Thank you to Bedford Square Publishers for sending me a copy of 𝐓𝐇𝐄 𝐊𝐍𝐎𝐖𝐈𝐍𝐆 by Emma Hinds, which I read with my bestie Kristen 🃏🧿🪽
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𝐓𝐡𝐞 𝐭𝐡𝐨𝐮𝐠𝐡𝐭 𝐜𝐚𝐮𝐬𝐞𝐝 𝐚𝐧 𝐮𝐧𝐩𝐥𝐞𝐚𝐬𝐚𝐧𝐭 𝐧𝐞𝐫𝐯𝐨𝐮𝐬 𝐭𝐢𝐧𝐠𝐥𝐢𝐧𝐠 𝐛𝐞𝐡𝐢𝐧𝐝 𝐦𝐲 𝐤𝐧𝐞𝐞𝐬 𝐛𝐮𝐭 𝐈 𝐝𝐢𝐝𝐧'𝐭 𝐬𝐭𝐨𝐩 𝐰𝐚𝐥𝐤𝐢𝐧𝐠. 𝐈 𝐬𝐞𝐭 𝐦𝐲 𝐞𝐲𝐞𝐬 𝐨𝐧 𝐅𝐢𝐟𝐭𝐡 𝐚𝐧𝐝 𝐟𝐨𝐥𝐥𝐨𝐰𝐞𝐝 𝐢𝐭 𝐥𝐢𝐤𝐞 𝐚 𝐩𝐢𝐥𝐠𝐫𝐢𝐦. 𝐁𝐞𝐬𝐢𝐝𝐞 𝐦𝐞, 𝐢𝐧 𝐭𝐡𝐞 𝐬𝐡𝐚𝐝𝐞𝐬 𝐨𝐟 𝐛𝐮𝐢𝐥𝐝𝐢𝐧𝐠𝐬 𝐚𝐧𝐝 𝐠𝐚𝐩𝐬 𝐨𝐟 𝐡𝐨𝐫𝐬𝐞𝐬' 𝐥𝐞𝐠𝐬, 𝐭𝐡𝐞𝐲 𝐜𝐚𝐦𝐞. 𝐈 𝐰𝐨𝐮𝐥𝐝 𝐧𝐨𝐭 𝐥𝐨𝐨𝐤 𝐚𝐭 𝐭𝐡𝐞𝐦 𝐚𝐧𝐝 𝐈 𝐝𝐚𝐫𝐞𝐝 𝐧𝐨𝐭 𝐬𝐞𝐞 𝐭𝐡𝐞𝐢𝐫 𝐞𝐲𝐞𝐬, 𝐛𝐮𝐭 𝐭𝐡𝐞𝐲 𝐟𝐨𝐥𝐥𝐨𝐰𝐞𝐝 𝐦𝐞 𝐚𝐬 𝐞𝐚𝐫𝐧𝐞𝐬𝐭𝐥𝐲 𝐚𝐬 𝐭𝐡𝐞𝐲 𝐡𝐚𝐝 𝐝𝐨𝐧𝐞 𝐞𝐯𝐞𝐫𝐲 𝐝𝐚𝐲 𝐨𝐟 𝐦𝐲 𝐜𝐡𝐢𝐥𝐝𝐡𝐨𝐨𝐝. 𝐈 𝐭𝐨𝐨𝐤 𝐭𝐡𝐞 𝐬𝐩𝐢𝐫𝐢𝐭𝐬 𝐰𝐢𝐭𝐡 𝐦𝐞.
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I commend Hinds for including trigger warnings upfront in her book, as they are definitely needed, and I'd suggest making sure you check these before reading the book yourself.
So many people seem to believe that trigger warnings will somehow 'spoil' the story, but The Knowing is an example of just how daft that claim is. There is a lot of plotting that isn't spoiled simply by having a trigger warning for those who need it, and I honestly think you're lucky if you don't need the trigger warnings, as the same can't be said for all of us.
