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Cuddy
Cuddy is a bold and experimental retelling of the story of the hermit St. Cuthbert, unofficial patron saint of the North of England. Incorporating poetry, prose, play, diary and real historical accounts to create a novel like no other, Cuddy straddles historical eras - from the first Christian-slaying Viking invaders of the holy island of Lindisfarne in the 8th century to a contemporary England defined by class and austerity. Along the way we meet brewers and masons, archers and academics, monks and labourers, their visionary voices and stories echoing through their ancestors and down the ages. And all the while at the centre sits Durham Cathedral and the lives of those who live and work around this place of pilgrimage - their dreams, desires, connections and communities.
447 pages, Hardcover
First published March 16, 2023
273 people are currently reading
5084 people want to read
About the author
Benjamin Myers
35 books1,199 followersBenjamin Myers was born in Durham, UK, in 1976.
He is an award-winning author and journalist whose recent novel Cuddy (2023) won the Goldsmiths Prize.
His first short story collection, Male Tears, was published by Bloomsbury in 2021.
His novel The Offing was published by Bloomsbury in 2019 and is a best-seller in Germany. It was serialised by Radio 4's Book At Bedtime and Radio 2 Book club choice. It is being developed for stage and has been optioned for film.
The non-fiction book Under The Rock, was shortlisted for The Portico Prize For Literature in 2020.
Recipient of the Roger Deakin Award and first published by Bluemoose Books, Myers' novel The Gallows Pole was published to acclaim in 2017 and was winner of the Walter Scott Prize 2018 - the world's largest prize for historical fiction. It has been published in the US by Third Man Books and in 2023 was adapted by director Shane Meadows for the BBC/A24.
The Gallows Pole was re-issued by Bloomsbury, alongside previous titles Beastings and Pig Iron.
Several of Myers' novels have been released as audiobooks, read by actor Ralph Ineson.
Turning Blue (2016) was described as a "folk crime" novel, and praised by writers including Val McDermid. A sequel These Darkening Days followed in 2017.
His novel Beastings (2014) won the Portico Prize For Literature, was the recipient of the Northern Writers’ Award and longlisted for a Jerwood Fiction Uncovered Award 2015. Widely acclaimed, it featured on several end of year lists, and was chosen by Robert Macfarlane in The Big Issue as one of his books of 2014.
Pig Iron (2012) was the winner of the inaugural Gordon Burn Prize and runner-up in The Guardian’s Not The Booker Prize. A controversial combination of biography and novel, Richard (2010) was a bestseller and chosen as a Sunday Times book of the year.
Myers’ short story ‘The Folk Song Singer’ was awarded the Tom-Gallon Prize in 2014 by the Society Of Authors and published by Galley Beggar Press. His short stories and poetry have appeared in dozens of anthologies.
As a journalist he has written about the arts and nature for publications including New Statesman, The Guardian, The Spectator, NME, Mojo, Time Out, New Scientist, Caught By The River, The Morning Star, Vice, The Quietus, Melody Maker and numerous others.
He currently lives in the Upper Calder Valley, West Yorkshire, UK.
He is an award-winning author and journalist whose recent novel Cuddy (2023) won the Goldsmiths Prize.
His first short story collection, Male Tears, was published by Bloomsbury in 2021.
His novel The Offing was published by Bloomsbury in 2019 and is a best-seller in Germany. It was serialised by Radio 4's Book At Bedtime and Radio 2 Book club choice. It is being developed for stage and has been optioned for film.
The non-fiction book Under The Rock, was shortlisted for The Portico Prize For Literature in 2020.
Recipient of the Roger Deakin Award and first published by Bluemoose Books, Myers' novel The Gallows Pole was published to acclaim in 2017 and was winner of the Walter Scott Prize 2018 - the world's largest prize for historical fiction. It has been published in the US by Third Man Books and in 2023 was adapted by director Shane Meadows for the BBC/A24.
The Gallows Pole was re-issued by Bloomsbury, alongside previous titles Beastings and Pig Iron.
Several of Myers' novels have been released as audiobooks, read by actor Ralph Ineson.
Turning Blue (2016) was described as a "folk crime" novel, and praised by writers including Val McDermid. A sequel These Darkening Days followed in 2017.
His novel Beastings (2014) won the Portico Prize For Literature, was the recipient of the Northern Writers’ Award and longlisted for a Jerwood Fiction Uncovered Award 2015. Widely acclaimed, it featured on several end of year lists, and was chosen by Robert Macfarlane in The Big Issue as one of his books of 2014.
Pig Iron (2012) was the winner of the inaugural Gordon Burn Prize and runner-up in The Guardian’s Not The Booker Prize. A controversial combination of biography and novel, Richard (2010) was a bestseller and chosen as a Sunday Times book of the year.
Myers’ short story ‘The Folk Song Singer’ was awarded the Tom-Gallon Prize in 2014 by the Society Of Authors and published by Galley Beggar Press. His short stories and poetry have appeared in dozens of anthologies.
As a journalist he has written about the arts and nature for publications including New Statesman, The Guardian, The Spectator, NME, Mojo, Time Out, New Scientist, Caught By The River, The Morning Star, Vice, The Quietus, Melody Maker and numerous others.
He currently lives in the Upper Calder Valley, West Yorkshire, UK.
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Displaying 1 - 30 of 446 reviews
November 9, 2023
‘novels are surely spell books’.
‘The stories we tell one another are all that shall remain when time dies and even the strongest sculpted stones crumple to sand.’
This is the third work I have read by Benjamin Myers and again this one did not disappoint. It is poetry and prose, fact and fiction, passionate and discursive: a dash through over a thousand years of history. Cuddy is a shortened form of Cuthbert and refers to St Cuthbert of Lindisfarne, a seventh century shepherd boy who became a monk and then prior of Melrose Abbey and finally a hermit on the island of Lindisfarne. This is an experimental novel using a variety of forms. There is indeed poetry, prose, the occasional epistle, dramatic dialogue and bibliographical references woven into it stretching from Bede to modern times (Schama). There are strands running through the book and the past haunts and informs the present.
Myers explains some of his fascination with Cuthbert in an interview:
“Cuthbert was – and is – a figurehead for the North East as he was perhaps the most prominent religious figure in the North to endure down the centuries. Ironically he was generally regarded as humble and not enamoured by the trappings usually afforded to people of his status; quite the opposite. “Fame” would have been anathema to him as he lived a very simple, austere life and died alone on a rock in the North Sea. The fact that he then inspired an entire community of wandering acolytes strikes me as almost Monty Python-esque. I can imagine them crying “Behold! A saint!” and Cuthbert charging across the moors. “No, I’m not, leave me alone!” But that community built a cathedral in his honour too, and preserved his reputation. Without them he might have been a minor, or forgotten, figure.”
There is a Prologue which is set at the time of the death of Cuthbert in 687. Book 1 moves to 995. Cuthbert’s remains have been moved several times to avoid Viking raiders and they are on the move again with a group of monks plus a few others on the lookout for a final resting place. Book 2 moves to 1346 and is set in and around the cathedral and its masons and tells the story of Eda and her violent husband who is an archer fighting the Scots. There is an interlude set in 1650 when Cromwell was fighting in Scotland. Following the Battle of Dunbar three thousand Scotsmen were imprisoned in the Cathedral, 1700 of them died. The interlude takes the form of a play with the Cathedral itself as one of the characters. Book 3 is set in 1827 when Cuthbert’s remains were disinterred and is basically a Victorian Ghost story in the tradition of M R James: the ghosts being previous characters. Book 4 is set in 2019 and concerns Michael a young labourer caring for his dying mother. A labouring job at the Cathedral leads to new horizons but the past is ever present. Women’s voices are at the forefront in the first two books, the last two focus on men who don’t have faith.
One review called it a “polyphonic hymn to the North-east”, a pretty good summation. Characters recur, the haliwerfolk, two in particular: the boy with owlish eyes in a number of forms and Ediva, the cook in the first book also recurs in various forms. Spotting the links is part of the fun and they are ordinary voices. The layered connections and the build up to the present day do indicate that although this is not directly a state of the nation novel it does have things to say, particularly about those at the bottom of society. There is a continuum which Myers weaves through an ancient folklore which challenges the powerful and defends the vulnerable. It is an orphan girl that is given the vision of the cathedral not one of the holy monks. The ending captures both the finality of death and continuation of life at the same time. This is historical novel writing at its best
‘The stories we tell one another are all that shall remain when time dies and even the strongest sculpted stones crumple to sand.’
This is the third work I have read by Benjamin Myers and again this one did not disappoint. It is poetry and prose, fact and fiction, passionate and discursive: a dash through over a thousand years of history. Cuddy is a shortened form of Cuthbert and refers to St Cuthbert of Lindisfarne, a seventh century shepherd boy who became a monk and then prior of Melrose Abbey and finally a hermit on the island of Lindisfarne. This is an experimental novel using a variety of forms. There is indeed poetry, prose, the occasional epistle, dramatic dialogue and bibliographical references woven into it stretching from Bede to modern times (Schama). There are strands running through the book and the past haunts and informs the present.
Myers explains some of his fascination with Cuthbert in an interview:
“Cuthbert was – and is – a figurehead for the North East as he was perhaps the most prominent religious figure in the North to endure down the centuries. Ironically he was generally regarded as humble and not enamoured by the trappings usually afforded to people of his status; quite the opposite. “Fame” would have been anathema to him as he lived a very simple, austere life and died alone on a rock in the North Sea. The fact that he then inspired an entire community of wandering acolytes strikes me as almost Monty Python-esque. I can imagine them crying “Behold! A saint!” and Cuthbert charging across the moors. “No, I’m not, leave me alone!” But that community built a cathedral in his honour too, and preserved his reputation. Without them he might have been a minor, or forgotten, figure.”
There is a Prologue which is set at the time of the death of Cuthbert in 687. Book 1 moves to 995. Cuthbert’s remains have been moved several times to avoid Viking raiders and they are on the move again with a group of monks plus a few others on the lookout for a final resting place. Book 2 moves to 1346 and is set in and around the cathedral and its masons and tells the story of Eda and her violent husband who is an archer fighting the Scots. There is an interlude set in 1650 when Cromwell was fighting in Scotland. Following the Battle of Dunbar three thousand Scotsmen were imprisoned in the Cathedral, 1700 of them died. The interlude takes the form of a play with the Cathedral itself as one of the characters. Book 3 is set in 1827 when Cuthbert’s remains were disinterred and is basically a Victorian Ghost story in the tradition of M R James: the ghosts being previous characters. Book 4 is set in 2019 and concerns Michael a young labourer caring for his dying mother. A labouring job at the Cathedral leads to new horizons but the past is ever present. Women’s voices are at the forefront in the first two books, the last two focus on men who don’t have faith.
