Imogen Hermes Gowar

"Imogen Hermes Gowar is a soon-to-be literary star."—Sunday Times (UK) "Historical fiction at its finest, combining myth and legend with the brutal realities of the past. . . . Comparisons will be drawn to the works of contemporary authors Sarah Waters and Michael Faber . . . but The Mermaid and Mrs Hancock has more in common with the novels of Dickens and Austen."—Irish Times In 1780s London, a prosperous merchant finds his quiet life upended when he unexpectedly receives a most unusual creature—and meets a most extraordinary woman—in this much-lauded, atmospheric debut that examines our capacity for wonder, obsession, and desire with all the magnetism, originality, and literary magic of The Essex Serpent. One September evening in 1785, Jonah Hancock hears an urgent knocking on his front door near the docks of London. The captain of one of Jonah’s trading vessels is waiting eagerly on the front step, bearing shocking news. On a voyage to the Far East, he sold the Jonah’s ship for something rare and far more precious: a mermaid. Jonah is stunned—the object the captain presents him is brown and wizened, as small as an infant, with vicious teeth and claws, and a torso that ends in the tail of a fish. It is also dead. As gossip spreads through the docks, coffee shops, parlors and brothels, all of London is curious to see this marvel in Jonah Hancock’s possession. Thrust from his ordinary existence, somber Jonah finds himself moving from the city’s seedy underbelly to the finest drawing rooms of high society. At an opulent party, he makes the acquaintance of the coquettish Angelica Neal, the most desirable woman he has ever laid eyes on—and a shrewd courtesan of great accomplishment. This meeting sparks a perilous liaison that steers both their lives onto a dangerous new course as they come to realize that priceless things often come at the greatest cost. Imogen Hermes Gowar, Britain’s most-heralded new literary talent, makes her debut with this spellbinding novel of a merchant, a mermaid, and a madam—an unforgettable confection that explores obsession, wonder, and the deepest desires of the heart with bawdy wit, intrigue, and a touch of magic.

A Novel

The Mermaid and Mrs. Hancock

A Sunday Times bestseller, now longlisted for the Women's Prize for Fiction 2018. 'A brilliantly plotted story of mermaids, madams and intrigue in 1780s London and I wouldn't be surprised to see it become the Essex Serpent of 2018' - The Pool 'Imogen Hermes Gowar is a soon-to-be literary star' - Sunday Times THIS VOYAGE IS SPECIAL. IT WILL CHANGE EVERYTHING. One September evening in 1785, the merchant Jonah Hancock hears urgent knocking on his front door. One of his captains is waiting eagerly on the step. He has sold Jonah's ship for what appears to be a mermaid. As gossip spreads through the docks, coffee shops, parlours and brothels, everyone wants to see Mr Hancock's marvel. Its arrival spins him out of his ordinary existence and through the doors of high society. At an opulent party, he makes the acquaintance of Angelica Neal, the most desirable woman he has ever laid eyes on... and a courtesan of great accomplishment. This meeting will steer both their lives onto a dangerous new course, on which they will learn that priceless things come at the greatest cost. Where will their ambitions lead? And will they be able to escape the destructive power mermaids are said to possess? In this spell-binding story of curiosity and obsession, Imogen Hermes Gowar has created an unforgettable jewel of a novel, filled to the brim with intelligence, heart and wit.

The Mermaid and Mrs Hancock

Ditipriya Acharya

Illusions, Mermaids and Whimsical Desires

For mermaids are the most unnatural of creatures and their hearts are empty of love.

Historical fiction meets magical realism in the beautifully written debut, The Mermaid and Mrs Hancock, as Imogen Hermes Gowar takes us into 1780’s London. The story starts as the city is plunged into intrigue and wonder as Jonah Hancock, a merchant, receives the captain of one of his trading vessels at his door. When he is told that the captain has traded in his ship for a dead mermaid, not the kind of mermaid he is used to from stories, at first, Jonah is hesitant and angry. But soon he and his niece, Suzie, device a way to make a fortune by putting the mermaid on display for the people of London to see the hideous, infant-sized creature and be delighted at the morbid sight. During the incidents caused by his possession of the mermaid, he comes in contact with Angelica Neal, a beautiful but shallow woman on the run from a bawdyhouse owner. 

