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‘Ten days after the war ended, my sister Laura drove a car off a
bridge.’ So begins The Blind Assassin, the
next six hundred pages explaining the circumstances that led to this dramatic
action. The narrative is slightly complex in form – split between the present
with Iris as an old woman, writing her autobiography of sorts. This is interspersed with contemporary newspaper reports and excerpts from The Blind Assassin, a novel published
posthumously under Laura’s name. Within this one of the characters tells the
other stories and as we progress through the book it becomes clear the lives of
these characters reflect those within Atwood’s novel.
Laura and Iris grow up in a wealthy family, their father having
inherited the family’s factory business after his brothers were killed during
World War One. When their mother dies in childbirth it becomes clear Iris will
be expected to take up the role of heir. In an attempt to save the business she
is married to Richard Griffen, her father’s main competitor and seventeen years
her senior. Married life proves itself unpleasant, Richard’s sister Winifred is
always around, controlling the minutiae of Iris’s life. She soon realises her
role is just to ‘open my legs and keep my mouth shut’. Their marital relations
are a particular source of dread for her as Richard ‘preferred conquest to
co-operation, in every area of life.’ When Laura is forced to live with them
she makes no secret of her intense unhappiness and eventually Richard and
Winifred have her institutionalized. Iris is refused access to her sister and
no letters or messages get through. There are many secrets embedded in their
history, subtly hinted at throughout. It is only in its conclusion that the
reader is shown in full the series of tragic events suffered by the Chase
sisters.
The book is firmly set against the historical events affecting
Canada at the time it is set – labour relations between the wars, the Great Depression, the personal
implications of war, and the social pressures and patriarchy that created such
unhappy lives for our female protagonists. The newspaper clippings show how
superficial public concerns were and highlight events that Iris hasn’t yet told
us about. When she does fill in the gaps she points to the inaccuracy of some
reporting. As for Iris herself, how far can we trust her version of events? She
is writing for the sake of her estranged granddaughter Sabrina, relies on
memories of events that took place decades earlier. She also shows us her
ability to successfully conceal truths in the confessions she makes. In old age
she is penniless, bitter, and reluctant to accept help. Her organizing the
publication of The Blind Assassin turned Laura into a martyr and she has no time for devotees of her sister. In youth
resentful of the constant need to look after Laura and in old age feeling as
though she is still living in her shadow, it is not unreasonable to think she
may embellish her story.
This is a hugely interesting book that deals with a plethora of
issues both familial and universal. Carefully plotted to keep you wanting more,
each strand captures the imagination and gradually reveals more insight into
the characters and the world they inhabit. Criticised by some as too black and
white, there’s little ambiguity over who you should be rooting for.
Nonetheless, Iris and Laura are expertly crafted, Atwood shows the roots of
their future in the passages on their youth. As for Winifred and Richard, their
manipulations and scheming will make your blood boil. A fantastic read that I
didn’t want to end.
Pick up a copy:
Foyles
Waterstones
Book Depository
Pick up a copy:
Foyles
Waterstones
Book Depository