One review called it a “polyphonic hymn to the North-east”, a pretty good summation. Characters recur, the haliwerfolk, two in particular: the boy with owlish eyes in a number of forms and Ediva, the cook in the first book also recurs in various forms. Spotting the links is part of the fun and they are ordinary voices. The layered connections and the build up to the present day do indicate that although this is not directly a state of the nation novel it does have things to say, particularly about those at the bottom of society. There is a continuum which Myers weaves through an ancient folklore which challenges the powerful and defends the vulnerable. It is an orphan girl that is given the vision of the cathedral not one of the holy monks. The ending captures both the finality of death and continuation of life at the same time. This is historical novel writing at its best
June 22, 2023
Is there anything this man can't write beautifully?
I saw a review that said it felt like homework and the reader had given up at 20%. What a mistake.
I admit I was a little daunted by the style when I first started but then Gallows Pole unnerved me to begin with.
Cuddy is an absolute masterpiece in my opinion. I am, admittedly, a Benjamin Myers fan and have read nearly every book he's published so far. So I was excited to see this come out so soon after The Perfect Golden Circle.
Cuddy is a return to epic historical fiction and it didn't surprise me to learn that this labour of love took several years in different locations to write. I imagine as a son of the area that Benjamin Myers grew up steeped in the Cuddy mythology.
The book itself is separated into distinct times during which many people take centre stage. I love the differences in language and behaviour that he's captured, along with the changes in the story of how Cuthbert ended up at Durham and why the cathedral was built there.
I loved the way certain characters find their way down the centuries in differing guises.
But through all the changes the one voice that never leaves is that of the saintly Cuthbert who never quite seems to get his wish to be left alone to worship God.
All in all I loved this book. If you are struggling with the early sections I urge you to continue. There's so much packed in that I've no idea how Mr Myers kept it so short. He is most definitely in a class of his own and I can't wait to see where his writing takes me next.
Highly recommended for historical fiction fans, those who love Myers' work or simply readers who love a great story.
I saw a review that said it felt like homework and the reader had given up at 20%. What a mistake.
I admit I was a little daunted by the style when I first started but then Gallows Pole unnerved me to begin with.
Cuddy is an absolute masterpiece in my opinion. I am, admittedly, a Benjamin Myers fan and have read nearly every book he's published so far. So I was excited to see this come out so soon after The Perfect Golden Circle.
Cuddy is a return to epic historical fiction and it didn't surprise me to learn that this labour of love took several years in different locations to write. I imagine as a son of the area that Benjamin Myers grew up steeped in the Cuddy mythology.
The book itself is separated into distinct times during which many people take centre stage. I love the differences in language and behaviour that he's captured, along with the changes in the story of how Cuthbert ended up at Durham and why the cathedral was built there.
I loved the way certain characters find their way down the centuries in differing guises.
But through all the changes the one voice that never leaves is that of the saintly Cuthbert who never quite seems to get his wish to be left alone to worship God.
All in all I loved this book. If you are struggling with the early sections I urge you to continue. There's so much packed in that I've no idea how Mr Myers kept it so short. He is most definitely in a class of his own and I can't wait to see where his writing takes me next.
Highly recommended for historical fiction fans, those who love Myers' work or simply readers who love a great story.
September 14, 2023
The stories we tell one another are all that shall remain when time dies and even the strongest sculpted stones crumble to sand.
In the year 793 the monks leave Lindisfarne to flee from the Vikings’ imminent attack.
The mission of the men is holy
their cargo precious.
They carry along the remains of a future saint in order to find an ideal location, a safe place where his body and soul can rest in peace for eternity.
They wander over mountains, across marsh and moor,
From sea to sea, from shore to shore,
Seven years Saint Cuthbert’s corpse they bore.
He was known as Cuddy. He was first a monk, next a bishop, then a hermit and later a saint. They say his body is incorruptible. They say he performs miracles.
And for a long soft moment
One part of me dwells in darkness,
The other in light.
For a moment a part of me lives in death and the other dies in life.
Beautifully written in a moving prose, this book recounts the legend of St. Cuthbert, his life, his death and his legacy.
Memories can be as great
a burden as a pocketful of rocks. Why carry them?
In the year 793 the monks leave Lindisfarne to flee from the Vikings’ imminent attack.
The mission of the men is holy
their cargo precious.
They carry along the remains of a future saint in order to find an ideal location, a safe place where his body and soul can rest in peace for eternity.
They wander over mountains, across marsh and moor,
From sea to sea, from shore to shore,
Seven years Saint Cuthbert’s corpse they bore.
He was known as Cuddy. He was first a monk, next a bishop, then a hermit and later a saint. They say his body is incorruptible. They say he performs miracles.
And for a long soft moment
One part of me dwells in darkness,
The other in light.
For a moment a part of me lives in death and the other dies in life.
Beautifully written in a moving prose, this book recounts the legend of St. Cuthbert, his life, his death and his legacy.
Memories can be as great
a burden as a pocketful of rocks. Why carry them?
January 3, 2024
Deserved Winner of the Goldsmiths Prize 2023
This book was an obvious choice when I was asked which book I would like for Christmas, as Myers is already a favourite writer and this one has been well received by many readers and reviewers I respect, not least the judges of the Goldsmiths Prize.
It is probably Myers' most ambitious and experimental book (with the possible exception of The Gallows Pole) and it is a very enjoyable and stimulating read.
It is mostly at the fictional end of the historical fiction spectrum, and although St Cuthbert or Cuddy is, along with Durham Cathedral, the main link between its parts, he remains a peripheral and elusive figure who mostly appears in the other protagonists' dreams and vision. The book is in six parts, four of which are extended stories which range from the 10th century to the present day, the others are a short prologue and an interlude.
There is much more that could be said, but there are plenty of good detailed reviews available already, and I would encourage those who haven't read it to give it a chance.
This book was an obvious choice when I was asked which book I would like for Christmas, as Myers is already a favourite writer and this one has been well received by many readers and reviewers I respect, not least the judges of the Goldsmiths Prize.
It is probably Myers' most ambitious and experimental book (with the possible exception of The Gallows Pole) and it is a very enjoyable and stimulating read.
It is mostly at the fictional end of the historical fiction spectrum, and although St Cuthbert or Cuddy is, along with Durham Cathedral, the main link between its parts, he remains a peripheral and elusive figure who mostly appears in the other protagonists' dreams and vision. The book is in six parts, four of which are extended stories which range from the 10th century to the present day, the others are a short prologue and an interlude.
There is much more that could be said, but there are plenty of good detailed reviews available already, and I would encourage those who haven't read it to give it a chance.
March 7, 2024
Truly fantastic - a fragmented multi-form novel telling the story of the legacy of St Cuthbert and Durham Cathedral over hundreds of years, with amazing characterisation, vivid writing and hugely moving moments. I loved this one so much. Quite possibly one of the best books I've ever read.
November 8, 2023
Winner of the 2023 Goldsmiths Prize
This place must have been built by brilliant minds and fuelled by a faith in something bigger, a form of faith that he now wishes he too might experience.
…
It is not just the stonemasons or the site manager or the conservation architect or Edmund but everyone — from the cathedral guides and the various other volunteers, to the dean the deacons and the bishop. Whether the cleaners or the organists or the students like Evie who work in the cafe, all appear to Michael to conduct themselves with a quiet reserve and reverence that he now realises is shaped by the building and what it represents: an eternal sanctuary for this man called Cuthbert, and a devotion to a God whose existence Michael has always doubted, especially now as he has to sit by and watch as his mother is slowly erased. And even if God doesn't exist, the cathedral very much does.
History comes alive in here, he thinks, and the centuries overlap. The voices of the dead live on, they still speak today.
Cuddy is a book told through four connected novels, plus an interlude, at different key moments throughout the history of Durham Cathedral and its founding as a home for the relics of St Cuthbert. (Although the choice of 1827 for one part also allows an implicit dig at Liz Truss!)
The styles of the novels differ and each reader will likely find a different part appeals. The first section is perhaps the most innovative, with prose poetry mixed with a story told from attributed quotes from various sources, ancient and modern, on which Ben Myers has drawn. The latter aspects was one of the book’s highlights for me, but the prose poetry it’s weakest element, albeit one that put Cuddy in dialogue with Letty McHugh’s brilliant Barbellion Prize winning The Book of Hours.
The aforementioned AD1827 section provides comic relief in the form of a rather caricatured academic snob from The Other Place (although it neatly twists into an effective Victorian ghost story):
The north to me has always appeared a land of coughing chimneys, blotched babies, vile ale, wet wool and cloying clouds, where all is coated with a slick of grime, a skein of grease, and such concepts as aspiration, education and betterment extend to an extra pan-load of dripping of a week's end.
But the book’s highlight by some margin is the final novel, set in the present day, a moving meditation on familial love, caring for a parent with a terminal illness, zero-hours contracts, social mobility, particularly the area of cultural capital, and on religious faith.
And the way that certain characters (eg an owl-eyed boy) and certain motifs (eg wild garlic) echo through the ages makes the sum greater than its sometimes flawed parts.
Impressive and a strong contender for the Goldsmiths Prize. 4.5 stars.
And I look forward to Myers next work which sounds even more innovative, “a novella set in Berlin in 1971, and it explores both the idea of public performance and challenges what actually even constitutes a ‘novel’ these days. So it almost reads like a monologue, a rant, a poem and a nervous breakdown. ... I have spent a lot of time working out how the words are arranged on the page, and there is lots of white space within it. On some pages, sentences explode into fragments. It will also hopefully feature photographs. Or maybe there will be a soundtrack to accompany it.”
This place must have been built by brilliant minds and fuelled by a faith in something bigger, a form of faith that he now wishes he too might experience.
…
It is not just the stonemasons or the site manager or the conservation architect or Edmund but everyone — from the cathedral guides and the various other volunteers, to the dean the deacons and the bishop. Whether the cleaners or the organists or the students like Evie who work in the cafe, all appear to Michael to conduct themselves with a quiet reserve and reverence that he now realises is shaped by the building and what it represents: an eternal sanctuary for this man called Cuthbert, and a devotion to a God whose existence Michael has always doubted, especially now as he has to sit by and watch as his mother is slowly erased. And even if God doesn't exist, the cathedral very much does.
History comes alive in here, he thinks, and the centuries overlap. The voices of the dead live on, they still speak today.
