Queer historical fiction about Prussian immigrants to South Australia
I received a copy of this eBook courtesy of the publisher.
“Devotion” by Hannah Kent is a historical fiction novel set initially in Prussia in 1836. Hanne, her twin brother and her parents live in an Old Lutheran community. Hanne has always struggled to fit in with the other teenaged girls and the expectations of her mother, and prefers instead to spend time in nature. However when Hanne meets Thea, the daughter of a new family who joined the community, her whole world changes and suddenly she doesn’t feel so alone. When the community flees religious persecution for the colony of South Australia, Hanne and Thea’s bond is put to the ultimate test.
Kent is a beautiful writer and this book shows off her prowess bringing the diverse and untold stories of women in history to life. I found this to be a really relatable story, and Kent expertly captured the mutual love and frustration of mother-daughter relationships and how faith is interwoven in the community’s daily life. The connection between Hanne and Thea was both gentle and electric, and watching their friendship and relationship bloom was the highlight of the book. There were some elements of magic realism and spirituality that were interesting as well, with Hanne’s affinity for listening to nature underpinning and enriching a lot of the events that unfold.
It is a little hard to review this book because something incredibly significant and life-changing happens in the middle of the book which I can’t really mention without spoiling the story. Suffice to say that while it was creatively courageous, I’m not sure it added to the overall plot and I think I might have preferred it if Kent had taken another direction.
A unique story with plenty of depth, plenty of emotion and plenty of heart.
Hannah Kent has been causing a stir in the Australian literary scene recently, and after hearing the news that her debut novel is being turned into a film I figured I had better see what all the fuss was about. When I finished this book, the breath caught in my throat when I read this line in the acknowledgements:
And last, but never lease: thank you to Angharad, for never doubting, and for fortifying me every day, every hour.
Now, obviously this thank you was not intended for me personally, but another Angharad. However, it’s so rare to see my name in print that I was all aflutter after reading it!
“Burial Rites” by Hannah Kent is a historical fiction novel based on a true story about a woman called Agnes sentenced to death for the murder of a man. While waiting for the sentence to be carried out, she is sent to live out her final days with the family of District Officer Jón Jónsson. Although a significant improvement on her previous location, and although Agnes sleeps with the family in the baðstofa, the welcome from the District Officer’s wife Margrét and especially her younger daughter Lauga is icy. Agnes is permitted religious counsel by the District Commissioner, and she nominates an inexperienced Assistant Reverend who is known as Tóti. As Agnes gradually tells the story of how she came to be accused of murder, Tóti, Margrét and Margrét’s older daughter Steina begin to warm to her.
This is a dark and engrossing story that I was hooked on from beginning to end. Kent has a visceral writing style and this book is like a triad of beautiful landscapes, deep dialogue and unflinching descriptions of what human bodies must do to survive. The picture Kent paints of 1800s Iceland is a bleak one with food shortages, illness and unsafe housing all competing to claim lives. I really enjoyed the way that Kent wove in observations about Icelandic culture without distracting the reader from the story. Agnes is an ambiguous but engaging character, though I think my favourite character would have to be Margrét.
I think the part about this book I enjoyed the least was probably Agnes’ retelling of what happened with Natan Ketilsson, the man she was convicted of murdering. I think that warm but cloying tension of the Jónsson family was fascinating to me, but as Agnes recounts what life was like living with Natan, I felt disengaged somehow. Whether it was because this part of the story relied too much either too much on recorded facts or too much on fictionalisation, I’m not sure.
Interestingly, Agnes’ trial is set to be reheard nearly 200 years afterwards applying modern justice principles. It is certainly a story that fascinated Iceland, and this book was a story that fascinated me. I’m very eager to see what the film is like and to read more of Kent’s work.