A Separation – Katie Kitamura

How many times are we offered the opportunity to rewrite the past and therefore the future, to reconfigure our present personas – a widow rather than a divorcée, faithful rather than faithless? The past is subject to all kinds of revision, it is hardly a stable field, and every alteration in the past dictates an alteration in the future. Even a change in our conception of the past can result in a different future, different to the one we planned. The past cannot be relied upon, the ground gives.

A female narrator, unnamed beyond ‘the wife of Mr. Wallace’ goes to Greece to search for her estranged husband. Separated for six months, the narrator and her husband, Christopher, haven’t told anyone they’ve split. This was Christopher’s request and the narrator agreed to go along with it. When Christopher’s mother, Isabella, telephones the narrator in London to say she can’t get hold of her son, she books the narrator a ticket to Greece and informs her which hotel Christopher is staying in. The narrator decides to use this as an opportunity to ask Christopher for a divorce.

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When the narrator arrives in Gerolimenas she discovers that no one’s seen Christopher for several days. He was due to check out the day after her arrival but all his possessions are still in his room. Christopher’s in Greece to carry out some research on professional mourners for the popular non-fiction book he’s writing, a follow-up to a successful debut about ‘the social life of music’. He is also a serial adulterer and there’s a suggestion that Christopher may have gone to meet a woman. The narrator is convinced early on that he’s at least flirted with the young, female receptionist at the hotel.

Now, they no longer went away – there was not, at least for most of them, a sea to roam or a desert to cross, there was nothing but the floors of an office tower, the morning commute, a familiar and monotonous landscape, in which life became something secondhand, not something a man could own for himself. It was only on the shores of infidelity that they achieved a little privacy, a little inner life, it was only in the domain of their faithlessness that they became, once again, strangers to their wives, capable of anything.

Once Christopher is found, it slowly becomes apparent to the narrator that separating isn’t going to be as easy or as straightforward as she thought. The act of being married to someone, even if that marriage appears to be over, creates ties that cannot be severed quickly or, perhaps, at all.

Kitamura’s narrator is a translator.

The task of a translator is a strange one. People are prone to saying that a successful translation doesn’t feel like a translation at all, as if the translator’s ultimate task is to be invisible.

It’s a sign, along with the withholding of her first name, that the narrator is interpreting events from her own viewpoint while attempting to erase it or, at least, attempting to make the reader forget this is the case. Taken with two other key factors: that the ‘translation’s potential for passivity’ appeals to her and her repeated comments about the role of imagination in a relationship, Kitamura creates a more complex portrait. This is enhanced by the narrator not being completely unreliable which makes it more difficult to ascertain the unbiased truth of the marriage and the narrator’s motives for later events.

In the end, what is a relationship but two people, and between two people there will always be room for surprises and misapprehensions, things that cannot be explained. Perhaps another way of putting it is that between two people, there will always be room for failures of imagination.

A Separation is an absorbing portrait of the quiet death of a marriage and the disjuncture between what we think we know about people and who they think they are.

 

Thanks to Profile Books for the review copy.

In the Media, April 2017, Part One

In the media is a fortnightly round-up of features written by, about or containing female writers that have appeared during the previous fortnight and I think are insightful, interesting and/or thought provoking. Linking to them is not necessarily a sign that I agree with everything that’s said but it’s definitely an indication that they’ve made me think. I’m using the term ‘media’ to include social media, so links to blog posts as well as as traditional media are likely and the categories used are a guide, not definitives.

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Photograph by Murdo MacLeod

 

Women have been dominating the prize wins for the past fortnight. Hollie McNish won the Ted Hughes Prize and Kiran Millwood Hargrave won the Waterstones Children’s Book Prize with The Girl of Ink and Stars.

While The Baileys Women’s Prize for Fiction shortlist was announced. Rebecca May Johnson writes ‘Notes on . . . the Baileys Women’s Prize‘ (and reading women more generally) in the Financial Times. There are interviews with several of the longlisted writers on the prize’s site: Madeleine Thien, Naomi Alderman, Linda Grant, Yewande Omotoso, Heather O’Neill, Fiona Melrose, Eimear McBride, Emma Flint.

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The best of the rest:

On or about books/writers/language:

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Personal essays/memoir:

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Feminism:

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Society and Politics:

Film, Television, Music, Art, Fashion and Sport:

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The interviews/profiles:

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The regular columnists:

In the Media, March 2017, Part One

In the media is a fortnightly round-up of features written by, about or containing female writers that have appeared during the previous fortnight and I think are insightful, interesting and/or thought provoking. Linking to them is not necessarily a sign that I agree with everything that’s said but it’s definitely an indication that they’ve made me think. I’m using the term ‘media’ to include social media, so links to blog posts as well as as traditional media are likely and the categories used are a guide, not definitives.

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This fortnight’s seen a number of prize lists announced. The big ones for women writers are the Baileys Women’s Prize for Fiction longlist and the Stella Prize shortlist.

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Chimamanda Ngozi Adichie’s comments on trans women have prompted a number of responses.

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The best of the rest:

On or about books/writers/language:

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Personal essays/memoir:

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Feminism:

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Society and Politics:

Film, Television, Music, Art, Fashion and Sport:

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The interviews/profiles:

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The regular columnists:

In the Media, February 2017

In the media is a fortnightly round-up of features written by, about or containing female writers that have appeared during the previous fortnight and I think are insightful, interesting and/or thought provoking. Linking to them is not necessarily a sign that I agree with everything that’s said but it’s definitely an indication that they’ve made me think. I’m using the term ‘media’ to include social media, so links to blog posts as well as as traditional media are likely and the categories used are a guide, not definitives.

I’ve been a bit lax at compiling these while I’ve focused on my own work. It means this month’s is huge and I haven’t honed in on any topic in particular as the news moves so fast at that moment it feels like an impossible task. Back to fortnightly after this which hopefully will make it slightly easier to digest.

 

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On or about books/writers/language:

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Personal essays/memoir:

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Feminism:

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Society and Politics:

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Film, Television, Music, Art, Fashion and Sport:

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The interviews/profiles:

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The regular columnists: