The "surplus women" of Britain, those who were unable to marry between the two World Wars because of the lack of available men, did not have an easy life, as movingly illustrated by Tracy Chevalier in her latest novel A Single Thread (#864).
Violet Speedwell's fiancé was killed during World War I, but because of the social conventions of the time, she was expected to look after her mother at home, and was economically dependent on her married brother. When she decides to cut loose and requests a transfer to Winchester from her employer, she is charting new territory. Living hand to mouth in a women's boarding house, she stumbles upon a dedication ceremony for needlepoint cushions at the glorious Winchester Cathedral. Denied entry to the ceremony by an officious woman, Violet makes up her mind to join this exclusive group for the sake of gaining entry. She succeeds, and by doing so, meets friends and finds a new purpose in her own life.
I love this book. The details of the embroidery project were fascinating to me, since I participated in a similar project in New England. What was new to me was the intricacy of bell-ringing. I have heard the changes rung, but it is an art which is not so common in the United States - there are so few places where this kind of activity is even possible. And I was so happy for Violet in the end. She created her own happiness out of so very little.
But here comes the nit: it's about the cover art. While Ms. Chevalier gets the facts correct in her story, why couldn't the cover artist do the same? In a book about needlepoint, the cover is adorned with crewel work. Most people would shrug their shoulders and say "What's the difference?". To a needlewoman, that's like asking a sports fanatic what difference the shape of the ball makes between basketball and football. The devil is in the details.
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