each piece works perfectly well in its own right. The fact that they come together adds value to each and I reckon there’s more mileage in projects such as this for these authors in the future.
There are similarities, as you might expect. Each has a wartime theme and each deals with a reunification of sorts after the world has been ripped apart by violence.
The opener, by Jonathan Hill is a taught, tense piece that explores the lives of four people whose lives are interlinked as they sit playing cards. Two of the men are going off to fight the next day. The situation brings out issues for everyone as they try to come to terms with what’s about to happen. The emotional weight of it bears down on them all and soon the cracks in their world begin to appear and then to widen.
This story has the feel of an edgy piece of theatre to it. The confines of the setting and the sharply drawn lines kept me in mind of a play where the claustrophobia is palpable and the tale is told as much through the actions of the characters as their words.
Kath Middleton paints with broader brushes. Her story is told in two parts, each from the perspective of pre-war sweethearts as they struggle with the events that wartime brings. The arc of each story is huge and Middleton has done a good job of condensing the tale into a novella. There are tasters of what it was like to live through a war from the battlegrounds of the air and on the home-front and neither side had it easy.
Each piece works perfectly well in its own right. The fact that they come together adds value to each and I reckon there’s more mileage in projects such as this for these authors in the future.
June 4, 2016
A fantastic concept for a book, a pair of novellas both inspired simply by the piece of artwork that adorns the cover and both titled 'is it her?' - the first, byJonathan Hill is a fantastic example of how to write brilliant dialogue. The majority of the story takes place in one room, and the tension is expertly conveyed. The second, by Kath Middleton, is a beautiful tale of longing and how so many lives were affected during the war, that somehow manages to span decades in such a short piece of work. Both are a fantastic read and beautifully crafted.
April 16, 2016
Drama teachers are aware of a technique which involves presenting a photograph or painting to a group of students and asking them to improvise the circumstances leading up to the moment the image frozen in the frame occurs. The students can also be invited to improvise the development of the action beyond the frozen image and project the characters into the future: a 'What Happened Next?' exercise.
As a drama teacher I was rarely satisfied with this technique because it often resulted in superficial outcomes and working in a busy drama department there was rarely the time for the students to explore the technique in depth or layer in ever greater complexity.
However, Kath Middleton and Jonathan Hill have shown that the technique provides a wonderful stimulus for writers, not least because they obviously have had the time and motivation to develop the necessary complexities and create stories of depth and significance which resonate far beyond the original frozen image.
'Is it Her?', an intriguing picture by artist Rod Buckingham, is the visual stimulus chosen by the writers for their independent novellas both of which have been written without collusion. The painting depicts a bend in a cobbled road somewhere in a town or village. Terraced houses with red doors line up on either side of the bend but are separated by a gap. Linking the houses across this gap is a set of curved, iron railings. The houses and railings appear to be on a hill or a rise, overlooking a hidden landscape, possibly a plain or sea; perhaps a pond. The sky is overcast and filled with dense banks of louring cloud which extend all the way to the barely visible horizon. The cobbled road glistens beneath the pouring rain. A woman in an arresting red coat or dress stands at the railings holding aloft an opened and equally arresting bright red umbrella. The woman's back is to us as she looks out across the sea or plain towards the horizon. In the foreground of the picture an Austin Seven is parked, its bonnet towards us. The engine is running and puffs of smoke issue from the exhaust. The driver has just got out of the car and has started walking towards the woman in red. His back is also to us. In the road, to the driver's right, is another figure, possibly an old man. He carries a stick and is walking his dog. His back is to us as well. The period could be any time in the 1930s or 1940s. The scene is dismal but conveys a strong impression of mystery: there is a quality of suspense, as though something tumultuous is about to happen.
The gap between the terraced houses implies dissolution, fracture, separation yet the railings linking the two sets of houses like fragile black hairs suggest that a tenuous connection is retained and not all hope is lost. The setting is grey and bleak yet on the doors and on the woman's dress and umbrella the strongly contrasting presence of the colour red, the colour of blood, life and animation, provides a vivid contrast with the drab, prosaic setting and suggests survival, continuance, and the triumph of life over death. The principal figures in the painting are both engaged in some kind of search yet there is distance between all three which implies alienation. What intense yearning or longing motivates the woman to wait patiently in the pouring rain searching the horizon? Or is she merely waiting for a lift into town? Is there a complex relationship between the motorist and the woman or has he simply stopped to ask directions? What is the significance of the man with the dog?
