{"id":376,"date":"2026-06-05T12:06:39","date_gmt":"2026-06-05T12:06:39","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=376"},"modified":"2026-06-05T12:06:39","modified_gmt":"2026-06-05T12:06:39","slug":"maggie-ofarrell-and-the-art-of-inventing-the-past","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=376","title":{"rendered":"Maggie O\u2019Farrell and the Art of Inventing the Past"},"content":{"rendered":"
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The itinerant American poet Elizabeth Bishop published \u201cThe Map\u201d in 1935. \u201cLand lies in water,\u201d the poem begins, a pun on the lies of representation. \u201cIt is shadowed green.\u201d In Bishop\u2019s hands, cartography is a cousin to poetry, an enchanting of names and places which summons hidden meanings to the surface. The poem contrasts this process with dutiful, dry record-keeping, which is more faithful to what\u2019s known but evokes less of what\u2019s not. \u201cMore delicate than the historians\u2019 are the map-makers\u2019 colors,\u201d it ends.<\/p>\n

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Cartography serves as both narrative engine and theme in \u201cLand,\u201d by the Northern Irish novelist Maggie O\u2019Farrell. A central figure, Tom\u00e1s, is a skilled laborer in eighteen-sixties Ireland, tasked with making maps for the British, who are occupying the country. He wants to depict not only relevant topographical features and place names but also the ravages of the Great Hunger, which killed twelve per cent of the population and led two million more to emigrate when a blight caused the country\u2019s potato crops to fail. The British government refused to subsidize food prices or restrict exports of Irish agricultural goods, further devastating the island. The redcoats \u201cdo not wish to make such marks upon their maps, which might lead to certain admittances,\u201d O\u2019Farrell writes. Tom\u00e1s, however, \u201cset it all down: the ghost towns, the weed-lush fields, the mass graves, the workhouses, the Famine roads that led nowhere.\u201d As a mapmaker, he\u2019s also a revisionist historian, supplementing the official and misleading chronicle of empire with the reality of those living under it.<\/p>\n

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Tom\u00e1s\u2019s belief that maps should acknowledge the marginalized and less powerful\u2014that there\u2019s more to history than what the victors convey\u2014is seemingly shared by O\u2019Farrell. The author of thirteen books, she has recently become known for fiction about sidelined or forgotten historical figures, thanks to her novel \u201cHamnet,\u201d from 2020, which the director Chlo\u00e9 Zhao adapted into an Oscar-winning film last year. That book feels its way into the silence around Agnes Shakespeare, the playwright\u2019s wife, and his son, Hamnet, who died at age eleven. O\u2019Farrell speculates, reasonably, that Hamnet may have been a victim of bubonic plague, and her book centers on the family\u2019s grief in the aftermath of his death.<\/p>\n

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Both the book and the movie have been accused of reductiveness, of proposing too simple a correspondence between life and art. The climax of O\u2019Farrell\u2019s story is a scene in which, after Hamnet has died, Agnes goes to London to see her husband\u2019s production of \u201cHamlet.\u201d She\u2019s furious with the playwright for being absent during their son\u2019s illness, but watching the lead actor, who has been coached in Hamnet\u2019s mannerisms, softens her anger. Shakespeare, she realizes, has restored the boy \u201cthe only way he can.\u201d It\u2019s as if she loses a child and gets him back through the magic of theatre.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Why substitute art for life? To put a finer point on it, why write historical fiction\u2014or, at least, this brand of it, crowd-pleasing and immersive in the tradition of Patrick O\u2019Brian or Hilary Mantel\u2014when there is actual history? Maybe, O\u2019Farrell seems to suggest, because it\u2019s fun. If Tom\u00e1s, in \u201cLand,\u201d is grimly burdened by responsibility, O\u2019Farrell is expansive, full of vigor; her characters may die of plague or starve in famines, but she appears to be enjoying herself. The book, which spans Rome, Calcutta, and the \u201cbeleaguered dog-shaped country\u201d of Ireland, features tart, nurturing mothers, feisty elder sisters, younger sisters of uncommon beauty, telepathic changelings, farseeing Druids, pompous and hypocritical priests, and steadfast hounds. The passions are big and unembarrassed. Characters rush out to sea, assume new identities, push their enemies off cliffs, kiss in alleyways, pull treasure out of the earth.<\/p>\n

Historical novelists are often charged with disrespect and unseriousness, of ransacking the archives for sensational scenery to hang behind their conventional family sagas and love stories. Some critics\u2019 squeamishness seems aimed at the act of invention itself, the florid dreaming in the face of reality. The very details that make the genre come alive\u2014the archaic syntax, the outfits, the feelings\u2014are the ones that haven\u2019t survived into the present day or that the writer made up. A historical novel\u2019s most evocative aspects, in other words, tend to be the least real.<\/p>\n

O\u2019Farrell excels at world-building, a term that can attract faint disdain owing to its associations with so-called genre fiction. It describes the craft of designing and furnishing a fictional universe with the particularities of climate, botany, zoology, politics, economics, fashion, and more. Often, she avails herself of technical or era-specific vocabulary. In \u201cLand,\u201d for example, a character harvesting seaweed climbs a dune \u201cwith his cargo of bladderwrack, great swags of it, the blistered slithery ribbons trying to escape the creel.\u201d Later, O\u2019Farrell lingers over a soldier\u2019s surveying equipment, how he steadies the theodolite on its tripod and brings \u201cthe vertical axis to match a gravitational marker,\u201d so that through the lens appears \u201ca world untroubled and hermetic, where mountains and trees, buildings and roads hung upside down.\u201d<\/p>\n

