Review of 'What Doesn't Kill You'* by Laura E James

Before I go any further with this review, I would like to state several trigger warnings. The book contains topics including rape, sexual abuse, emotional abuse and self harm. Although this makes the book sound incredibly depressive and dark, it is actually an incredibly uplifting and well written story. 

The author doesn't simply allude to serious instances of rape or self harm and make them appear standalone in their impact on the story or the character, but rather has a much more realistic approach, making the impact of them on the characters shown throughout the novel. Indeed, she handles these sensitive storylines with such care and dexterity that it is probably the most accurate portrayal of teenage self harm I have ever read in a novel. 

Aside from these themes, the book largely deals with love and loss, and how these two have infinite connections. I loved the fact that both of the main adult characters, Griff and Evie have baggage that they bring to the relationship. It is both realistic and endearing. Indeed, the tough family dynamic with an ill father, a grumpy teenage stepdaughter and young son is also incredibly well done.

Synopsis

Griff simply can't understand why Evie doesn't want him in her life anymore. They've built a life together, and a family together - what has happened? With no home to go to, and no one to lean on, Griff throws himself into his work as a coast guard. little does he know that Evie hasn't stopped loving him - she loves him more than ever and that's why she's distanced himself. As well as looking after her daughter from a previous relationship and her and Griff's young son, Evie has become the full time sole carer for Griff's decrepit father. This is something she loves doing, but there's one problem: he wants her help in euthanising himself. She knows that if Griff found out he could never forgive her, so distancing herself from him seems to cause the least pain. But does it really? And what will happen when someone else enters the scene to rock their marital boat even further?

Buy it here

Have you read it? What did you think?

Steph x

Review of "The Dead Wife's Handbook"

I'm pretty sure we've always indulged ourselves a little, imagining how people would react to our deaths, but what if that fantasy became your reality? Rachel had everything she ever wanted, until it was all stripped away from her in an instant when she suffers a sudden death from an undiagnosed heart condition. What she suffers next however, is worse than a death she had ever imagined. The book is split up into the seven stages of grief, and as such you follow Rachel through her journey into the afterlife. Everybody questions death at some point, considers whether there is a life after death at all, right? I found this to *excuse my French*, be a little bit of a mindfuck: just imagine if those that you loved could watch you grieve for them, suffering just as you do for the lost relationship. Would you do things differently?

Rachel and Max have the kind of marriage everybody dreams about, and it's only strengthened by the birth of their daughter Ellie. However, when Rach suffers a premature death, Max and seven year old Ellie are left to pick up the pieces, and re-organise the chaos that their life and feelings have descended into. 

However, they aren't quite as alone as they think. Rachel is granted visionary access to some elements of their lives, but has no control over when or how often this will be. From seeing her parents for the first time since she died, to witnessing Max and Ellie's emotional celebration of the first anniversary at the cemetery, this access seems both a blessing and a curse. But what if Max and Ellie's wounds start to heal and they commence rebuilding their lives?

Have you read it? What did you think?

Steph x

Review of "The Shock of the Fall"

This suspense novella from Nathan Filer ensures that you're kept at arm's length from the protagonist Matthew. At least, Matthew is what the protagonist calls himself. When Matthew's older brother Simon dies in his presence - something that causes a whole host of psychical traumas for young Matthew - Matthew blames himself. At nineteen he commences writing his story for us, something which is at times more confused than others, depending on his mental stability. This was a truly touching story about the implications of mental illness, specifically schizophrenia, on both an individual and the people surrounding him.

Matt just wants to have his brother back: pretty reasonable request, right? But why does everyone try to control his contact with him, and why will no one accept that he killed him? Simon is a happy, loving young boy, and his death leaves a gaping hole in the family life of Matthew and his parents. When Matthew begins to deteriorate, it is his Nanny Noo whom he confides in, and who is the only one he will see. The real question is: how do you move past the death of a sibling? Can you ever? And what if your reality still includes spending time with them?

Have you read it? What did you think?