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𝐈 𝐩𝐮𝐥𝐥𝐞𝐝 𝐨𝐮𝐭 𝐦𝐲 𝐜𝐚𝐫𝐝𝐬 𝐚𝐧𝐝 𝐜𝐮𝐭 𝐭𝐡𝐞𝐦, 𝐬𝐭𝐚𝐫𝐢𝐧𝐠 𝐢𝐝𝐥𝐲 𝐨𝐮𝐭 𝐨𝐟 𝐭𝐡𝐞 𝐰𝐢𝐧𝐝𝐨𝐰 𝐚𝐬 𝐈 𝐟𝐞𝐥𝐭 𝐭𝐡𝐞 𝐰𝐨𝐫𝐧 𝐞𝐝𝐠𝐞𝐬 𝐢𝐧 𝐦𝐲 𝐟𝐢𝐧𝐠𝐞𝐫𝐬. 𝐈 𝐝𝐢𝐝 𝐭𝐡𝐢𝐬 𝐨𝐮𝐭 𝐨𝐟 𝐡𝐚𝐛𝐢𝐭, 𝐰𝐡𝐞𝐧𝐞𝐯𝐞𝐫 𝐈 𝐰𝐚𝐬 𝐨𝐧 𝐦𝐲 𝐨𝐰𝐧. 𝐉𝐨𝐫𝐝𝐚𝐧 𝐝𝐢𝐝𝐧'𝐭 𝐥𝐢𝐤𝐞 𝐢𝐭. 𝐈𝐭 𝐦𝐚𝐝𝐞 𝐦𝐞 𝐟𝐞𝐞𝐥 𝐡𝐨𝐦𝐞𝐲, 𝐨𝐫 𝐚𝐬 𝐡𝐨𝐦𝐞𝐲 𝐚𝐬 𝐚 𝐜𝐡𝐢𝐥𝐝 𝐰𝐡𝐨 𝐠𝐫𝐞𝐰 𝐮𝐩 𝐰𝐢𝐥𝐝 𝐢𝐧 𝐅𝐢𝐯𝐞 𝐏𝐨𝐢𝐧𝐭𝐬 𝐜𝐨𝐮𝐥𝐝 𝐟𝐞𝐞𝐥, 𝐭𝐡𝐞 𝐫𝐞𝐩𝐞𝐭𝐢𝐭𝐢𝐯𝐞 𝐬𝐥𝐢𝐜𝐞 𝐚𝐧𝐝 𝐬𝐡𝐢𝐦𝐦𝐲 𝐨𝐟 𝐜𝐚𝐫𝐝𝐬 𝐢𝐧 𝐦𝐲 𝐡𝐚𝐧𝐝𝐬 𝐛𝐫𝐢𝐧𝐠𝐢𝐧𝐠 𝐦𝐲 𝐦𝐢𝐧𝐝 𝐭𝐨 𝐚 𝐪𝐮𝐢𝐞𝐭𝐞𝐫 𝐩𝐥𝐚𝐜𝐞 𝐰𝐡𝐞𝐫𝐞 𝐭𝐡𝐞 𝐰𝐨𝐫𝐥𝐝 𝐬𝐥𝐨𝐰𝐞𝐝 𝐝𝐨𝐰𝐧. 𝐈 𝐥𝐞𝐭 𝐭𝐡𝐞 𝐭𝐢𝐧𝐠𝐥𝐢𝐧𝐠 𝐠𝐫𝐨𝐰 𝐚𝐭 𝐭𝐡𝐞 𝐛𝐚𝐜𝐤 𝐨𝐟 𝐦𝐲 𝐧𝐞𝐜𝐤 𝐚𝐧𝐝 𝐦𝐲 𝐛𝐫𝐞𝐚𝐭𝐡 𝐛𝐞𝐜𝐚𝐦𝐞 𝐮𝐧𝐡𝐮𝐫𝐫𝐢𝐞𝐝.
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The story follows Flora, the only female tattoo artist in New York, and a girl who has The Knowing but who does her best to keep it secret.
Set in the 19th century, Flora has very limited options as a young woman. She grew up in the slums, but her early life has been out of the frying pan and into the fire as she is employed by an abusive man named Jordan.
Jordan is associated with a gang known as the Dead Rabbits, and he and Flora serve the Rabbits; Flora with inking their skin, and Jordan in many other shady ways we don't fully comprehend.
But Jordan feels like he owns Flora, and treats her like she is his property to do with as he pleases.
