This book is beautifully packaged. Its cover is adorned with sumptuous bucolic imagery through which wends the form of a green serpent, which together with its intriguing title proves sufficient to lure many a reader into making a purchase. Time and time again it has been said that both a book’s title and its cover are pivotal to its success, and given the enviable sales that the author has enjoyed with ‘The Essex Serpent’, these observations would appear, in this case, to have been borne out. But what of the book itself? What of its content? Does this prove to be equally beguiling?
It cannot be denied that Sarah Perry has a talent for description: much of it, especially where she is describing the landscape, possessing a beautiful and evocative quality that makes Nature itself a character. It also cannot be denied that she has a passion for colons bordering upon an obsession, which lends much of her prose a distinctly idiosyncratic quality. Now, before proceeding I must make it clear that I do not number amongst those who would relegate the colon, or its much maligned sibling the semi-colon, to the dustbin; but I am of the opinion that the author should know when, and where, they should be used. Ms Perry, irrespective of her doctorate ‘in creative writing from Royal Holloway’, appears not to know how to judiciously employ these helpful pieces of punctuation, and ought to, to borrow one of her own favoured words, use them more ‘parsimoniously’ in her prose. Moreover, both her proofreader and publisher should receive a severe dressing down for the nonsensical sentence that appears at the end of the penultimate paragraph on page 49.
Mud, cakes, macaroons and dresses are all described in minute and loving detail –repeatedly – so much so that ‘Mud, Cakes and Macaroons’ might make an equally apposite title for this volume, for they feature far more frequently in this meandering tale than the eponymous serpent that is notable throughout for its absence. Its presence slithers unseen through the undergrowth of dense prose, as elusive as any semblance of plot.
Her protagonist – Cora Seaborne – proved unsympathetic, as well as possessed of a certain self-important petulance that rankled. From the book’s description, I had been anticipating an intriguing novel of ideas, in which Seaborne’s scientific worldview parried with that of the Aldwinter vicar William Ransome, as well as a tale in which folklore featured rather more prominently than it did. Instead, it struck me as being a sluggish piece of chick lit crafted for a more educated readership than is usually the case with this genre, that whilst often beautifully written, possessed an underdeveloped plot that seemed to peter out. If its length had been trimmed by a third, its sense of drift might have been supplanted by some semblance of momentum.
The opening passages of this novel promised much, but upon finishing the book I felt as if I had been struggling through the oft-described mud only to find that the ill-defined form that I had pursued throughout had faded into the mist; vanished into nothingness. In place of a sense of satisfaction, its ending brought a feeling of a certain emptiness, and no desire to read anything further that this author may publish. A pity.
Another historical tale drawing upon local folklore – this time from Wharfedale in Yorkshire – that might be to your taste, is the occult mystery Upon Barden Moor, in which an Edwardian summer’s day swiftly yields to something altogether darker.
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