Jeannette Ng: Under the Pendulum Sun
Angry Robot Books 2017
“Two-thirds of the way through Shirley Caroline Helstone’s eyes change from brown to blue. This is not an unparalleled phenomenon in a novel. In Shirley however it is unexpected, for here Charlotte Brontë is much occupied with the looks of her characters.”
— from the abstract to J M S Tompkins, ‘Caroline Helstone’s Eyes’ Brontë Society Transactions Volume 14, 1961, Issue 1
I very much wanted to like this novel. Described as a ‘gothic fantasy with a theological twist’ Under a Pendulum Sun paraded a magnificent range of tropes and themes for our enjoyment, all centred around that staple Gothick cliché, the mysterious castle. In the 1840s Catherine Helstone travels from her native Yorkshire into the North Sea, en route to the realm that her missionary brother, Laon, has chosen to proselytise. This realm is called Arcadia, also known as the land of the Fae, what we now call fairies. But forget the little people with gauze-like wings from nursery tales, these are more altogether more mysterious, even sinister: and do they even have souls to save?
Jeanette Ng has, uniquely it seems, wedded together two unconnected themes, fairyland and theology, to produce a hybrid that’s pregnant with possibilities. She’s added into the mix the age-old British imperialist dream which in the 19th century sailed under the flags of free trade and converting heathens; she’s then buttressed her narrative with faux extracts from 19th-century texts each prefacing a chapter. So far so intriguing. But then the more we hear of Catherine, the narrator of the story, her secretive brother, a companion Ariel Davenport, castle servants Benjamin Goodfellow and the housekeeper known as the Salamander, plus a rarely glimpsed woman in black, the more mysteries the plot reveals. That’s all before we come to Mab, the Queen of the Fae, and her subjects.
I had high hopes for this unconventional fairytale set in a land with its own out-of-kilter cosmology (the sun really does swing from a Pendulum, and the moon, well, let’s just say it’s unexpected). That I wasn’t entirely won over is not because of the multiplicity of themes — which in fact was what most entertained me and kept me going — but because of other crucially important aspects of successful novel writing. Before I come to those negatives I want to apologise for the longer-than-usual digressions which now follow.