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The appealing texture of the book isn\u2019t just a function of information you could look up in an encyclopedia. It comes from the interplay of retrieved details (creel, theodolite) with writerly style (\u201cblistered slithery ribbons,\u201d inverted mountains). \u201cHamnet,\u201d too, is an ingenious blend of historical fact and invention: O\u2019Farrell painstakingly constructs a miniature cosmos out of both life and art, evidence and imagination, what\u2019s known about Shakespeare and what she speculates about Agnes. Her Agnes possesses an intuitive, embodied, feminized sort of knowledge; she\u2019s said to be descended from a forest witch and seems to have occult healing powers. Shakespeare is identified only as \u201cthe father,\u201d \u201cher husband,\u201d \u201cthe Latin tutor.\u201d For most of the novel, he\u2019s in London, writing and acting in plays, while Agnes raises their children and spars with her imperious in-laws. O\u2019Farrell is brisk with Shakespeare\u2019s biography and career\u2014and even more so with the reverently recorded controversies surrounding the great man\u2014but interested in his relationships. We don\u2019t learn much about his doings in the city; his creative output is chiefly relevant as a measure of grief. When we do inhabit his perspective, it\u2019s from the vantage of a husband and a father, not a genius.<\/p>\n

There\u2019s a hint of feminist subversion in \u201cLand,\u201d too. O\u2019Farrell underlines the boldness of her female characters and the softness of her men. When we meet Tom\u00e1s, many of his personal memories of the Great Hunger have gone missing. He recollects nothing of his life before arriving at a workhouse during the lean years. Trauma has left him dour and self-contained, as inaccessible to others as his childhood is to him. His project to correct the propaganda of the British is hampered by his own prejudices: he wants his son, Liam, to help him with his survey and shuts his eyes to the boy\u2019s inclinations toward a more studious career. Meanwhile, his daughter, Enda, is adventurous and talented, perfect for the role of mapmaker\u2019s assistant, but Tom\u00e1s inevitably realizes her fitness too late.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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With her father\u2019s trade closed to her, Enda steals her brother\u2019s immigration papers, sews her savings into the lining of her jacket, and sets sail for Canada. O\u2019Farrell\u2019s research shines in the Quebec sections: Enda\u2019s peregrinations, as she looks for work and lodging, reveal a cross-section of New World types and locales\u2014a boarding house, a hired girl, a landlady with an \u201caged and malodorous cat.\u201d Accomplished at the violin, she takes to fiddling on street corners for extra money. At one point, she is greeted by Irish construction workers who seem to recognize the melody she\u2019s playing. Later, as she performs a different tune, \u201cin her head blossoms a vision of the peninsula\u2014field-boundary walls that undulate over every bluff and hollow, the water lilies that crowd into wet ditches in early summer, the surface of the lough that quilts itself in a breeze, the cows that turn their large eyes upon you, the darkness that rises up from the hills at dusk.\u201d<\/p>\n

For Tom\u00e1s, capturing recent history is a quantitative pursuit\u2014subtract the post-famine population from the pre-famine population to unleash the death toll in all its horror. His project relies on specialized knowledge: he has a local\u2019s eye for culturally significant landmarks and the expertise to measure inclines and elevations accurately. Enda doesn\u2019t transmit facts and figures through her music, but she is a virtuoso in her way. Her fiddling is a looser, freer, more accessible type of memorialization\u2014less a notation than an invocation, a summoning of her homeland\u2019s spirit.<\/p>\n

In \u201cHamnet\u201d as in \u201cLand,\u201d loss and irretrievability are of central concern\u2014how should they be acknowledged, and to what extent? When \u201cHamnet\u201d falters, it\u2019s because the book overreaches in its claims about the power of art to resurrect the past. Its final scene suggests a kind of interchangeability between the dead Hamnet and the fictional Hamlet, between what used to be and what never was.<\/p>\n

\u201cLand\u201d is less interested in how fantasy may be exchanged for reality than in how the two are complementary. Through its characters, the book stages an argument about the virtues of various types of maps\u2014those that are measured, those that are recollected, those that are dreamed. Some of these approaches require meticulous scholarship and technical proficiency; others, an attunement to the invisible realms of feeling and folklore. The characters\u2019 distinct perspectives overlap to build the world that is the novel. All are useful, all are partial, and none reverse the country\u2019s losses. Rather, the facts ground the fiction, the fiction enlivens the facts, and both work together to suggest that the pursuit of resurrecting the past and the pursuit of telling a good story can, in some cases, be one and the same.\u00a0\u2666<\/p>\n

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Katy Waldman on a new book by the Northern Irish novelist Maggie O\u2019Farrell, whose book \u201cHamnet,\u201d from 2020, was adapted by the director Chlo\u00e9 Zhao into an Oscar-winning film last year.<\/p>\n","protected":false},"author":1,"featured_media":375,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12],"tags":[],"class_list":["post-376","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-books"],"yoast_head":"\nMaggie O\u2019Farrell and the Art of Inventing the Past - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=376\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Maggie O\u2019Farrell and the Art of Inventing the Past - 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