I’ve got round to another of the books I highlighted in my 2019 What I Should Have Read Post. This is a major prize-winner picking up the Carnegie Medal for Outstanding Adult Fiction, also the Stonewall Prize and gained prestigious shortlist nods for the Pulitzer Prize and US National Book Award. In the UK it has remained fairly under the radar, the paperback (which I read) was published in 2019 but that still didn’t lift this book to the commercial recognition it deserves. (Amazon currently has it as #2727 in Literary Fiction with a 4.4 rating from 509 reviews).
Two parallel narratives with one set in mid/late 1980’s Chicago and the other in Paris in 2015 with a handful of characters who feature in both. In the Chicago section the Boystown area is being decimated by the AIDS virus and Fiona is losing those she loved. The novel begins with the memorial for her brother Nico whose lifestyle was rejected by his family causing an irreparable rift between Fiona and her parents as she cannot cope with his lover and friends being excluded from saying goodbye.
In 2015, Fiona, now a mother herself, is searching for her missing daughter last known to be a member of a religious cult in the US before a sighting of her is flagged up in Paris. The Fiona in the later narrative is still clinging to the events of thirty years before which has affected her ability to parent. She is a flawed yet very real character.
In the eighties narrative it is her friend Yale who is central. In a relationship with activist and magazine publisher Charlie. Yale is far more conservative, working in funding for art and following a tip off from Fiona regarding her great-aunt’s collection seeks the acquisition which would make both Yale and the gallery he works for names.
I really enjoyed both plot lines (with a preference for the earlier narrative) which are superbly handled but the strength is really the relationships between the characters. The AIDS crisis is pushing them together as much as it is tearing them apart and the repercussions of this are ever-present in the later narrative and that is why this is such an excellent work.
You will find yourself invested in these characters, you will laugh with them, be totally frustrated by their actions as well as egging them on and will cry with them and for them and for all that to happen convincingly as far as I am concerned everything needs to be top-notch and here it is. Expect me to be recalling this book in my end of the year round-ups. I thoroughly recommend it.
Rebecca Makkai is a straight woman and there could have been potential criticism in this current climate of her immersing herself in a story which is not hers to tell, which should be the province of a gay male writer, especially with so much talk about appropriation but the fact that this has won a major LGBTQ literary award with The Stonewall Prize shows that this is not an issue. This is a novel for everyone, for those whose lives were touched by the events of the time where they will be brought back with chilling clarity, for those aware of them in some degree and perhaps even more importantly for those who were not even born then. It wasn’t easy reading about a killer virus whilst in lockdown due to another killer virus and I really did feel quite purged by the end but with the sense that I had received a tremendous reading experience. Rebecca Makkai has published three novels before this. I would certainly imagine this to be her masterwork to date but I will definitely be looking out for her other titles.
The Great Believers was published in the UK by Fleet in 2018. I read the 2019 paperback edition.
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