The Northern Irish writer explores music and family, memory and duty in this stunning collection of sharply observed tales
T
he stories in Northern Irish writer Lucy Caldwell’s fourth collection are often devoted to family life, or a professional life in the arts: or both. They’re almost always about memory and how to manage it. They offer a certain continuity with her earlier collections, Multitudes, Intimacies and Openings, though it’s subtle and organic rather than directly narrative.
In All Grown Up, Luke returns to his childhood home, only to be steadily reabsorbed by it. He applies himself to clearing the house, putting it on the market; he thinks about all the possibilities he’ll have once he’s sold up. But the longer he stays the less impulse there is to leave, and the more he remembers, not just about his life here, but his life generally. Meanwhile he’s a 40-year-old divorcee with a bad back, incipient alcoholism and a child at boarding school, attempting to come to terms with divorce, the death of his mother and his sense of entrapment. A one-night stand with his ex-wife’s sister doesn’t help. As you read, that title cycles between bleak irony and an equally bleak optimism.
