Pages: 399
Published: 10th January 2019
Genre: Historical Fiction
Content warnings: Misogyny
This was another book I read with Pauliina @ The Bookaholic Dreamer, and it gave us lots to discuss along the way!
When Esther Thorel, the wife of a Huguenot silk-weaver, rescues Sara Kemp from a brothel she thinks she is doing God’s will. Sara is not convinced being a maid is better than being a whore, but the chance to escape her grasping ‘madam’ is too good to refuse.
Inside the Thorels’ tall house in Spitalfields, where the strange cadence of the looms fills the attic, the two women forge an uneasy relationship. The physical intimacies of washing and dressing belie the reality: Sara despises her mistress’s blindness to the hypocrisy of her household, while Esther is too wrapped up in her own secrets to see Sara as anything more than another charitable cause.
It is silk that has Esther so distracted. For years she has painted her own designs, dreaming that one day her husband will weave them into reality. When he laughs at her ambition, she strikes up a relationship with one of the journeyman weavers in her attic who teaches her to weave and unwittingly sets in motion events that will change the fate of the whole Thorel household.
This is a book that takes a concept brimming with originality and goes on to truly deliver on its vast promise. With a clever dual narrative structure and superb character development setting it apart, the plot simmers nicely before becoming increasingly gripping and tense, which is complimented further by an engaging writing style that carries you along with seamless efficiency.
A historical fiction loosely inspired by a a real person, it achieves a decent level of uniqueness simply through the use of silk weaving as a topic and the impressive amount of detail that the author goes into while bringing it to life within the immersive 18th century setting. At the same time, the pace of the storytelling rarely lets up, making it a surprisingly fast read.
The dual narratives are a defining characteristic of this book. Each chapter is like two in one, as they are all split into the perspectives of first Sara and then Esther, who are inextricably connected yet have very different outlooks on life. It is a technique that works to absolute perfection, as not only are both protagonists compelling, it also heightens the intrigue that is present from the start.
As Sara’s rather dubious circumstances create menace early on, the foundations of the plot are laid out well and several strands emerge including Esther’s yearning to design a silk amid the scorn of her husband Elias. Once Esther rescues Sara and appoints her as maid, the two women share a beguiling dynamic where they are continually determined to have a say in each other’s lives, and throughout much of it there is a sense that the story is building up to something.
The characters and their relationships serve as the standout element of the first half of the book, along with the spotlight on silk weaving and the growing resentment of the journeymen towards Elias. It is easy to sense the romantic feelings that surface between Esther and Bisby Lambert, but the way it plays out is pleasingly understated, with the general atmosphere of each scene proving more than enough to convey its power.
If there is anything missing at this stage, it is a shortage of genuine action. However, all of that arrives in abundance later on as the story makes good on all of its build-up, leading to a veritably thrilling final act. The fate of all the characters is on the line and there are several twists during a set of courtroom scenes that are unputdownable, such is the tension and the amount of moments that make you gasp in surprise.
Some of these events are quite moving, and indeed it all leads to a bittersweet ending where one or two characters do not necessarily face the consequences one might expect, but then again it brings an empowering climax to Sara and Esther’s interwoven storyline. Even better, both characters stay very true to the values that make you feel so invested in them over the piece.
When it is first introduced, the sub-plot involving Sara and the journeymen weavers is something of a curiosity, but it plays out in an interesting manner and goes on to have a major role. The growing animosity towards Elias and subsequent rebellion are well realised, and in certain parts of the story there is more than a trace of social commentary to be found.
The two main characters are likeable for different reasons. Sara is undoubtedly crafty and difficult to predict, but she has been shaped by the unwelcome things that have happened in her life and how she has had to take desperate measures in order to survive. Although her scheming ways make her hard to read and she does make some impulsive choices, her heart is in the right place, which eventually shines through.
In contrast, Esther is incredibly principled and thoughtful, taking great store by her religious ideals. She has an adorably rose-tinted view of the world at times, but you have to feel for her being trapped and even belittled in a joyless marriage to Elias. She aspires to be a designer of silk and her admiration for Lambert turns into deeper feelings, while she spends the rest of the time trying to find out what Sara is up to. The latter works both ways, and it is an entertaining pattern of events.
Elias is unlikable, but we do not really see all that much of him until closer to the end when he shows his true colours and is far more terrible than is originally apparent. Indeed, he is one of several unpleasant characters, such as the calculating Mrs Swann and also Moll, who is entirely self-serving and cares very little about the consequences of her actions.
Barnstaple falls under a similar category, for he talks a very good game and becomes increasingly slippery as the story progresses. Meanwhile, Lambert is so much more gentle and reserved that he gives the feeling that he prefers the quiet life, free from the hostility of industrial disputes. It is tragic how all of that is used against him, but at least his nephew Ives has a redemptive arc.
The author shows an excellent grasp of the time period, with examples such as the atmosphere of the courtroom sequence and the whole subject of silk weaving, including the conspiracy among the journeymen. Other small details such as historical references and Sara being judged by the social attitudes of the time also gave it an extra sense of realism.
For a story that packs a lot in, the pace is consistently fast and yet it never feels rushed. This is helped by the dual narrative structure, which make the chapters seem shorter and really keep things moving. The quality of the writing is noticeable too, with some poetic passages mixed in with a conciseness that keeps everything ticking along.
Overall, an extremely accomplished debut novel. There are various plot strands involving the two main characters while focusing primarily on their fascinating shared dynamic, and it all comes together so well, with all the build-up producing a suitably dramatic conclusion. Unique and well written, this is something of a hidden gem.
Sonia Velton currently lives in the UK, but has lived in several different countries and had a range of professions. Previously working as a solicitor in Hong Kong before completing a scholarship in Luxembourg and settling for a few years in Dubai, her globetrotting years ended when she became an author.
Inspired by 18th century silk weaver Anna Maria Garthwaite, Blackberry & Wild Rose is her debut novel and was released in 2019. Her second book, The Image Of Her, was published in 2021.
This book exceeded my expectations. I really enjoyed the dual narratives and the fast paced storytelling, and the plot became so enthralling as it went on.
My rating: ⭐⭐⭐⭐.5
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