A pocket-sized explosion of character and immense profundity.
Porter create separate strands of perspective using multiple points of view, which help form a precise map of emotion concerning the aftermath of a women’s death. It weaves a journey through the characters’ catharsis, too.
This isn’t a dazed process though: grief is personified as a crow. A whimsical and fantastical idea, as Crow contrasts the moping father by inserting humour into the piece, especially when he becomes borderline hyper-emotional:
“The whole city is my missing her. Eugh, said Crow, you sound like a fridge magnet.”
Crow adds a technicolour aspect to the novel, with his attitude to the suffering family of sons and father offering a fresh view of what grief truly is.
The father, a Ted Hughes’ scholar, awkwardly straddles his new-found parental responsibilities over his two sons by ignoring them completely, his sons gently breaking the rules for the sake of it. There are nights of numbness, lasagne, easy laughter because they managed to forget, forget that the hole burnt in their lives by loss exists and should be suffocating them.
The boys are never separated. They remain always identical, similar to A.A.Gill when he referenced the Twins. Although they have different opinions, floating across the page with lyrically, they are always referred to as one. Like youth in many situations, they aren’t indifferent, but more indifferent in an aching way. They don’t linger on the event, but steely smile on, brushing aside their father’s solemn outlook on life.
The concept of metaphorizing an emotion is simply an idea which I believe we all wish we came up with ourselves. It is written in the style of a continuous poem, with the imagery created outstanding and resulting in an ethereal engagement in the text on the reader’s behalf. Presented in the style of snippets of babbling thoughts, poignant reflections and fragmented memories, the brief novel consumes the themes of realisation and sadness beautifully, deserving to be absorbed by all.