Despite, the presence of not one but two mermaids, completely opposite when it comes to description, Gowar plays down the magical realism aspects. More than the actual being she explores the reactions of the different characters to it. Therefore, the book is a gripping read beyond the mythical references. Gowar’s writing is beautiful and lyrical. She is exceptional at building atmosphere and scene-setting to the point that while reading certain episodes in the book you almost feel like you are there. For instance, the music, dance and flirtations during the party at Mrs Chappell’s house was described to perfection, exuding the dark charm that such parties definitely had. While reading this book I had the feeling that Gowar didn’t use any word that was not needed and cleverly moved from one scene to the next. The almost poetic passages that are included in between the story of Jonah and Angelica are written beautifully and read like it is the mermaid talking, giving of the same sense of melancholy and sadness that the mermaid caused in the minds of everyone around her.

The words spoken from behind a mask may be bolder than those uttered barefaced, but this need not mean they are more honest.

Mermaids, as magical creatures, are often associated with trapped women trying to make the most of their beauty. In this book, Gowar takes this idea further by giving us several female characters trapped and yet trying to make the best of the circumstances. Angelica’s undying will to emerge as successful, Mrs Chappell’s knack for business, Bel Fortescue feminist way of viewing prostitution and even Suzie’s whipsmart character who takes on the reins of the mermaid business when her uncle is ready to give up are just a few of the exceptionally written female characters. Even though, the main character of the book is a man there is no doubt when I say that it is the female characters who shine through. The conversations between these women, as they try to keep up the pretence of politeness expected of them in 1780s London, trying to show each up brings an angle of humour in contrast to the more literary aspects of the book. 

What Gowar also does well is touch upon important issues like sexism, racism, the taboo of sex work and the class divide without actually being obvious about it. However, the book does have a few shortcomings. Among the several side characters, some of them disappear without any closure on their stories, which left me a little confused. The one that bothered me the most was Polly, a mixed-race bawdyhouse mate of Angelica who runs off during a party she is hired for and then we never know what happens to her except for a tiny chapter about the miserable conditions she has found herself in. This was especially disappointing because her struggles of coming to terms with her identity as half-black and her arguments with the servants in the house brought an interesting angle to the story, till she vanished into thin air of course. But despite this, with its attention to historic detail and lyrical writing, The Mermaid and Mrs Hancock is a beautiful read and I loved the unusual take on literary fiction.

And a man of nobility is always such in his soul, however he may fall; and a man of humble sort is always such in his soul, however he may rise.

Mega saai en vaag boek, raad het niet aan 

Julie Rubens

taryn a.

A truly darling book — a Dickensian fairytale that might have meandered at times, but always with the spoiled gait of something beautiful showing itself off.

Sonja H

Ich liebe Retellings oder Geschichten, die bekannte Elemente verwenden. Die Meerjungfrau ist eine oft beliebte Figur, die immer wieder neu fasziniert und ich war gespannt, wie Imogen Hermes Gowar sie einsetzen würde.

Die Meerjungfrau begegnet uns bzw. Mr. Hancock bereits zu Beginn der Handlung, doch sie unterscheidet sich stark von der süßen Version, die allgemein geläufig ist. Dieses Wesen, das ungewollt in den Besitz des Protagonisten kommt, wird als ein toter, seltsamer Affe bezeichnet.

Ein wenig Recherche ergab, dass 1842 der Zirkuspionier P.T. Barnum tatsächlich behauptete, eine echte Meerjungfrau sein Eigentum zu nennen. Die „Feejee Mermaid“ war eine Mischung aus Affe und Fisch und Barnum setzte sie gewinnbringend in seiner Ausstellung ein, bis sie angeblich einem Feuer zum Opfer fiel.