Steph x

Trends in Chick Lit

Everybody has a guilty pleasure when it comes to reading. For some, it’s fantasy novels, comic strips, or even the likes of Fifty Shades of Grey. For me, it’s the generic chick lit novel: girl is lonely, girl meets unlikely match of a boy, girl and boy fall in love (surprise, surprise). The simple and near-identical structure of these novels appeals to my willingness to remain right in the centre of my literary comfort zone. However, recently it’s come to my attention that this style of book isn’t quite as superficial as it first appears to be.

A few years ago, a large proportion of this genre of literature was centred on female body image. Obesity was a hot topic in the UK and USA at this point as shocking statistics were being poured out over the media concerning the 61% of the population deemed to be within this category (statistics as of the NHS’ report concerning obesity in 2010). At this time, and for a couple of years preceding it, chick lit authors positioned this issue at the forefront of their novels. This encouraged people, especially young women, to love their bodies even if they are technically overweight. This body-beautiful campaign as such was taken up by many authors worldwide, including one of my personal favourites, Meg Cabot (Princess Diaries anyone?). Her range of adult novels includes the Heather Wells mystery series, which tracks the progress of a young woman who has been criticised because of her large size. The books explore the idea that being overweight does not make a person unattractive, or unsuccessful. Thus, they serve to work against the “fat shaming” that goes on in the media: critiques of celebrities gaining a few pounds and the endless advocation of (unhealthy) fad diets in seemingly every magazine with a female target market.

Recently however, as the issue of obesity has become a less pressing issue in the media, chick lit authors have turned their attention elsewhere. Recent figures in mental health statistics have becoming increasingly alarming, to the extent that 1 in every 4 people experiences some form of mental health issue every year; the most common being depression and anxiety disorders. Again, as the media has begun to focus on these issues, so have chick lit authors. The two novels which I have read so far this summer as part of this genre have adhered to this. Both feature mentally unstable female protagonists who have undergone some form of trauma in their lives and thus (unfortunately) need to be rescued by the loving, handsome boy-next-door as it were.

After a hectic period of second year English Lit exams and getting a new kindle for my birthday I really wanted to chill out with a simple chick-flick on holiday. As a student I obviously instantly started scrolling through the reams of (largely awful-looking) free books in this style on Amazon. Coming across "Twenty Eight-and-a-Half Wishes" I didn't expect much and the opening chapters held out to this expectation.

The book is set in a modern Southern style landscape. The protagonist is an anxious 24-year-old girl who finds it hard to feel appropriate emotions towards events. She lost her father at a young age and is controlled by a wicked mother. This Cinderella-esque storyline was waiting for a Prince Charming to arrive, but, akin to most other romantic novels of our era, Joe McAllister is a rugged, mysterious figure. This generic outset initially jars with the magic realism that Rose's visions imbibe the plot with. Her blunt reaction to (not giving any spoilers) certain tragic incidents in the novel heightens this; in my opinion making this protagonist and the book itself too unrealistic.

However, after the disappointment of these first few chapters the novel improves greatly. It develops into a mystery-romance novel rather than a mere romance one, which allows it to offer much more to the reader in terms of plot and interest. Moreover, Rose's visions no longer seem to jar with the main plot, but cohere with it and enhance it, allowing the reader as well as Rose to have a stronger grasp of the mystery at hand than most other characters in the text. Rose’s visions as well as her social anxiety arguably hint at deeper mental issues within her character. However, the fact that the visions save Rose’s life portrays an important message to the reader: mental illnesses do not have to destroy your life. This is something which Rose learns as she develops as a character.

