Women’s Prize for Fiction, 2022: Careless

Bess is fifteen years old when she finds out she’s pregnant. Although she’s been in a long-term foster care placement since she was four, she’s never felt that she truly belongs to her foster family, and her boyfriend, Boy, has gone AWOL. The only person she can really rely on is her best friend Eshal, but Eshal has problems of her own – she’s worried that her Bangladeshi Muslim family are going to encourage her into an arranged marriage she does not want. Careless, Kirsty Capes’s debut novel, starts with Bess’s discovery of her pregnancy and then flashes back to explore her relationship with Boy and friendship with Eshal, before moving forward along the original timeline.

First things first: I enjoyed Careless much more than I expected to. This is a book about teenagers that could be read by teenagers, but I wouldn’t class it as YA and it doesn’t seem to have been sold as such. This is a relief. My problems with YA have never been that it’s written for a teenage audience but about the conventions and stereotypical assumptions that have become wrapped up with writing for that audience. Careless avoids these tropes. I’d place it alongside Shappi Khorsandi’s Nina Is Not OK, which deals sensitively and thoughtfully with alcoholism and sexuality. Like Nina, Careless is a dark and painful read – but this certainly should not exclude it from an adolescent as well as an adult readership.

Bess is a compelling protagonist. The book cleverly moves from the relative lightheartedness of early scenes with Eshal, watching the raft race at Shepperton Village Fair and chucking rubbish at an enemy’s raft, to much more harrowing scenes later on, which helps us to see Bess as a person and not just as a suffering statistic. Her world, too, is vividly evoked. Capes shuns generic council estate settings and allows us to really see the Studios Estate where Bess lives, in its everyday beauty and ugliness: ‘From my bedroom window on the estate, I can see the park, with two big horse chestnut trees on the green where the parakeets roost… And the long sloping sides of the reservoir, just beyond the farmer’s fields… I can see the River Ash Woods, where everyone goes to fly-tip and inject heroin. And then the tin houses, which are what everyone calls the pre-fabs, from after the Second World War’. 

However, I didn’t think the structure of the novel served Capes’s purposes particularly well. By positioning all that comes before the positive pregnancy test as flashback, the reader is simply waiting for Careless to catch up with itself. This messes with the pacing and also draws attention away from the most important element of the novel – the friendship between Bess and Eshal. I’ve been seeing this thriller device – pulling a scene from the middle and putting it at the beginning – more and more in books that are not thrillers. I suspect it is often advised by agents and editors, but it doesn’t work well for me as a reader. For Careless, certainly, I would have appreciated more time to get to know Bess before the book starts to revolve around her pregnancy.

There are also a few duff notes. I agree with this reviewer that Eshal’s plotline is too neatly concluded, although I imagine this came from Cape’s over-cautiousness in tackling this subject as a white writer. Bess’s voice generally works very well, but occasionally she feels like a mouthpiece for important things that Capes wants to say about the experience of being in care that probably wouldn’t come out of the mouth of a 1990s teenager. For example: ‘There’s something wrong with being in care, the care system, and it’s making us into a transaction… It’s not right, how we’re treated like a job. There’s too much emotional labour involved.’ Having said that, I thought that Cape’s handling of the reasons behind Bess entering foster care in the first place was exceptional. She tells the reader just enough so we can guess at what happened but allows us to understand it through the fragmented lens of Bess’s trauma, or what we might identify as complex PTSD.

So, a flawed book, for me, but one which I think deserves its Women’s Prize longlisting, and which certainly achieves what it’s trying to do much better than the other two novels on the list I’ve read so far. I doubt it will be shortlisted – the quote from Pandora Sykes on the cover makes me think it was the pet pick of a single judge – but I’m glad that I read it.

I’m not aiming to read all sixteen books on the Women’s Prize longlist this year, but I’ve selected eight titles that I do want to read. This is number three. I’ve already read Great Circle and The Book of Form and Emptiness.

Advertisement