Lena Dunham Not That Kind of Girl

Lena Dunham Not That Kind of Girl: A Young Woman Tells You What She’s “Learned”

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This book came to me by accident when I stumbled across it in a charity shop for 50 cents. I should confess that I have never seen Girls and I stopped reading Dunham’s newsletter Lenny after just a few weeks. However I used to work with several young women who all loved Dunham and her approach to life and feminism so I was interested to find out more. And of course Dunham takes up so much media space that it is almost impossible not to be aware of her.

October 8th 2012, Dunham signed a $3.5 million deal with Random House to publish her first book, an essay collection called Not That Kind of Girl: A Young Woman Tells You What She’s Learned. This is reason enough to find the book intriguing. In these days of self publishing and award winning authors having to go back to their day jobs it is rare to hear of such a large book deal. This is testimony to her fame and Random House’s faith in her ability to sell volumes. One could argue that this is also a vote of confidence in female authors writing about the female experience. Dunham is a self proclaimed feminist and much of her USP circles around this. “There is nothing gutsier to me than a person announcing that their story is one that deserves to be told, especially if that person is a woman,” she writes.

This is not a straightforward autobiography or memoir but instead a collection of essays about herself. Dunham does not shy away from self exposure and using her own life as inspiration. This enable readers to connect with her and feel moments of kinship. Although this relentless self investigation can also be a turn off for others. Sections covered include Love & Sex, Body, Friendship, Work and The Big Picture. I particularly enjoyed the chapter Emails I Would Send If I Were One Ounce Crazier / Angrier / Braver. Having sent one of those emails I can confirm that it is not the sensible thing to do but it does feel fantastic. At the end of it is difficult to know though how much she really has learned, as ideas of self worth and belief seem to still trouble her. It seems exhausting to be so continuously self conscious.

Although this was an enjoyable enough read I am perhaps less interested in Dunham than Dunham is and for me there were very few of those ‘I recognise that moments’. The parts that stood out for me most were where Dunham talked about her health difficulties with clarity and honesty. I didn’t really need so much information on diet and her interest in therapy.

The collection is written in the conversational and easy going style of a natural writer. I read through this in one day and very much enjoyed her fluid writing style. Not That Kind of Girl opens a window into a different way of life. Her privilege and experiences as a woman and a writer are so different to mine which made this an entertaining read. It was enjoyable if not worth a revisit.


Try Not To Breathe by Holly Seddon Review

Last month the book club made a welcome change towards contemporary thrillers with journalist Holly Seddon’s debut Try Not to Breathe. Although there has been a plethora of female driven psychological thriller’s in recent years this is my first foray into the genre. Despite my slow start this was definitely a good introduction.

In 1995 15 year old Amy was found having been raped and left for dead by an unknown attacker. However she didn’t die. Instead she fell into a vegetative a state: a form of a coma where there are no obvious signs of life except for neural changes. When freelance journalist Alex visits the hospital to write about advances in neuro medicine she becomes intrigued with Amy. They come from similar backgrounds and are the same age, except as Alex has aged and lived through the past 15 years Amy has remained as if in stasis. Soon Alex finds herself investigating Amy’s case and is determined to hunt down the killer. In doing so will she find herself in the process?

Alex, who holds the primary narrative voice, is an intriguing character. A young, successful woman who ought to have the world at her feet is falling apart at the seams. Her marriage and work have been crushed and she is ‘dealing’ with this by attempting to drink herself to death whilst denying her alcoholism. Her interest in Amy offers a glimmer of redemption and brings her into contact Amy’s mystery visitor.

The main characters are well fleshed out and their less than ideal aspects help to make them recognisable. For example Amy’s confusion and naiveté, Alex’s drinking and others hiding behind silence, rounds them out to become characters that could walk off the page and sit next to you. Sometimes characters are at their most realistic when they are at their most undesirable. However it is important to note that Alex is a pleasant travelling companion for the novel and it feels as though you could bump into someone like her in the street. What is intriguing is what people do not say. How Alex has to chase down answers and knock on locked doors in order to try to recapture Amy’s final days. Journalists make good protagonists as they take the reader on the same journey they are on.

It is also interesting to look at a case such as this without the filter of social media and mobile technology, where someone can have secrets, can disappear. Sneddon’s past as a journalist can be seen throughout as the writing is well crafted and skips along navigating the line between storytelling and description well. The medical information comes across as accurate and useful. It is lightly dropped into the novel – as it would be in a good piece of journalism – so as to provide the needed information in a manageable manner.