Cuddy is a book told through four connected novels, plus an interlude, at different key moments throughout the history of Durham Cathedral and its founding as a home for the relics of St Cuthbert. (Although the choice of 1827 for one part also allows an implicit dig at Liz Truss!)
The styles of the novels differ and each reader will likely find a different part appeals. The first section is perhaps the most innovative, with prose poetry mixed with a story told from attributed quotes from various sources, ancient and modern, on which Ben Myers has drawn. The latter aspects was one of the book’s highlights for me, but the prose poetry it’s weakest element, albeit one that put Cuddy in dialogue with Letty McHugh’s brilliant Barbellion Prize winning The Book of Hours.
The aforementioned AD1827 section provides comic relief in the form of a rather caricatured academic snob from The Other Place (although it neatly twists into an effective Victorian ghost story):
The north to me has always appeared a land of coughing chimneys, blotched babies, vile ale, wet wool and cloying clouds, where all is coated with a slick of grime, a skein of grease, and such concepts as aspiration, education and betterment extend to an extra pan-load of dripping of a week's end.
But the book’s highlight by some margin is the final novel, set in the present day, a moving meditation on familial love, caring for a parent with a terminal illness, zero-hours contracts, social mobility, particularly the area of cultural capital, and on religious faith.
And the way that certain characters (eg an owl-eyed boy) and certain motifs (eg wild garlic) echo through the ages makes the sum greater than its sometimes flawed parts.
Impressive and a strong contender for the Goldsmiths Prize. 4.5 stars.
And I look forward to Myers next work which sounds even more innovative, “a novella set in Berlin in 1971, and it explores both the idea of public performance and challenges what actually even constitutes a ‘novel’ these days. So it almost reads like a monologue, a rant, a poem and a nervous breakdown. ... I have spent a lot of time working out how the words are arranged on the page, and there is lots of white space within it. On some pages, sentences explode into fragments. It will also hopefully feature photographs. Or maybe there will be a soundtrack to accompany it.”
February 16, 2023
Rating this a 3* read tells barely half the story. For a start, nothing about it is middling, or average. So perhaps even rating it all is a futile pursuit.
Cuddy is told (mainly) in four distinct parts, all written in unique styles and telling a different part of the legend and myth of St Cuthbert over more than 1,000 years in the north of England.
Some parts worked for me, others really didn't. I think this is the reaction many readers will have, as every different style Myers uses is going to appeal to different people.
Section 1, a kind of epic poem telling the story of the Haliwerfolc, a group of dedicated monks and others who carried Cuddy's body around the north to help it avoid desecration by the invading vikings, is glorious. It's one of the best passages I have ever read. Inventive, vivid, strange and peopled with great characters, it had me crying 'masterpiece!'.
The following sections are, unfortunately, diminished returns. Section 2, a stream of consciousness novella about an affair after the building of Durham Cathedral, I enjoyed. But sections 3 and 4 became tiresome quickly, as we are asked again to switch styles and to abandon characters we had invested in. This is always near impossible to pull off and, while I admire the ambition, I feel like it could have been pared back a little.
So, overall, while I didn't like some parts, I always appreciated his trademark brilliant prose and, man, that first section is worth the cover price alone.
Cuddy is not my favourite of his books but, make no mistake, Benjamin Myers is one of the British writers who most pushes the boundaries of what is possible in fiction constantly and I would back him to do that every time. I'm a fan for life, and I hope he continues to experiment because he's brilliant.
Cuddy is told (mainly) in four distinct parts, all written in unique styles and telling a different part of the legend and myth of St Cuthbert over more than 1,000 years in the north of England.
Some parts worked for me, others really didn't. I think this is the reaction many readers will have, as every different style Myers uses is going to appeal to different people.
Section 1, a kind of epic poem telling the story of the Haliwerfolc, a group of dedicated monks and others who carried Cuddy's body around the north to help it avoid desecration by the invading vikings, is glorious. It's one of the best passages I have ever read. Inventive, vivid, strange and peopled with great characters, it had me crying 'masterpiece!'.
The following sections are, unfortunately, diminished returns. Section 2, a stream of consciousness novella about an affair after the building of Durham Cathedral, I enjoyed. But sections 3 and 4 became tiresome quickly, as we are asked again to switch styles and to abandon characters we had invested in. This is always near impossible to pull off and, while I admire the ambition, I feel like it could have been pared back a little.
So, overall, while I didn't like some parts, I always appreciated his trademark brilliant prose and, man, that first section is worth the cover price alone.
Cuddy is not my favourite of his books but, make no mistake, Benjamin Myers is one of the British writers who most pushes the boundaries of what is possible in fiction constantly and I would back him to do that every time. I'm a fan for life, and I hope he continues to experiment because he's brilliant.
February 17, 2023
This was my fourth experience of Myers’ writing. I began with The Gallows Pole when I was part of the panel that longlisted the book for The Republic of Consciousness prize in 2018. It didn’t win that prize in the end, but it did win The Walter Scott Prize for historical fiction. Then I read Under The Rock and was really impressed with Myers’ writing about nature and place. We’ll skip over Male Tears because that one didn’t really work for me.
But here, in Cuddy, I feel that Myers has excelled himself. Here we have all the poetry and intensity of his writing, all the excellence of his historical fiction and it is all mixed together with some literary experimentation that makes you think Myers is really going places with his writing.
You might guess that I really enjoyed reading this book.
Cuthbert of Lindisfarne (St. Cuthbert) is a central character in the book. Which sounds strange when you realise that the book starts on a small island near Lindisfarne with Cuthbert’s death (AD687). This is prose poetry which is the first of several literary forms used through the book (watch out also for stories told through quotes from text books, plays in which a building is a character, a Victorian journal/diary and Myers’ intense prose).
Several more sections follow in which we follow a young girl with her visions of a cathedral and her visitations from Cuthbert (AD995); we live in the shadow of that cathedral (Durham cathedral as we know it) with a woman (AD1346) whose husband is a famous archer but is also abusive and she falls for another, more gentle, man; we read the journal of an Oxford antiquarian (AD1827) as he travels to the north of England (which he despises) to witness the disinterment of a body in the cathedral; and we follow Michael Cuthbert in AD2019 as he cares for his mother and scratches a living as a labourer, eventually finding more stable work at the cathedral.
Cuthbert is a central character linking the stories. But so is the cathedral. So much so that in one short section that is presented to us as a play, the cathedral has a speaking part. A dead person and an inanimate building are the central pillars around which the story flows. And, to a large extent, what we read is the history of the cathedral as it is built, corrupted, invaded and restored. And this story is told via a number of excellent and memorable supporting characters.
The second section, AD995, was the highlight for me with its beautiful poetic prose. And the AD2019 section is very moving. The AD1827 section felt a bit weaker to me as I read it and I started to think the book might lose a star. But the reality is that I got to the end of the book and couldn’t really justify anything other than the full 5 stars.
One thing I wondered about is what kind of book it would be if the sections were presented in reverse order. I think it might be an interesting way to read the book.
My thanks to the publisher for an ARC via NetGalley.
But here, in Cuddy, I feel that Myers has excelled himself. Here we have all the poetry and intensity of his writing, all the excellence of his historical fiction and it is all mixed together with some literary experimentation that makes you think Myers is really going places with his writing.
You might guess that I really enjoyed reading this book.
Cuthbert of Lindisfarne (St. Cuthbert) is a central character in the book. Which sounds strange when you realise that the book starts on a small island near Lindisfarne with Cuthbert’s death (AD687). This is prose poetry which is the first of several literary forms used through the book (watch out also for stories told through quotes from text books, plays in which a building is a character, a Victorian journal/diary and Myers’ intense prose).
Several more sections follow in which we follow a young girl with her visions of a cathedral and her visitations from Cuthbert (AD995); we live in the shadow of that cathedral (Durham cathedral as we know it) with a woman (AD1346) whose husband is a famous archer but is also abusive and she falls for another, more gentle, man; we read the journal of an Oxford antiquarian (AD1827) as he travels to the north of England (which he despises) to witness the disinterment of a body in the cathedral; and we follow Michael Cuthbert in AD2019 as he cares for his mother and scratches a living as a labourer, eventually finding more stable work at the cathedral.
Cuthbert is a central character linking the stories. But so is the cathedral. So much so that in one short section that is presented to us as a play, the cathedral has a speaking part. A dead person and an inanimate building are the central pillars around which the story flows. And, to a large extent, what we read is the history of the cathedral as it is built, corrupted, invaded and restored. And this story is told via a number of excellent and memorable supporting characters.
The second section, AD995, was the highlight for me with its beautiful poetic prose. And the AD2019 section is very moving. The AD1827 section felt a bit weaker to me as I read it and I started to think the book might lose a star. But the reality is that I got to the end of the book and couldn’t really justify anything other than the full 5 stars.
One thing I wondered about is what kind of book it would be if the sections were presented in reverse order. I think it might be an interesting way to read the book.
My thanks to the publisher for an ARC via NetGalley.
December 4, 2023
Inexplicably Cuddy (2023) is only the second book I have read so far by Benjamin Myers. I say inexplicably as I already know he is a writer who I will thoroughly enjoy and so it proved with Cuddy.
Cuddy is a novel that combines poetry, prose, diary entries and real historical accounts to relate the story of St. Cuthbert, the eponymous Anglo-Saxon saint, and his connection to Durham Cathedral.
Cuddy is organised into four stories, with an additional prologue and interlude. The main sections span the years 995 to 2019, with each story relating to Durham Cathedral, which was founded in 1093 and houses Cuthbert's shrine.
If I was reading those preceding paragraphs, and without prior knowledge, I might be a little unsure, however let me assure you Cuddy really is something very special, vital and ultimately it's a very accessible and human novel.
St Cuthbert nicknamed Cuddy is the unofficial patron saint of the North of England and throughout the novel we hear the viewpoints of monks, stonemasons, brewers, cooks, academics, and many more. It all makes for a vibrant alternative history of Durham and the surrounding area.
There are many interesting motifs that repeat across the different stories: an owl eyed youth, a provider of sustenance, a visionary, a bad monk, and a violent man, and quite possibly more that I didn't notice.
It's superbly written and I can state with confidence it’s my favourite fiction read of 2023. Do yourself a favour and get stuck in.
5/5
** Winner of the Goldsmiths Prize 2023 **
Cuddy is a bold and experimental retelling of the story of the hermit St. Cuthbert, unofficial patron saint of the North of England. Incorporating poetry, prose, play, diary and real historical accounts to create a novel like no other, Cuddy straddles historical eras - from the first Christian-slaying Viking invaders of the holy island of Lindisfarne in the 8th century to a contemporary England defined by class and austerity. Along the way we meet brewers and masons, archers and academics, monks and labourers, their visionary voices and stories echoing through their ancestors and down the ages. And all the while at the centre sits Durham Cathedral and the lives of those who live and work around this place of pilgrimage - their dreams, desires, connections and communities.
