I wrote the following review after reading 'The Salt Path' a couple of years ago as a summer read. But first a preface to the review, given the recent publicity the book and the author have attracted.
With modern popular writing that flatters our intelligence it is meant to be hard to spot the tricks, the deceptions, the author and the editor create between them that make a narrative easier to swallow and resist awkward questions. At the time of reading the book I found it easy to grasp the deceptively simple narrative 'property owning upper middle class couple take a tumble on the property market and take a very long walk with their tent for shelter to think about what has happened to them', but I did not not grasp at the deceptions that made the book so easy to read. Calling Timothy the familiar 'Moth' was one, we are apparently let in on their intimacy that way. And the story of Moth having an illness that was both intermittent and defied doctors diagnosis seemed to be both baffling and opaque. If the author was being dishonest at that point, then the reader could not tell where the dishonesty started-with the doctors, the patient, the author, who renamed herself Raynor Winn, or the editors who were taken in after signing the right legal wavers.
Any adult who as a child used to watch 'Dr Who' as a child can understand how it was written as an adult: there had to be a ratio of moments of ease followed by moments of heart tugging anxiety, and every so often moments of extreme anxiety including moments of grief, mortification, and great loss. The nearest Raynor Winn got to in print to being genuinely scared and scary was when with nearly no money to call on from anywhere they were genuinely hungry and their middle class values were tested by the temptation to steal junk food from a shop. The hollowness of the account of being tempted was plain when the couple faced none of the consequences of those who had stolen might get, all they got was a mild attack of middle class guilt at breaking property laws that were immersed in that had served them so well. And was Moth really ill? We only have Raynor's word for that, but even the name of his illness had a literary/almost Dr Who jargon-style feel to it. It could be something or nothing but it was well used to heighten tension when the book needed it.
Review starts here: Bob Dylan wrote one set of couplets in his song 'Like a Rolling Stone' that was always the fulcrum of what was already a powerful song lyric; 'When you've got nothing/you've got nothing to lose/you're invisible/you got no secrets to conceal'.
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