In essence, this moving exploration of marriage and parenthood is a ringing affirmation of modern life. But the novel’s remaining pages, which convey the exaggerated “doomsday” fears of middle-of-the night wakefulness, seem padded. He drops a few clever red herrings, so the narrative retains the vibrato of suspense until the secret is revealed. Swift has channeled the tenderness in Paula’s voice with uncanny exactitude, granting her a mother’s sentimental observations about pregnancy and raising children. His convalescence is used to muse over the fate of the father he never knew, and who may not even have been his father, and the ravings of his hedonistic mother over the vanity of. The narrator, Bill Unwin, is recovering from a failed suicide. Mainly, Swift explores the ways in which secrets are created to ensure happiness, and the potential for emotional damage when the truth is revealed. Since being awarded the Booker in 1996 for Last Orders, Graham Swift has been recognised as a premier novelist whose tales of peculiarly English alienation and belonging marry serpentine narrative with psychological richness. Ever After is a rumination on death, faith, and finding meaning in life more than a proper novel. Paula recalls her meeting with Mike at university in 1966, when sex was free and easy (“a glut of it”), the immediate consummation of their sexual passion, their marriage and successful careers, and the birth of the twins after almost a decade together. Paula Campbell Hook lies awake beside her sleeping husband, Mike, and worries about the shocking revelation that she and Mike will make to their 16-year-old twins tomorrow. ) has its roots in the 1960s sexual awakening and takes place over the course of a sleepless night in June 1995.
This splendid novel by Booker Prize–winner Smith (for Last Orders
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