Cuddy is a novel that combines poetry, prose, diary entries and real historical accounts to relate the story of St. Cuthbert, the eponymous Anglo-Saxon saint, and his connection to Durham Cathedral.
Cuddy is organised into four stories, with an additional prologue and interlude. The main sections span the years 995 to 2019, with each story relating to Durham Cathedral, which was founded in 1093 and houses Cuthbert's shrine.
If I was reading those preceding paragraphs, and without prior knowledge, I might be a little unsure, however let me assure you Cuddy really is something very special, vital and ultimately it's a very accessible and human novel.
St Cuthbert nicknamed Cuddy is the unofficial patron saint of the North of England and throughout the novel we hear the viewpoints of monks, stonemasons, brewers, cooks, academics, and many more. It all makes for a vibrant alternative history of Durham and the surrounding area.
There are many interesting motifs that repeat across the different stories: an owl eyed youth, a provider of sustenance, a visionary, a bad monk, and a violent man, and quite possibly more that I didn't notice.
It's superbly written and I can state with confidence it’s my favourite fiction read of 2023. Do yourself a favour and get stuck in.
5/5
** Winner of the Goldsmiths Prize 2023 **
Cuddy is a bold and experimental retelling of the story of the hermit St. Cuthbert, unofficial patron saint of the North of England. Incorporating poetry, prose, play, diary and real historical accounts to create a novel like no other, Cuddy straddles historical eras - from the first Christian-slaying Viking invaders of the holy island of Lindisfarne in the 8th century to a contemporary England defined by class and austerity. Along the way we meet brewers and masons, archers and academics, monks and labourers, their visionary voices and stories echoing through their ancestors and down the ages. And all the while at the centre sits Durham Cathedral and the lives of those who live and work around this place of pilgrimage - their dreams, desires, connections and communities.
April 25, 2023
(3.5) Impressive scope and literary range to this brick of a novel about Saint Cuthbert's posthumous legacy. I read Book I with enthusiasm, its verse-like format and fragments of historical detail building a picture of his 10th-century followers ("this colourful caravan of committed Cuddy acolytes / this coffin-carrying cult, forever on the flit, / forever making camp and breaking camp") as they travelled with his remains and envisioned a home for them at Durham. It was particularly satisfying that the main POV character is a female disciple named Ediva, a foundling who had visions, including of the church where Cuthbert would finally be buried after centuries of nomadism. (I was reminded a bit of As A God Might Be by Neil Griffiths.)
Although the later sections (a second-person account of the construction of Durham Cathedral, a Murder in the Cathedral-type play set in the 1650s, the excavation of his remains in the 1820s, a young man and potential descendant in 2019 Durham named Michael Cuthbert) feel pretty pretentious and less than essential, it's neat that a similar female character (Edith or Edie in later sections) recurs.
The fact that I had visited many of the Northumberland settings, including Durham and Lindisfarne, in 2021, gave me a greater than average interest in this book, but I doubt many readers, other than those with a local connection, will have staying power.
Favourite lines:
"Death is a surprise party you knew all / along was to be thrown in your honour."
"The stories we tell one another are all that shall remain when time dies and even the strongest sculpted stones crumble to sand."
vs. a cringe-worthy imagining of what sex is like for a woman:
"His prick is not that big, you suspect there are bigger, have dreamed of bigger. No, he is not that big, but when he enters you it opens you up so that it feels like the world has a tear in its fabric and white light is beaming through, illuminating, seeking a path."
Although the later sections (a second-person account of the construction of Durham Cathedral, a Murder in the Cathedral-type play set in the 1650s, the excavation of his remains in the 1820s, a young man and potential descendant in 2019 Durham named Michael Cuthbert) feel pretty pretentious and less than essential, it's neat that a similar female character (Edith or Edie in later sections) recurs.
The fact that I had visited many of the Northumberland settings, including Durham and Lindisfarne, in 2021, gave me a greater than average interest in this book, but I doubt many readers, other than those with a local connection, will have staying power.
Favourite lines:
"Death is a surprise party you knew all / along was to be thrown in your honour."
"The stories we tell one another are all that shall remain when time dies and even the strongest sculpted stones crumble to sand."
vs. a cringe-worthy imagining of what sex is like for a woman:
"His prick is not that big, you suspect there are bigger, have dreamed of bigger. No, he is not that big, but when he enters you it opens you up so that it feels like the world has a tear in its fabric and white light is beaming through, illuminating, seeking a path."
August 1, 2023
Ostensibly the story of St. Cuthbert and his influence on the Christian faith over the last 1400 years, this is a deeply philosophical novel. Myers explores several topics, many of them quite obvious: the difference between faith and religion, the cost of true devotion, and the interplay between Art and Science. Beneath the surface, however, there is so much more happening.
As the book moves from 687 to 2019 in centuries-long leaps, there are less obvious themes which run throughout. Where does one find inspiration, and why are some sources more powerful than others? Is the distance between the sacred and the profane really so great? When is historical inquiry illuminating, and are there times one should simply "let his story lie" undisturbed? Myers is particularly fascinated by the journey of self-discovery that is the birthright of each person. And his personal love for the natural world allows for some truly vivid scene-setting.
If all of this sounds too heady or terribly uninteresting, there is good news: The five narratives which contribute to the book's overarching story are excellent. The writing is extremely fine. There is plenty of wit, intrigue, conflict, atmosphere, character development, and good old storytelling to make this a worthwhile read. I am very glad this one found its way into my hands.
4.5 stars
As the book moves from 687 to 2019 in centuries-long leaps, there are less obvious themes which run throughout. Where does one find inspiration, and why are some sources more powerful than others? Is the distance between the sacred and the profane really so great? When is historical inquiry illuminating, and are there times one should simply "let his story lie" undisturbed? Myers is particularly fascinated by the journey of self-discovery that is the birthright of each person. And his personal love for the natural world allows for some truly vivid scene-setting.
If all of this sounds too heady or terribly uninteresting, there is good news: The five narratives which contribute to the book's overarching story are excellent. The writing is extremely fine. There is plenty of wit, intrigue, conflict, atmosphere, character development, and good old storytelling to make this a worthwhile read. I am very glad this one found its way into my hands.
4.5 stars
December 28, 2024
I loved this book! It’s not hyperbole to call it a masterpiece (his masterpiece so far, Ben Myers is still a young man with more to write.) Perhaps Saint Cuthbert spoke to Benjamin Myers while he was writing this because it feels inspired, showcasing all of its author’s talents without feeling contrived or gimmicky.
There are many wonderful reviews that are better than I could write so I’ll say simply that using prose poetry, historical and fictional accounts, nature writing, and a pastiche, all in lyrical prose, Myers takes us on a journey through history that begins with the death of Cuthbert in AD 687 and ends in Durham in 2016. He tells us the story of the 10th century journey; a medieval love story; the tragic deaths of young Scottish soldiers, prisoners of war in 1650; a Victorian ghost story, and ends with a contemporary story of the struggles of modern life. All the stories are told in the shadow of the stunning Durham Cathedral built 1094-1133 and called by the World Heritage Convention “the largest and finest example of Norman architecture in England,” and all told with contributions from Cuddy himself and from the Cathedral.
What makes this book special are the characters and their first person accounts, the names and things that repeat, linking the stories from period to period which creates a sense of continuity through the centuries-the story begins and ends with a Cuthbert, and, as always, the landscape of Northern England, especially Durham and environs, play a central role. Few writers create the strong sense of place like Ben Myers.
I wanted to read this slowly, to make it last, but alas I finished it. I could have read this book nightly and never tired of it. I expect to see it on many literary prize lists and I highly recommend it.
There are many wonderful reviews that are better than I could write so I’ll say simply that using prose poetry, historical and fictional accounts, nature writing, and a pastiche, all in lyrical prose, Myers takes us on a journey through history that begins with the death of Cuthbert in AD 687 and ends in Durham in 2016. He tells us the story of the 10th century journey; a medieval love story; the tragic deaths of young Scottish soldiers, prisoners of war in 1650; a Victorian ghost story, and ends with a contemporary story of the struggles of modern life. All the stories are told in the shadow of the stunning Durham Cathedral built 1094-1133 and called by the World Heritage Convention “the largest and finest example of Norman architecture in England,” and all told with contributions from Cuddy himself and from the Cathedral.
What makes this book special are the characters and their first person accounts, the names and things that repeat, linking the stories from period to period which creates a sense of continuity through the centuries-the story begins and ends with a Cuthbert, and, as always, the landscape of Northern England, especially Durham and environs, play a central role. Few writers create the strong sense of place like Ben Myers.
I wanted to read this slowly, to make it last, but alas I finished it. I could have read this book nightly and never tired of it. I expect to see it on many literary prize lists and I highly recommend it.
July 22, 2023
4.5 stars, rounded up
Read
December 1, 2024If you're looking for value, here are five books in one.
Experimental. Poetic. Dramatic. Amusing. Engrossing.
Each part a masterpiece in its own right, and together even more than the sum of those parts.
A singular talent, indeed.
Experimental. Poetic. Dramatic. Amusing. Engrossing.
Each part a masterpiece in its own right, and together even more than the sum of those parts.
A singular talent, indeed.
January 30, 2024
First reactions: A miracle!
'Miraculous' is over-used. The book fully justifies its gorgeous cover.
Cuddy is a lovely familiar derivative of the name Cuthbert.
Born and raised in the north – in Cuddy land, I was keen to read this and was thrilled to be given it for my birthday, last month. The faithful monks on their long wanderings rested St Cuthbert’s bones in my village, giving rise to a church dedicated to him. Unofficial patron saint of the north, his cult has
surely continued down the ages and the way the book is presented reflects this. From my village churches registers (there were 2 churches) the name Cuthbert was quite a popular name for a boy, especially in the sixteenth century. I recall Cuddy being a nickname of one of my parents’ school fellows. I also seem to remember from my childhood, cattle and sheep being summoned from the fields with the cry “cuddy, cuddy, come”, very fitting if so, given the Saint’s special relationship with animals and birds.
The first part of the book, Cuthbert’s life, death and coffin wanderings is fragmented, appropriately, with extracts from primary and secondary sources. There’s lovely poetry and prose and the stories of some of those generations of people who made up his cortege throughout the wanderings, until his final resting place in Durham.