The picture's semiotics are perfectly incorporated within the novellas it inspires. I will not commit the sin of divulging the plot of either. However, in both novellas the Second World War is a vital catalyst: transforming lives and sending them spinning off in totally different directions, creating unforeseen and unexpected character arcs. Kath Middleton's 'Is it Her?' is the more epic. It begins with a pre-war romance in which only one of the parties truly appreciates the threat the coming conflict presents to the future happiness of ordinary lives. Exceptionally well researched, it follows the characters for the period of the war and with many realistic and authentic details chronicles their anxieties, terrors and tragedies. On the way it beautifully evokes the tenor of those times: the enforced cheerfulness, infectious camaraderie, blind faith, daily hardships and disappointments. Yet the work also surprises us by finding altruism in unexpected places and by confounding clichés and stereotypes. It reveals the best in people and the worst in people. I particularly admired the skill with which Kath Middleton presents this wonderful, great sweep of a story within the limited canvas of a novella and tells it from the points of view of different characters; also her metaphorical use of the colour red which beautifully acts as a leitmotif throughout. The story ends at the frozen moment in the artist's frame but, like Keats' Grecian Urn, the uncompleted act tantalisingly suspends us between present and future. We savour the irony of knowing so much more than the characters and can only speculate on the shock, sadness, relief, amazement and delight with which the extraordinary information they have to impart to each other will be received. We ask whether they can ever be what they once were to each other again. The best stories do not end with the final word but continue resonating in the minds of their readers encouraging them to supply what has been deliberately omitted.
The events of 'Is it Her?' by Jonathan Hill principally occupy one night in which two men are preparing to leave their loved ones and set off for the war. Jonathan Hill creates with a sure economy the atmosphere of apprehension, dread, anger and reflectiveness that one would naturally associate with such circumstances. The novella is written in the present tense which is a masterly choice because it gives the piece compelling immediacy, but Jonathan Hill also uses it with great technical skill to suggest that, although the wartime situation is understandably tense, the hidden secrets of certain characters are generating an additional subtext which imbues their most innocuous acts or words with social danger and a threat of impending dissolution and chaos. This creates an electric atmosphere of tension and suspense and produces powerful drama. Jonathan Hill also cleverly uses the frustrating restrictions and limitations imposed by the wartime blackout to unbearably ratchet up the frustration and create even more tension. When the moment of awful revelation comes, the superb quality of the writing ensures that it is traumatic for all concerned, including the reader. The revelation also provides us with a delicious sense of that dramatic irony that can only be appreciated in retrospect when the assistance of elapsed time affords us the opportunity at the end of the story to look back and see the powerful subtext suffusing the work. Using a most ingenious point of view, Jonathan Hill takes us up to and beyond the moment frozen in the artist's frame, provides yet more tragedy and projects us into the future. Finally, he supplies a poignantly moving coda which incorporates regeneration and hope and affords us a glimpse of the better world that will arise from the ashes.
The two novellas in their different ways are superbly inventive and their resolutions poignant and moving. They provide very different interpretations of the painting but both reflect the consequences of war, the profound revelations those consequences produce and the dramatic ironies they create for the reader. In Jonathan Hill's case the ironies are strongly foregrounded; in Kath Middleton's they are more oblique yet, ultimately, in both cases, the ironies are brought about by the retrospective enlightenment afforded by historical perspective. None of the principal characters in either novella are untouched by death, yet both stories illustrate that when much is lost, out of the ruins something may also be gained. Therefore, despite everything, their resolutions are positive. Both novellas are complex works in miniature and they are highly recommended.
As a drama teacher I was rarely satisfied with this technique because it often resulted in superficial outcomes and working in a busy drama department there was rarely the time for the students to explore the technique in depth or layer in ever greater complexity.
However, Kath Middleton and Jonathan Hill have shown that the technique provides a wonderful stimulus for writers, not least because they obviously have had the time and motivation to develop the necessary complexities and create stories of depth and significance which resonate far beyond the original frozen image.
