Quietly vibrant, or brimming with subtle emotions―perhaps that is the way to describe Nuala O’Connor’s Joyride to Jupiter. It may sound like a collection of nineteen dull short stories with flat tone at first, but once readers get deeper into each of them, striking characters with heart-wrenching stories and clever narrative-handling are there to be found. O’Connor indeed tell them matter-of-factly, no flowery words or anything―she doesn’t seem to feel the need for―but the result is some knocking effects and restlessness banging in our heads.
The banging is loudest in some, like in Consolata, where Helen brings her new boyfriend Matthew to see her mother at her old house. It has been a long time since she came back home, and distant, somewhat bitter memories slowly open up before the reader as she’s thinking of her past, her late father, and Sister Consolata. Helen knew her when she was still a child and they were friends. But as layers of secrets unfolded unexpectedly, that friendship unfortunately―painfully?―had to fall to pieces.
Family bitterness also appears in Tinnycross, though in a different form and on another level. Oliver and Bernard are trying to divide the estate they inherit from their mother. Olly wants a half of the estate value, but Bunny denies him that, still blaming their mother’s death on his brother for never coming home to see her. Though Olly finally gets the amount of money he needs from Bunny’s wife’s own share, but deep inside, there’s a pain he never shares―pain coming from the attachment he never ceases to have to their family estate, to his childhood home.
This family theme seems to keep repeating, more so in Mayo Oh Mayo and Storks. But Mayo Oh Mayo is not the type of family story people usually have in mind. It’s more of how the writer, or the characters she creates, see the family bond. Is it more than anything that a passionate, brief affair cannot throw it off the cliff any minute? Or is it something that you can crush under your feet so easily? Apparently, the male character here doesn’t only think that Dublin and everything in it do not suit him, but also that a fling is a fling, and nothing about that can disturb his family life―though Siobhán, our female protagonist he’s having an affair with, thinks the otherwise.
Meanwhile, Storks throws out all the jokes life has in store. Fergus and Caitríona are on vacation in Spain to relieve their pain after losing their baby (again). It’s so obvious that Caitríona has it worse than her husband, and she just doesn’t want to do anything or say a word or even meet anyone. But unfortunately, she, and her husband, meet Worms Gormley―or Will, as Caitríona remembers him. He is an old friend of Fergus, and an old lover of Caitríona, but nobody knows. It may not be the right time to see a man with his happy family and healthy kids when you have just lost yours, but it’s definitely not the right time to find out that your secret ex-lover was actually your husband’s roommate, or that he’s the one who can actually heal your deepest wound.
O’Connor sort of want to state, however, that there might be one thing which is more important than family, or marriage bond: the bond between women, sympathy and empathy between women. Shut Your Mouth, Hélène doesn’t say that women have to keep mum about everything, but to do it at the right time. Women, of course, are entitled to say anything they like, anything they want, anything they deem proper to talk about; but when a man has sexually abused you and his wife, who was witnessing it, strikes him to death, you probably do not want to tell anybody about it.
It’s not suprising when women write about women, about their feelings, suffering, points of view, unpleasant experiences, their want (and dreams) of freedom, their secret passion and various problems. But Nuala O’Connor has certainly written women’s stories in a thorough way, with a very quiet yet very loud voice. The theme is mostly around family, yes, but she doesn’t hesitate to get deeper into it and dig out the darkest part of it. O’Connor also doesn’t hesitate to claim that there are other kinds of family (in The Boy from Petrópolis and The Donor) and that a family is never okay (Futuretense). That being said, what O’Connor always emphasizes here in this collection is women’s feelings and experiences, and how they see and handle their problems―whether it is with hatred or bitterness, anger or sympathy, sadness or love. Seeing all the female characters in all of the short stories contained, we can see (and be convinced) that women can be different from one another, but rest assured that they have one thing in common: they are free people, they want freedom, they practice freedom, they can be and do anything they like.
The problem with this book is that not all the premises are interesting, and not all the narratives are told engrossingly. Some are just so-so that you might want to skip them, or read them without paying much attention. That doesn’t mean they’re bad, though.
One thing for sure, Joyride to Jupiter by Nuala O’Connor gives you a wide-range angle on women, various points of view we should ponder about―different ones we should use to look at them.