A spell in medieval Durham at the time of the Black Death was captivating. Similarly, the haunting experiences in Durham of a nineteenth century academic, cultural snob and insufferable southerner made me realise how proud I am to call myself a northerner!
The reader visits Durham lastly in 2019 or thereabouts, mingling with the middle class cathedral and university communities as seen through the eyes of a teenage manual labourer who happens also to be a carer. The ending is enigmatic as befits the book, perhaps.
Lots to ponder upon.. a worthy hymn of praise to the resilience of the north, personified in the life and death of Cuthbert and a rich tribute to Durham, his glorious resting place.
'Miraculous' is over-used. The book fully justifies its gorgeous cover.
Cuddy is a lovely familiar derivative of the name Cuthbert.
Born and raised in the north – in Cuddy land, I was keen to read this and was thrilled to be given it for my birthday, last month. The faithful monks on their long wanderings rested St Cuthbert’s bones in my village, giving rise to a church dedicated to him. Unofficial patron saint of the north, his cult has
surely continued down the ages and the way the book is presented reflects this. From my village churches registers (there were 2 churches) the name Cuthbert was quite a popular name for a boy, especially in the sixteenth century. I recall Cuddy being a nickname of one of my parents’ school fellows. I also seem to remember from my childhood, cattle and sheep being summoned from the fields with the cry “cuddy, cuddy, come”, very fitting if so, given the Saint’s special relationship with animals and birds.
The first part of the book, Cuthbert’s life, death and coffin wanderings is fragmented, appropriately, with extracts from primary and secondary sources. There’s lovely poetry and prose and the stories of some of those generations of people who made up his cortege throughout the wanderings, until his final resting place in Durham.
A spell in medieval Durham at the time of the Black Death was captivating. Similarly, the haunting experiences in Durham of a nineteenth century academic, cultural snob and insufferable southerner made me realise how proud I am to call myself a northerner!
The reader visits Durham lastly in 2019 or thereabouts, mingling with the middle class cathedral and university communities as seen through the eyes of a teenage manual labourer who happens also to be a carer. The ending is enigmatic as befits the book, perhaps.
Lots to ponder upon.. a worthy hymn of praise to the resilience of the north, personified in the life and death of Cuthbert and a rich tribute to Durham, his glorious resting place.
July 27, 2023
93rd book of 2023.
3.5. Kudos to Myers for writing something so ambitious. England needs more writers of this kind. Cuddy is about Saint Cuthbert and Durham's cathedral which was built as his resting place. The first part felt like Max Porter if he had written As I Lay Dying. It spans from AD 687 to 2019, all in just over 400 pages. Naturally, I liked some parts better than others (there are four in total). I found the first part interesting, fragmented, poetic. The middle two parts less so though I did enjoy Myers's take on the 19th century epistolary style (well, diary, not letters). When 2019 rolled around I went in thinking I would be disinterested, especially since it didn't instantly seem connected to the rest of the book, but actually I got drawn into Michael's story. Somehow it became a part about class, history, architecture. It's a real uneven novel, and I don't mean that as a criticism.
In the end I wondered what the heart of the novel was. Religion? Surprisingly, not at all. Cuddy, I decided, is an ode to stone, an ode to time and to history and the gaps in between. It's about centuries ticking past and how stories are told and passed down, how mystical the human experience really is. It's about how England's buildings, particularly her churches, sing with knowledge and secrets. Most of all, it's about those who have come before us and how they shape who we are, how we can be guided by the past.
3.5. Kudos to Myers for writing something so ambitious. England needs more writers of this kind. Cuddy is about Saint Cuthbert and Durham's cathedral which was built as his resting place. The first part felt like Max Porter if he had written As I Lay Dying. It spans from AD 687 to 2019, all in just over 400 pages. Naturally, I liked some parts better than others (there are four in total). I found the first part interesting, fragmented, poetic. The middle two parts less so though I did enjoy Myers's take on the 19th century epistolary style (well, diary, not letters). When 2019 rolled around I went in thinking I would be disinterested, especially since it didn't instantly seem connected to the rest of the book, but actually I got drawn into Michael's story. Somehow it became a part about class, history, architecture. It's a real uneven novel, and I don't mean that as a criticism.
In the end I wondered what the heart of the novel was. Religion? Surprisingly, not at all. Cuddy, I decided, is an ode to stone, an ode to time and to history and the gaps in between. It's about centuries ticking past and how stories are told and passed down, how mystical the human experience really is. It's about how England's buildings, particularly her churches, sing with knowledge and secrets. Most of all, it's about those who have come before us and how they shape who we are, how we can be guided by the past.
April 3, 2024
Benjamin Myers' "Cuddy," winner of the 2023 Goldsmiths Prize and longlisted for the 2024 Walter Scott Prize for Historical Fiction, is a literary marvel. Focusing on St Cuthbert ('Cuddy'), one of Britain's popular saints and Durham Cathedral (where his remians were interred many hundreds of yars after his death), the narrative unfolds with a mythically ethereal quality, weaving through time from the year 687, capturing Cuddy's historical, mythic, folkloric significance with a poetic visionary voice that resonates throughout the novel.
Myers deftly intertwines historical citations and quotations to paint a vivid tapestry of events. From the perilous journey of Cuthbert's followers as they evade Viking invaders (narrated from the perspective of Ediva, an orphan traveling with the monks who has visions of the cathedral where Cuddy will eventually be interred, to the life of a stone mason in Durham, Francis Rolfe, and his entanglement with the wife of a brutal archer, each perspective adds depth and richness to the narrative. Particularly poignant is the inclusion of a harrowing depiction of Scottish soldiers captured in 1650, presented as a short scripted play, and a 19th-century account by Oxford historian Professor Fawcett-Black, detailing the exhumation of Cuthbert's remains to challenge the Church's claims of his incorruptibility (recounted in mostly first person letter and journal extracts, written in 19th century 'pastiche' literary style, including elements of the gothic ghost story with subtle contemporary ironising). Myer's satiric depiction of the learned professor's condenscension towards the superstitious folk in the north is a highlight.
What sets "Cuddy" apart is Myers' remarkable ability to blend these narrative threads, culminating in a profoundly moving portrayal of a young man in 2019, whose life becomes intertwined with the history and myth surrounding Cuthbert. Through the lens of Durham Cathedral and 'Cuddy', Myers captures 'history' in its mythic unfolding, imbuing it with a sense of beauty and wonder. He deftly weaves links between these chapters, including the voice and presence of Cuddy.
On a visit to England (attending a conference workshop at Durham University) a few years back, I recall sitting in the cathedral and feeling awe and a sense of that deeply resonant historical echo chamber. In "Cuddy," Myers conveys a sensibility of that wonder and awe that is, in many ways, the deep places that literature can touch and unearth where myth and history intersect. The experience of being in the pages of this work is like sitting in that Cathedral, with Myer's novelisitc architecture and imagery beautifully reflecting and refracting the stories and folklore and mythos that is and becomes this historical figure 'Cuddy'. I'm still dazzled by the creative beauty of this work.
Likely among my favorite contemporary fiction reads of the past few years. Myers inventively mixes styles and forms to expand the boundaries and possibilities of historical fiction, in the process providing a kind of meta-reflection on history-making, folklore, myth, and so on. In a world fraught with challenges, Myers' "Cuddy" offers readers a profound meditation on the intertwined nature of history, myth, and the human experience. Through his inventive narrative techniques, Myers not only expands the boundaries of historical fiction but also prompts a deeper reflection on the significance of our shared cultural heritage. His ability to evoke both emotional and intellectual responses underscores the enduring power of the novel and literary form to shape our understanding of the past and its relevance to the present. The writing throughout is glorious, especially the final section with some profoundly beautiful passages on the landscape of the north. "Cuddy" is not merely a nostalgic retreat into bygone eras, but rather a thought-provoking journey that invites us to reconsider the narratives that shape our collective identity. Highly recommended, "Cuddy" stands out as a testament to the transformative potential of literature in our troubled times. If people query what's the point of the novel as a contemporary artform, I'd just point them to Cuddy.
Myers deftly intertwines historical citations and quotations to paint a vivid tapestry of events. From the perilous journey of Cuthbert's followers as they evade Viking invaders (narrated from the perspective of Ediva, an orphan traveling with the monks who has visions of the cathedral where Cuddy will eventually be interred, to the life of a stone mason in Durham, Francis Rolfe, and his entanglement with the wife of a brutal archer, each perspective adds depth and richness to the narrative. Particularly poignant is the inclusion of a harrowing depiction of Scottish soldiers captured in 1650, presented as a short scripted play, and a 19th-century account by Oxford historian Professor Fawcett-Black, detailing the exhumation of Cuthbert's remains to challenge the Church's claims of his incorruptibility (recounted in mostly first person letter and journal extracts, written in 19th century 'pastiche' literary style, including elements of the gothic ghost story with subtle contemporary ironising). Myer's satiric depiction of the learned professor's condenscension towards the superstitious folk in the north is a highlight.
What sets "Cuddy" apart is Myers' remarkable ability to blend these narrative threads, culminating in a profoundly moving portrayal of a young man in 2019, whose life becomes intertwined with the history and myth surrounding Cuthbert. Through the lens of Durham Cathedral and 'Cuddy', Myers captures 'history' in its mythic unfolding, imbuing it with a sense of beauty and wonder. He deftly weaves links between these chapters, including the voice and presence of Cuddy.
On a visit to England (attending a conference workshop at Durham University) a few years back, I recall sitting in the cathedral and feeling awe and a sense of that deeply resonant historical echo chamber. In "Cuddy," Myers conveys a sensibility of that wonder and awe that is, in many ways, the deep places that literature can touch and unearth where myth and history intersect. The experience of being in the pages of this work is like sitting in that Cathedral, with Myer's novelisitc architecture and imagery beautifully reflecting and refracting the stories and folklore and mythos that is and becomes this historical figure 'Cuddy'. I'm still dazzled by the creative beauty of this work.
Likely among my favorite contemporary fiction reads of the past few years. Myers inventively mixes styles and forms to expand the boundaries and possibilities of historical fiction, in the process providing a kind of meta-reflection on history-making, folklore, myth, and so on. In a world fraught with challenges, Myers' "Cuddy" offers readers a profound meditation on the intertwined nature of history, myth, and the human experience. Through his inventive narrative techniques, Myers not only expands the boundaries of historical fiction but also prompts a deeper reflection on the significance of our shared cultural heritage. His ability to evoke both emotional and intellectual responses underscores the enduring power of the novel and literary form to shape our understanding of the past and its relevance to the present. The writing throughout is glorious, especially the final section with some profoundly beautiful passages on the landscape of the north. "Cuddy" is not merely a nostalgic retreat into bygone eras, but rather a thought-provoking journey that invites us to reconsider the narratives that shape our collective identity. Highly recommended, "Cuddy" stands out as a testament to the transformative potential of literature in our troubled times. If people query what's the point of the novel as a contemporary artform, I'd just point them to Cuddy.