'Is it Her?', an intriguing picture by artist Rod Buckingham, is the visual stimulus chosen by the writers for their independent novellas both of which have been written without collusion. The painting depicts a bend in a cobbled road somewhere in a town or village. Terraced houses with red doors line up on either side of the bend but are separated by a gap. Linking the houses across this gap is a set of curved, iron railings. The houses and railings appear to be on a hill or a rise, overlooking a hidden landscape, possibly a plain or sea; perhaps a pond. The sky is overcast and filled with dense banks of louring cloud which extend all the way to the barely visible horizon. The cobbled road glistens beneath the pouring rain. A woman in an arresting red coat or dress stands at the railings holding aloft an opened and equally arresting bright red umbrella. The woman's back is to us as she looks out across the sea or plain towards the horizon. In the foreground of the picture an Austin Seven is parked, its bonnet towards us. The engine is running and puffs of smoke issue from the exhaust. The driver has just got out of the car and has started walking towards the woman in red. His back is also to us. In the road, to the driver's right, is another figure, possibly an old man. He carries a stick and is walking his dog. His back is to us as well. The period could be any time in the 1930s or 1940s. The scene is dismal but conveys a strong impression of mystery: there is a quality of suspense, as though something tumultuous is about to happen.
The gap between the terraced houses implies dissolution, fracture, separation yet the railings linking the two sets of houses like fragile black hairs suggest that a tenuous connection is retained and not all hope is lost. The setting is grey and bleak yet on the doors and on the woman's dress and umbrella the strongly contrasting presence of the colour red, the colour of blood, life and animation, provides a vivid contrast with the drab, prosaic setting and suggests survival, continuance, and the triumph of life over death. The principal figures in the painting are both engaged in some kind of search yet there is distance between all three which implies alienation. What intense yearning or longing motivates the woman to wait patiently in the pouring rain searching the horizon? Or is she merely waiting for a lift into town? Is there a complex relationship between the motorist and the woman or has he simply stopped to ask directions? What is the significance of the man with the dog?
The picture's semiotics are perfectly incorporated within the novellas it inspires. I will not commit the sin of divulging the plot of either. However, in both novellas the Second World War is a vital catalyst: transforming lives and sending them spinning off in totally different directions, creating unforeseen and unexpected character arcs. Kath Middleton's 'Is it Her?' is the more epic. It begins with a pre-war romance in which only one of the parties truly appreciates the threat the coming conflict presents to the future happiness of ordinary lives. Exceptionally well researched, it follows the characters for the period of the war and with many realistic and authentic details chronicles their anxieties, terrors and tragedies. On the way it beautifully evokes the tenor of those times: the enforced cheerfulness, infectious camaraderie, blind faith, daily hardships and disappointments. Yet the work also surprises us by finding altruism in unexpected places and by confounding clichés and stereotypes. It reveals the best in people and the worst in people. I particularly admired the skill with which Kath Middleton presents this wonderful, great sweep of a story within the limited canvas of a novella and tells it from the points of view of different characters; also her metaphorical use of the colour red which beautifully acts as a leitmotif throughout. The story ends at the frozen moment in the artist's frame but, like Keats' Grecian Urn, the uncompleted act tantalisingly suspends us between present and future. We savour the irony of knowing so much more than the characters and can only speculate on the shock, sadness, relief, amazement and delight with which the extraordinary information they have to impart to each other will be received. We ask whether they can ever be what they once were to each other again. The best stories do not end with the final word but continue resonating in the minds of their readers encouraging them to supply what has been deliberately omitted.