Auch Mr. Hancock, der wegen dieses Fangs finanzielle Verluste einfahren musste, will seine Meerjungfrau gewinnbringend einsetzen und stellt sie deswegen gegen Eintritt aus.
Im Zuge dieser Ausstellung trifft er auf eine ihm bis dato völlig fremde Welt – die der Prostituierten.

Es ist natürlich nicht schwer, den Bogen von der Symbolik der Meerjungfrau zur Prostitution zu ziehen, stehen diese Fabelfiguren doch für sinnliche Weiblichkeit, Verführung, begehrt von vielen Männern, jedoch niemals zähmbar.

Mr. Hancock verfällt Angelicas Reizen recht schnell, möchte sie als neue Frau an seiner Seite wissen, die seine Stellung in den Kreisen, in denen er sich bewegt, festigt.
Zwar ziert sich die Kurtisane anfangs noch, aber da ihr ein Gönner fehlt, trifft sie die Entscheidung, ihn als nächsten Gönner zu akzeptieren. Er muss sie allerdings heiraten, denn auch sie sieht sich gezwungen, ihre Stellung innerhalb der Gesellschaft zu sichern.

Im Prinzip vergleicht die Autorin die Ehe mit dem Verkauf des Körpers einer Frau. Sie wird, zumindest in der Epoche, in der die Story angesiedelt ist, Eigentum eines Mannes, der im Gegenzug andere Vorzüge ohne Konkurrenz genießen darf.
Mit dieser Einordnung wird eine sehr einfaches Weltbild gezeichnet: Männer haben das Geld, Frauen bekommen es durch Heirat, Prostitution oder sie verarmen, was ich nicht sehr überzeugend fand.

Im dritten Teil des Buchs schließlich, versucht Angelica, die gestrandete Meerjungfrau, die symbolisch eine tatsächlich nun lebend gefangene Nixe von der Autorin zur Seite gestellt bekommt, eine gute Ehefrau darzustellen und sich in der neuen Umgebung, in die Hancock sie verpflanz hat, einzufinden.

Hier funktionierte für mich gar nichts mehr. Die ersten beiden Teile der Story werden komplett fallengelassen, so dass man fast das Gefühl hat, ein anderes Buch zu lesen. Die Unterschiede sind zur Atmosphäre von vorher so groß, dass sie den Lesespaß trübten.
Irgendwann entsinnt sich die Autorin wieder aller Nebenschauplätze und versucht, sie am Ende irgendwie aufzulösen, aber zu dem Zeitpunkt hatte ich bereits das Interesse an ihnen verloren.

Ich muss gestehen, dass mich einzig und allein der Schreibstil, die Liebe zum Detail, die außergewöhnliche Atmosphäre, die erzeugt wird, begeisterte.
Die Figuren selbst sind eher Antihelden, entwickeln sich kaum und am Ende bleibt ein Gefühl von Leere zurück. So stark die Geschichte auch begonnen hat, es fehlte ihr an tiefe und an einem überzeugenden Schluss.

Leserinnen, die nur gut unterhalten werden wollen, werden an „The Mermaid and Mrs. Hancock“ sicher großen Gefallen finden. Männliche Leser dürften sich unterrepräsentiert fühlen.

Mir hat das Buch alles in allem viele schöne Lesestunden beschert, aber leider bleibt ein kleiner Wermutstropfen zurück, weil es an Tiefe mangelt.

Moray Lyle McIntosh

A strangely engrossing read but not quite satisfying read. Gowar’s lush Regency world is wonderfully realised in all its glamour and scurrility, from slums to High Society “nunneries” (read, brothels). There’s an impressive sense of time and place as Gowar revels in her setting with her gleeful use of Georgian cant and the seedy side of the time often associated with the manners and sensibility of Austen. Her historical realism is faultless and her detail both abundant and witty. The characters, particularly the stellar cast of women, are deep and the writing is assured, humorous and intricate and there are hints of Angela Carter in their depth and strength as well as their gaudy exuberance. Her descriptions verge, in the very best way, on the Dickensian.

