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Martin Munroe
Not to say that this couldn't have been an interesting technique - it could have revealed all sorts of atmosphere, and taken the reader to a higher level through its spareness. But Phillips doesn't achieve this at all. The writing is often dull and distant and lacks the rip that comes with reader-identification. It feels like boredom, not poetry.
Michael is restless and involved with another woman while his relationship with Leila is developing. Beverley, his other partner, eventually has a child. The narrative slips back and forth in time, examining carefully each character's history and how they got to where they are. Millie and Bradeth, respectively best friends of the two main characters, form a chorus to the action on the island. (They are a couple.) Eventually Leila and Michael decide to go to England. This is the great time of Caribbean emigration that has been typified as the Windrush generation - the action takes place in the late 50s. We follow them as their already rocky relationship disintegrates under the pressure of a new environment - Leila's mother, having left for Britain earlier in the story, and having sponsored them to follow her, is in hospital when they arrive (she has not been well for a long time). One of Leila's main reasons for coming to Britain is to attempt to finally reach out to her mother and warm up an incredibly cold relationship. But Leila's mother doesn't make it. Leila and Michael quickly drift apart. Michael is at home less and less; Leila is left alone with Calvin, their small son, to gradually drift into desperation.
It could have been so good. You wonder whether Phillips' realised how little this book shows its face to the reader. Instead its head is down; and all you can do is blindly grope, not being able to read its features.
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