The events of 'Is it Her?' by Jonathan Hill principally occupy one night in which two men are preparing to leave their loved ones and set off for the war. Jonathan Hill creates with a sure economy the atmosphere of apprehension, dread, anger and reflectiveness that one would naturally associate with such circumstances. The novella is written in the present tense which is a masterly choice because it gives the piece compelling immediacy, but Jonathan Hill also uses it with great technical skill to suggest that, although the wartime situation is understandably tense, the hidden secrets of certain characters are generating an additional subtext which imbues their most innocuous acts or words with social danger and a threat of impending dissolution and chaos. This creates an electric atmosphere of tension and suspense and produces powerful drama. Jonathan Hill also cleverly uses the frustrating restrictions and limitations imposed by the wartime blackout to unbearably ratchet up the frustration and create even more tension. When the moment of awful revelation comes, the superb quality of the writing ensures that it is traumatic for all concerned, including the reader. The revelation also provides us with a delicious sense of that dramatic irony that can only be appreciated in retrospect when the assistance of elapsed time affords us the opportunity at the end of the story to look back and see the powerful subtext suffusing the work. Using a most ingenious point of view, Jonathan Hill takes us up to and beyond the moment frozen in the artist's frame, provides yet more tragedy and projects us into the future. Finally, he supplies a poignantly moving coda which incorporates regeneration and hope and affords us a glimpse of the better world that will arise from the ashes.
The two novellas in their different ways are superbly inventive and their resolutions poignant and moving. They provide very different interpretations of the painting but both reflect the consequences of war, the profound revelations those consequences produce and the dramatic ironies they create for the reader. In Jonathan Hill's case the ironies are strongly foregrounded; in Kath Middleton's they are more oblique yet, ultimately, in both cases, the ironies are brought about by the retrospective enlightenment afforded by historical perspective. None of the principal characters in either novella are untouched by death, yet both stories illustrate that when much is lost, out of the ruins something may also be gained. Therefore, despite everything, their resolutions are positive. Both novellas are complex works in miniature and they are highly recommended.
April 21, 2022
I thoroughly enjoyed both stories, both such different stories. The first confused me, sorting out who was who at first but then so real and understandable of the time. The second had my heart in my mouth for much of the time. Clearly the story of so many families during the war. Thankfully it is a short book as I started it at breakfast and I am still in my pjs at 11:30a.m.
April 24, 2016
This book has a very interesting premise. They have each written a novella length story inspired by the painting 'Is it her' by Rod Buckingham. Both of these authors share the ability to entice me beyond the borders of my usual reading domains, and I'm always eager to read their latest releases. With this interesting concept it allowed me to compare their styles while they handle similar subject matter.
The book opens with Jonathan Hill's story which is an intimate tale of a small group having a last night together before two of them leave to fight in the war. The story plays the author's strength. He has a particular talent for emotion and this is well represented here. As the evening unfolds you discover more about the loves and fears, and also the secrets that bind, and separate them.
As with his previous books, the story is very well written, he has a real talent for word play which always make his stories a joy to read. The pacing is solid and for the most part fits the length of the story. There is an odd miss-beat near the end with a large jump in the timeline, although there is a purpose for this, it adds a discordant note. The final scene recovers this, and ends the tale in style.
Kath Middleton's story follows a similar them, although the details are very different. It's also told in a very different style. It has the feel of a memoir, or two memoirs as it is told from two perspectives. It's also set against the background of the war, and that also plays a more overt role in the story. The plot follows a slightly more expected line than the earlier story, but also contains a wider scope.
And right there we have the more obvious contrast. Jonathan Hill's story is much closer, with much more personal revelations. Kath Middleton paints with broader strokes, but on a larger canvas. I also enjoyed how they both brought their stories back into the painting. To conclude, the book is an excellent read by two master story tellers.
The book opens with Jonathan Hill's story which is an intimate tale of a small group having a last night together before two of them leave to fight in the war. The story plays the author's strength. He has a particular talent for emotion and this is well represented here. As the evening unfolds you discover more about the loves and fears, and also the secrets that bind, and separate them.
As with his previous books, the story is very well written, he has a real talent for word play which always make his stories a joy to read. The pacing is solid and for the most part fits the length of the story. There is an odd miss-beat near the end with a large jump in the timeline, although there is a purpose for this, it adds a discordant note. The final scene recovers this, and ends the tale in style.
Kath Middleton's story follows a similar them, although the details are very different. It's also told in a very different style. It has the feel of a memoir, or two memoirs as it is told from two perspectives. It's also set against the background of the war, and that also plays a more overt role in the story. The plot follows a slightly more expected line than the earlier story, but also contains a wider scope.
And right there we have the more obvious contrast. Jonathan Hill's story is much closer, with much more personal revelations. Kath Middleton paints with broader strokes, but on a larger canvas. I also enjoyed how they both brought their stories back into the painting. To conclude, the book is an excellent read by two master story tellers.
