Thanks to NetGalley and to Little, Brown and Company UK (Clara Díaz in particular) for providing me an ARC copy of this book that I freely chose to review.
I read and reviewed Keith Stuart’s first novel A Boy Made of Blocks, a truly extraordinary book, a couple of years ago, and loved it. I could not resist when I was offered the opportunity to read the author’s second novel. And, again, it was love at first read.
Days of Wonder has some similarities to A Boy. It does center on the relationship between a father and his child (in this case, Hannah), and how their relationship is shaped by a specific condition affecting the child (Asperger’s in the first novel, a chronic cardiac illness that cannot be cured and will only get worse in this novel). All the characters are beautifully portrayed, not only the protagonists but, in this case, also an array of secondary characters that become an ersatz family unit.
Tom, the father, runs a small theatre and has close links to the amateur theatrical group. His wife, Elizabeth, left the family when their daughter was three and leads the life of a high-flier, with no real contact with her family. Hannah has grown-up in the theatre, surrounded by the players and by stories, both on stage and out.
The book, narrated in the first person by both Tom and Hanna (mostly in alternating chapters, although towards the end there are some that follow the same character’s point of view, due to the logic of the story). Hannah’s narration in the present is interspersed with what appear to be diary entries addressed to Willow, (the theatre is called The Willow Tree). She is a strong girl, who loves her father, the theatre and the players, her friends, and who has a can-do attitude, despite her serious illness, or perhaps because of it. She knows how valuable each moment is, and lives it to the fullest (within her limitations). She is worried about her father and how much he has focused his life on her and decides that he must find a woman and live a fuller life. She loves comics, fairy-tales, is funny (having a sense of humour does help in such a situation, without a doubt), witty, and wise beyond her years, whilst being a credible teenager who worries about boys and can sometimes have questionable judgement. I challenge anybody not to fall in love with Hannah, her enthusiasm, and her zest for life.
Tom is a father who tries his hardest in a very difficult situation, and who sometimes finds himself in above his head, unable to function or to decide, frozen by the enormity of the situation. He is one of the good guys, he’d do anything to help anybody, and some of his philosophical reflections are fairly accurate, although, like most of us, he’s better at reading others than at understanding himself. His date disasters provide some comic relief but he is somebody we’d all love to count as a friend. Or, indeed, a father.
One of my favourite characters is Margaret, an older woman who has become a substitute grandmother for Hannah, and who is absolutely fabulous, with her anecdotes, her straight speaking, her X-ray vision (she knows everything that goes on even before the people involved realise what is going on sometimes), and she is a bit like the fairy-godmother of the fairy tales Hannah loves so much. As for the rest, Callum, Hannah’s boyfriend, is a very touching character, with many problems (the depiction of his depression is accurate and another one of the strong points of a book full of them), and the rest of the theatre crew, although they appear to be recognisable types at first sight (the very busy mother who wants some space for herself, the very capable woman whose husband is abusive, a retired man whose relationship with his wife seems to be falling apart, a gay man who can’t confess his attraction for another member of the group…), later come across as genuine people, truly invested in the project, and happy to put everything on the line for the theatre.
The novel is set in the UK and it has many references that will delight the anglophiles and lovers of all-things-British, from language quirks to references to plays, movies, TV series and festivals. (Oh, and to local politics as well), but I’m sure that the lack of familiarity with them will not hinder the readers’ enjoyment. Although there are also quite a number of references to theatre plays and comics (and I don’t know much about comics, I confess), they never overwhelm the narration and are well integrated into the story, adding to its depth.
The book deals in serious subjects (family break-ups, abuse, chronic physical and mental illnesses [affecting young people, in particular], aging and death, growing-up, single-parent families) and whilst it makes important points about them, which many readers will relate to, they are seamlessly incorporated into the fabric of the novel, and it never feels preachy or as if it was beating you over the head with a particular opinion or take on the topic.
Reading the author’s comment above, I can vouch for his success. This is indeed a book about love, life, and magic. It is a declaration of love to the world of theatre and to the power of stories. The novel is beautifully written, flows well, and the readers end up becoming members of their troupe, living their adventures, laughing sometimes and crying (oh, yes, get the tissues ready) at other times. Overall, despite its sad moments, this is a hopeful feel-good book, heart-warming and one that will make readers feel at peace with themselves and the world. It has a great ending and although I wondered at first if the epilogue was necessary, on reflection, it is the cherry on top of the trifle. Perfect.