Similarly, Natasha Preston’s first book in her (appropriately named) “Silence” series raises a great number of important issues surrounding the moving issue of childhood sexual abuse. Despite a pretty good (albeit clichéd) romantic back story to the plot, the traumatic effects of this type of abuse upon a teenage girl remained the key focus of the novel. Silence follows the story of 15-year-old Oakley who hasn’t uttered a single syllable since the age of 5. Her overwhelming love for her 17-year-old best friend/neighbour/all-round good guy Cole encourages her to consider the impact of her silence on others, including her family. Oakley, her loving parents and sex-obsessed older brother make up the Farrell family unit. But as the novel rapidly makes clear, Oakley’s silence isn’t the only aspect of the family’s problems which doesn’t immediately meet the eye …

Set in England, the social issues which this novel raises really struck home for me. Moreover, with the recent numerous allegations of child sexual abuse by famous men in the media business, the concerns this novel raises are at the heart of heated discussions in the UK: can we really trust our children with anyone? How does this kind of abuse affect the mental health of the victim as they reach puberty and beyond?

I believe that the most important aspect of this novel is the exploration of the ways in which sexual predators transform their victims in order to cover up their horrendous acts against human decency. Oakley has her voice physically and metaphorically removed in a hyperbolic symbolization of the fear in which these victims live.

Once you get past the slightly bad writing that characterises the initial chapters of both the books discussed above, they really do expose some harsh realities about the state of modern life. Women are statistically more likely to suffer from depression than men, which perhaps explains why these authors have chosen for their female protagonists to be portrayed as fragile, imperfect creatures. Perhaps they want to suggest that if you really get to know a person (as the reader does with the narrative voice) everyone is broken. However, there may be a greater issue at hand: are these modern chick lit authors falling into the fallacy of creating almost 19^th century female protagonists who can’t survive without swooning into the arms of a life-giving, life-saving man?

Review of The Boxer, Reinhard Kleist

Theodor Adorno once said that “writing poetry after Auschwitz is barbaric”. By this, he implied that the horrors that occurred in this death camp, amongst others, could not and should not be talked about. The Holocaust is a topic which is almost taboo in literature, which makes it incredibly hard for authors to find a successful way to write about it. This makes graphic novels an appealing literary platform as they offer artists the chance to express their impression of the effects of the Holocaust without limiting them quite as much.

The Boxer follows the biographically accurate story of Hertzko Haft (later Harry Haft). Hertzko was a Jew who had the unfortunate destiny to live in Belchatow, Poland during World War Two. As the war developed Hertsko tragically took his brother’s place in a ghetto registration which took him to a concentration camp. The book outlines his struggles in the camp. One of the best aspects of this graphic novel, in my opinion, is the way in which the prisoners are drawn. Kleist sketches these figures in a way in which reminds me of the idea that these men and women were “the living dead”. He presents them as skeletal figures: they are consigned to the world of the dead, but ought to be alive. This is an innovative way to explain the horrific starvation method of torture employed by the camp’s guards. I feel as though it went some way to express these inhumane living conditions.

The novel then moves on to follow Hertzko’s struggle with his own morality. He is forced to commit some atrocious acts in order to survive his ordeal at the death camps. This raises the question as to whether the holocaust made monsters out of both its perpetrators and victims. This question becomes most potent when (not really a spoiler – it is in the title!) Hertzko is forced to box other dying prisoners to entertain the guards: if he doesn’t kill them, the guards will kill him. Thus, Hertkzo “Harry” Haft’s boxing career is born. The rest of the book narrates his journey to America where he once again enters the ring and finds out that the post-war world of boxing is not all it’s cracked up to be …

I have to say, I was slightly disappointed by this graphic novel. Perhaps my expectations were too coloured by the fact that I recently read Spiegelman’s Maus. This novel also follows the true story of a man who struggled through World War II as a Jew living in Nazi-occupied territory. However, I feel as though Spiegelman made better use of the medium of a graphic novel, employing clever symbolism and ideas throughout.

Still, if you want to read an inspiring true story about how one man made his way through the death camps of World War II to freedom, then have a look at The Boxer. It’s a quick, easy read and has some incredibly poignant and thought-provoking images in it. 

A Reading on Capitalism in The Great Gatsby and The Picture of Dorian Gray

When examined in a Marxist light both of these novels highlight the negative aspects of living a luxurious capitalist lifestyle which is inevitably consumed by waste and corruption. Written a mere forty years apart each novel provides an image of the destruction which is to come for those living in late nineteenth-century England and 1920s America.

