I enjoyed Gavin McCrea's two novels very much. MRS ENGELS is a tour de force of voice, narrated by the illiterate common-law Irish factory worker wife of Friedrich Engels, a woman with a lot of opinions and feelings and an unforgettable way with words: by turns lyrical, raunchy and hilarious. THE SISTERS MAO is a more diffuse and ambitious work, dealing with Madame Mao in the waning days of the Cultural Revolution and two sisters in London of approximately the same era with leftist views and a complicated family history.
Both of them are sui generis and full of surprises, not just on every page, but pretty much in every sentence. I am all awed admiration of anyone writing like this, so fearless and original. You can't help wondering, how did this person get this way? Where do such gifts actually come from?
Though there can obviously never be a simple answer to such a question, I was nonetheless excited to read McCrea's memoir, which promised at least part of an answer. And delivered.
It is framed by the pandemic. McCrea, by then the author of the first novel mentioned above and well on his way with the second, has returned to his native Ireland (which he fled as soon as he could, for reasons that later become clear) to take advantage of a temporary teaching job. For economy's sake and because she's failing a bit, he is living with his mother, but living as emotionally distantly as possible, spending his days writing in the library. He has not forgiven her something that happened in his teenage years, which we as readers also don't know about yet. He wants to bring it up, but he can't, not yet. They are going along, not really talking about it.
Then the pandemic hits, and they are forced into a new proximity, physical and emotional. Instead of starting his third novel as planned, he starts writing about his life, and in particular his mother.
The story of McCrea's growing up and becoming a writer is in no small part the story of his family life: his birth order, the circumstances of his parents' marriage and particularly the remarkable personality of his mother, forced by circumstance to leave school at 14 but a serious reader and art lover, attentive to everything, quick-witted, determined. He was the cossetted youngest child, the adorable and smart one, basking in his mother's attention, his sense that he was the favorite. Such a childhood, I imagine, can take one far in life. Regardless of what happens later (and lots of bad things did happen later) there must be an underlying sense of confidence, of self-belief that allows one to take oneself and one's work seriously and write bravely.
If it also sounds like the recipe for creating a person of insufferable self-importance -- well, no. Young Gavin gets a little older and ends up attending exactly the wrong sort of high school for a brilliant, effeminate boy. That his mother fails to notice that it's the wrong school, or do anything about it once the fact becomes clear, lands as a huge betrayal. He is no longer anything special to his mother. The accounts of the bullying he faced, in school and in the neighborhood, as a teenager were so distressing to read that I had to take a break from the book for a couple of weeks. I could not bear to even read about what another person had actually had to live through, which is an indictment of me, not the book. Also: it was the 1990s, for fuck's sake! This should not have been happening!
Also, some other bad things later, but I am not going to summarize the entire plot, having probably already gone too far in that direction. It's beautifully written, which does not surprise me, and also has an ingenious structure, so that the sometimes random happenings of a life acquire the narrative heft and arc of a novel -- the secret of a good memoir.
If you have read and enjoyed MRS ENGELS or THE SISTERS MAO, you will love CELLS. And if you haven't, well. Read them now. If you love them as I did, then come back to CELLS.