Some protagonists are designed to be annoying. Some simply are that way. No matter how annoying, frustrating or distasteful they can still be fascinating and memorable for readers.
If only that were the case in Graham Swift’s Tomorrow. Sadly his central character Paula Hook is decidedly irritating but – it has to be said – too self-centered and pre-occupied to also be interesting. She’s the mother of sixteen-year-old twins Nick and Kate (or as she likes to call them her “pair of shrimps” or “angels”. It’s 1995 and she lies awake one night thinking of what will occur the following day when she and her husband Mike plan reveal a BIG SECRET to the children that “will change all our lives.”. It’s Mike who will do the talking because that’s his role. But tonight, as the rain falls and her husband snores, Paula mentally addresses the twins herself. She wants to supply the missing pieces in the jigsaw of their lives.
“I picture a bomb going off and this house falling to bits. I picture everything remaining oddly, precariously, ominously the same. An unexploded bomb. It still might go off — next week, the week after, any time.”
And so she rewinds to the time when she and Mike met as students at Sussex; fell in love and got married. Success followed – for her as director of an art gallery and for him as editor of a popular science publishing business. All that marred their blissful existence were some family bereavements and the disappearance of their cat Otis. For more than 100 pages we’re drip fed information and just as we think Paula is at last going to reveal all, she stops, rewinds and starts off on another train of thought.
Now this would be ok if what she has to say is insightful or fresh. But it’s not. It’s repetitive, with each anecdote or revelation seeming to be an excuse for yet another of Paula’s indulgences in word play. One of her favourites is based on their family surname; another is about her husband’s doctoral interest in the breeding habits of snails. She’s a judge’s daughter and her mind is occupied by how her kids will ‘judge’ their father the following day. So of course when she describes the first meeting between future father-in-law and Mike, he feels he is being weighed up by ‘a judge of men, a judge of wine’ though Paula says, Mike’s “real moment of judgment was to come much later in life’ (in other words, tomorrow).
“Listen to your father, he’s got something important to say,” she says. “And then he’ll be nobody, he’ll be what you make of him. If you want, you can even tell him to leave.”
The trouble is that what Paula says to her children often stretches credulity. Paula is so keen to demonstrate how she has the perfect marriage that she delves into details few children care to know about in relation to their parents. Over and over again we get told what an active sex life she and Mike have, and how it was even more perfect when Otis the cat joined them in bed (eh??). What kind of mother tells a story including the phrase “as I straddled your father” or reveals in great detail the one night stand she had with the vet? What kind of mother tells her kids that if it comes to a choice, she will choose Mike not them? For whose benefit is this being disclosed I wonder? It feels like a contrivance to put a bit of spark into an otherwise lucklustre tale.
Tomorrow is constructed to keep the reader in the dark for as long as humanly possible. Which would be ok if a) the secret was a jaw-droppingly big one and b) i wasn’t foreshadowed so much that it became simple to guess. As a result the novel flopped into a stream-of-consciousness monologue by a woman utterly self-absorbed that she failed to get me to empathise with her in any measurable way.
The Book: Tomorrow by Graham Swift was published in 2007 by Picador. I listened to an audioversion from my local library.
The Author: Graham Swift is from London, UK. Tomorrow is his eighth published book. He won the Man Booker Prize in 2006 with Last Orders.
Why I listened to this book: I loved Last Orders (reviewed here) so was keen to explore more of Swift’s work but they had nothing in print in the library at the time. I thought the interior monologue nature of Tomorrow would work well in audio format. Maybe it just made Paula Hook even more irritating however since I couldn’t get away from her voice