This is the third in a series about Jo Mackenzie and her knitting shop in a seaside town in Britain. We all know how I love a knitting-themed story, so I was always going to read this series. I really enjoyed the first book (The Beach Street Knitting and Yarn Club), the second book was alright (Needles and Pearls), the third one, well...just read on.
Let me tell you one important fact about this book. Jo Mackenzie, the protagonist and owner of a successful cafe and wool shop, is always tired. She's always tired because she's so busy and successful and she has three children. We know this because she tell us this approximately four times per page. By the end of the first chapter, I wanted to reach into the book and yell at her "I GET IT YOU'RE TIRED I HAVEN'T HAD AN ANEURYSM SINCE THE LAST PARAGRAPH SO I REMEMBER YOU TELLING US YOU ARE TIRED A MERE 80 WORDS AGO. AND THEN 135 WORDS BEFORE THAT. AAARGH!". But it's important that we understand how TIRED and BUSY Jo is because she apparently not one single thing can happen in this town without Jo's sage advice. An academic researcher who needs some information for a paper? Don't worry, Jo's got some print-outs from when she did a presentation at the primary school (because tertiary paper = presentation to six-year-olds. Of course.). Pregant? Ignore the midwife - Jo's much better at determining which position you should lie in while giving birth. The likeable Jo from the first book has turned into the kind of woman you avoid on the street because she has ALL THE ANSWERS to ALL THE QUESTIONS. (Until I typed this paragraph I didn't realise how much this character really irritated me. She was really So Very Annoying.)
Apart from Jo, there are two major problems with this book - narrative and style. Nothing actually happens in this book. There is no drama, development, character growth, events - nothing. The characters are the same at the end of the book as they are in the start, except some of them have had a baby (thanks to Jo - without her advice clearly the babies would have fallen out or vanished or something). The problem with that is without some sort of impetus propelling the narrative, what you are left with is, well, a laundry list of what each of the characters did in the ten months the book covers. Stylistically, that's how the books written - episodes recounted first hand by Jo as they happen to her. Writing a novel like this not only alienates us from identifying with any character other than Jo, it means that all other characters stay firmly one directional. I can see the logic behind this book - 'Let's write a book that shows the real life of mothers - how busy and tired they are. Let's break with convention and not make a plot- or character-driven narrative, because people's lives don't work like that in real life. Let's not answer all the questions or pair up all the characters, because in real life not all questions are answered and every life doesn't end with everyone married.' The problem is, if I wanted to hear about how tired mothers are all the time I'd ring up some of my friends with kids and if I wanted unresolved narratives and non-traditional endings I'd watch an arthouse film. In a knitting-themed beachside novel, those kind of strategies just left this reader feeling unsatisfied.
A further point for the knitters: in this book Jo hatches a plan (because she's busy! and the only one who has ideas! which are all successful and brilliant!) to knit badges with phrases on them. That is actually not a feasible knitting plan. These badges would have to be intarsia knitted with thread and would be ridiculously difficult and time-consuming and works of art, not at all practical for a cottage industry. Would it have really hurt the editor of this book to talk to a real knitter about this before publishing the book? Lazy editing and writing right there.