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𝐌𝐲 𝐬𝐞𝐥𝐟-𝐦𝐚𝐝𝐞 𝐦𝐚𝐫𝐤𝐬 𝐰𝐞𝐫𝐞 𝐬𝐭𝐢𝐥𝐥 𝐬𝐡𝐚𝐤𝐲, 𝐛𝐮𝐭 𝐚𝐭 𝐥𝐞𝐚𝐬𝐭 𝐭𝐡𝐞𝐲 𝐰𝐞𝐫𝐞 𝐦𝐢𝐧𝐞. 𝐉𝐨𝐫𝐝𝐚𝐧 𝐡𝐚𝐝 𝐭𝐡𝐞 𝐫𝐮𝐧 𝐨𝐟 𝐦𝐲 𝐛𝐚𝐜𝐤, 𝐦𝐲 𝐜𝐡𝐞𝐬𝐭 𝐚𝐧𝐝 𝐧𝐞𝐜𝐤, 𝐦𝐲 𝐚𝐫𝐦𝐬 𝐚𝐧𝐝 𝐦𝐲 𝐚𝐬𝐬 𝐛𝐮𝐭 𝐡𝐞 𝐡𝐚𝐝 𝐥𝐢𝐭𝐭𝐥𝐞 𝐢𝐧𝐭𝐞𝐫𝐞𝐬𝐭 𝐢𝐧 𝐦𝐲 𝐬𝐭𝐨𝐦𝐚𝐜𝐡 (𝐬𝐚𝐢𝐝 𝐭𝐡𝐞 𝐬𝐤𝐢𝐧 𝐰𝐚𝐬 𝐭𝐨𝐨 𝐟𝐥𝐚𝐛𝐛𝐲) 𝐨𝐫 𝐦𝐲 𝐟𝐞𝐞𝐭. 𝐇𝐞 𝐝𝐢𝐝𝐧'𝐭 𝐥𝐢𝐤𝐞 𝐰𝐨𝐫𝐤𝐢𝐧𝐠 𝐨𝐧 𝐛𝐨𝐧𝐲 𝐜𝐫𝐞𝐯𝐢𝐜𝐞𝐬. 𝐈𝐟 𝐬𝐨𝐦𝐞𝐨𝐧𝐞 𝐫𝐞𝐪𝐮𝐞𝐬𝐭𝐞𝐝 𝐭𝐡𝐞𝐬𝐞 𝐝𝐞𝐥𝐢𝐜𝐚𝐭𝐞 𝐧𝐨𝐨𝐤𝐬 𝐡𝐞'𝐝 𝐬𝐞𝐭 𝐦𝐞 𝐭𝐨 𝐢𝐭, 𝐬𝐚𝐲𝐢𝐧𝐠 𝐢𝐭 𝐰𝐚𝐬 '𝐚 𝐰𝐨𝐦𝐚𝐧'𝐬 𝐰𝐨𝐫𝐤'.
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Hinds did an excellent job throughout the novel of depicting how young girls' and women's bodies are never fully their own. This rings true for SO many characters throughout the book, but still extends into the modern day for girls and women too.
Jordan treating Flora as a living canvas is an obvious and fairly extreme example of her body not being her own, but even when Flora meets Minnie (a glamorous and beautiful circus performer) and escapes Jordan, neither women are free.
They have to find some way of proving their ongoing worth to Minnie's benefactor and lover, Chester Merton. While Minnie does try to protect Flora as much as she can, in truth she has limited ability to even protect herself.
