Hannah Kent is a name most Aussie readers would be more than familiar with. In fact, many readers around the world have read the incredible success story that was Hannah’s first novel, Burial Rites, published in 2013. So it was with some trepidation that I picked up her second novel, The Good People. Could she do it again? Could she weave another story with the same delicacy and skill of her previous novel? Surely it was such a pressure, such a weight on her shoulders.
From what I’ve read and heard, the idea for The Good People was sparked while Hannah was researching Burial Rites. She came across a little snippet of a news story about an Irish healing woman who had been charged with a terrible crime and acquitted because she believed the victim to be a changeling. In Irish folklore, a changeling is type of fairy.
The novel is set in 1825, in a small village on the Flesk River. It’s an interesting period in Ireland’s history, as Catholicism is becoming more and more dominant, and the old ways – those pagan rituals and laws – are being questioned by the church.
The story is woven around three main protagonists, Nance Roche, the village healing woman, Nora Leahy, a middle-aged villager, and Mary Clifford, a servant hired to help with Nora’s sickly grandchild. The child came into Nora’s care after her daughter’s death and while once a bonny lad, now, at the age of four he can’t speak or walk and generally shows the symptoms of a child with a severe disability.
So this is the fascinating premise of the book. Hannah Kent somehow makes it completely understandable that someone like Nora, faced with a disabled child, and without knowledge of modern medical practices, would conclude her once happy and contented grandchild has been stolen by The Good People and replaced by a fairy changeling. She decides that banishing this changeling is the only way to get her true grandchild back. Why not? What else could possibly explain such a transformation? And isn’t there some degree of comfort in knowing it is in fact not your child, and that by conducting various rituals there is the possibility yours will be returned to you?
Hannah’s meticulous research has built a world full of vivid detail, crafting a story that opens a window into the past. You read slowly to savour each well-developed sentence, the immersive dialogue, the rich descriptions. You read to learn about life in that period, the hardships, the rituals, the community. The story doesn’t have the same building tension as Burial Rites, but it doesn’t seem to matter. Hannah is brimming with talent. Her writing style makes me think of Geraldine Brooks so if you’ve read one and not the other, you should definitely explore them further.
I can only think what a bright, brilliant star Hannah Kent is and how lucky we are that she calls Australia home. I can’t wait to see where she takes us next.