Amazon.co.uk Review
Silvertown is the story of the life of author Melanie McGrath's grandmother, Jenny Page. As McGrath acknowledges, "It was the kind of life that could have belonged to a thousand women living in the mid years of the twentieth century in the East End of London. Except that it didn't. It belonged to Jenny". McGrath's achievement in the book is to make Jenny's very commonplace, circumscribed life not only believable and moving but also to turn it into a mirror in which the reader can see the changes that the century visited upon the East End. When Jenny was a young girl, the London docks were the biggest port in the world, teeming with life and industry. By the time she was an old woman, all the docks were closed and the old East End was a part of history. Not that
Silvertown encourages nostalgia. The descriptions of Jenny's impoverished childhood, of the pulling of all her teeth on her 17th birthday, of the sweatshop where she worked, are enough to make readers throw away any rose-tinted glasses they might be tempted to use. Very occasionally the dialogue in the book lapses into the "Cor, blimey, strike a light, guv'nor" kind of Cockney heard in so many bad British films of the black-and-white era. Largely, both dialogue and narrative combine to provide a remarkably convincing and lively portrait of an ordinary life rescued from oblivion and of a world that's gone.--
Nick Rennison
--This text refers to an out of print or unavailable edition of this title.
Review
'McGrath tells her story in a novelist's idiom, and the result is extraordinarily powerful and curiously resonant. Like much of the East End, Silvertown today is in the process of an astonishing transformation. The curse on the area has been lifted. But McGrath has beautifully recorded the old Silvertown just before it disappears for ever.' Sinclair McKay, Daily Telegraph 'This is a remarkable account of the social history of the East End. It provides a rare bridge between those two separate Londons; for while the story belongs to a mysterious past, the style and sophistication is strikingly contemporary.' Anthony Sampson, Guardian
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