April 26, 2016
The two authors have taken a beautifully detailed painting by talented artist Rod Buckingham as the starting point for their latest work. They've each written a novella which explores their separate response to this one painting.
The painting is rich in narrative potential and I defy anyone not to start making up their own story as they study the image.
However, apart from the shared starting point and a setting in the years around the Second World War, the novellas are very different.
Jonathan Hill has again demonstrated his ability to create dark, intense atmosphere as he explores intimate secrets between a quartet of disparate yet closely linked individuals. The storyline reflects the strains and stresses of the war-time era. However, the personal conflicts and tragedies that develop are the focus for this first 'Is it Her?' novella.
Kath Middleton presents a sweeping overview of the same period in history which incorporates one of the most awful tales of war-time betrayal that I've ever read. The perspective of younger people is explored with sensitivity and insight in the context of a war-time romance which has a warm and unexpected conclusion.
Both novellas are a pleasure to read. Each author demonstrates an expertise in writing on the smaller scale with depth and complexity. It was fascinating to observe how they both used the painting to stimulate their writing in such different ways. Highly recommended.
The painting is rich in narrative potential and I defy anyone not to start making up their own story as they study the image.
However, apart from the shared starting point and a setting in the years around the Second World War, the novellas are very different.
Jonathan Hill has again demonstrated his ability to create dark, intense atmosphere as he explores intimate secrets between a quartet of disparate yet closely linked individuals. The storyline reflects the strains and stresses of the war-time era. However, the personal conflicts and tragedies that develop are the focus for this first 'Is it Her?' novella.
Kath Middleton presents a sweeping overview of the same period in history which incorporates one of the most awful tales of war-time betrayal that I've ever read. The perspective of younger people is explored with sensitivity and insight in the context of a war-time romance which has a warm and unexpected conclusion.
Both novellas are a pleasure to read. Each author demonstrates an expertise in writing on the smaller scale with depth and complexity. It was fascinating to observe how they both used the painting to stimulate their writing in such different ways. Highly recommended.
April 19, 2016
A wonderful concept for a novella, wherein two authors have taken a painting and used it as inspiration for writing two separate stories. A novel idea and it made for a great read, which shows that ideas are nothing for a writer to be precious about: despite both focussing on the second world war, the stories both differ in style and plot and pacing.
The first story by Jonathan Hill opens with such an air of tension and presence that as a reader I felt I was in the room with the characters. This is driven mainly by the wonderful use of realistic dialogue (particularly the opening scene), much of which put me in mind of Harold Pinter’s writing for plays such as The Birthday Party and The Caretaker.
The strength of the second story by Kath Middleton, for me is a real sense of time and place, and the masterful way in which so many years are incorporated into so few words, yet remained poignant and rippling with anguish.
Both would be excellent catalysts for lengthier stories, but even as they are, they come highly recommended.
The first story by Jonathan Hill opens with such an air of tension and presence that as a reader I felt I was in the room with the characters. This is driven mainly by the wonderful use of realistic dialogue (particularly the opening scene), much of which put me in mind of Harold Pinter’s writing for plays such as The Birthday Party and The Caretaker.
The strength of the second story by Kath Middleton, for me is a real sense of time and place, and the masterful way in which so many years are incorporated into so few words, yet remained poignant and rippling with anguish.
Both would be excellent catalysts for lengthier stories, but even as they are, they come highly recommended.
October 16, 2016
Is It Her? is a book of two stories by two authors base on one painting. Since they are based on the same painting, they are similar in that they are based in war-time, but that's where the similarities end.
Jonathan Hill's story is tense and insular. Set the night before he has to go to war, Cliff's relationships are not quite what they seem.
Kath Middleton's story is of young love being destroyed by war when Frank's plane gets shot down over Germany.
Of the two, I preferred Kath's as I liked the young boy and his mother.
Jonathan Hill's story is tense and insular. Set the night before he has to go to war, Cliff's relationships are not quite what they seem.
Kath Middleton's story is of young love being destroyed by war when Frank's plane gets shot down over Germany.
Of the two, I preferred Kath's as I liked the young boy and his mother.
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