Five Reasons I recommend WIDOWLAND, by C.J. Carey
- Excellent pacing and page-turning tension
- A young female hero who comes into her agency in a believable way
- Legit world-building of a bleak UK governed by Nazis
- The writing around the sexual relationships feels vital and true (more on this in the longer review)
- Given the consistent point of view and straightforward timeline, I’m guessing this would make a great audiobook
To purchase WIDOWLAND, click here
The Longer Review…
To control the past, they edited history. To control the future, they edited literature.
WIDOWLAND is an alternative history novel, set in London, 1953. This story would probably carry a PG-13 rating because of the sexual relationships although none of the sex scenes were explicit. For this reason, I wavered on the rating. Overall, the main sex scene was tastefully, even beautifully handled in terms of the emotional weight it carries within the story. Mature teens could handle this book. In fact, it might appeal to many female YA readers because the protagonist is a woman in her twenties.
For educators, WIDOWLAND provides a unique picture of what a society imagined by the Nazis might look like and feel like. Great fodder for discussion. Moveover, it portrays (accurately so) literature as a disrupter of those who broker power.
In this alternative history, Germany has invaded the UK and Hitler rules over it as a protectorate. The coronation of Edward the VIII (Queen Elizabeth’s uncle) and the American divorcee, Queen Wallis, is taking place soon. Significant because The Leader, Hitler himself will descend on London for the celebration. The soon-to-be King and Queen of England are collaborators with the Nazis, based on an actual historical and private meeting that took place between the Edward and Hitler at the Berghof in 1937. (No record of the meeting has survived).
The story, told in close third person by the main character, Rose Ransom, opens with a description of London preparing for the coronation. Through Rose’s eyes, the world unfolds. The reader quickly understands, that although Rose holds little power in the system, she sits at the top of the subjugated population as a Geli. She is young and her view of reality is sometimes naive and not always reliable, but the discoveries she makes along the way are a part of how Carey maintains tension in the story. The reader senses the danger she does not.
This is a story about a woman and about women living under Nazi occupation. Carey could have gone overboard painting the world, but deftly focuses the reader’s attention on the kind of oppression that exists in England for the vulnerable. The elderly, women and widows in particular, suffer under the yoke of the Nazis. She highlights the caste system which categorizes the “utility” of women. In this early excerpt, the reader begins to understand Carey’s 1953 London.
Members of the first and elite caste were popularly called Gelis after the woman most loved by the Leader, his niece Geli. Klaras–after the Leader’s mother–were fertile women who had produced, ideally, four or more children. Lenis were professional women, such as office workers and actresses, after Leni Riefenstahl, the regime’s chief film director. Paulas, names after the Leader’s sister, were in the caring professions, teachers and nurses, whereas Magdas were lowly shop and factory employees and Gretls did the grunt work as kitchen and domestic staff. There was a range of other designations–for nuns, disabled mothers and midwives–but right at the bottom of the hierarchy came the category called Friedas. It was a diminutive of the nickname Friedhöfefrauen–cemetary women. These were the widows and spinsters of over fifty who had no children, no reproductive purpose, and who did not serve a man.
There was nothing lower than that.
Rose first runs into trouble when the Cultural Commissioner of the UK Protectorate asks that she help him solve a mystery. She is to venture into Widowland and spy on a group of Friedas. An uprising is bubbling to the surface in London right as Hitler is set to arrive. These disempowered women are the suspected Nazi resisters. The clock is ticking and Rose’s big boss makes known to her that more than just her job is on the line if she fails.
What unfolds is a story of discovery for Rose and choices that will impact many.
One comment about the sexual relationships in this novel. The sex is not explicit. There is an implied disorder to the relationship between Rose and her lover, who is twenty-five years her senior. The power dynamics and how German men use power to procure beautiful young women is a part of the world these characters inhabit and is taken for granted in the novel world. However, the author adds a scene that is emblematic of sex within a loving relationship. The revelation that comes to Rose and the writing around this encounter are so poignant and beautiful, I will remember this passage of writing for a long time.
I recently finished viewing all 4 seasons of THE MAN IN THE HIGH CASTLE and loved it. Also…I know I’m a little late to the game, but it’s hard to keep up, especially if you’re trying to read and watch scifi! There’s a lot of good content out there in the multiverse. I give this story a PG 13 rating, so be warned, parents.
THE MAN IN THE HIGH CASTLE is not a new story, but it was imagined anew by creator Frank Spotnitz for our era. It is based on Philip K. Dick’s novel of the same name (which I have not yet read, but will soon because I enjoyed the series so much). Dick’s daughter was involved in the production of the tv version, overseeing her father’s vision.
