After reading Sarah Hall’s Electric Michelangelo and finding it one of the best and most memorable novels I’ve read, I had high expectations for this.
In some aspects it met them, but in other ways it was less fulfilling as a book.
It interweaves four stories: a woman whose twin has died and throws herself into an affair with a friend’s husband. Her Dad, a famous landscape artist and hedonist, who we learn about while he is stuck on the hills after an accident. An aged Italian artist who is close to death. And a young woman who has lost her sight and finding her way in the world.
There are links between them all, and Hall’s interest is in delving beneath the art, which is what animates much of their lives, to the relationships that make them – the Italian artist to his housekeeper, the woman to her sister, and so on.
At times it’s a little meandering, though the artist and his daughter are well developed characters and gripping to read about, especially as the daughter deals with the death of her sibling and the unexpected emptiness she feels and the chaos that ensues.
But what makes this book is the incredible language. Hall’s style is poetic but without any pretension, her descriptions vivid and ability to connect the reader to the people outstanding.
Compared to the long and thorough story of one person’s life of Electric Michelangelo, I found this less engaging, but it was nevertheless a book with language and style and characters to savour.