The murder mystery aspect has readers scouring the text searching for clues and turning points. Can you work out what happened before Amy does? Most of the book club kept pace with Amy’s investigation and found the writing and characters kept them reading even more so than the thriller aspect. The end is wrapped up rather quickly and little time is given over to get to know the perpetrator. It might have been nice to have had a chapter or two near the end narrated by the murderer. Seddon does not do this, perhaps in part because she avoids making the murder sensational or gratuitous, instead keeping human, frail and real Amy – the victim – at its centre.

Full of suspense Try Not To Breathe hooks the reader in from the start. The quality writing keeps one reading as much as the level of intrigue. It is one of those books that once you have started will not be able to put down until you reach the end. Set aside a day or two to get lost in Sneddon’s writing to really enjoy the novel


Ballantine Books. London. 2016. Hardback. ISBN: 9781782399452.

Hagseed: The Tempest Retold by Margaret Atwood Review


As the 4ooth anniversary of Shakespeare’s death brought with it an outpouring of new appreciation. However at the same time there has been some debate as to the worthwhile of adapting Shakespeare for new generations. The London based Hogarth Press persuaded eight popular modern novelists to retell or respond to their favourite Shakespeare play in novel format for today’s audience. Margaret Atwood, best known for her feminist dystopias, chose Shakespeare’s final solo authored play and possible goodbye to the stage; The Tempest.

On the release of the Hogarth Press novels, Adam Gopnik of The New Yorker argued persuasively that Shakespeare, a jobbing writer and actor, would be somewhat bewildered by this turn of events. Stating that “Shakespeare believed in fate, order, and forgiveness; we believe in history, justice, and compassion – three pairings so similar as to sometimes seem the same, though they are not”. Shakespeare’s dramatic storylines that pulled in the London crowds have been muted and internalised and the outcast and dejected made sympathetic. This may work for a new audience but ultimately it pushes one back to the original; to seek out the certainty in order and forgiveness that has been lost over the centuries. However, if one is to argue that these novels push one back to the original plays is that a bad thing?

This argument seems to have been expected. For example Constance Grady at Vox focuses on the exciting plot lines to be developed from new adaptations. Once one is free of the language and poetry the storylines become open to response. From the literal island banishment of Prospero comes the figurative exile and prison of Atwood’s Felix.

The novel concerns theatre director Felix, who after losing his prestigious position at Makeshiweg Theatre Festival goes into hiding for several years before remerging as a prison literacy teacher. Having spent many years at the top as artistic director his plays had increasingly started to bewilder rather than charm the audience, and importantly the shareholders. His next production was to be The Tempest. This would bring him back to prominence and also give him the chance to resurrect his family and heal himself.

In the first few chapters Felix, who can be somewhat pompous and self-righteous, is the victim of an unexpected act of treachery that foists him from all he knows and leaves him plotting his revenge. “What was Felix waiting for? He hardly knew. A Chance opening, a lucky break? A pathway toward a moment of confrontation? A moment when the balance of power would lie with him. It was an impossible thing to wish for, but suppressed rage sustained hum. That, and his thirst for justice.”

Living in exile with thoughts of his daughter becoming increasingly real to him Felix is a shadow of his former self. Having named his daughter Miranda the chance to perform as Prospero gives Felix the chance to bring back his daughter. She had died shortly before the novel opens at the age of three. Their lives will parallel those of Prospero and his Miranda. As he lives out his days in the wilderness he allows himself to think her back into existence. “It was only a short distance from wistful daydreaming to the half-belief that she was still there with him, only invisible. Call it a conceit, a whimsy, a piece of acting: he didn’t really believe it, but he engaged in this non-reality as if it were real”.

Instead of being set on an island Hagseed takes place in a prison: Fletcher Correctional Facility. Felix uses this as his chance to lure his old adversaries onto his territory. Will he seek vengeance in the end though or will this be his final curtain call? The idea to set the action in a literal prison was inspired. It offers the sense of claustrophobia and entrapment that is necessary to make the character motivations seem believable. Throughout The Tempest there are many forms of imprisonment with every character being trapped and lacking control over their own destiny. In this light one can see how the characters come to take advantage of whatever skills or abilities they have to try to reassert their authority in a push for freedom.

Further Atwood latches on to the idea that more than any other play The Tempest is about production. “But above all, The Tempest is a play about a producer/director/playwright putting on a play – namely, the action that takes place on the island, complete with special effects – that contains another play, the masque of the goddesses. Of all Shakespeare’s plays, this one is most obviously about plays, directing and acting.”

This retelling is clever and self knowing. Hagseed is tremendous fun. It roars along tearing through the layers of acting, playing, identity, mischief and magic that mark Shakespeare’s final play. Although prior knowledge of The Tempest is helpful and will provide insight into the multiple layers Hagseed can, and should, be enjoyed by those unfamiliar with the play.

The title Hagseed refers to Caliban (it also comes from a list of swear words gathered from the text. Although he is granted the title of the novel his name is still used as an insult) however the novel is Felix’s (aka Prospero’s). Magic, control and power are played with throughout. The play is often thought to be Shakespeare’s goodbye to the theatre. As Prospero says goodbye to his magic books was the writer saying goodbye to his pen and paper? Similarly in Hagseed by recreating The Tempest will Felix either recapture Miranda or be finally ready to let her go. The father daughter relationship is beautiful although full of sorrow and softens Felix to the reader. It is this relationship that makes him seem human and damaged, rather than a power hungry. However it is surprising that Atwood set up the idea of a novel focusing on Caliban and then retreated from the idea.

The Tempest is an underappreciated play that contains more depth and feeling that often sighted at first glance. In Hagseed Atwood teases out the twin themes of grief and isolation to create a vital and surprising novel that does an excellent job of reimagining the storms and magic of the 1600s into music and special effects for today’s reader. This version perhaps leaves the reader with more hope than the original, with one being able to see a glimmer of life left for Felix. Most of all this is an excellent read from start to finish and can, and should, be enjoyed by all.


Hogarth Shakespeare. 2016. London. ISBN: 9781781090237


Behind the Scenes at the Museum by Kate Atkinson

“‘The past is what you leave behind in life, Ruby,’ she says with the smile of a reincarnated lama. ‘Nonsense, Patricia,’ I tell her as I climb on board my train. ‘The past’s what you take with you.’”

Atkinson’s exceptional debut novel open with the birth of Ruby Lennox and follows her as she comes of age in England in the second half of the twentieth century. In the meantime we are introduced to her family, the Lennox’s, who live above their pet shop and where she and her sisters often work and play. Ruby’s life is told in the first person and she makes an interesting eye into her life and her family. Alternate chapters offer flashbacks; going back to her great grandmother Alice and then following each generation through wars, affairs, bereavement and love. These chapters are told from the view point of each individual. The women are given more space than the men and we are shown what it was like to be powerless, to be a mother, to suffer loss and to find a way to save yourself. Ruby’s mother Bunty in particular is a fantastic character. She is frequently frightful, difficult and unlikable, but she is so completely recognisable. Sibling relationships and female relationships, mothers and daughters, are investigated throughout Behind the Scenes at the Museum.

There are several brilliant comedic scenes. The wedding that has been timed to coincide with the 1966 World Cup final, where England played West Germany and for the only time ever won is a masterclass in written comedy. At no point does it seem farcical as disaster piles upon misunderstanding until the whole wedding is a riot. Later on the family go on holiday with their next door neighbours. This was disastrous for many reasons, one of the most obvious being that one should never holiday with both your husband, your secret lover and his wife. Putting all together in a small cottage in a remote area of Scotland along with a bunch of children and a surly teenager was not a winning start, but a fabulously entertaining read.

When the first chapter opened I wasn’t sure that this was going to be the novel for me, however it very quickly picked up and became a wonderful, fascinating read. The ending fell a little flat as our favourite characters had quickly changed and grown away from the surroundings and history that made her. However the bulk of the 500 page novel was a compulsive read. Referring to the title there is a saying that we are the curators of our own lives, which perhaps has little meaning to others. This is a museum of Ruby that stretches back to a rare set of photographs taken of her great grandmother and travels down through the decades to her. It is also fascinating how characters keep repeating the patterns of their ancestors without realising it; almost as though a combination of conditioning and genetic memory keep these things in the family. This is also a story of mothers and their children, often losing their children.

Some members of the book club felt that the quantity of characters made things confusing. This isn’t something I found though. The novel is concerned with the history of one family and a family tree at the beginning of the novel may have been useful. However in this case I feel it should be the other way round. A traditional family tree branches out however with this one it feels as though the focal point, the point of connection should be Ruby, with the branches reaching out from her and into the past.

