Winchelsea

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There is a wrapping up at the end were Goody is allowed a final say in her story but by now we don't really know who she is any more or how she feels about anything that has happened to her.

It has come to my attention that “presentism” has begun to be used regularly in cultural, historical analysis of writing, theater, movies, etc. While I can see some reviewers leaning into a “form” of implications of present day mores infiltrating this book, I am inclined to believe that is not a major issue. What holds the novel together as much as its driving plot are its incantatory atmosphere and spellbinding language. Nights are noisy with owls and fieldfares, “their lonely twits falling down through the dark”, while meaning oozes via sound and rhythm from antique vocabulary such as “fallalery” and “yelloching”. What I found most jarring was the abrupt end of Part 1, followed by Parts 2 and 3 - the pacing up to the end of Part 1 and after was just off for me and felt like an afterthought. I truly felt like the ending of Part 1 could have been the end of the novel. Parts 2 and 3 felt a little rushed, condensed and like there could have been enough material for at least one more book if explored in greater detail.The letter from Goody at the beginning says that her true narrative, through the different lenses of the text has turned into something of a novel. I found this destabilising to the text immediately as she talks about ‘the novel’ with the certainties of a modern writer, where the term was still a disputed and nebulous term in 1779 when she is writing. She also makes the point that most of the narrative was told by her to a man and so warns the reader that the book may sound like a man writing as a woman more than the real lived experience of a woman. This caveat seems to have no meaning or purpose within the world of the book but instead refers to the fact the (twenty-first century) novel is in fact written by a man and making excuses for the fact it sounds like a man writing a woman. This is still further complicated by the fact that Goody does in fact live as a man for a large section of the book which sort of makes her a pseudo-male narrator anyway. Given Alex Preston named his fifth novel after a small town nestled on the Sussex coast, it is unsurprising that the power of place is integral. Sweeping vistas of imperious dunes, thunderous waves and atmospheric renderings of landscapes “fringed by fernbrake and hawthorn” are offered throughout Winchelsea. But, most pertinently, so are insights of what lies beneath the town’s surface. In Winchelsea, we are transported to the mid 1700s. Goody Brown, rescued from drowning as a baby and swiftly adopted by her rescuers, grows up in the small smuggling town of Winchelsea. At sixteen, she witnesses the murder of her father and is given little choice but to fill her father's shoes for the very same gang that brought him to his untimely demise. With help from her brother, Goody joins a rival gang and plots her revenge. The Winchelsea of the 1740s that Preston details sits atop a network of subterranean passages used by smugglers to store booty from the continent. The murky and treacherous world of piracy, corruption and gang warfare is the focus of this exhilaratingly twisty novel that is something of a warren of connected and echoing recollections itself.

In regards to censoring this book, which has been suggested (for adults only) I am adamantly opposed. I find this especially abhorrent for the reasons given of same sex coupling and incest. Was it really incest then or now…there is no easy answer to this, which was surely excellent plotting and writing by this articulate and clever author. It made be think, which is a gift from any story. If you aren’t familiar with Winchelsea and it’s smugglers you probably won’t mind this so much. If you like a bawdy tale with sex, booze, sailing and bloodshed then give it a go. Just be prepared for abrupt story changes, unfinished threads, and a feeling that there was so much more to be explored. The main character of Goody was enthralling to read about through her character journey and transformations. She is quite flawed and rebellious and takes part in many questionable deeds and adventures but you cannot help but love her. It started off with intrigue, a tale retold from another who heard it first hand, of a girl, rescued at birth, raised with intention, but destined to become her own person, strong brave and independent. But just when you are getting into her story, a child she still is at this point, it goes off on such a tangent I was confused what the author was even thinking. It goes from a smugglers tale, based on real people, places, and events, a tale of a girl facing the loss of the only father she ever knew just as she learns he is not all she thought, to being about a child, for she is still a child of 16, exploring her burgeoning love for another woman, and her lust for her adopted brother��oh, and nearly being raped by her true father, and that’s where I lost interest.There were elements that I loved about Winchelsea. It would probably have been a five star read if it wasn’t for the change in voice. The story is told in 3(ish) parts. The first and longest from Goody Brown’s perspective. This I found to be the most engaging. The second voice didn’t engage me as much but it was necessary for the next part of the story and to develop the character of Goody Brown further and to reveal the desperate measures that she had to go to. I greatly appreciated the unfolding of this book, the plot, the characters, the voices, the mysterious and unforgiving sea, the deeply complicated town & the secrets it guards. It starts off being told from Goody's perspective and I will say the first 30% is fairly gripping. You are right into the action for sure but once 'revenge' for the Father's murder has been delivered the next middle section of the book feels overly long and winding. I really struggled to get through it because there didn't feel like anything much to keep me reading but eventually it livens up again only to then experience reading whiplash when suddenly at 75% of the way through book it is suddenly being told from another characters point of view and worst of all a character we have never encountered before. Goody's experiences, thoughts, etc are gone. We have no idea what she is thinking any more and I found myself not caring

Then we switch to another narrator for the ending portion.. At least this was a character we are familiar with from fairly early on in the book but suddenly it feels like now the book is about him and no longer really about Goody at all. The LGBTQ rep here was complex, thought provoking, well presented and felt authentic in terms of the restrictions of the time period/societal pressures. This book was so slow-burner that for the first ⅓ of it I thought I might not finish it at all. But in the end I’m very happy I didn’t leave it. After recounting those first and, frankly, quite uninteresting years of Goody’s life a grand adventure of a book has started to emerge in front of me. And I have to say that it was very much to my liking and gave me a real pleasure to read it. For my own sensibilities, I cringed and was disquieted by the violence. However, I would not suggest that as reason to read or not to read for others. It is graphically murderous and filled with the baser actions of humankind to destroy lives for profit, power and whim. That, unfortunately is true today and since the earliest times on earth.

Wow, this book went down plot caverns and hidden treasure troves that surprised and sometimes horrified me. But let me say I was never bored!! Another element of this eighteenth-century story which is twisted into weird shapes by its twenty-first century sensibilities is the trans narrative. There are a surprising amount of stories of gender crossing in eighteenth-century fiction and reality, from the female alter-egos of Molly House attendees to the stories of female husbands and people like Charlotte Charke living as a male but when Goody does this, it’s treated from a twenty-first century perspective. Goody lives for a while as a man called William and finds themself comfortable as a non-binary person at the end of the novel. All the other characters seem aware of the notions of sex and gender being separate and of gender performativity and the notion of a gender spectrum. When one character has met Goody as William, even when he finds out that William is not a born-man, keeps using male pronouns - a polite and social thing to do nowadays but not really within the scope of an eighteenth century understanding of sex and gender where they still believed a big jump could un-invert a women’s genitals and make them male. I’m not saying that eighteenth-century people would have been necessarily cruel or barbaric towards a male-presenting person but they simply would have not conceived it the way we do, and nor would the trans person themselves. Winchelsea” is as much a book about the characters in it, as about the land they were living on. I very much liked that the author has put so much effort into painting not just where this book was placed, but also its history. And have done so without ever abandoning Goody or any other characters that were telling her story. It was rather done THROUGH her and what she’s done. I absolutely love reading books based around smugglers, it gives me those Jamaica Inn/Frenchman’s Creek vibes from the fabulous du Maurier books. This is just as atmospheric as her books but a lot more grittier and raw. It is the story of Goody Brown and the corrupt world that she lives in. Throughout the story you are presented with trials and tribulations far beyond your ken that you really do feel like you have been invited into another world.