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Kith and Kin

door Stevie Davies

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Mara and Frankie are cousins and best friends, growing up in the stifling atmosphere of Swansea in the 1950s, amid the tight knot of an extended family that thrives on gossip, petty feuds and innuendo.Inseparable as children, the two girls develop a strange co-dependent relationship in which love, jealousy, hate and rivalry intermingle, especially when both develop an attachment to their cousin Aaron. Mara is shy and conventional whilst Frankie is effusive but incredibly needy - an emotional hunger that is accentuated when her father dies at an early age and her mother remarries. Their relationship becomes even more precarious as they reach adolescence in the heady atmosphere of the 60s - a decade in which notions of family and kinship are overturned. Together they are drawn to the idealism of 'free love' and social revolution. But the dream turns sour and a bitter battle of wills results. Years later, Mara sees a nostalgic television film that includes a clip of Frankie in her youth and this serves as a springboard to her past, forcing her to confront unanswered questions about her cousin's death. Reminiscent of Kate Atkinson's BEHIND THE SCENES AT THE MUSEUM, this is a powerful exploration of friendship and of one generation's ultimately destructive quest for freedom.… (meer)
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Mara Evans specialises in 'phantom pain', a phenomenon which happens when someone has lost a part of their body but still feels pain (sometimes very intense) in the lost limb. Like her patients, a part of Mara is missing, and has been for the decades since her beloved cousin Francesca died. Unlike them, she has successfully blocked out any pain by pretending the hole is not there - at least until she has to return to South Wales and confront her memories.

Mara, Francesca and another cousin, Aaron, grew up together, intensely close. Their three branches of the family were both tight-knit and warring, with divisions between the branches, within each family, and between the generations - particularly as the sixties turned the world upside down and the youngest members discovered idealism and rejected convention. Sadly, they also experienced the real dark side of the hippy dream (I could understand quite easily why Mara might want to block the memories out) - but even so, looking back, Mara is tensely conscious of how much she has accepted the compromises of adult life.

This is a complex book, in both its densely layered themes and its view of human nature. One of the most remarkable things was its ability to portray the tugs and contradictions of family love - the fluidity of the feelings you have for those who are closest to you. I really enjoyed reading it. ( )
1 stem wandering_star | Dec 18, 2010 |
Mara and her cousin Frankie grew up in Swansea in the '50s and '60s. They were part of a big extended family that loved hard and fought hard. Mara and Frankie were extremely close, always together and always getting in trouble. Frankie was the pretty one with a beautiful singing voice, and Mara was the smart, tough cousin. The book follows the girls through the teen-age years and then their 20s where drugs and free love wreak havoc on their lives and one of them doesn't survive. This is a deep, dark book about life led to the extremes. Highly recommended. ( )
  CatieN | Aug 10, 2010 |
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Mara and Frankie are cousins and best friends, growing up in the stifling atmosphere of Swansea in the 1950s, amid the tight knot of an extended family that thrives on gossip, petty feuds and innuendo.Inseparable as children, the two girls develop a strange co-dependent relationship in which love, jealousy, hate and rivalry intermingle, especially when both develop an attachment to their cousin Aaron. Mara is shy and conventional whilst Frankie is effusive but incredibly needy - an emotional hunger that is accentuated when her father dies at an early age and her mother remarries. Their relationship becomes even more precarious as they reach adolescence in the heady atmosphere of the 60s - a decade in which notions of family and kinship are overturned. Together they are drawn to the idealism of 'free love' and social revolution. But the dream turns sour and a bitter battle of wills results. Years later, Mara sees a nostalgic television film that includes a clip of Frankie in her youth and this serves as a springboard to her past, forcing her to confront unanswered questions about her cousin's death. Reminiscent of Kate Atkinson's BEHIND THE SCENES AT THE MUSEUM, this is a powerful exploration of friendship and of one generation's ultimately destructive quest for freedom.

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