Max Porter recently received an unusual honour when his debut novel, Grief Is the Thing With Feathers, was shortlisted for both the Guardian First Book Award and the Goldsmiths Prize. The Guardian, operating in partnership with Waterstones, tends to favour middlebrow literary fiction, eloquent but structurally conventional accounts of individuals in emotional extremis. Goldsmiths, in contrast, seeks to reward fiction that “breaks the mould or opens up new possibilities for the novel form” and “embodies the spirit of invention that characterises the genre at its best.” How, then, did Porter pull off the double nomination?

Despite the clear differences between the two prizes, it’s not a great surprise to see Grief Is the Thing With Feathers shortlisted for both of them. The novel explores the emotional distress of an academic whose wife has recently died, leaving him to raise their two sons by himself, and this set-up alone makes the novel pure gold for The Guardian. The twist in the tale is that the man and his boys are visited one night by a crow or a crow-like creature named Crow, a physical manifestation of their shared grief who moves into their house to guide them through the grieving process. Crow is a wild and wonderful creation: as mischievous as Loki, as brash as a barroom brawler, as self-pitying as a whipped puppy, and, on top of it all, a manifestation not only of grief but also of intertexuality. The grieving husband is a Ted Hughes scholar whose personal trauma turns his thoughts towards the intricacies of Hughes’ Crow, the poet’s exploration of his own grief after the suicide of Sylvia Plath, and so the character of Crow gives form to the animating spirit of Hughes’ book as much as he gives form to the scholar’s emotions. There is yet more intertextuality throughout — the title alludes to one of Emily Dickinson’s best-known poems — and, too, there’s a structure in which the narration jumps around between the increasingly terse man, the two boys who only ever speak of themselves as “we,” and the stream-of-consciousness ramblings of their otherworldly, inhuman companion. All of these elements, in combination, push the novel not too far beyond a scant one hundred pages with lots of white space throughout, which in turn often transmutes it into something approaching prose poetry and thus something distinctly palatable to the Goldsmiths judges. Continue reading →