I mentioned a while ago that I had a small backlog of book reviews, which is fortunate as I can’t really talk to you about what I am reading at the moment. One book is Kamila Shamsie’s sixth novel A God in Every Stone which has just been shortlisted for the Baileys Women’s Prize for Fiction, which I read last year. Why have I held of reviewing it until the shortlisted nudge? Well, A God in Every Stone is one of those books that is epic for its size in both its stories scope and indeed the themes that are held within. This is a readers dream, it is also blooming hard work for a reviewer, here goes…
There are three strands within A God in Every Stone. The book opens with us in the Persian empire in the company of Scylax, an explorer in the fifth-century BCE, this is a very brief snippet before we are thrown into 1914 and the first of the two major strands, but don’t forget old Scylax, as we join Vivian Rose Spencer as she joins a Turkish archaeologist, Tahsin Bey, at a dig in Labraunda. Tahsin has been in her life for many years as a friend of her father and used to often tell her stories of Scylax when she was a young girl, inspiring her love of adventure, archaeology, history and the stories of the past and its people. As they work together an additional bond is built yet soon the First World War begins and are separated when Vivian is sent back to London to serve as a VAD.
The second main strand is that of two brothers living in Peshwar, Najeeb (who is an utter joy to read and instantly became my favourite character) and Qayyum. Qayyum has been a soldier for the British forces, and is returning after having been kept in Brighton to recover from some injuries. He returns to find his home city a changed place, having left the battle fields he returns to a city that seems to be on the very edge of unrest and potential catastrophe. How do these all interweave, well that would be telling I don’t want to spoil it for anyone so I am not going to tell you, you need to read the book.
If this all makes it sound like A God in Every Stone is rather confusing and disorientating, it honestly isn’t. This is a novel where characters, and most importantly really history, interweave and intertwine creating a wonderful tapestry of interconnecting lives. Now I worry I have made it sound twee and this book is anything but that; there is one huge twist in the novel that I didn’t see coming and hit me with an emotional wallop that actually made me gasp, as the book leads to its conclusion on The Street of Storytellers it depicts one of the biggest atrocities in Peshwar’s history, yet one that is little known or spoken of outside of the country.
The book is also teeming with themes one being history. Regular visitors will know that my mother is a classics teacher who would love to do archaeology and dragged me round Pompeii for a day when I was younger, so when I started reading about archaeological digs a bit of me went back to that day and winced. However the story of a woman in that setting in the male dominated pre-war era is a really interesting one and Vivian is quite the forward thinking woman who fights against stereotypes often through some very awkward situations with men who want to tame her, women who hate her – oh and the secret service wanting to hire her. It is little gems like that, based on fact, that give the book added dimensions and Shamsie is very good at giving every character some kind of additional story without it feeling forced or that she wants to bash you over the head with all the research she has done.
How can I explain how it feels to hold an ancient object and feel yourself linked to everyone through whose hand it passed. All these stories which happened where we live, on our piece of earth – how can you stay immune to them? Every day here in Taxila I dig up a new story. And, yes, I am grateful to the English for putting this spade in my hands and allowing me to know my own history. But to you history is something to be made, not studied, so how can you understand?
Shamsie takes a very interesting look at history in the novel. She looks at how we see events before something life changing occurs, how we see it during and how we think of it afterwards both instantly and in hindsight. All of the characters do this be it on a small or large scale. Shamsie also looks at how history is not actually something solely from the past, it is also something from the future because we are building it every second, every minute and indeed as we think our future actions through.
I know the stories of men from twenty-five hundred years ago, but I’ll never know what happens to you.
Another large theme in A God in Every Stone is the importance of story; how stories become history, how history becomes a story. She also looks at the power of stories and storytelling, be they the ones we tell others, the ones we tell ourselves and the ones that we will never know. In fact really you could say that this novel is the embodiment of how we can learn through stories, be they fictional or factual, and how we use those stories of the past to build the stories of the future.
I still don’t feel like I have really done A God in Every Stone justice, thought I felt the same after reading Burnt Shadows (you can see the review but bear in mind it was written long ago and made me wince a little as I read it) which is also a deceptive epic for its 300 pages too. It is just one of those tricky yet marvellous books that are very hard to write about if you haven’t read them and experienced them. Experienced is the right word actually because having come away from this novel I really felt I had lived, lost and loved alongside all the characters and what they went through. Suffice to say I think you should stop reading this and go and read Shamsie instead.
If you would like to find out more about A God in Every Stone, you can hear Kamila talking about it (far more eloquently than I can write about it) in conversation with me on You Wrote The Book here. Who else has read it and what were your thoughts?