            Firstly, The Picture of Dorian Gray, published in 1890, examines the lives of dandies who lives frivolous lives and wore outlandish clothing in order to express themselves. The key character that represents this mode of life is Dorian himself. His character development throughout the novel reflects the superficiality of those engaged in capitalist activities. Indeed, his whole character is utterly altered by a relatively simple speech by Lord Henry in which he reveals to Dorian the fragility of youth. Dorian then embarks on a path of destruction, much as leaders of capitalist corporations do. Capitalist businesses exploit human labour, animals and the environment for their personal gain of wealth and fame whilst ignoring the negative impact they are having on the earth. In a similar way, Dorian ruins everything he touches: Basil and Sybil Vane are killed as a result of his direct or indirect actions; he destroys the reputation and therefore the social lives of anyone associated with him; and he lays waste to a vast number of material goods through his hedonistic pursuits. Lord Henry could be seen as a symbol for advertising as he instigates young men to take up a capitalist ideal in their lives and pursue this reckless, wasteful way of life. Lord Henry has no job, but merely lives an idle life of aristocracy; it is in his interest to persuade the younger generation to pursue this mode of life as it ensures that he gets invited to events and can host events which are well attended and make him feel as though he is doing something productive in his life. In this way he can be likened to a capitalist business as he is ensuring that his product will continue to be used in the future and thus ensures a continuation of the profit he receives from his wasteful lifestyle.

            Moreover, the key protagonist of The Great Gatsby has a life which is centred around hedonistic activities. His dream of achieving the love of Daisy, who represents “old money” in 1920s America corrupts him into creating a lifestyle which is utterly wasteful. He throws extravagant parties every weekend to entice her into his home: the superficiality of these parties is stressed repeatedly by Fitzgerald when he mentions that, not only does the house need to be restored to its normal state on the Monday by a whole team of labourers, but the people who attend the parties do not care about this, nor do they care that they have not been invited to the party but merely turn up because it is a glamorous party. As well as living an extravagant, wasteful capitalist lifestyle in this way, Gatsby is also a product of capitalism. He is a prime example of the “new money” in America at this time which was attempting to achieve the prosperity and reputation which the old money were able to inherit. He changes his name from James Gatz to Jay Gatsby to do this as well as insisting that his family is dead in an attempt to rid himself of his past. This is a key example of the destruction that capitalism creates; James Gatz is killed because he is of the working class. This is not the only point at which the working class and death are connected in the novel. The Valley of Ashes is a symbol for the waste produced by a capitalist society. It is an eyesore which reveals the fact that capitalism both destroys the land of the earth and the people as Myrtle, also a member of the working class, is killed there. Thus the novel highlights the way in which capitalism destroys everything it touches in an attempt to profit from it as the Valley of Ashes exists between two places which have prospered from capitalism which have profited by destroying it. 

The relation of flesh to money and value in various literary modes

In this blog piece, the term “flesh” will be used to describe both human and animal bodies. The question of whether flesh and money are inextricably linked appears to require the answer “yes” as throughout history they have been. Not only is there the obvious value in human sexuality through prostitution, which has been prevalent for hundreds and hundreds of years, but also the value of a dead body is important. I am going to discuss three pieces of literature here which discuss the issue of the value of flesh in the 1600s in England, the 1800s in America and the Second World War in Germany. The temporal and spatial spread of these texts allows for some recognition of the universality of the flesh trade.

Firstly, Thomas Middleton’s play A Chaste Maid in Cheapside examines the importance of the value of flesh in a time at which the consumption of meat had been banned. During Lent at this time people were not allowed to buy or sell meat unless it was for someone who was pregnant or very ill and therefore needed it. Thus not only was animal meat incredibly valuable, but also incredibly hard to find. Another level of value was attributed to the meat as a result of the corruption of the officers who were controlling the consumption of meat: bribery was not unheard of. There is an irony in this play in the comparison between animal meat and children. A child is unfortunately misrecognised as being a piece of meat and thus is seized by the officers. The mother, willing to get rid of the child, gladly hands it over to them. Thus, the corruption of the officers resulted in flesh losing them money rather than making them some. Children are valued as being a negative type of meat for some and a positive type for others. For example, for Allwit “his” children are a source of revenue as they allow for his luxurious lifestyle. On the other hand, Touchwood is too fertile and has too many children which are draining his income and so he values them much less. Kix is unable to produce children, and has a lot of money and land which he needs an heir for to pass them down onto and thus children for him are worth more than any kind of physical wealth.

