Fiction - hardcover; Bloomsbury; 368 pages; 2014. Review copy courtesy of the publisher.
I first discovered Irish author Niall Williams when I read his extraordinarily moving debut novel, Four Letters of Love, when it was released in paperback long before I started this blog. Today, it remains in my affections as one of the best novels I have ever read — indeed, it made my Top 10 favourite Irish novels AND my Top 10 favourite romance novels, both published in 2006.
Since then I’ve read a handful of his other books — As it is in Heaven (1999), The Fall of Light (2001) and Only Say the Word (2004) — so I was very much looking forward to his new one, History of the Rain, which hit the bookshops last week.
I wasn’t disappointed. While it’s quite unlike any of Williams’ previous work — in both theme and style — it is a lovely, literary-inspired read that explores the importance of stories and story telling to our sense of self and our family histories. It will especially appeal to booklovers and anyone who just loves a good yarn, for indeed, that’s what this is: a good yarn — and a gripping, often witty, one at that.
A remarkable voice
History of the Rain has a truly distinctive and original voice in 19-year-old first-person narrator “Plain” Ruth Swain, who is bed-bound in her attic bedroom because of an unexplained illness that has cut short her university career. She spends all her time reading the 3,958 books that once belonged to her late father because, in doing so, “that is where I will find him”.
In what Ruth fittingly dubs a “river narrative”, the story meanders all over the place, but its purpose is clear: to bring her father, a failed farmer and struggling poet, back to life. As part of her “research”, Ruth must also unearth the stories of her father’s paternal, and essentially English, lineage: her great grandfather Reverend Swain, who had impossible standards no one could live up to, and his son Abraham, who fought in France while his contemporaries were at home fighting in the Civil War.
Somewhere in this heady mix of family history she also tells the story of her twin brother, Aeney, her father’s adored “golden child”, who tragically dies before his time, leaving everyone heartbroken.
What emerges is a rather eccentric tale about rather eccentric (but good-hearted) people — and it’s all told in Ruth’s old-before-her-years but sharply funny voice as she explores the myths that have shrouded her family for three generations.
A love of books
For anyone who loves books (let’s face it, if you’re reading this blog that will be you), it’s a complete joy from beginning to end, because the entire text is littered with literary references — there’s Dickens (“the greatest novelist that ever was or will be”), Jane Austen, Patrick Kavanagh, Robert Louis Stevenson (“I like writers who were sick”) and so on — which Ruth uses as a form of commentary, in parenthesis, on her own life and her beloved father’s life. Here's an example:
This, Dear Reader, is a river narrative. My chosen style is The Meander. I know that in The Brothers Karamazov (Book 1,777, Penguin Classics, London) Ippolit Kirillovich chose the historical form of narration because Dostoevsky says it checked his own exuberant rhetoric. Beginnings, middles and ends force you into that place where you have to Stick to the Story as Maeve Mulvey said the night the Junior Certs were supposed to be going to the cinema in Ennis but were buying cans in Dunnes and drinking them in the Parnell Street carpark and Mrs Pender saw Grainne Hayes hanging off the salt-and-vinegar lips of some pimpled beanpole at The Height, wearing enough eyeliner and mascara to maker her look like a badger in Disney and that micro-mini that wasn’t more than two inches of black-plastic silage wrap, all of which required they chose the historical form of narration and Stick To Their Story since she’d left Hayes’s house earlier that evening in jeans and hoodie.
The story is heartbreaking in places, underpinned by a sense of hopelessness as Ruth's father tries to farm "fourteen acres of the worst farming land in Ireland" without realising he's doing it all wrong — regardless of how much it rains. But at the heart of the novel there beats a fierce optimism and a love of nature — especially leaping salmon — that imbues the story with a rosy, hopeful, aren't-we-lucky-to-be-alive type of glow.
History of the Rain is, by turns, witty, charming and moving. It has the feel of an old-fashioned tale told well, the kind of book you can curl up with and get lost in for hours at a time, one that transports you to another time and place and does it effortlessly.
Williams’ tone of voice is pitch-perfect, but it’s the characters — so real, human and riddled with foibles — that makes the story really come alive. I loved being in their company.