Behind The Scenes at the Museum has a very strong awareness of space and time, of how different people, families and generations can inhabit one space. Atkinson suggests that elements linger on in the buildings and in ruins. In the first few pages our protagonist has this to say “there has been a building on this spot since the Romans were here and needless to say it has its due proportion of light-as-air occupants who wreathe themselves around the fixtures and fittings and linger mournfully at our back”. This idea is touched upon throughout the novel. Much later on Ruby states “if I stand on the stairs and close my eyes, I can hear the voices of the household ghosts being carried hither and thither on the current of air. Do they miss us, I wonder?”.

Behind the Scenes at the Museum is very readable, in the best sense. It is one of the many popular novels that shows you can tackle the big themes and ideas of life through strong entertaining character driven plots that do not trip over themselves to be ‘literary’

Kate Atkinson, Behind the Scenes at the Museum, (Transworld Publishers, London, 1995) 490, Paperback

The Rotter’s Club by Jonathan Coe Review

“You see the title of this record? It’s called The Rotter’s Club. The Rotter’s Club: that’s us Lois, isn’t it? Do you see? That’s what they used to call us, at school. Bent Rotter, and Lowest Rotter. We’re The Rotter’s Club. You and me, Not Paul. Just you and me.”


Jonathan Coe’s The Rotter’s Club takes us back to 1970s Birmingham. Beginning in 1973 it takes in the Heath, Wilson and Callaghan governments before ending with the day of Thatcher’s election and the start of the long 80s. Being from the West Midlands reading this novel felt familiar and important as it catalogued the industrial power hub in its final days. From my father’s generation nearly every man you meet from the West Midlands will have worked at some point in one of the many car factories and at secondary school our tutor groups were named after car manufacturers that used to use Coventry as their base: Alvis, Humber, Triumph … It is difficult to exaggerate how important this industry was and how the impact of its demise is still being felt. This coming of age story is deeply funny and irreverent throughout. The lives of the adults in particular are convoluted at best but their effect is perhaps best felt through their children who take us with them on their riotous journey to the end of adolescence.


Benjamin Trotter is essentially the novels main character however his group of friends take up the backbone of The Rotter’s Club as they navigate their school days at a direct grant all boys academy. Alongside Doug, Philip and Claire Benjamin passes through adolescence trying to discover himself through music, writing and an unrequited love affair with Cicely Boyd. Benjamin is one of the least interesting characters and yet because of that he is interesting. Coming from a relatively stable middle class family his life and future seem mapped out. It is the way those around him move and change that is so vibrant. Benjamin is a great entry point for the reader as we often share his view on the evolving world around him. As each of his family members seek out the stability, love or intellectual entertainment they find themselves moving further and further away from each other. As the decade closes will they still exist as a cohesive family unit or will life have exploded their domestic comfort?


The resurrection of the school paper brings together an eclectic mix of people and the desire to shock, to create copy that will be read and not necessarily inform is particularly pertinent to today. Rivalries and love affairs are bought out into the open as the power struggles of the outside world also take place within the supposed safety of the school walls. From the prefects, to the highly select Closed Circle debating society and most dominantly between the school’s two leading athletic and intellectual stars: Richards and Culpepper. Richard’s as the only black pupil faces racism and then false acceptance as he works to be the first member of his family to make it to University. Culpepper, an unpopular contemporary has it in for Richard’s from the start. This rivalry escalates throughout with very real effects. At the same time unionists, management, racists and progressives are all fighting to have their voice heard at the still booming British Leyland plant. Coe incorporates many real life events and people into the novel with excellent effect, drawing the reader in to the hub of the action.


Class and class divides are expertly scrutinised throughout the novel. The nature of fee paying private schools, and the hierarchy that comes with it parallels that of the Leyland employees and highlights how each person is affected by their class. Will Richards, from a working class background, be able to use education as a stepping stone to something more? For people like Benjamin is an easy life guaranteed? When writing for the school paper he is confused and disappointed that he is the only writer who seems unable to stir any controversy. Significantly the novel ends on a positive note however with Thatcher’s electoral victory in the background the reader is aware that what comes may have significant or even devastating impact on our much loved characters.


The title comes from Benjamin’s relationship with his older sister Lois. It is here that moments of pathos and the disappointment of life are best shown. At 16 Lois meets Malcolm, aka the hairy man. Soon they become a couple but the end of their affair is devastating. Coe is careful not to overdo this. After coming to the end of their chapter it is difficult not to be moved by what has happened. It is a reminder that the violence of the world, the politics and power plays, involve real ordinary people.


