Juliet Ashton has survived the second world war. To cheer people up, she wrote a column under a pen-name. Now she wants to do something different. One day, a letter arrives from Guernsey, from someone asking for a small favor. Kind-hearted Juliet complies, and sends a note back in response. From such small beginnings, Ms. Shaffer spins a wonderful tale of wartime hardship, post-war optimism and the shadows left behind.
This is not to say that the book is completely faultless. Some readers will be put off by the fact that this novel is actually a collection of letters, and may wonder why the author chose to cast her story in this fashion. Telling a story like that is a wonderful way of dealing with POV problems. Every character has a chance to become the narrator of his or her own story, and it can be easier to bring out voice and personality when writing in first person, rather than limited 3rd.
Casting novels in letter-format also has a distinguished history. All those eighteenth century novels like PAMELA, CLARISSA, EVELINA and CECILIA were written in this way. In fact the novel got started because Samuel Richardson was publishing a book of how-to letters for the nouveau riches. Letter number 7 or 8 of this compendium was how to tell your parents that the squire is making unwanted advances. And so PAMELA was born.
Perhaps the other biggest problem with the novel is the revelation of the death of the main character, which occurs halfway through the book. Putting this revelation later would have enabled the author to use it to heighten tension. On the other hand, this character takes up a lot of psychic space, and so getting rid of her allows other characters to flourish.
But such objections are minor. If you allow yourself not to be put off by all the letters, I think you will find this novel a surprising treat.
–Cynthia Haggard writes novels. She is currently seeking representation for HE MUST BE SOMEONE, a novel about identity, forbidden love and family secrets. For more on her creative writing, go to spunstories. (c) 2011. All rights reserved.