March 23, 2023
Working at the Cathedral probably ruined this book for me. The story of Cuthbert isn't new or exciting. Neither is reading page after page of direct quotes from other non-fiction books I've read before as research for my job. Just enough detail has been changed in real life locations that it annoys me, unable to tell if the author has done it deliberately or just didn't get it right in the first place.
Breaking the book up into sections, each one a different style, is an interesting concept but badly executed poetry and some of the worst "Scottish" dialogue I've ever read in a small play that forms the Interlude stops me from enjoying it.
Be inspired by this book Come to Durham Cathedral. Take a guided tour. See Cuthbert's coffin. Eat a scone.
Breaking the book up into sections, each one a different style, is an interesting concept but badly executed poetry and some of the worst "Scottish" dialogue I've ever read in a small play that forms the Interlude stops me from enjoying it.
Be inspired by this book Come to Durham Cathedral. Take a guided tour. See Cuthbert's coffin. Eat a scone.
November 13, 2023
Ben Myers fascinates me. I’ve been reading his novels over the past few years and there’s something different, from the tender relationship in The Offing , the working class narrative of Pig Iron and medieval coin counterfeiters of The Gallows Pole. Yet they all are about the beauty and wickedness of the north of England.
Cuddy, is the nickname of St. Cuthbert, the patron saint of the north. Known for his ascetic ways, ducks and self imprisonment. Then after his death his body was taken from Lindisfarne all the way to Durham and the cathedral was built to keep him.
The book itself is divided into different historical sections, all centring around St. Cuthbert. The first focuses on the monks who carried St. Cuthbert’s coffin to Durham, the narrator is a girl who has visions and is able to talk to the saint directly, in which we get glimpses of his life. It’s worth noting that this section is told as an experimental poem.
The second part is about the building of the cathedral, where a rather nasty incident takes place – although it’s structured like a classic medieval text with huge blocks of text. Story-wise it’s in Ben Myers territory and reminded me of the characters in Beastings
The third part takes place in the 1800’s and concerns two academics who attempt to exhume St. Cuthbert’s corpse. There’s a bit of fantastical element and it works.
The final section is modern day Durham and it’s about a romance between two people in their late teens/early 20’s. Recalling the humanity that was displayed in The offing, I felt this was the most heartfelt part of the book and it has elements which tie in with the previous three parts. It’s also the greatest love letter to the north he’s ever written.
I tend to say that the latest Ben Myers book is his best one to date and that is true here. Cuddy is varied, contains different literary styles and cleverly unites all it’s sections together. It’s a cliché but Cuddy is the work of an author who can do no wrong in my eyes. I won’t saw a masterpiece at this stage but nearly there.
Cuddy, is the nickname of St. Cuthbert, the patron saint of the north. Known for his ascetic ways, ducks and self imprisonment. Then after his death his body was taken from Lindisfarne all the way to Durham and the cathedral was built to keep him.
The book itself is divided into different historical sections, all centring around St. Cuthbert. The first focuses on the monks who carried St. Cuthbert’s coffin to Durham, the narrator is a girl who has visions and is able to talk to the saint directly, in which we get glimpses of his life. It’s worth noting that this section is told as an experimental poem.
The second part is about the building of the cathedral, where a rather nasty incident takes place – although it’s structured like a classic medieval text with huge blocks of text. Story-wise it’s in Ben Myers territory and reminded me of the characters in Beastings
The third part takes place in the 1800’s and concerns two academics who attempt to exhume St. Cuthbert’s corpse. There’s a bit of fantastical element and it works.
The final section is modern day Durham and it’s about a romance between two people in their late teens/early 20’s. Recalling the humanity that was displayed in The offing, I felt this was the most heartfelt part of the book and it has elements which tie in with the previous three parts. It’s also the greatest love letter to the north he’s ever written.
I tend to say that the latest Ben Myers book is his best one to date and that is true here. Cuddy is varied, contains different literary styles and cleverly unites all it’s sections together. It’s a cliché but Cuddy is the work of an author who can do no wrong in my eyes. I won’t saw a masterpiece at this stage but nearly there.
April 22, 2023
Cuddy. Saint Cuthbert, northern English bishop and saint from deep in the Dark Ages. A man who lived alone on a rocky island in the North Sea, preferring the solitude and the wild birds to the company of men.
In this unique new novel by Benjamin Myers, the story of Cuddy is retold and reworked to take place over multiple centuries after the saint’s death in 687AD. In fact, most of Cuthbert’s story takes place after his death, when he is exhumed and moved to safety. While his actual life is mostly myth and legend, his posthumous wanderings are points of fact and history.
Myers reworks these stories to give us a masterpiece deserving of a place on this year’s Booker Prize longlist. The finely woven stories even use lines from the referenced works of multiple historians; an inventive way to set some historical narrative alongside the fiction.
The five books and a prologue span just over a thousand years and drop us into vignettes from the dead saint’s life and legacy. Cuthbert was first buried on Lindisfarne, an island off the Northumbrian coast and scene of the first Viking raid on England. To protect the venerable saint, he was disinterred and embarked on a century of wandering to keep his remains away from the Norsemen. The first book charts his arrival in Durham, which became his final resting place in 995AD. From that point began a series of buildings which would eventually become one of the most spectacular cathedrals in Europe. This first part is the story of the haliwerfolk, the people of the holy man, who accompanied the dead saint on his journey; the abbot and monks, the cook and the horse-boy. A story of when the least among them turns out to know the most. These are some of the most inventive pages, in prose and poetry, in fonts that decrease in size, and in direct quotes from historians who strive to interpret the past.
In this first story we meet the young cook who is part of the haliwerfolk, feeding the monks with whatever can be found and also tending to their ailments – their aches and pains and even their tooth aches. This is a poem that she utters and which I though is excellent.
Then we skip forwards in three-hundred-year bounds, to the time the masons are constructing the final great gothic cathedral, then to a short play, with the cathedral itself as narrator. As the Civil War rages, the great building has become a prison for captured Scottish soldiers. It is not until 2013, when a new café is being constructed, that their mass grave will be discovered.
Book four, an account from a visiting professor in 1827, who has no love of the uncultured north. He is there for the opening of Cuthbert’s tomb once more. This time the decorative casket that has held the saint’s body for eight hundred years is ruined. Myers has written this in the flamboyant wordy style of the period, catching the nuances effortlessly.
The final book is the story of Michael, a teenager labourer who in 2017 begins work at the cathedral among the repairs to the medieval masonry. This is Myers at his most modern and antagonistic. Take this short description of Durham’s early morning bus station, rank with the detritus of the night before:
Cuddy is an effortless read. The rewards are themes and characters that reoccur through history as names and roles are reinvented, and we sense the same people keep returning to play their part over and over. The voice of the saint remains with us throughout, there to receive the prayers of those who believe in his legend and longevity.
In this unique new novel by Benjamin Myers, the story of Cuddy is retold and reworked to take place over multiple centuries after the saint’s death in 687AD. In fact, most of Cuthbert’s story takes place after his death, when he is exhumed and moved to safety. While his actual life is mostly myth and legend, his posthumous wanderings are points of fact and history.
Myers reworks these stories to give us a masterpiece deserving of a place on this year’s Booker Prize longlist. The finely woven stories even use lines from the referenced works of multiple historians; an inventive way to set some historical narrative alongside the fiction.
The five books and a prologue span just over a thousand years and drop us into vignettes from the dead saint’s life and legacy. Cuthbert was first buried on Lindisfarne, an island off the Northumbrian coast and scene of the first Viking raid on England. To protect the venerable saint, he was disinterred and embarked on a century of wandering to keep his remains away from the Norsemen. The first book charts his arrival in Durham, which became his final resting place in 995AD. From that point began a series of buildings which would eventually become one of the most spectacular cathedrals in Europe. This first part is the story of the haliwerfolk, the people of the holy man, who accompanied the dead saint on his journey; the abbot and monks, the cook and the horse-boy. A story of when the least among them turns out to know the most. These are some of the most inventive pages, in prose and poetry, in fonts that decrease in size, and in direct quotes from historians who strive to interpret the past.
In this first story we meet the young cook who is part of the haliwerfolk, feeding the monks with whatever can be found and also tending to their ailments – their aches and pains and even their tooth aches. This is a poem that she utters and which I though is excellent.
All that I own:
Flint and tinder box
Two smocks.
Seeds of flax
Corn dolly plaits.
Nubs of wax.
Kindling cord
Toy sword
Button hoard.
Wishing bone.
Blue river stone.
Fossil cone.
All that I own.
Then we skip forwards in three-hundred-year bounds, to the time the masons are constructing the final great gothic cathedral, then to a short play, with the cathedral itself as narrator. As the Civil War rages, the great building has become a prison for captured Scottish soldiers. It is not until 2013, when a new café is being constructed, that their mass grave will be discovered.
Book four, an account from a visiting professor in 1827, who has no love of the uncultured north. He is there for the opening of Cuthbert’s tomb once more. This time the decorative casket that has held the saint’s body for eight hundred years is ruined. Myers has written this in the flamboyant wordy style of the period, catching the nuances effortlessly.
The final book is the story of Michael, a teenager labourer who in 2017 begins work at the cathedral among the repairs to the medieval masonry. This is Myers at his most modern and antagonistic. Take this short description of Durham’s early morning bus station, rank with the detritus of the night before:
There is a strong smell of urine, the invisible scent markings of feral men after midnight staining the cold concrete. The stench of it is the perfume of bus stations everywhere; the desperate reek of transience at the crossroads of intoxicated.
Cuddy is an effortless read. The rewards are themes and characters that reoccur through history as names and roles are reinvented, and we sense the same people keep returning to play their part over and over. The voice of the saint remains with us throughout, there to receive the prayers of those who believe in his legend and longevity.
January 25, 2024
What a beautiful, beautiful book.
The novel is divided into four "books", each of which follows a different character in a different century, but all characters have a connection with St. Cuthbert, whether they want to or not. The style of each book differs greatly (the first book is written in verse, there's an interlude written as a script for a play, the third book is a diary, the fourth is in lyrical prose), but somehow the novel remains cohesive, probably because the presence of St. Cuthbert and the Durham cathedral are constant throughout, as a loving, inspiring presence.