The only slight query would be as to the last chapter. Short and told from Benjamin’s perspective it is written as one sentence. Perhaps to show the joy and freedom the character is feeling at this point? Does the stream of consciousness show how he has now been freed from the constraints of school? According to the BBC the final chapter is made up of a 13,955 word sentence, making it the longest single sentence in the English language at the time of publication. This rather unique accolade however seems to do little for the actual telling of the story. A BBC TV series of The Rotter’s Club made more of the adult story lines that are only peeked at in the novel. In case of the affair between Barbara and Mr Plum this worked excellently and proved to be one of the funniest points of the series.


Excitingly the Author’s Note at the end of the book says that there is a sequel. Called The Closed Circle it meets up with the characters in the late 1990s. I am very keen to read this. The Rotter’s Club was my first introduction to Jonathan Coe’s writing but I hope to read and review the follow up for you all in the near future.


Dad’s Review

My daughter passed this book onto me thinking I might enjoy it and I would happily recommend it to others. The Rotter’s Club is such as good story with plenty of twists and turns. Coe must have lived through that time in history. The way he evoked the history of the unions and civil strife in late 70’s Birmingham was similar to how I remember it being. Red Robbo is mentioned in the book. This took me back to the day that as an apprentice I saw shop stewards from the Transport and General Workers speak to a field of union members before they declared strike action on his behalf (that if memory serves only around one third of people actually voted for!). The relationship between the car industry and the local community defined our lives but now that time has passed. I liked the way the character Stephen was used to show up the inherent racism in the system. The way that life will always be easier for some than others. The writing was witty and wry and made me laugh out loud. There was one particular scene, between Lois and the Hairy Man, that made my heart twist. It started as a sweet lovely evening out but turned into something that nearly made me cry. It was not overdone but told simply and delicately. This scene has stayed with me.


Jonathan Coe, The Rotter’s Club, (Viking, London, 2001) ISBN 0375413830. 414pp., Hardback

According to Yes by Dawn French Review


We meet Rosie Kitto, our Cornish heroine, on her arrival in New York. She turns up to a job interview in a fancy Manhattan apartment soaked from the rain, wearing a blue suit, hat askew and red brogues. From the off she is clearly full to bursting with life and optimism and she has set out to say yes to the world. Rosie is a bit like a ray of sunshine breaking into the household and throwing light on the cold corridors and wall of staged photographs.

Rosie has travelled to New York with the intention of saying yes. She is running away. The opening pages give a brief glimpse into her previous life. A relationship loved and perhaps lost, and a child never conceived despite being wanted so badly. Having endured the pain of trying and failing to get pregnant Rosie is breaking away. A primary school teacher in her thirties she soon finds herself being interviewed by the imperious and intimidating Glen Wilder – Bingham for a nanny position.

The setup is clear from the beginning. Rosie is all bright colours, vibrancy and life emanating from her. In clear contrast is Glen Wilder – Bingham. The family matriarch she is stiff and perfectly presented in everything she does. However the family are not as impressive as the name would suggest. Glen rules the roost. Then there is her husband Thomas, who refuses to fully retire in his 80s, terrified by the knowledge that death is coming and he seems unlikely to have sex again. Next is their alcoholic, spineless son Kemble who has been broken by his divorce and the relentlessness of his mother’s expectations; an older grandson Teddy who has largely managed to escape it all and the two sparky young twins Red and Three.

Rosie quickly becomes a vital part of the young boy’s lives and bit by bit becomes immersed into the comings and goings of the whole family. Presented with the convoluted lives of the wealthy, of those who have never had to think much further than their own needs, Rosie brings a much needed openness and curiosity to the household. As her relations develop with the male members of the Wilder – Bingham family it starts to seem as though Rosie is a time bomb with one more ‘yes’ setting off an explosion that will echo through this Manhattan Upper East Side family. A life of embracing ‘yes’ can have unexpected consequences. Rosie finds her life altered dramatically in her short American adventure.

The characters verge on the exaggerated and there are a few scenes that seem a little staged. Although Rosie is there to say yes to life some of the situations that she enters into seem unlikely and out of character. The first two thirds in particular were funny and kept the reader amused. There is a change of pace in the final third as the results of her saying yes come to term. Things become a little more serious although the absurd fringe remains. This is something that some reviewers have had a problem with it however when opening the novel for the first time if one sets aside your sense of disbelief it is easy to be carried away and find the hours fly by. French has a flare for writing and will hopefully continue. This is her third novel, and each of them offer something completely different. It would have been easy for her to take the simple route and offer up cheap recycled laughs however each novel shows research and a keen eye for capturing people. It is just a minor point but that a novel that has been through the editing process should not really have any spelling mistakes and grammatical inaccuracies. Hopefully this will be improved upon for French’s next effort. The Amazon and Good Reads reviews are a mixed bag and it probably falls somewhere in between.