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𝐒𝐡𝐞 𝐰𝐚𝐬 𝐚𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐡𝐞𝐢𝐠𝐡𝐭 𝐨𝐟 𝐚 𝐭𝐞𝐧-𝐲𝐞𝐚𝐫-𝐨𝐥𝐝 𝐠𝐢𝐫𝐥 𝐞𝐯𝐞𝐧 𝐭𝐡𝐨𝐮𝐠𝐡 𝐬𝐡𝐞 𝐰𝐚𝐬 𝐜𝐥𝐞𝐚𝐫𝐥𝐲 𝐚 𝐰𝐨𝐦𝐚𝐧 𝐚𝐧𝐝 𝐡𝐚𝐝 𝐧𝐨 𝐥𝐨𝐰𝐞𝐫 𝐚𝐫𝐦𝐬 𝐭𝐨 𝐬𝐩𝐞𝐚𝐤 𝐨𝐟 𝐬𝐚𝐯𝐞 𝐚 𝐧𝐮𝐛 𝐛𝐞𝐥𝐨𝐰 𝐡𝐞𝐫 𝐫𝐢𝐠𝐡𝐭 𝐞𝐥𝐛𝐨𝐰 𝐭𝐡𝐚𝐭 𝐥𝐨𝐨𝐤𝐞𝐝 𝐥𝐢𝐤𝐞 𝐡𝐚𝐥𝐟 𝐚 𝐡𝐚𝐧𝐝. 𝐈'𝐝 𝐬𝐞𝐞𝐧 𝐟𝐨𝐮𝐧𝐝𝐥𝐢𝐧𝐠𝐬 𝐢𝐧 𝐭𝐡𝐞 𝐬𝐥𝐮𝐦𝐬 𝐰𝐢𝐭𝐡𝐨𝐮𝐭 𝐚𝐫𝐦𝐬 𝐨𝐫 𝐥𝐞𝐠𝐬 𝐚𝐧𝐝 𝐭𝐡𝐞𝐲 𝐦𝐚𝐢𝐧𝐥𝐲 𝐛𝐞𝐠𝐠𝐞𝐝, 𝐚𝐧𝐝 𝐨𝐟𝐭𝐞𝐧 𝐦𝐚𝐝𝐞 𝐠𝐨𝐨𝐝 𝐜𝐨𝐢𝐧 𝐟𝐫𝐨𝐦 𝐢𝐭 𝐰𝐡𝐢𝐥𝐬𝐭 𝐭𝐡𝐞𝐲 𝐰𝐞𝐫𝐞 𝐲𝐨𝐮𝐧𝐠 𝐞𝐧𝐨𝐮𝐠𝐡 𝐭𝐨 𝐚𝐩𝐩𝐞𝐚𝐥 𝐭𝐨 𝐭𝐡𝐞 𝐮𝐩𝐭𝐨𝐰𝐧𝐞𝐫𝐬 ... 𝐈'𝐝 𝐧𝐞𝐯𝐞𝐫 𝐬𝐞𝐞𝐧 𝐚 𝐩𝐞𝐫𝐬𝐨𝐧 𝐝𝐫𝐞𝐬𝐬𝐞𝐝 𝐚𝐬 𝐟𝐢𝐧𝐞𝐥𝐲, 𝐦𝐚𝐝𝐞 𝐬𝐨 𝐛𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥𝐥𝐲 𝐚𝐧𝐝 𝐬𝐭𝐚𝐫𝐢𝐧𝐠 𝐬𝐨 𝐡𝐚𝐮𝐠𝐡𝐭𝐢𝐥𝐲 𝐚𝐭 𝐦𝐞 𝐚𝐬 𝐬𝐡𝐞 𝐝𝐢𝐝 𝐧𝐨𝐰.
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Minnie has dwarfism, and so stands out from the crowd even though she does not always want to. She tries to lean into being unique and different, but as we know still in this day and age, people can be awful and cruel to those with physical differences.
There is so much demand on the women throughout the story, including the associated performers that Minnie knows, to give more of themselves than they might wish to simply because there is a demand for it.
Chester has a seedy fascination with the performers, and sexualises and objectifies them, simply because he can. As a wealthy man he holds so much power.
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'𝐘𝐨𝐮 𝐝𝐢𝐝 𝐰𝐫𝐨𝐧𝐠 𝐛𝐲 𝐡𝐢𝐦.' 𝐌𝐲𝐫𝐭𝐥𝐞'𝐬 𝐯𝐨𝐢𝐜𝐞 𝐰𝐚𝐬 𝐨𝐝𝐝𝐥𝐲 𝐬𝐭𝐞𝐫𝐧. '𝐍𝐨𝐭 𝐭𝐡𝐚𝐭 𝐡𝐞 𝐝𝐢𝐝𝐧'𝐭 𝐝𝐞𝐬𝐞𝐫𝐯𝐞 𝐢𝐭, 𝐛𝐮𝐭 𝐦𝐞𝐧 𝐥𝐢𝐤𝐞 𝐡𝐢𝐦 𝐝𝐨𝐧'𝐭 𝐭𝐚𝐤𝐞 𝐭𝐡𝐚𝐭 𝐤𝐢𝐧𝐝 𝐨𝐟 𝐭𝐡𝐢𝐧𝐠 𝐥𝐲𝐢𝐧𝐠 𝐝𝐨𝐰𝐧. 𝐇𝐞'𝐥𝐥 𝐛𝐞 𝐥𝐨𝐨𝐤𝐢𝐧𝐠 𝐭𝐨 𝐬𝐞𝐭𝐭𝐥𝐞 𝐡𝐢𝐬 𝐚𝐜𝐜𝐨𝐮𝐧𝐭𝐬.'
