I’ve had Ross
Raisin’s 2008 novel God’s Own Country on my shelves for some time, and it was
only after hearing a little of a discussion about it on Radio 4’s Bookclub that
I finally got around to reading it. I can’t think why it took me so long. This
is an original, beautifully written and utterly compelling novel.
The story is told
first person by Sam Marsdyke, a distinctly odd and lonely 19-year-old living in
rural north Yorkshire with his farming parents.
Sam’s heavy dialect feels thoroughly authentic, even though some of the
words, as Raisin admitted on Bookclub, are made up. I say, who cares? When
'the girl' gazes across the moors with a 'look of yonderment’, we know exactly what that means; and what better
word for the clutter of ornamental bits and bobs adorning the walls of the village pub than ‘trunklements'?
The beauty of the
area is skilfully evoked. The descriptions of the weather, the wildlife and the rolling moorland are remarkably vivid, and the wild landscape is as present and significant here as it was in Wuthering Heights. Sam
spends his free time tramping the moors with his beloved dog, Sal, and initially,
the way he torments the 'towns' - ramblers for whom he has utter contempt - by throwing a small stone at them from behind a wall, seems little more than mischievous, but soon, things take a much darker turn.
Sam's internal monologue provides little snippets of information about his past,
which, when we put them together, paint a disturbing picture. We learn early on that he was kicked out of school
because of an assault on another pupil, and that his mother cried a lot
at the time and still needs reassurance that she shouldn't blame herself,
rather that he 'must've come out backward’. Sam imagines that when people look
at him, they see the word 'rapist' on his forehead, and he's convinced that everyone
hates or is afraid of him. But he’s comfortable with animals and often holds
imaginary conversations with them, as well as with the sun and moon, and even
with everyday objects. He takes a liking to the new neighbours' 15-year-old
daughter, but he can't think what to
say to her. 'Talk to her, you doylem,'
her hair slide tells him. 'She'll bugger off if you don't'.
At first, he
considers her feelings; when she wants to watch the lambing, he's conscious of
how she might be affected by a stillbirth and he guesses she'd be upset if she
knew that the dead lamb would normally be skinned, so he buries it instead. But as he becomes more obsessed with 'the girl' as he refers to her, it becomes clear that this can't end well. One day, as he's watching a ram servicing the
ewes, his thoughts become confused, giving us the most chilling glimpse yet of
what he is capable of: 'The ewe just let him, not a sound, not a sign she was
liking it or not. I knew she was, mind -
no matter she was sore from his clobbers, or that he was bruising on top her
neck. She'd have tried to move off if she didn't like it, she'd have struggled
at least - she didn't do anything,
though, except one point she gave out a small noise, quiet, but enough, and I
knew she was liking it because her hand tightened into a fist, not gripping
anything, just closing tight on itself so as to flesh went white rounds the
knuckles and there was a chain of half moons across her palm when he'd finished
and the hand went limp.' I had to read this twice because I thought I missed
something - then I realised that in fact, the sight of the animals mating had
dredged up a memory of the assault.
Although Sam is in
many ways a frightening character - sinister, disturbed and disturbing, and
clearly capable of cruel and violent behaviour - I found myself feeling
increasingly sorry for him as the novel progressed. He presents his upbringing as harsh and his
father as something of a brute, but we must bear in mind that Sam is a far from
reliable narrator, and though we see that his father is certainly gruff, we
note that he still uses the mug that Sam bought him when he was little. But
whether or not Sam misreads the people around him, what is certain is that he is unable to
connect with them and is desperately lonely.
In the final scenes,
where, without giving too much away, the extent of Sam ‘s, shall we say,
'antisocial' tendencies are revealed, I still felt sorry for him, because apart
from anything else, he seemed completely oblivious to the distress he was
causing, and almost bewildered by how things turned out.
Sam is a complex and
fascinating character; he does bad things, but he got so under my skin that
I've found my thoughts returning to him and his world again and again since I finished the
novel. God's
Own Country is occasionally funny, but mostly it's dark and disturbing;
it's also tragic and with a sort of rough, weathered beauty. This is a novel that I'm pretty sure I'll read a second time.
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I loved this book- I'm a fan of dark character studies so this was a spectacular read for me. You have some insights on the novel that I hadn't picked up on, excellent review. Since you liked this, I would recommend "The Butcher Boy" by Patrick McCabe and "The Wasp Factory" by Iain Banks. Both have similar narrators, especially "The Butcher Boy."
ReplyDeleteI felt bad for Sam too though I'm not sure I should have. Though hypothetically, if people can like and sympathize to some extent with a mass murderer like Hannibal Lector, why not a rapist? (by the way, I'm not trivializing the horror of rape, which is an atrocity I wouldn't wish on anyone.)
Here's my review- https://sarahblogger94.wordpress.com/2014/10/15/gods-own-country-by-ross-raisin-aka-out-backward/
That's interesting that Ross Raisin made words up, I never would have guessed that.