i'm going to put this to the side for now... i want to like armfield's work, her use of motifs, repetition, and her ability to create a certain opaquei'm going to put this to the side for now... i want to like armfield's work, her use of motifs, repetition, and her ability to create a certain opaque ambience appeal to me. but i often find her language affected and her characterisation predictable. her attempts at bluntness also don't really work for me as they seem rather edgy. my friends here on GR loved it so i recommend you check out more positive reviews as i'm very much an outlier....more
Anna Dorn's talent as a writer is evident...still, in terms of style and themes Perfume & Pain feels very been-there-done-that. it's like someone threAnna Dorn's talent as a writer is evident...still, in terms of style and themes Perfume & Pain feels very been-there-done-that. it's like someone threw Mona Awad and Jen Beagin into a blender, but forgot to add that extra zing to it. and while Perfume & Pain tries to come across as self-aware, it often ends up feeling more like self-indulgence than offering anything truly meta or intertextual. review to come
“Being one of four sisters always felt like being part of something magic.”
Blue Sisters is the kind of book that, depending on my mood, I will either
“Being one of four sisters always felt like being part of something magic.”
Blue Sisters is the kind of book that, depending on my mood, I will either detest or adore. Fortunately, this time around, it was the latter. Having given Coco Mellors’ debut a hard pass, I was weary of reading more by her, yet, the premise for Blue Sisters sounded a lot less insipid than the one for C&F. While certainly not flawless, Blue Sisters makes for a tender, if occasionally too sentimental, exploration of sisterhood, grief, and self-sabotage. It should definitely appeal to fans of the people-fucking-up genre (examples being films like: The Worst Person in the World, Passages, Return to Seoul, Frances Ha and series like The Bisexual) or readers who enjoy complex sibling dynamics (such as in Yolk, Sunset, Butter Honey Pig Bread, The Arsonists' City) or female-centered books like Writers & Lovers, We Play Ourselves, and Self-Portrait with Boy.
“Their family had always been good at hellos and goodbyes, moments ending even as they began. It was easy to love someone in the beginnings and endings; it was all the time in between that was so hard.”
The characters are messy and there is a lot of friction among the sisters, so yes, we get a lot of arguments. With the exception of perhaps one or two cases, these come across as very authentic, sometimes overwhelmingly so. Hurtful words are hurled, sometimes with the intention to hurt, sometimes not. Things escalate, but not always. Mellors’ approach to these scenes felt cinematic yet intimate, and I appreciated how she is able to convey the conflicting feelings of her characters. The sisters are often unable to escape the dynamics of their childhood, with Bonnie acting as a pacifier, Avery as the mother, and Lucky as the rebellious youngest one. Avery and Lucky are assholes a lot of the time, something the narrative knows and doesn’t shy away from. Yet that doesn’t make them any less rounded or sympathetic. While Mellors doesn’t use their loss or childhood to excuse their actions, she allows those things to inform our understanding of her characters. I found her very empathetic, and loved many of the reflections around love (be it sisterly or romantic), insecurity, loneliness, and grief.
“She was home, the only one she knew, not because she always lived in it, but because it always lived in her.”
Through alternating chapters, the novel follows three of the Blue sisters, Avery, Bonnie, and Lucky, a year after the death of the fourth sister, Nicky. At the beginning of the novel, the Blue sisters are in different parts of the globe, but they are all similarly not coping, if not downright freefalling. Bonnie, once a boxer, is now working as a bouncer in LA. She does find herself making her way back to NY, where she is forced to confront her grief, the shame over her last match, and the feelings she’s been long harboring for her former mentor, Pavel. Avery works as a lawyer in London where she is married to Chiti, an older woman who was once her therapist. Chiti wants a child but Avery isn’t ready, in fact, ever since Nicky’s death she has been withdrawing from her marriage. Chiti has noticed but mostly relies on therapyspeak to remind Avery that she too has lost Nicky (as if being reminded of that would help avery…). Avery finds escape in rigorously attending AA meetings. There she meets a younger man, a poet, and their attraction is mutual and has disastrous consequences for Avery’s marriage. Lucky is a model who has spent most of her adulthood in relishing a carefree partier lifestyle. But Nicky’s death has changed things, and now Lucky is not so much as partying because it’s fun, but because as a means of oblivion. After screwing up her latest gig in Paris, she travels to London. Her and Avery’s relationship is more frayed than ever and the two sisters end up driving a further wedge in their bond. Lucky sees Avery as sanctimonious, smothering, and a hypocrite, whereas Avery is exasperated by Lucky’s careless attitude to others and herself. Eventually the three sisters reunite in NY, but their reunion is far from smooth.
