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2010 novel by Maggie O'Farrell From Wikipedia, the free encyclopedia
The Hand that First Held Mine is a novel by British author Maggie O'Farrell, published in 2010 by Headline Review.
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| Author | Maggie O'Farrell |
|---|---|
| Language | English |
| Genre | Novel |
| Publisher | Headline Review |
Publication date | 2010 |
| Publication place | United Kingdom |
| Media type | Print (Hardcover & Paperback) |
| Pages | 341 pp. |
The book is a literary fiction that juxtaposes two seemingly unrelated narratives: one set in 1950s London following an ambitious young woman named Lexie Sinclair, who finds her way from rural Devon to the centre of postwar Soho's burgeoning art scene, and another in the present day, centered around Elina Vilkuna, an artist dealing with the emotional challenges of new motherhood. Through alternating chapters, O'Farrell explores themes such as love, memory, identity, and the transformative nature of motherhood. The connection between the two women's lives gradually unfolds as the novel progresses, culminating in a revelation that links them across generations.[1]
In the context of O'Farrell's body of work, the novel stands out for its exploration of emotional and psychological depth, with a focus on memory and identity. It solidified O'Farrell's reputation as a skilled novelist capable of blending intimate personal stories with broader thematic concerns.
The book was well-received by critics and won the Costa Book Award for Novel in 2010.[2][3]
The novel alternates between two primary storylines. The first follows Lexie Sinclair, a rebellious and bored recent graduate who leaves her rural home (and her stifling family) for London in the 1950s. There, she becomes immersed in the city's art scene and develops a relationship with magazine editor Innes Kent, 13 years her senior, having taken her under his wing. Lexie's journey is one of self-discovery, as she navigates the complexities of professional success and personal fulfillment in a time when women's independence was still constrained by societal norms.
In contrast, the contemporary storyline revolves around Elina Vilkuna, a Finnish-Swedish artist living in modern-day London. After experiencing a near-fatal childbirth involving a Caesarian section, Elina experiences memory loss and struggles to adjust to motherhood. Her partner Ted, a film editor, also becomes increasingly troubled by memories from his childhood, which become more vivid as Elina and Ted's lives are revealed to have ties to Lexie's narrative.
Despite the age difference, Lexie and Innes move in together and birth a son, Theo. Innes is still technically married to his estranged wife, Margo, with whom he also has a daughter, who's unhinged. Sudden tragedy strikes when Lexie dies in a car collision while walking the streets of London. Margo, unable to have her own children, takes Theo in and raises him as her own, cutting him off from the knowledge of his true parentage. This greatly affects Theo, who is revealed to be Ted, experiencing repressed memories of his early life. The emotional trauma of this hidden past resurfaces throughout the contemporary narrative, contributing to Ted's emotional turmoil as he navigates his life with Elina and their newborn child. Just as Elina emerges from post-natal depression, Ted falls into deep conflict.
Elina learns about Lexie's past, which allows her to understand Ted's emotional struggles better. By learning about Lexie's tragic fate and her own connections to Ted, Elina finds a sense of understanding regarding the complexities of her relationship with him. This understanding helps her come to terms with her own experiences of motherhood. The novel ends on a note of hopeful connection. Elina, Ted, and their baby represent a new family unit, but they also carry the weight of the past. Acknowledgment of the intertwined stories fosters a sense of healing and allows them to move forward. The emotional burden of their respective histories begins to lighten as they confront their truths together. Elina embraces her role as a mother, and Ted is able to reconcile aspects of his identity that were previously hidden from him.
The Hand That First Held Mine was first published in April 2010 by Headline Publishing Group in the United Kingdom. The book was later released in various other markets, including the United States, where it was published by Houghton Mifflin Harcourt. The novel was widely available in hardcover, paperback, and ebook formats following its initial release. It has since been reprinted in several editions and translated into multiple languages,[which?] gaining international readership.
The theme of the novel is motherhood and how it changes one's perception of the world. The link between the two timelines is not established until the end of the novel.[3]
The novel was met with positive critical acclaim for its rich character development and narrative structure. Critics praised O'Farrell for her ability to craft a novel that deftly handles emotional complexity while maintaining a compelling, suspenseful plot. The interweaving of the two storylines—separated by decades but linked through a poignant revelation—was noted as one of the book's key strengths.[4]
Reviewers, including Day, as one of two reviewers for The Guardian, also remarked the risky techniques that O'Farrell employed in progressing the narrative were successful. "At several points, the narrator steps back from the action, observing the characters from afar. In the hands of a lesser writer, this technique would be jarring but O'Farrell possesses such a lyrical touch that the passages work with seamless clarity."[4]
While motherhood and women's post-natal issues are major topics in the novel, some critics were surprised by the attention given to Ted's issues: "This novel tears down the walls between the generations, and in an inspired upending of literary convention, places a father's post-natal ravings centre-stage."[5]
Many reviewers highlighted O'Farrell's depiction of motherhood as particularly impactful, portraying it as both a transformative and, at times, overwhelming experience. Elina's postpartum struggles were commended for their authenticity, resonating with readers. Crown, for The Guardian, was happy that O'Farrell "vaulted" the high bar set by her previous work, noting that compared to Esme, she now "returns to the domestic sphere of her earlier novels, but with a meatier, more complex agenda." Rather than discuss relationships like in her first three books, this was about "motherhood's bumpy terrain: through her candid depictions of its darknesses and pleasures, she delivers a novel which is just as disturbing, and possibly more potent still, than her last."[6]
However, there was difference in receptivity between the two plot lines, and while "O'Farrell is an accomplished storyteller who keeps us guessing until the end... one narrative proves more compelling than the other." Further explaining, Hagestadt of The Independent said that "the dynamics of [Ted and Elina's] slightly chilly relationship remain a mystery."[5]
The Hand That First Held Mine was nominated for or won multiple literary awards. Notably, it received the 2010 Costa Book Award for Novel, recognizing O'Farrell's achievement in fiction.[7][8][9][10] Upon releasing their shortlist, the judges praised it as "a powerful story full of dynamic characters, crafted with panache and lyricism."[11] They ultimately justified their selection of winner because it is a "book of grand themes and intimate moments. This gripping novel is the one we'd unreservedly recommend."[12]
It was longlisted for the 2012 International Dublin Literary Award, among 147 titles;[13] it got nominated by Tweebronnen Openbare Bibliotheek (Belgium), London's Public Libraries (UK), & Dunedin Public Libraries (New Zealand).[14]
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