This story is less science fiction in the traditional sense and more alternative history. Dick wrote THE MAN IN THE HIGH CASTLE after being inspired by the novel Bring the Jubilee, by Ward Moore, whose novel is an alternative history of the US where the Confederate States win the Civil War. In Dick’s novel, the Axis powers win World War II. First, the short review:
5 Reasons I Recommend THE MAN IN HIGH CASTLE
- Superb storytelling…I was surprised at how well the writer(s) kept me engaged, including the pacing over 4 seasons. Bravo!
- Spot-on performances. A brilliant portrayal of John Smith, an American/Nazi leader, by Rufus Sewell. Also, a powerful female hero in Juliana Crain (Alexa Davalos)
- A satisfying enough ending (will say no more lest I spoil)
- Pushing characters to their limits and not turning away from human dilemmas like: How far would you go to protect your family? Would you kill a person in cold blood if you know they will be responsible for death and mayhem in the future?
- Finally, if you find history a bore, consider jump-starting your learning via consuming smart fiction, like THE MAN IN THE HIGH CASTLE. World War II was a fascinating and dark time in world history with reverberations reaching into our current era, more than we might think. THE MAN IN THE HIGH CASTLE gives the audience an intimate view into the characters of the day, many of whom are real historical people, but if not real, the fictional characters help the audience understand the zeitgeist of the time.
I appreciated and enjoyed all four seasons of THE MAN IN THE HIGH CASTLE, but my favorite seasons were 3 and 4. Seasons 3 and 4 put forward the more complex moral and philosophical questions around Nazism, occupation and the kind of determination that it takes to defeat evil. I still appreciated season 1 and 2. The moral framework was being laid, the true heroes were being defined, but by season 3, defeating evil in our midst becomes the clear goal. It will require dedication, resilience and the broader community…something I feel to be true throughout history. Unlikely allies come together to defeat evil.
In that sense, I found the series remarkably relevant. Dick is playing with alternative histories in this story and Spotnitz (credit for the screenplay/creator goes alone to Frank Spotnitz on the show’s Wikipedia page) was able to put forward a world that in many respects, felt as real as the news I see on my screen on any given day. Before Covid19 and George Floyd protests…in this series (in the book, I assume as well) memorials, monuments and statues are blown up, taken down, destroyed. That was interesting for me to ponder.
In THE MAN IN THE HIGH CASTLE, those taking down the monuments are Nazis, determined to wipe out American history and recreate their own version of history that will be imposed on Americans. One character spells out the reason, “Once we wipe out their narrative, it will help them accept our narrative, the Nazi narrative.” The Nazis empower the young people in the US to riot and do violence to any who try to protect the monuments.
I would hesitate to make a moral statement about those who have defaced monuments in our cities in these last months, but I did find it fascinating to see this portrayal, non political, I assume because the screenplay was written long before our recent protests. How would those scenes be written today? I wonder…
To counter that narrative that “good ‘ol America just needs to be reclaimed”, the Black Communist Rebellion becomes an important power in the final season. Those characters are drawn in a way that is multi-faceted and dignifying. The series touches on Civil Rights era injustices while highlighting the Nazi take on black skin, which is horrifying and includes the sterilization of young black women. The audience sees the “graded” evil of racism.
THE MAN IN THE HIGH CASTLE does not justify white supremacy. It tries, I think, to highlight its evil and does not let white America off the hook. Like I said…this is a complex narrative and, to give Dick credit, it was written in the early 1960s.
In the series, the Axis powers have split the US into three zones. The Japanese rule that which is West of Rockies. The East is ruled by the Nazis and in an attempt to keep these powers from eating each other, the middle of the US is neutral. Juliana Crain is a San Francisco native, so plenty of Northern California sites on screen, including the supremely gorgeous Japanese Tea Garden in Golden Gate Park.
I was gratified to get a view into the Japanese Imperial rulership over the Western US in a way that capitalized on few or no stereotypes. One sees and feels the brutal nature of the Japanese occupiers, but also the complex politics between Japan and Germany (both superpowers in this universe) and the grace and gentleness of some aspects of Japanese culture. There are Japanese who brutally murder and there are Japanese who feel deep compassion to the point of aiding the rebellion. That is a helpful juxtaposition and I believe a true one when it comes to human dynamics during a time of war. Building an empire leads to big messes and horrible violence. It also drives human beings to act with sacrifice and heroism. THE MAN IN THE HIGH CASTLE does not shy away from the complexities of warfare and empire building and for that reason, it deepened my understanding of a complex historical time.
Grit, hope, despair and horrible evil are all captured in this story, but what emerges most prominently in narrative are deep truths about what is right, just and good. This story is one for our time. I encourage you to start watching today.