Spinning Silver is a new standalone work of fantasy from
Naomi Novik. It has something of the fairytale about it, in the rhythmic language,
and in some of the narrative structural underpinnings – but, much like 2015’s ‘Uprooted’, there’s a lot more going on. In a sense, this is a
fairy-tale for grown ups, but it’s not just that. It’s a story about power and
the exercise thereof, and about agency – denying it, fighting for it, holding
onto it. It’s a story about women and how they define themselves alongside or
against social expectations. It’s a story about faith, and how that faith can
hinder or help you. It is, in short, a book filled with interesting ideas,
which it explores at the same time as being an absolutely cracking story of
magic, strange creatures, and normal families doing their best to get by in
extraordinary circumstances.
The heart of the book is a triad of different women. Miryem,
the daughter of a less than successful moneylender, is a force to be reckoned
with. She has a firm eye on what needs to be done to make success out of
adversity. Miryem is not received well in a village which is used to borrowing
money and then not having to pay it back – her stubborn refusal to take no for
an answer is backed by a cool ferocity and determination which lets her come straight
off the page, sharp edges, strong will and all.
In Miryem’s efforts to make a profit and lift her family out
of penury, she’s ably assisted by Wanda, who acts as her collections agent.
Wanda has her own problems, though – a family on the edge of starvation, an
abusive alcoholic father, and an unusual mother. Wanda’s efforts to make ends
meet, and to make a life for herself not defined by the expectations of those
around her are incredibly impressive and also terribly poignant. That Wanda and
Miryem work side by side is one thing – but alternate points of view show us
how each thinks of the other and how they see each other, a reminder that
perspective is everything.
The third leg of that perspective is Irinushka. A duke’s
daughter, she carries the material comforts that the other two decidedly do not.
But while Miryem’s family is supportive and perhaps too kind, Irinushka’s
father is cool, distant, calculating. To him she is nothing more than a
bargaining chip – a perspective he shares with Wanda’s father, though the
levels at which they operate are rather different. Like the other two women,
Irinushka is desperate for something of her own, to escpae the straitjacket of conformity placed on her by family, politics and social convention. If her
father doesn’t beat her, as Wanda’s does, still she has little in the way of
support network –her only confidant being her aged childhood carer.
If there’s a thread tying these three together, its that
they’re absolutely fierce. Miryem is an implacable iceberg, who is always
prepared to break against a problem until she can resolve it. Wanda is quieter,
perhaps more subtle, evading issues she can’t resolve, and trying to struggle
out of a family history which prevents her from thinking of fighting back.
Irinushka has the most material freedom, but is further locked into a cage of
expectations. Each of them has their own voice, their own needs, their own
differences. They share a desire to do things, to break the paradigms that lock
them in place, to empower their own decision making – and a willingness to face
the consequences. Seeing these three, from very different backgrounds, face
their fears and the rage of others, to demand that they be allowed to be
themselves, is at once heartbreaking and incredibly powerful; this is a story
which carries an emotional kick like a mule, and it uses that kick often. And
it hurts, but in a good way.
But anyway. These are women in a fairly tale, though not one
where happy endings are guaranteed. There’s magic about, and creatures abroad
which might not even loosely be described as friendly. Novik gives us a world
almost recognisable in childhood memory, one where the stark white of the world
is everywhere, and where the Tsar holds sway over his country, but doesn’t ask
questions about what happens at its borders, seen or unseen. I’ve already mentioned
the prose, but was delighted on a re-read to notice that the cadence is right
for having the book read aloud; it may not be entirely child safe, but that
linguistic effort gives the story some of its fairytale charm; there’s other
familiar faces in here, too – elfin strangers, handsome princes, bad (and good)
bargains –b ut here there’s a story under the story, a complexity which
suggests that this, the book you’re reading, is the narrative that happens
after the one you tell the children, or happens beside it, out of their sight.
This is a multi-layered text, one which is going to reward
several readings. It has characters which have been built in such a complex,
nuanced way that you may half expect them to come off the page and start
talking to you. The world it inhabits will have you looking for the crisp
crunch of snow underfoot, even in high summer – I found myself reading parts of
the story during a recent heatwave in an effort to cool down! And the
characters – I mean I’ve touched on the core trio, but they’re surrounded by an
ensemble all with the same sense of inner life – from Irinushka’s old nurse, remembering terrors
long gone by, to Wanda’s supportive brothers, to her appalling, broken father,
to the terrors out of the night who are both more and less terrible than they
seem – they all feel alive, present, real.
Should you be reading this? Yes. It’s a true tour-de-force
of fantasy, one which kept me turning pages to find out what happened next, but
also challenged my expectations of the story and the characters within it. This
is a book which will sit in your head for days afterwards, even as its one
which you can’t put down late into the night.
So, once again, should you be reading this? Yes. It’s fantastic,
in all sense of the word. Give it a try.
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