Translated from the Finnish by Emily Jeremiah and Fleur Jeremiah (Oneworld, 2019)
This year Oneworld Books have released four books by women in translation (see bottom of page for full details); I went to their Translated Fiction showcase at the British Library in April to hear Olga Grjasnowa and Selja Ahava talk about their newly released titles, City of Jasmine (Grjasnowa, tr. Katy Derbyshire, reviewed here), and Things That Fall from the Sky (Ahava, tr. Emily Jeremiah and Fleur Jeremiah). This was an event brilliantly chaired by Rosie Goldsmith, who also introduced Oneworld authors Alessandro d’Avenia (read a beautiful extract from What Hell is Not, tr. Jeremy Parzen, here), Jasmin B. Frelih (whose In/Half, tr. Jason Blake, was longlisted for the 2019 EBRD Literature Prize) and the extremely witty double act of Jacek Dehnel and Piotr Tarczynsky writing the period murder mystery Mrs Mohr Goes Missing as Maryla Szymiczkowa (tr. Antonia Lloyd Jones).
In Things That Fall From the Sky, Selja Ahava writes from the perspective of a child named Saara trying to make sense of something utterly senseless: her mother’s death from being hit on the head by a block of ice falling from the sky. The premise here reminded me of the cult HBO series Six Feet Under, in which a character would die in often improbable circumstances, possibly inspired by a real-life event spied in a newspaper story. The improbable event in this case is that when aeroplanes have a leak, the dripping water freezes on the outside of the plane and, as more water leaks through, can form into an ice block. If this becomes heavy enough, it can get detached in flight and fall to the ground at a speed which, if you happened to be standing in its path of descent, could smash your head off. Ahava explained that this random absurdity appealed to her sense of humour, and this “tragicomic” element is key to the success of the story: the child’s perspective allows Ahava to make pared-down, simple and often amusing observations, crucial to the pathos that serves to remind us that however farcical the circumstances, we are still dealing with a grieving child.
Two other stories of improbable things literally or figuratively “falling from the sky” interweave with Saara’s: her aunt wins the lottery twice, and a man on a remote Scottish island is struck by lightning five times in the course of his life (only to die eventually of heart failure). The common theme is not only the improbability, but also how these chance occurrences – even ostensibly wonderful ones such as winning the lottery twice – isolate the people on whom they are inflicted, and change their lives irreparably. There are three interconnected leitmotivs that recur throughout the book: the notion of “time heals” (which is exposed as a fallacy), outlines (the white lines around dead bodies in murder mysteries, but also the outline of Saara herself, when her mother drew an outline of Saara’s body on a wall one happy day: this drawing has now been wallpapered over, leaving Saara “trapped in the wall” and unable to move on), and time standing still.
Saara is obsessed with “whodunnits” and their dénouements (particularly those involving a certain Belgian detective, gathering an audience for a dramatic scene of revelation). There is understated humour in these references, but the white outline comes to represent the far more serious issues of the intangibility of death, and the difficulty of grieving absence. This is extended in two ways: firstly, in comparison with a lottery win, which is only ever intangible and never a physical pile of money and, secondly, via the image of Saara trapped in the wall: the outline of her body as it was then remains frozen in time under the new decoration, never ageing, cut off – just as her mother was frozen in time, cut off, never to grow older. Amidst the absurdity and humour, this is a piercing reminder that time stops when loved ones die, that the deceased and those who loved them are always suspended in that moment, as Saara explains in her understanding of time and tense:
“When Mum leans over the bed, her hair spills out from behind her ears and touches my face, along with her kisses. When I say Mum leans, she’s still here. When Mum leaned, she’s already going. Dad doesn’t talk about Mum, because he can’t say leaned. He can’t talk Mum into the past; every now and then, he starts a sentence with Mum’s name, but he stops halfway.
Mum stopped halfway.”
Time “stopping” and the image of the white outline are deftly brought together when Saara explains that “Time stopped. I couldn’t think forwards or backwards. Someone drew a thick white line round our thoughts, and the thoughts stopped, and we got stuck there.” All time becomes that one moment of loss, the little girl in the walls trapped there forever, unable to move on. Things That Fall from the Sky thus becomes, in a way, a “white outline” of its own, immortalising this period of Saara’s life and grieving process.
The simplicity of a child’s perspective crystallises complex emotions: Ahava is a playwright, and this is evident in her novel. There is no superfluous detail, and the prose is characterised by a clarity of expression that is communicated by an excellent translation from Emily Jeremiah and Fleur Jeremiah: Saara’s voice is vividly and sensitively conveyed – the register and tenor are pitch-perfect in Jeremiah and Jeremiah’s translation, as are the gaps of what is left unsaid.
Like City of Jasmine, the Oneworld book I reviewed last week, Things That Fall from the Sky also has a very poignant ending, showing the inadequacy of “time-heals” for a child who has lost everything that was once familiar. If City of Jasmine offered a fresh perspective on a global humanitarian crisis, Things That Fall from the Sky is more focused on the individual: Saara is not suffering from a historical tragedy, but from a personal one that it is equally impossible to explain away with platitudes. This is a story of the extraordinary events in everyday lives, but it is also the story of a child trying to come to terms with bereavement. Saara does not want her story – and with it, her mother – to come to an end: “Without an ending, there’s no story, but I don’t want an ending like this”, she says, and so her story becomes a reflection not only on the imperative to “move on” but also on storytelling itself, and on the endurance of love.
Oneworld’s women in translation 2019 publications in full:
Samanta Schweblin, Mouthful of Birds, translated by Megan McDowell (Argentina). Full review.
Guzel Yakhina, Zuleika, translated by Lisa C. Hayden (Russia).
Olga Grjasnowa, City of Jasmine, translated by Katy Derbyshire (Germany). Full review.
Selja Ahava, Things That Fall from the Sky, translated by Emily Jeremiah and Fleur Jeremiah (Finland).
Review copy of Things That Fall from the Sky provided by Oneworld Books.