On the other hand, Cormac McCarthy’s Blood Meridian does not value flesh in terms of food or children, but in terms of death. The Glanton gang, which includes all of the main characters in the book, are hunting Native Americans and scalping them to earn their income. There was no difference in value between the scalp of a man, woman or child and so they did not allow for any sympathy for the defenceless women and children of the tribes. In fact, they were an “easy kill” and thus had a greater value to them because they took less time to kill. Indeed, as the book progresses there is a great deal of confusion between the Natives, the Mexicans and even towards the end, the blacks because not only does a dried scalp look the same regardless of race, but the gang kill both Natives and Mexicans without prejudice. Moreover, towards the end there is a great deal of emphasis placed upon the value of flesh in a sexual manner. The mention of “whores” becomes highly prevalent and surrounds the last few chapters of the book. Also, the kid/the man uses a whore for the first time, thus connecting women with value, as well as being raped himself. Once the judge has committed this atrocity to him he finally kills him as his flesh has no value anymore.

A third and different approach to flesh and value comes in the form of Art Spiegelman’s graphic novel Maus. This records his father’s memories of the atrocities committed against human flesh in the Second World War in Poland and in particular in Auschwitz. Vladek, Art’s dad and the main character of the text, was a Jew living in Poland. He emphasises throughout his telling of the events which happened to him the fact that bribery was incredibly important in his survival of the war. He bribes members of the enemy to ensure his survival in Auschwitz, he bribes people to hide him before he is finally captured and he even bribes members of his family to help him. The last point is questioned by his son who can’t understand why one would not save the flesh of a member of his family without requiring payment, but Vladek states that his cousin needed the money to survive. Flesh and money were inextricably linked. Moreover, there is the obvious link between the members of the Nazi party who earned their wages by reducing living human flesh to nothing. This links to the devaluation of flesh in the Second World War as human beings who did not cohere with Hitler’s idea of an Aryan race were made to be worthless. They were treated as though they had no value and came to realise that this was how people thought of them.

When cross-examined, these three texts highlight how human beings are only valued as being worth something in a subjective way. There is no objective value for human flesh. People are worth however much money you lose or gain from their birth or death.

A Copernican Psychoanalytic Reading of "Hamlet"

            In Freud’s article titled A Difficulty in the Path of Psychoanalysis he outlined three blows which he believed to have been inflicted upon human narcissism. The first blow came from Copernicus, and a history of other scientists before him, who suggested that the earth was not at the centre of the universe. This displaced humans’ importance in the cosmos, and thus was termed the “cosmological blow” to human narcissism. The second came from Darwin who showed that humans were not created in the way in which they exist today, but evolved from other creatures. This removed humans from their pedestal over other animals, and thus was termed the “biological blow” to human narcissism. The third, Freud suggested, came from himself when he suggested that “the ego was not master in its own house”. This is the psychological blow to human narcissism. The ego is the part of the mind, in Freudian terms, which oversees what is going on and channels thoughts into either the conscious or unconscious depending on whether they cohere or go against the needs and wishes of the individual. In suggesting that the ego does not hold power in the mind, Freud indicates that the unconscious does. If one then follows a Laplanchian way of thinking the unconscious is an internal other, which does not come from within the individual, but is created through intromission from the adult to the infant in the primal scene. This primal scene is a scene of seduction, usually one in which the mother places her breast into the child’s mouth. She is consciously telling the child by doing this that she wishes to feed him, but unconsciously is sending enigmatic signifiers (enigmatic because neither child nor adult can translate them) which are sexual. This is a Copernican approach to psychoanalysis because it focuses on the importance of the external other in the creation of one’s unconscious, and indicates that the unconscious is not formed internally, but from the outside.

