![]() ![]() ![]() No diving away from your own experience to think about the history of X rays or psychoanalysis in this novel Greengrass keeps us all suspended in the high house.Īll this is to say that I think, technically, Greengrass does exactly what she wanted to do, but I still couldn’t quite embrace this novel. Finally, The High House is focused on a static period of time, a drawn-out experience of waiting for catastrophe to unfold, which starts to get to the reader in the same way as it does to the characters. It’s narrated by three people – Caro, Sally and Pauly – but their voices are the same, which again, I felt was a purposeful choice, as Greengrass certainly has the literary skill to differentiate her narrators if she so chooses. ![]() Greengrass still writes beautiful prose, but here it is much simpler, and focuses on description and action rather than the close anatomisation of inner worlds. ![]() The High House, her second novel, is deliberately different. I thought Jessie Greengrass’s debut novel, Sight, was fantastic complex but incredibly readable, weaving together the narrator’s musings on motherhood with the lives of three historical figures, Wilhelm Röntgen, Anna Freud and John Hunter, via the theme of inner sight. ![]()
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