The book about the 19th century Oxford professor who comes to Durham to witness the exhumation of Cuddy was in my opinion the least strong of all, but the last book was so moving and beautiful that I need to give five stars anyway.
I highly recommend this to anyone with an interest in British (medieval) history. Or to anyone who feels like reading a book, really.
The novel is divided into four "books", each of which follows a different character in a different century, but all characters have a connection with St. Cuthbert, whether they want to or not. The style of each book differs greatly (the first book is written in verse, there's an interlude written as a script for a play, the third book is a diary, the fourth is in lyrical prose), but somehow the novel remains cohesive, probably because the presence of St. Cuthbert and the Durham cathedral are constant throughout, as a loving, inspiring presence.
The book about the 19th century Oxford professor who comes to Durham to witness the exhumation of Cuddy was in my opinion the least strong of all, but the last book was so moving and beautiful that I need to give five stars anyway.
I highly recommend this to anyone with an interest in British (medieval) history. Or to anyone who feels like reading a book, really.
November 26, 2023
it's an unqualified 5 stars for me. I'm on vacation, away from home (with LOTS of free reading time) until the 3rd so I'll post then. I loved this book!!! Well done, Benjamin Myers!
December 12, 2025
Cuddy is an avant-garde novel that plays with form to tell the story of the body of St Cuthbert. He died near Lindisfarne (which is how the book opens) and when under threat of the Danes, his body was kept on the road for generations before finally coming to rest at Durham. Cuddy is also the story of Durham, from its building to the present day. Myers wrote the various portions of the novel on location, which is really cool.
The forms included here are poetry, windbag Victorian novel, contemporary fiction, lengthy stretches of quotations from (real) primary and secondary historical sources, and things like long paragraphs where the font grows progressively smaller. Would be so interested to hear how this works on audio!
I felt the wildly different forms, and the scant use of space (if you condensed the writing down to normal font size and space like an average novel, it would loose around 200 pages in my estimation), did not really serve the story all that well. It was only somewhat effective for keeping the main storyteller of each portion distinct. Clearly Myers can write in different voices, as made clear by the last two parts of the novel. I think he was trying to communicate something about the origins of the English language and different ways of storytelling over the centuries, but like, commit to it, you know? Don't do line-break poetry for Old English, use actual OE poetic forms, you know? Just me? Okay. I also did not love the stretches of quotations; as a historian I like my historical fiction to use sources and not just quote them directly to break up the portions of narrative.
This could easily have been a 3- or 4-star reading experience for me (since I rate solely based on my personal reading experience) but the ending left such a sour taste in my mouth that it brought it down to 2 stars. I had to read some L. M. Montgomery to return to a right-side-up world.
Content warnings: violence, murder
The forms included here are poetry, windbag Victorian novel, contemporary fiction, lengthy stretches of quotations from (real) primary and secondary historical sources, and things like long paragraphs where the font grows progressively smaller. Would be so interested to hear how this works on audio!
I felt the wildly different forms, and the scant use of space (if you condensed the writing down to normal font size and space like an average novel, it would loose around 200 pages in my estimation), did not really serve the story all that well. It was only somewhat effective for keeping the main storyteller of each portion distinct. Clearly Myers can write in different voices, as made clear by the last two parts of the novel. I think he was trying to communicate something about the origins of the English language and different ways of storytelling over the centuries, but like, commit to it, you know? Don't do line-break poetry for Old English, use actual OE poetic forms, you know? Just me? Okay. I also did not love the stretches of quotations; as a historian I like my historical fiction to use sources and not just quote them directly to break up the portions of narrative.
This could easily have been a 3- or 4-star reading experience for me (since I rate solely based on my personal reading experience) but the ending left such a sour taste in my mouth that it brought it down to 2 stars. I had to read some L. M. Montgomery to return to a right-side-up world.
Content warnings: violence, murder
October 9, 2025
It is very unlikely that I would have chosen to read a book based on the legend of St Cuthbert. But I would certainly read anything written by Benjamin Myers. I think he’s one of the greatest writers of this century.
Cuddy feels different from his usual way of writing. The first section almost reads like a long poem. I’m not a huge reader of poetry, so I can’t make too much comment on form or whatever. But all I know is that this writing is stunningly beautiful.
The first section’s chapters are interspersed with passages taken from the many books written about St Cuthbert, from Bede to more modern day. They act as a way to give more background about him but also, it’s very interesting to me to have these different non-fiction accounts side by side, to see how their authors handle their subject.
For me, one of the most notable things about Myers’ writing is his handling of the speech of his historical characters (in ‘The Gallows Pole’ too). He’ll use terms from that period but the voice and language he gives them is timeless. A lot of authors will try and write their character’s speech as they imagine someone would talk from that time period, and it can often sound stilted and clumsy. Times, beliefs and attitudes may change through the ages but basically human nature is always going to feature the same general emotions over and over again, regardless of the time period, because after all, People is People! His characters always feel all the more real and believable because he gives them an authentic voice.
I loved the way that in all of the sections of the book there were recurring surnames. One of several links between the time periods. I loved also as we watched the city of Durham develop and change through time. I’ve not visited this part of the country before, only travelled through it, but it’s definitely on my want-to-visit list now.
Some books grab you for their storyline. Some for the quality of writing. Benjamin Myers ticks all of the boxes that I enjoy when reading.
Cuddy feels different from his usual way of writing. The first section almost reads like a long poem. I’m not a huge reader of poetry, so I can’t make too much comment on form or whatever. But all I know is that this writing is stunningly beautiful.
The first section’s chapters are interspersed with passages taken from the many books written about St Cuthbert, from Bede to more modern day. They act as a way to give more background about him but also, it’s very interesting to me to have these different non-fiction accounts side by side, to see how their authors handle their subject.
For me, one of the most notable things about Myers’ writing is his handling of the speech of his historical characters (in ‘The Gallows Pole’ too). He’ll use terms from that period but the voice and language he gives them is timeless. A lot of authors will try and write their character’s speech as they imagine someone would talk from that time period, and it can often sound stilted and clumsy. Times, beliefs and attitudes may change through the ages but basically human nature is always going to feature the same general emotions over and over again, regardless of the time period, because after all, People is People! His characters always feel all the more real and believable because he gives them an authentic voice.
I loved the way that in all of the sections of the book there were recurring surnames. One of several links between the time periods. I loved also as we watched the city of Durham develop and change through time. I’ve not visited this part of the country before, only travelled through it, but it’s definitely on my want-to-visit list now.
Some books grab you for their storyline. Some for the quality of writing. Benjamin Myers ticks all of the boxes that I enjoy when reading.
October 4, 2025
I LOVED this!! Ticked a lot of boxes for me: historical fiction with good characters (including female perspectives), fun and absorbing style of writing, a smorgasboard really of different styles and genres, from character drama to ghost story to genuinely poignant. A book I looked forward to reading and didn't want to put down, but also one I wanted to savour. I'll definitely be checking out this author's other books.
May 12, 2023
This will be incredibly difficult for me to review. My admiration of Benjamin Myers' work is well known, and I think with Cuddy- because it is extremely experimental in style and approach- he has positioned himself more than ever before to be in the running for a longlist nomination on this year's Booker Prize.
However, for my own personal review, I'm not sure what to make of this novel. If it can indeed be called such a thing. It certainly is playing with the boundaries of what a novel is. Its form is unusual giving it an uncomfortableness at times during the reading process. Some sections read like non- fiction (literally page after page of direct quotes from reference books), others read like fiction, others like poetry (with floating words and lines mid sentence, italicised stanzas and text getting smaller and larger) and others like pieces of source material with references unusually held within the main body of the text.
You'd be right in being confused. I am still confused and I've finished it! But I can recognise that this is a step up from what Myers has written before, and that it will bring him to the attention of people who perhaps haven't read his work before.
The 440 page novel is broken down into 4 distinct sections that tell their story in a different narrative style and seemingly bear no relation to each other in terms of sharing characters, form, prose, setting and time period. Because of this, it feels like four disparate stories that have been cut and paste next to each other, rather than like four stories working together as one. But, they are of course linked by a shared sense of place and a history which ultimately binds them together, if not as seamlessly as one might expect.
This book is a challenge no doubt, and demands perseverance from its readers, not all of whom will want to take on the trouble of that task. My advice would be to do yourself a favour and don't start your Benjamin Myers' journey here. Start with his other work, nurture your love of his books first, then tackle Cuddy.
3/3 concept
3/3 writing
0/3 enjoyment
0/1 feeling/moved
= 6/10 (=3/5*)
However, for my own personal review, I'm not sure what to make of this novel. If it can indeed be called such a thing. It certainly is playing with the boundaries of what a novel is. Its form is unusual giving it an uncomfortableness at times during the reading process. Some sections read like non- fiction (literally page after page of direct quotes from reference books), others read like fiction, others like poetry (with floating words and lines mid sentence, italicised stanzas and text getting smaller and larger) and others like pieces of source material with references unusually held within the main body of the text.
You'd be right in being confused. I am still confused and I've finished it! But I can recognise that this is a step up from what Myers has written before, and that it will bring him to the attention of people who perhaps haven't read his work before.
The 440 page novel is broken down into 4 distinct sections that tell their story in a different narrative style and seemingly bear no relation to each other in terms of sharing characters, form, prose, setting and time period. Because of this, it feels like four disparate stories that have been cut and paste next to each other, rather than like four stories working together as one. But, they are of course linked by a shared sense of place and a history which ultimately binds them together, if not as seamlessly as one might expect.
This book is a challenge no doubt, and demands perseverance from its readers, not all of whom will want to take on the trouble of that task. My advice would be to do yourself a favour and don't start your Benjamin Myers' journey here. Start with his other work, nurture your love of his books first, then tackle Cuddy.
3/3 concept
3/3 writing
0/3 enjoyment
0/1 feeling/moved
= 6/10 (=3/5*)
December 9, 2025
«Las historias que nos contamos los unos a los otros son lo único que quedará cuando el tiempo muera e incluso las más duras piedras esculpidas se conviertan en polvo.»
La intuición me dice que, por desgracia, no verás este título en muchas listas de los mejores libros del año, pero lo cierto es que el último trabajo de Benjamin Myers (Durham, 1949) merece, lejos de pasar injustamente desapercibido, ser el foco de todas las alabanzas posibles. Proyecto inclasificable de ambición desmedida y prodigiosa —casi perfecta— ejecución, Cuddy es una novela hecha de novelas que giran, no alrededor de un tema, sino de un lugar convertido en personaje donde la realidad histórica se eleva a la categoría de mito.