            To examine Hamlet in a Copernican way his relationship with his mother and father must be examined. The primal scene in this play occurs not between an infant and his mother, but between Hamlet and his father when the ghost comes to Hamlet and tells him of his murder. Intromission here happens through Hamlet’s ear. The ghost is consciously telling Hamlet to kill his uncle, but unconsciously sends an enigmatic signifier regarding Hamlet’s mother’s sexuality. Hamlet’s uncle killed the King and as a result gained the Queen’s (Hamlet’s mother’s) sexual desire; if Hamlet kills the King by the same logic he would gain her desire. This message cannot be translated by Hamlet and so is repressed into his unconscious, but it does drive the action of the play. He uses sexual and violent language to talk to his mother in the closet scene which not only suggests that he is considering her in a sexual manner, but also that he is repressing it. Indeed, during this scene, he stabs Polonius; in a Copernican reading this can be interpreted as him not doing it out of his own fear or suspicion, but it is a sexual act in which he is proving himself for his mother as his sword can be understood to be a phallic symbol.

            Moreover, a Copernican reading of Hamlet would also decentre the protagonist’s Oedipal desires in driving him to act, but instead focuses on his internal other, the unconscious. Hamlet is said to become insane in the play, but another interpretation of this could be that his ego loses control over his unconscious. His Oedipal complex (in which he loves his mother and feels a paradoxical love and hatred towards his father) is only thinly disguised as his need for some kind of justice for his father’s death. Hamlet delays in killing his uncle not because he does not have the means to, or does not wish to kill him, but because to kill his uncle would be a realization of the repressed wishes of his unconscious, placed there by the other. thus his internal other represses his need for revenge because of this reason, but his conscious self cannot see that and believes that he is delaying the murder for logical reasons.

A Historical Reading of White Oleander

Janet Fitch was born in 1955 in Los Angeles. Not only had she lived there for the entirety of her life when she wrote White Oleander, but as two previous generations of her family lived in the city she clearly has an expansive and personal knowledge of it which allows her to inject a level of geographical accuracy into the novel which not only heightens its interest for local readers, but also for those worldwide for whom the accuracy gives the text a level of authenticity. As a child she had a difficult relationship with her mother, whom she believes lacked the necessary skills for motherhood  (there appears to be a slight insertion of her own history into the text on this theme). She studied history for a period in Keele University in England, having been inspired by the concept of stories within history. However, she eventually realised at the age of 21 that she did not want to merely read stories; she wanted to write them, and thus began her journey as a writer.

Fitch finally finished writing White Oleander in 1999. This was a turbulent time in Los Angeles as certain parts of America, including here, had undergone a rapid economic decline and resurgence within just over a decade. The tension at this time was further heightened by the fact that the Cold War finished only 8 years earlier, whilst Fitch was in the process of creating a text; the uneasiness of American citizens was not immediately extinguished by this time, as they had suffered over thirty years of fear and anxiety. Moreover, perhaps the most significant cause for anxiety for the citizens of Los Angeles during this time however was the 1992 riots and their aftermath. They commenced after a video of a black man being beaten by a group of white policemen was filmed and realised to the public and the trial saw the all-white jury acquit the men of this crime; the riots broke out within hours. People lived in fear for their lives, and some did not make it. Not only were there violent, sporadic killings, but over $1 Billion worth of damage was caused, largely through arson. This rupture in the quotidian social climate meant that life has not been the same in Los Angeles since. These factors which induced high levels of anxiety in citizens are reflected in the book: Astrid constantly fears for something; Ingrid is unsettled and eventually finds happiness in the structure of prison; the instability of the various domestic lives of the foster homes, particularly Claire’s depression and anxiety issues.