The prologue serves as a character introduction, one that, through the use of literary devices such as alliteration, succeeded in lending this tale of the Blue sisters the rhythms of a fairy tale. Despite the novel taking place over a fairly contained period of time, the characters have a lot of history with each other and a lot of personal baggage, yet, these forays into the past never weighed down the narrative, and if anything they made the characters more rounded. We come to understand why they act the way they do, the origin of some of their insecurities and anxieties, and why some of them try to escape their grief by avoiding what they once loved, sabotaging their relationships, and opting for self-destructive ‘coping mechanisms’. Bonnie is the more grounded of the sisters, and her arc is not a downward spiral, as it is for Avery or Lucky’s. Still, Bonnie feels responsible for Nicky’s death, and is unsure whether she can box like she used to. Avery has a tendency to shut out other people, something that makes her a hard character to get into. Yet, we can see how hard she has tried to make up for her parents, to look out for her sisters in all the ways they didn’t. She also believes that she was the one to have let down Nicky, but is not fully able to admit this, so she lets her hurt and guilt fester. She misdirects her anger towards Lucky, who is also as lost as she is.
I thought that the novel was very self-assured, and that for the most part, it sticks the landing. Sure, one could say that Mellors was trying to cram in too much into the novel. Take the Blue sisters jobs…they are giving ‘try out different careers with Barbie’ (lawyer, model, boxer). They are also too beautiful and not-like-other people at times (Avery and her tattoos…sure, cool aesthetics, but it didn’t seem in line with her character). Even their mother, a character whose presence is mostly relegated to the outskirts of the narrative is subjected to this beautification: “at the time, she had silky auburn hair down to her waist and a beautiful, tulip-shaped face”. While I understood Lucky being beautiful, and her having a troubled relationship with her beauty (she takes it for granted, especially when it comes to what she can get away with, for instance, her beauty glamorizes how unpleasant, rude, and selfish she can be; she is also burdened by it, with other people unwilling to truly see her, or becoming obsessed with her because of her looks, or thinking she is a dumb shallow blonde) when it came to the other characters…these descriptions weakened the novel. They were syrupy and somewhat affected.
Avery was the type of lesbian character that feels that has been written by a non lesbian, as in, the writer, in their attempts to avoid clichés about lesbians, ends up writing the straightest lesbian character ever. I did not understand why Avery is made into a lesbian character, given that the person she has an ‘affair’ with is a man…one thing is someone who is still for whatever internal or external reasons unable to identify and/or live as a lesbian, but Avery has been in a relationship with a woman for a long time, she describes herself as a lesbian who is interested in being with women…so why have her cheat with a man? A man she is insanely attracted to. It was a Choice™, one that seemed to me to exist only for dramatic effect (not only she cheats, but she cheats with a man!). Their sex scene also consolidated my perception of her as a very straight character. I just wish the author could have made her bi, queer, or pan. I also find the whole image of the (outwardly) strait-laced lesbian a bit of a bore, but thankfully Mellors does manage to make Avery into a flawed yet complex character. I didn’t like how the cheating plotline is handled,(view spoiler)[ especially when it comes to her being ‘found out’, I found Chiti finding the ‘evidence’ too much of a convenience, and had a hard time believing that Lucky wouldn’t cover for Avery, despite all their issues (hide spoiler)]. Lucky also skates close to being a bit of a cliché, but thankfully the narrative doesn’t romanticize her self-destructive ways. I did found that musician subplot very cheesy—it felt like something straight out of Hollywood—and I thought it was an unnecessary add-on. Similarly, the epilogue, despite the author's heartfelt acknowledgments, felt more corny than touching.
However, these aspects didn't significantly detract from my overall enjoyment of the novel. I still loved it (which just goes to show how good mellors can be). The characters and their dynamics were compelling, and I particularly admired Mellors' prose style and ability to establish atmosphere. Mellors also adeptly balanced action and introspection, ensuring that the story never felt either rushed or slow-paced. Additionally, I appreciated that certain elements remained unresolved, such as the sisters’ complex relationship with their mother, adding depth to the narrative. Mellors' portrayal of grief is heartfelt and authentic. Through the lens of the surviving sisters' memories and flashbacks, she paints a vivid picture of Nicky, allowing readers not only to empathise with her but to miss her presence. Mellors' depiction of addiction and the journey to recovery feels genuine and relatable. She captures the struggles and setbacks with honesty, which in addition to making for a candid portrayal of addiction, also made the sisters' experiences all the more compelling and real.
I can definitely see myself re-reading this as I found it to be a captivating tale. It had dramatic moments and plenty of emotional beats. Evocative and thoughtful, Blue Sisters made for a compelling read, full of imperfect people and fraught relationships, all underscored by an undeniable heart. I think readers who are less averse to sentimentality than I am will likely adore it even more than I did. I look forward to Mellors' next novel, hoping that it will align more closely with the style and depth of Blue Sisters than C&F.
I'm grateful for this arc and (depending on my funds) will purchase a copy of my own once it is released....more
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