Todo parte como una reconstrucción imaginada de los últimos días de Cutberto de Lindisfarne, un monje medieval del norte de Inglaterra cuya inspiradora devoción, piedad y enternecedora relación con la naturaleza constituyeron un baluarte contra el barbarismo de los invasores normandos durante una época de oscurantismo e incertidumbre. Tras su muerte, un grupo de fieles organizaron una compañía itinerante que se encargaba de acarrear el cadáver del querido pastor y obispo —del que se decía poseer propiedades milagrosas— mientras buscaban un lugar de descanso para sus restos, que sería, a su vez, punto de fundación de una colosal obra de arte arquitectónica que hoy conocemos como la catedral de Durham.
Haciendo gala de una maestría lingüística sin precedentes, insólita originalidad narrativa y una belleza absolutamente sobrecogedora, Benjamin Myers escribe sobre el legado del santo que da nombre a la novela y otorga a los espacios en blanco de la historia una textura tan plausible como conmovedora. Como si Walt Whitman hubiese reescrito el Hamnet de Maggie O’Farrell, Cuddy se erige como un texto poético, indómito, elegíaco y de una genialidad arrolladora, un sensacional híbrido de narrativa y lírica que adopta formas, de repente diáfanas, de repente retorcidamente barrocas, pero siempre dignas de una divina admiración.
Siglos después de su traslado definitivo, el bendito Cuddy seguirá siendo protagonista involuntario de tramas venideras. Myers entrelaza las andanzas del icono mesiánico con vidas aparentemente anodinas, insignificantes, engullidas por el implacable paso del tiempo, pero que de un modo u otro se vieron tocadas por su estela. Por ejemplo, la segunda parte de la novela está enfocada en el estremecedor relato de supervivencia de una cervecera casada con un arquero que la somete con extrema violencia. Mientras su marido combate en el ejército del rey, la joven descubrirá junto a uno de los canteros de la catedral que el amor no es una manifestación de autoritarismo, sino la piedra angular sobre la que erigir una nueva religión.
Más tarde, Cuddy nos traslada a los albores del siglo XIX, haciéndonos partícipes, mediante los diarios de un historiador experto en su campo, de una ominosa operación eclesiástica que tiene como objetivo exhumar los restos de San Cutberto. Mientras que la última sección, ambientada en 2019, relata el calvario de un adolescente en el precario sector de la construcción al tiempo que cuida de su madre enferma de cáncer y descubre, en compañía de una chica por la que empieza a sentir algo más que amistad, la apasionante majestuosidad de un edificio capaz de trascender los límites del tiempo.
Y es que, si existe, como tanto gente empieza a sospechar, un auge de la espiritualidad en la cultura, no es solo gracias a películas como Los domingos o discos como LUX, sino que ambos productos podrían integrar una trinidad hipotética a la que habría que añadir, sin ningún atisbo de duda, la monumental Cuddy de Myers, una novela que reflexiona de manera experimental sobre nuestra relación con la historia, así como con sus vestigios. Figura solemne que vela por los lectores sedientos de experiencias catárticas, recipiente de las plegarias elevadas al éter en nuestras horas más bajas, Cuddy es una novela inolvidable e inexplicable, un misterio capaz de inducir al más apostólico de los ateos a un eufórico éxtasis de fervor.
Enlace: https://generacionreader.blogspot.com...
La intuición me dice que, por desgracia, no verás este título en muchas listas de los mejores libros del año, pero lo cierto es que el último trabajo de Benjamin Myers (Durham, 1949) merece, lejos de pasar injustamente desapercibido, ser el foco de todas las alabanzas posibles. Proyecto inclasificable de ambición desmedida y prodigiosa —casi perfecta— ejecución, Cuddy es una novela hecha de novelas que giran, no alrededor de un tema, sino de un lugar convertido en personaje donde la realidad histórica se eleva a la categoría de mito.
Todo parte como una reconstrucción imaginada de los últimos días de Cutberto de Lindisfarne, un monje medieval del norte de Inglaterra cuya inspiradora devoción, piedad y enternecedora relación con la naturaleza constituyeron un baluarte contra el barbarismo de los invasores normandos durante una época de oscurantismo e incertidumbre. Tras su muerte, un grupo de fieles organizaron una compañía itinerante que se encargaba de acarrear el cadáver del querido pastor y obispo —del que se decía poseer propiedades milagrosas— mientras buscaban un lugar de descanso para sus restos, que sería, a su vez, punto de fundación de una colosal obra de arte arquitectónica que hoy conocemos como la catedral de Durham.
Haciendo gala de una maestría lingüística sin precedentes, insólita originalidad narrativa y una belleza absolutamente sobrecogedora, Benjamin Myers escribe sobre el legado del santo que da nombre a la novela y otorga a los espacios en blanco de la historia una textura tan plausible como conmovedora. Como si Walt Whitman hubiese reescrito el Hamnet de Maggie O’Farrell, Cuddy se erige como un texto poético, indómito, elegíaco y de una genialidad arrolladora, un sensacional híbrido de narrativa y lírica que adopta formas, de repente diáfanas, de repente retorcidamente barrocas, pero siempre dignas de una divina admiración.
Siglos después de su traslado definitivo, el bendito Cuddy seguirá siendo protagonista involuntario de tramas venideras. Myers entrelaza las andanzas del icono mesiánico con vidas aparentemente anodinas, insignificantes, engullidas por el implacable paso del tiempo, pero que de un modo u otro se vieron tocadas por su estela. Por ejemplo, la segunda parte de la novela está enfocada en el estremecedor relato de supervivencia de una cervecera casada con un arquero que la somete con extrema violencia. Mientras su marido combate en el ejército del rey, la joven descubrirá junto a uno de los canteros de la catedral que el amor no es una manifestación de autoritarismo, sino la piedra angular sobre la que erigir una nueva religión.
Más tarde, Cuddy nos traslada a los albores del siglo XIX, haciéndonos partícipes, mediante los diarios de un historiador experto en su campo, de una ominosa operación eclesiástica que tiene como objetivo exhumar los restos de San Cutberto. Mientras que la última sección, ambientada en 2019, relata el calvario de un adolescente en el precario sector de la construcción al tiempo que cuida de su madre enferma de cáncer y descubre, en compañía de una chica por la que empieza a sentir algo más que amistad, la apasionante majestuosidad de un edificio capaz de trascender los límites del tiempo.
Y es que, si existe, como tanto gente empieza a sospechar, un auge de la espiritualidad en la cultura, no es solo gracias a películas como Los domingos o discos como LUX, sino que ambos productos podrían integrar una trinidad hipotética a la que habría que añadir, sin ningún atisbo de duda, la monumental Cuddy de Myers, una novela que reflexiona de manera experimental sobre nuestra relación con la historia, así como con sus vestigios. Figura solemne que vela por los lectores sedientos de experiencias catárticas, recipiente de las plegarias elevadas al éter en nuestras horas más bajas, Cuddy es una novela inolvidable e inexplicable, un misterio capaz de inducir al más apostólico de los ateos a un eufórico éxtasis de fervor.
Enlace: https://generacionreader.blogspot.com...
August 30, 2025
A wonderfully inventive, award-winning novel that uses the life of St Cuthbert as a framework for talking about ~15 centuries of religious faith in northern England.
December 10, 2023
This novel is billed as historical fiction. When you think historical fiction, you may think Hilary Mantel, etc. This ain’t that.
All in all, you compare the blurb of the novel with the novel, and it’s not a dishonest blurb, just woefully inaccurate.
You don’t really learn much about Cuthbert at all, except for the list of quotations throughout the first section. (A fairly condemning notion: that was some of the more fascinating parts of this book for me. I wanted to learn about Cuthbert, Inisfarne, building the cathedral, exhuming, etc. But, much like a corrupted corpse, none of this novel felt fully fleshed.)
Cuddy is more of an anti-novel, somewhat plotless—at least at first. It’s composed of five major sections, each connected with Cuddy and the Durham Cathedral. However, these novellas don’t have a singular theme; you don’t sense you’re exploring one aspect of the human condition in numerous ways; as such, each story feels somewhat interesting but overall unimportant.
This was my first Ben Myers. One reviewer said don’t start here. I’m not sure if I’ll read another or not. However, by the end of the section second, it was clear he could tell an amazing story. Still, Cuddy feels like five puzzle pieces to five different puzzles.
The first section was nearly insufferable. It was the “poetry” section. I’m great if you want to bill fiction as poetic, but Cuddy
often felt like
moodily pressing enter
to create
a vibe.
Sometimes one page has two lines on it. Two lines! That’s it. And call me old fashioned, but that’s just not poetry. Or not good poetry. Dramatic verse? Would’ve loved that instead.
Lastly, perhaps somewhat of a spoiler: oddly, nothing really changes. Everyone feels static, with the exception of the historian. Very little happens.
Probably because there was no theme, but I don’t know why this book exists. I hate writing that, because Myers seems like an incredibly cool individual, and I’d *maybe* like to read more from him, but reading Cuddy felt like a draft of something that could’ve been unforgettable.
All in all, you compare the blurb of the novel with the novel, and it’s not a dishonest blurb, just woefully inaccurate.
You don’t really learn much about Cuthbert at all, except for the list of quotations throughout the first section. (A fairly condemning notion: that was some of the more fascinating parts of this book for me. I wanted to learn about Cuthbert, Inisfarne, building the cathedral, exhuming, etc. But, much like a corrupted corpse, none of this novel felt fully fleshed.)
Cuddy is more of an anti-novel, somewhat plotless—at least at first. It’s composed of five major sections, each connected with Cuddy and the Durham Cathedral. However, these novellas don’t have a singular theme; you don’t sense you’re exploring one aspect of the human condition in numerous ways; as such, each story feels somewhat interesting but overall unimportant.
This was my first Ben Myers. One reviewer said don’t start here. I’m not sure if I’ll read another or not. However, by the end of the section second, it was clear he could tell an amazing story. Still, Cuddy feels like five puzzle pieces to five different puzzles.
The first section was nearly insufferable. It was the “poetry” section. I’m great if you want to bill fiction as poetic, but Cuddy
often felt like
moodily pressing enter
to create
a vibe.
Sometimes one page has two lines on it. Two lines! That’s it. And call me old fashioned, but that’s just not poetry. Or not good poetry. Dramatic verse? Would’ve loved that instead.
Lastly, perhaps somewhat of a spoiler: oddly, nothing really changes. Everyone feels static, with the exception of the historian. Very little happens.
Probably because there was no theme, but I don’t know why this book exists. I hate writing that, because Myers seems like an incredibly cool individual, and I’d *maybe* like to read more from him, but reading Cuddy felt like a draft of something that could’ve been unforgettable.
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