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One of the ways in which Flora seeks to prove her worth is through spiritualism and public séances, where she taps into the Knowing that she has. Flora does not want to engage with this gift (that some would rightly call a curse) and she hears whispers from her past reiterating how dangerous it is to reveal this ability.
It is dangerous for Flora herself to let the spirits in, as powerful women have always been met with fear and suspicion, but little does everyone else realise how dangerous it is for 𝘵𝘩𝘦𝘮 to encourage the Knowing. There are quite intense consequences when the spirits reveal their secrets!
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𝐈'𝐝 𝐡𝐚𝐝 𝐬𝐨𝐦𝐞𝐨𝐧𝐞, 𝐨𝐧𝐜𝐞, 𝐈 𝐰𝐚𝐬 𝐬𝐮𝐫𝐞 𝐨𝐟 𝐢𝐭. 𝐒𝐨𝐦𝐞𝐨𝐧𝐞 𝐡𝐚𝐝 𝐰𝐚𝐫𝐧𝐞𝐝 𝐦𝐞 𝐭𝐨 𝐤𝐞𝐞𝐩 𝐪𝐮𝐢𝐞𝐭 𝐚𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐊𝐧𝐨𝐰𝐢𝐧𝐠 𝐚𝐧𝐝 𝐩𝐮𝐭 𝐜𝐨𝐥𝐝 𝐜𝐥𝐨𝐭𝐡𝐬 𝐨𝐧 𝐦𝐲 𝐬𝐰𝐨𝐥𝐥𝐞𝐧 𝐥𝐢𝐩 𝐚𝐟𝐭𝐞𝐫 𝐨𝐧𝐞 𝐭𝐨𝐨 𝐦𝐚𝐧𝐲 𝐛𝐞𝐚𝐭𝐢𝐧𝐠𝐬. 𝐘𝐞𝐭 𝐢𝐭 𝐡𝐚𝐝 𝐛𝐞𝐞𝐧 𝐬𝐨 𝐥𝐨𝐧𝐠 𝐚𝐠𝐨 𝐚𝐧𝐝 𝐅𝐢𝐯𝐞 𝐏𝐨𝐢𝐧𝐭𝐬 𝐰𝐚𝐬 𝐟𝐮𝐥𝐥 𝐨𝐟 𝐩𝐞𝐨𝐩𝐥𝐞 𝐰𝐡𝐨 𝐝𝐢𝐬𝐚𝐩𝐩𝐞𝐚𝐫𝐞𝐝. 𝐍𝐨𝐰 𝐭𝐡𝐞𝐲 𝐰𝐞𝐫𝐞 𝐧𝐨𝐭𝐡𝐢𝐧𝐠 𝐦𝐨𝐫𝐞 𝐭𝐡𝐚𝐧 𝐭𝐡𝐞 𝐦𝐞𝐦𝐨𝐫𝐲 𝐨𝐟 𝐭𝐡𝐞 𝐬𝐦𝐞𝐥𝐥 𝐨𝐟 𝐰𝐚𝐫𝐦 𝐬𝐤𝐢𝐧 𝐜𝐥𝐨𝐬𝐞 𝐭𝐨 𝐦𝐢𝐧𝐞, 𝐚 𝐫𝐞𝐦𝐞𝐦𝐛𝐞𝐫𝐞𝐝 𝐠𝐞𝐬𝐭𝐮𝐫𝐞 𝐭𝐡𝐚𝐭 𝐟𝐞𝐥𝐭 𝐥𝐢𝐤𝐞 𝐛𝐞𝐥𝐨𝐧𝐠𝐢𝐧𝐠.
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(Continued in comments)