In post-war Philadelphia, Danny and Maeve Conway grow up in the ‘Dutch House’, a beautiful building that is ‘open inside’, with huge windows allowing passers-by to look directly through the house and to the views beyond. As adults, they can no longer return to their childhood kingdom, but neither of them can leave it behind; they start sitting outside the house in a car for hours on end every now and again, although they never catch a glimpse of the house’s present inhabitants. There’s something fairy-tale in this exile that sits at the heart of Ann Patchett’s latest novel, The Dutch House; it reminded me of Lucy Clifford’s horrific cautionary tale, ‘The New Mother‘, in which two children are told that if they do not behave their real mother will go away and be replaced by another mother ‘with glass eyes and a wooden tail’. (Spoiler: they don’t behave, and the story ends with them watching their once-happy home from the outside as the new mother walks within.)
Danny narrates the story of the Dutch House, but Maeve is at its centre; after their mother ran away to India when Danny was very small, she’s taken care of her brother. There’s a sense that Maeve threw herself in the path of this explosion to shield Danny from the worst of its effects; for most of his childhood, despite having no mother and a distant father, Danny feels secure. Maeve’s sacrifice continues into adulthood ( we find out much of what happens to the siblings in later life early on, as Patchett cleverly constructs the novel around a series of flash-forwards) as Danny pursues his education while she takes up a make-ends-meet job at an accountancy firm.
As ever, Patchett balances the emotional crises of her novel perfectly, and while much of The Dutch House is (deliberately) predictable, its power to move doesn’t lie in surprising the reader but in seeing how everything plays out. Nevertheless, as with Patchett’s last novel, Commonwealth, I was left feeling slightly underwhelmed – if only because I know how brilliant she can be. I think Patchett’s writing works best for me when she takes on more unusual subject-matter, as she did in State of Wonder, whereas both her last two novels have felt more familiar, telling long family stories in the vein of Anne Tyler, whom I don’t especially rate. There’s no doubt that The Dutch House is a good novel, but I wonder how long it will stay with me.
I received a proof copy of this novel from the publisher for review. It’s out in the UK on 24th September.
I absolutely loved Ruth Ware’s first thriller, In A Dark, Dark Wood, but was rather underwhelmed by the two I’ve read since, The Woman In Cabin 10 and The Lying Game. The Turn of the Key restored my faith in her; this is top-notch modern Gothic, running with a brilliant setting, where a nanny is left isolated in a ‘smart house’ in Scotland with three small children, frightened by both traditional tropes such as the enveloping forest, and the technology that turns lights off when she isn’t expecting it and makes coffee for her in the morning. Ware builds on the setting she created in In A Dark, Dark Wood, where a house with many of its walls replaced with glass panels looked into a creepy woodland, but amps it all up. I usually struggle with modern Gothic because I don’t find old houses that frightening, but the combination of old and new here works perfectly, and allows Ware to pull off some novel twists. She also writes very cleverly, seeding clues from the start but never allowing the plot to feel too contrived. It’s all a little reminiscent of Kate Murray-Browne’s absorbing The Upstairs Room, but scarier.
Do you have any favourite novels about the hold that houses have over us?