With all of this marvellous background texture, and it take some time for it to be established, the rather abrupt shift to a more magical-realist style towards the end was a little clumsy. Though the mermaid had been a feature of the narrative for some time the transition to the dreamlike style and overt symbolism of the latter part was imperfect. There is an overabundance of storylines which left it feeling a little flabby in places and the narrative became increasingly unbalanced as if, after meticulously and entertainingly constructing the flamboyant Georgian verisimilitude Gowar wasn’t quite sure what to do with it.

IMOGEN HERMES. GOWAR

A Sunday Times bestseller, now shortlisted for the Women's Prize for Fiction and longlisted for the Desmond Elliott Prize 2018. 'A brilliantly plotted story of mermaids, madams and intrigue in 1780s London and I wouldn't be surprised to see it become the Essex Serpent of 2018' - The Pool 'Imogen Hermes Gowar is a soon-to-be literary star' - Sunday Times THIS VOYAGE IS SPECIAL. IT WILL CHANGE EVERYTHING. One September evening in 1785, the merchant Jonah Hancock hears urgent knocking on his front door. One of his captains is waiting eagerly on the step. He has sold Jonah's ship for what appears to be a mermaid. As gossip spreads through the docks, coffee shops, parlours and brothels, everyone wants to see Mr Hancock's marvel. Its arrival spins him out of his ordinary existence and through the doors of high society. At an opulent party, he makes the acquaintance of Angelica Neal, the most desirable woman he has ever laid eyes on... and a courtesan of great accomplishment. This meeting will steer both their lives onto a dangerous new course, on which they will learn that priceless things come at the greatest cost. Where will their ambitions lead? And will they be able to escape the destructive power mermaids are said to possess? In this spell-binding story of curiosity and obsession, Imogen Hermes Gowar has created an unforgettable jewel of a novel, filled to the brim with intelligence, heart and wit.

Jade Flynn

Set in the hustle and bustle of 18th century London comes an adventure which makes you forget that mermaids don't actually exist. For fans of Victorian literature.

Paulina 

Po przeczytaniu ląduje na kupce do przekazania dalej - to podsumowuje moje odczucia.
Kolejny przykład, gdy okładka obiecywała mi zachwyty, a wyszedł z tego taki typowy średniak.

Laura

I put off reading this behemoth of a novel because of how long it was, and the fact that the reviews weren't as good as I expected them to be. Finishing it, I can say, yeah, the reviews are right.

Ignoring the Georgian time frame (the main appealing factor) and the shipping company, this is a regency romance novel without the moors. I do not like regency romance novels. Not to mention, the two main characters had so little driving each other that getting through the book got impossibly hard at some points, where I was just flicking through pages wishing it was over. It wasn't that I didn't like them, it was that I found very little compelling about them and didn't really find their story arcs all that fascinating. And it wasn't just them, it was all the main characters. Jonah's niece was your typical historical fiction heroine, one with little interest in romance and lots of interest in reading and running a business, which is a boring played out trope, and everyone felt very wooden like they knew and understood that they were nothing more than characters in a book.

I also didn't really get much of a feel for late 18th century Great Britain. The characters were curiously free of the biases and opinions that would have been period-appropriate, and the dresses and descriptions made me thing more of both the 1810s and the 1600s, confusingly. It felt like a sanitized view of the late 1700s, and at times I wondered if the book was written for the sole purpose of being made into a BBC miniseries. Honestly though, if it was a BBC costume drama I probably would have liked it a lot more, and I'm not one for television serials. 

This is a short review for a too long, forgettable novel. This is my least favorite new release of the year, and while I didn't outright hate it, there's not much about it to really like unless you like romance novels.

The Mermaid and Mrs. Hancock A Novel

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