The book is endlessly quotable and I’ve highlighted a tonne of stuff, but I couldn’t leave you without sharing something.
Here is Hanna, talking about magic:
I don’t mean pulling rabbits out of hats or sawing people in half (and then putting them back together: otherwise it’s not magic, it’s technically murder). I just mean the idea that incredible things are possible, and that they can be conjured into existence through will, effort and love.
As I’m writing this review on Star Wars Day, I could not resist this quote, again from Hannah:
I feel as though it’s closing in around me, like the trash-compactor scene in Star Wars, except I have no robots to rescue me although I do have an annoying beeping box next to the bed doing a twenty-four-hours-a-day impression of R2-D2.
Oh, and another Star Wars reference:
It’s as though the spirit of Margaret is working through me, like a cross between Maggie Smith and Yoda.
And a particularly inspiring one:
Margaret told me that you must measure life in moments —because unlike hours or days or weeks or years, moments last forever. I want more of them. I am determined. I will steal as many as I can.
A beautiful book, a roller-coaster of emotions, and an ode to the power of stories, to their magic, and to family love, whichever way we choose to define family. I urge you to read it. You’ll feel better for it. And I look forward to reading more books by its author, who has become one of my favourites.
Man, I really miss Steve Irwin & Mr. Rogers.
They are some of the "famous" people whose deaths feel really personal, as if they were family. Each time I see mention of them, I burst into tears. There are other famous people whose death feel personal, but I grew up with these guys. Death really gets to me even if I barely knew the person, even if I didn't know them at all. I don't mean only for famous people. Anyone. I've been told it is because I have a big heart, but does my mental health "glitches" play a part in how death basically triggers me into a melt down, depressive state?
I was worried at first when I realized this book was going to get political. Not because of the focus of the politics - America's dismal record with mental health illness - but because the last time Ms. Cullinan went political with her story Enjoy the Dance she forgot she was writing a story. The characters took a back seat to the politics, and the story suffered for it. I'm glad to say that was not the case here. She remembered to tell an engaging story this time, she kept Emmett and Jeremey front and center, and we got to see how their relationship continued to progress.
It's been a couple of years since the end of Carry the Ocean, and Emmett and Jeremey are still living in the Roosevelt. Emmett's working now and doing well. Jeremey however is still struggling with his anxiety and depression and has entered a dark period that he tries to hide from Emmett. Emmett wants to help him and also wants to take their relationship to the next level. On top of that, the Roosevelt is facing funding problems, that exacerbates everything and highlights how easily law makers overlook the mental ill and physically limited when it suits them.
Emmett though doesn't give up easily. He and the other Roosevelt Blues Brothers come up with a plan to try to defeat the legislation to privatize mental health care and along the way he figures out how to help Jeremey too. It was great to spend time with these characters again, and to see David and Darren again. We meet some great new characters, and Mai is especially a sweetie.
Iggy Toma was, as always, perfect. He's four for four in the audiobooks I've listened to so far. He really brings Emmett and Jeremey and the rest of the characters to life, and lets their humanity shine through.
This was amazing and I'm kicking myself for taking so long to get to it. Except by waiting, I got to listen to Iggy Toma's brilliant narration which made the book that much more special. He really studied and got lots of advice from people with autism on how to portray Emmitt and it really shows. He voices Emmitt and Jeremey perfectly. Toma and Cullinan are proving to be a match made in audiobook heaven.
Emmitt has autism and Jeremy has major depressive disorder with extreme anxiety disorder. This isn't a book about "love cures all" because there are no cures. Instead, this is a book that respects both the struggles and the accomplishments of these two amazing young men, and how they have learned to manage the world around them and navigate a new relationship with each other at the same time. They're oddly perfect for each other, because Emmitt is calm and controlled when Jeremey is not, and Jeremey can understand the emotions that Emmitt has a hard time expressing. But their disabilities can also aggravate each other as well, so they have to learn how to talk to each other and when to give each other space.
I really liked Emmitt's family. His parents and aunt were a great support system for Emmitt and later for Jeremey. Jeremey's family were not understanding about his issues at all, but they're allowed their time to be humanized as well. They're not bad parents because they don't love their son. It's clear they want the best for him. But they're misinformed, sometimes purposely so, but there's more to it than just that.
Then there's Derek, who we meet later in the book and really shines instantly as a great friend to Jeremey, even if he's something of a foil for Emmitt, at least at first.
I can tell that an amazing amount of research went into this book, and I'm looking forward to the next one.