According To Yes book came into my life when I needed something entertaining and humorous with heart and did the job excellently.


Dawn French, According to Yes (Michael Joseph, UK, 2015). ISBN 9780718159177. 365pp., Hardback.

Ghana Must Go by Taiye Selasi Review

Ghana Must Go was the surprise book club choice for October. Written by Taiye Selasi, her debut novel met with universally positive reviews.

The title comes from a Nigerian phrase from the 1980s regarding incoming Ghanaian refugees, moving away from the political unrest that dogged the nation. In many ways this is an immigrant story. Of a Ghanaian man and a Nigerian woman trying to make sense of themselves in their adopted American homeland and in turn of the effect that this has on their children. Selasi does not repeat history with bullet point notes or detailed explanatory footnotes but instead captures the events through the experiences and feelings of those affected by it.

The novel opens with Kwaku Sai’s death. He steps out to look at his garden when his heart begins to fail. His death is intercut with scenes from his life. This is how we are introduced to his former wife Folasadé Savage, to his children and his current wife, sleeping unawares upstairs. Kwaku is a Ghanian surgeon who immigrated to America with his Nigerian wife. Leaving behind all that they had known they push aside their pasts and set about creating a new life and their own family in America. They both have been hurt by their countries, and make a point of never talking about their birth homes, these hurts are passed on in different forms to their children, (““They were hurt…. Their countries hurt them””).

Many have made the same journey as our protagonists which is something that Kweku is fully aware of. As he lay dying he is aware of the feeling of not being unique, special, but instead one of the many that lived the same life and made the same journey. “He had no need for remembering, as if the details were remarkable, as if anyone would forget it all happened if he did. It would happen to someone else, a million and one someone elses: the same senseless losses, the same tearless hurts”. Selasi observes and captures each moment while displaying a wonderful and unusual use of description. At first it can seem a little excessive, almost overwritten, however after the first few chapters it draws you in. The language used is often lyrical and poetic, one favourite short example: “had absconded with the tide in the moonlight” The constant focus on the emotional and internal can at times come at the expense of plot development, there being a few key plot turns and character actions that seem a little unlikely .

Kweku greatest difficulty in life is that he cannot bear to fail at anything. To fail would be to let his family down after all they have given him. He is bewildered by his son who at times puts seeing his family before celebrating his academic success. His talented and promising wife turned down her place at law school in order to raise their four children: Olu, twins Kehinde and Taiwo and the youngest Sadie and support him, saying that “one dream’s enough for the both of us”. This lives on with Kweku who feels “that her sacrifice was endless. And as the Sacrifice was endless, so must the Success … to be worthy of Fola, to make it worth it for Fola, he had to keep being Successful”. This turns out to be one of the key driving points of Ghana Must Go.

You care strongly about the characters, are disappointed in them and feel joy and fear for them. Fola’s relentless hard work and energy holds everything together “there was the sense in her house of an ongoing effort, of an upswing midmotion, a thing being built: A Successful Family, with the six of them involved in the effort, all, striving for the common goal, as yet unreached”. They determine their own lives and only being to stumble when outside influences cause ruptures in the steady ‘upswing’. This momentum is broken when the family breaks down and ends up scattered across cities and continents. Kwaku’s sudden death throws the family back together again as they piece together what is left of their family. Their rootlessness is felt also by their children: “with no living grandparent no history, a horizontal – they’ve floated, have scattered, drifting outward, or inward, barely noticing when someone has slipped off the grid”. Throughout his slow death we met his children, see his rise and fall that has resulted in his return to Ghana and the breakup of his marriage, and also get to see into the hearts of those he left behind. Kwaku’s death scene is a little prolonged but this comes to make sense at the novels close. So as not to give away too much of the story line it is perhaps best to leave it there and allow each reader the chance, the joy, of meeting each character for the first time.

It is refreshing to see a novel about African migrants and first generation immigrants in America that find success and buck the trend for negative stereotyping. The big reveal in Ghana Must Go is not as surprising as Selasi probably intended and is a little disappointing in a novel that tries so hard to subvert negative ideas and preconceptions.

Ghana Must Go is a remarkable debut novel from a very talented and promising young writer.


Taiye Selasi, Ghana Must Go, (Viking, London, 2013). ISBN 9780670919864. 318., Hardback