Don’t worry about the blurb, just start reading. This is a clever and erudite read but accessible! Makes you feel like these whip-smart dark comics have packed you into a van with them and are taking you for a ride across northern Europe, letting you sit in on their banter, their arguments, their weird discussions. The story is told mostly by the dialogue between three men and their father: all of them perceptive and intelligent in that very English way that produces such fantastic stand up. Sure, the boys are taking their father to Dignitas, but it’s not a quiet journey. The boys are brought up to talk, and they do. Brilliantly.
State Highway One is a disturbing read. Gripping, though. As fast paced as the car roaring down those familiar NZ roads at death defying speed with the deranged, drunk, sleepless boy at the wheel and his harpy twin sister lighting his cigarettes and talking in his ear. He loses her occasionally but she always finds him again. Weird, that.
They’re both selfish, unlikable kids. They’re made that way by their selfish, unlikable parents who are Auckland mega-celebs: rich movie moguls who trot the globe and abandon their kids in the swanky party pad to finish their private schooling free-range. Do people like this really exist? Feels very LA, but perhaps Auckland is heading that way and growing a generation of rich, entitled brats.
It’s pretty bold, calling your book Love. You’ve got to be confident to think anyone will find you on google with that title. So this is a destination book, for those of us who already love Roddy Doyle (me). And the cover is unbelievably gorgeous.
This is a modern day love story, where loves are described by two increasingly drunk old friends across a collection of Dublin’s pubs. The love is off the page, we don’t meet any of the beloved. It’s one guy talking most of the time — that’s Joe gabbing about meeting up again with a girl the men both fancied way back and leaving his wife for her (don’t get him wrong, he loves his wife but this is different); and our man listening — that’s Davie, frustrated by Joe’s circuitous story, thinking of his wife at home in England, how they met, why he loves her.
The poor wean. There’s love, but it’s inconsistent and unreliable, a selfish love given up in tiny doses. There’s food, occasionally, perhaps a tin of custard. I’m thinking of Maslow’s hierarchy of needs and realise Shuggie doesn’t even get off the ground floor. He can’t tick off a thing.
Wake up and smell the sheep shit. Seriously. This book is so full of the smells of childhood I’m twelve years old again and on a farm holiday, awake before dawn in a drafty room excited about bottle feeding the lambs.
It’s different, of course, because this isn’t a holiday for Saunders and his family but their full-time lived experience; five generations on this land that they tend with deep affection and with a longevity that gives perspective to the everyday problems of farmers. There’s time. The budget can wait until after lambing. The planting will wait till the rain clears. The price for wool wont pay for the shearing this year and the crop prices are falling — these are long term problems they’ve faced before and they’re still here. They’ll sort it.
This is an indescribably sad book about inhumanity. A man, born and raised in a war zone, escapes his home country with nothing more than his life (and “home” is a word that needs re-thinking in the context of this story) and yes, he gets away and is rescued at sea from a sinking boat by the Royal Australian Navy.
Definitely my book of the year so far. I’m a Keneally fan (since Schindler’s Ark all those years ago) and a Dickens fan with a keen interest in Victorians and colonial history and here’s The Dickens Boy with all that wrapped up in a gloriously written novel. Keneally is a master storyteller with characters I can really care about and a honesty that makes me believe that everything here could be true (and quite a lot of it seems to be). Just goes to show you don’t need clever literary devices or pretentious language to write a captivating book, you just need to tell a bloody good story.
This is a book club book if you are a group of readers with a fanatical interest in the minutiae of colonial immigration in the 1850s. In which case, I salute you. Invite me along to join you, sometime.
Veitch, though, might be a bit much of an enthusiast, even for me. The cover and title promises a book set on the high seas but there is way more than that. Most of the detail is of the societal conditions and politics behind the immigrations: the Wakefields, the lure of colonial wool and gold, the Scottish clearances. There is a full chapter about the Birkenhead emigration depot in Liverpool where the passengers collected before departure and the last quarter of the book covers the crisis in immigration that followed the ship’s arrival in Port Phillip and its quarantine.