The novel also reflects movements in the world as a whole at the time in which it was written as the 1990s in the Western world in particular was recognised as being a time in which the growth of multiculturalism was seen. This is seen through the variety of races which Astrid encounters on her journey through life and the way in which Fitch allows them to each have their own identities within their race. However, as capitalist markets in the Western world boomed so did racial and class tension, which is again explored in the text. This was a time in which the world saw the rise of Third Wave feminisms, which not only differ from the second wave in that this was more racially motivated than before, but it also saw the rise of antifeminisms, some key ideas of which are included in the text. 

How has the portrayal of illness, including mental illness, changed between Victorian literature and modern literature?

The Victorian era saw a severe rise in the number of people being committed to insane asylums, partly as a result of the great amount of repressive social and historical change which was coming about during this period. At this time there was also a great deal of poverty which led to many physical illnesses because of overcrowding, poor nutrition and low sanitation levels. Victorian literature rarely discusses how the illness was developed, and often only alludes to its development, as it focuses much more on its effects. On the other hand, modern literature often discusses how these diseases are developed and tracks their development explicitly as well as highlighting its effects. This difference results from the fact that in the Victorian era much less was understood medically about both physical and mental diseases, so there was not as much material for Victorian authors to work with without making up untruths.

            Firstly, Emily Bronte in Wuthering Heights uses characters which clearly are not mentally or physically stable. Cathy appears to suffer from schizophrenia as her mental health starts to decline from a very early age, resulting in her hallucinating towards her death and believing in her own delusions. This illness is portrayed in a way which makes Cathy seem not only scary, but also devilish. During the Victorian era there was thought to be a link between sin and illness, especially mental illness; this explains why Bronte chooses to expose Cathy’s illness with negative imagery. Similarly, Heathcliff shows signs of depression: he weeps often, he loses interest in eating and sleeping, loses interest in social contact and at one point self-harms. Again, Heathcliff is a devilish figure. Bronte does not highlight the development of these illnesses or expose any reason behind why these characters are acting in this way, nor does she talk about their symptoms in any real detail. This seeming lack of interest in discussing the mental illness and how it affects the character may come out of the fact that mental illnesses were not deemed to be as important then as they are now: contemporary readers would likely not have wanted any greater analysis of Cathy and Heathcliff’s disorders.

On the other hand, modern literature discusses mental illnesses to a much greater extent. This is because the increase in medical work on them over the past hundred years or so has raised greater awareness of their existence as well as raising a greater level of understanding of them in the wider public. Ned Vizzini exposes the intricacies of a variety of different mental illnesses in his It’s Kind of a Funny Story. He was able to write such an accurate portrayal of these as a result of his own time spent in a psychiatric ward because of his severe depression. He was informed a great deal about the illness itself and used his own feelings and experiences to accurately portray what living with a mental illness is like. Unlike Bronte, he openly examines what factors can cause the development of a mental illness, the manifestations it can take as it develops and a variety of outcomes which can occur as a result of it.

Furthermore, there is a high lack of interest in the deaths of characters in Victorian fiction due to physical illnesses. Bronte barely remarks on Cathy’s death: one only knows that she is gone and her daughter is alive, whilst nobody witnesses Heathcliff’s death or knows the true reasoning for it. Moreover, in Gaskell’s North and South Bessy Higgins’ death, which is one of many deaths in the novel is described in a great amount of detail, but only in terms of her actions, thoughts and words during the time; there is only a little description of the convulsions which her body suffers from leading up to her death.

On the other hand, John Green in writing his modern novel The Fault in Our Stars exposes the causes, developments and results of having a serious physical illness. His exposition of how it feels to be a teenager with cancer touches the heart of many teenagers because they can relate to these characters in a way in which the Victorian literature discussed does not allow them to. Not only is the development of this illness portrayed in an accurate way, but the return of Augustus’ cancer (sorry, spoilers) exposes the complications of being a cancer survivor. The clear and detailed description of the decline in his health, written from the perspective of another cancer sufferer exposes the reality of this illness. Moreover, the grim reality of his death in that it does not occur at the end of the novel, but part way through, serves to remind the reader that when one dies that is not the end of the influence their illness has had: it affects many other people for a very long time.