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336 pages, Paperback
First published February 15, 2022
When Emily was born in 1987, her four year old brother Stephen was probably the happiest. Holding her in his arms, he vows to keep her safe forever.
Thirty years have gone by and Stephen and Emily are no longer in touch after a traumatic family incident. Stephen is homeless, he wanders the streets of London with his beloved binoculars around his neck, pursuing his passion for birds and surviving by sketching and selling bird drawings. Emily works with the local council. When circumstances bring them together again, will it be easy to go back to where they were all those decades ago? Can their relationship survive the secrets and the heartbreaks of the past and even the present? Or is the chasm too wide to jump over?
The story is mainly narrated in the contemporary timeline from the 1st person perspective of Emily and 3rd person perspective of Stephen. There are also some 3rd person flashbacks about their younger years.
...here begins one of the last evenings I remember of my old life. The life I had constructed like the tough, prickled outer shell of a horse chestnut around me, before it was cracked open and the truth of my life was laid bare, as frighteningly untouched and uncharted as that shiny conker hidden inside.Do we choose our homes? Physically, sure. As adults we can move here or there. Does a chick choose its nest? We are not necessarily bolted to our birthplaces, but they are our first homes, and that initial setting is a very powerful thing, rich with association, memory, and attachment, particularly if we remain there more than just a few years. Many, maybe most people move away, significantly away. We may return annually to see family, or not. Maybe the places to which we relocate become truer homes for us. I shudder, for example, at the thought of ever again living in the neighborhood where I was raised. While I love the city, that particular part of it holds no attraction for me. I got out as fast as I could, and never wanted to be back there again. But for many, like Dorothy Gale, there is a primal bond with that ground. There’s no place like home for Stephen Nelson, as well, as he carries deep ties to the place where he was raised. He has been away from it for a very long time.
She realizes that James will not last, no one will until she can resolve the huge hole in her from the loss of Stephen.They have been out of touch since shortly after his release from prison. She has been desperate to find him for some time. When she hears his voice in her office one day, the chase is on. She invites him to move in with her.
My favorite bit of the shift was to sit down after we’d served breakfast and chat. What surprised me then, besides the sheer resilience these people possessed, was how little there was between my life—a “normal life”—and theirs. A few wrong turns, a relationship breakup, some bad luck was all it seemed to take for you to wind up sleeping on the streets and relying on charity to eat. Most of all, what I learned there (as well as from my research for How to Find Your Way Home) was that the difference between those who managed to dodge homelessness and those who slipped through the net was just that: too-big holes in the net. If you’d burned the bridges of your support network or had been abandoned by the people in it, you were out of luck. When I became a writer, I promised myself I would one day write a book telling the story of a homeless person. - from the Book Club kitBird imagery permeates the novel. In fact, there is enough avian material here to fill a king-size comforter. It is as lovely as one of those too, the feathered supporting cast bolstering the issues among the feather-free characters. A skein of geese, for example, is explained as group members taking turns bearing the brunt of the migratory lead. Swifts faithfully return to the same nesting site every year, maintaining their pair-bond for life. Although birds permeate the novel, the bird-title chapters focus on this imagery most pointedly.
That’s what you’d see, if you looked through the window: four thirty-something friends, “upwardly mobile” themselves I suppose, having dinner, chatting, having fun on a Saturday night, me in the middle in my orange top that says “Happy Days” on it. But I’m not happy.Sometimes, windows offer frightening views.
A dark, tall shadow flashed across the kitchen window and I jumped half out of my skin.Stephen and Emily have some serious issues between them to contend with, in addition to the challenges that both face with the wider universe. Stephen has good reason to be cautious about the world. He may have been sent to prison for a crime as a teen but he seems a pretty decent sort as a served-his-time thirty-something. Emily may have cut herself off from the world of love emotionally, if not physically, but we come to see that this originates in pain. She seems to have a good heart. So, rooting for these two is easy. And there is a very satisfying twist toward the end. HTFYWH was moving enough that my notes include three instances of TEARS!. There is also some exquisite, lyrical writing here.
Stephen loved the sounds as much as he loved the space out here: the wind, creeping through the grasses, that reminded Stephen of rain, when it first, softly, begins to fall; the hum of traffic coming from the A130; and the occasional train, slicing through the countryside with its ghostly sigh. Stephen liked these reminders that the town was nearby. It was as if England and all it had to offer was right here, at the edge-lands—a world within a world. And it had been rolled out like a map, for him to run free over.