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63 pages 2 hours read

Evie Woods

The Lost Bookshop

Fiction | Novel | Adult | Published in 2023

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Background

Historical Context: Historical References in The Lost Bookshop

Woods weaves historical references into the fictional events of her novel. For instance, Opaline lives in the 1920s and encounters several major historical figures of the time. She works at Shakespeare and Company, a bookstore in Paris owned by Sylvia Beach. Beach was an American-born expatriate, one of the major supporters of a group of artists and intellectuals in Paris called The Lost Generation. She published James Joyce’s novel Ulysses and supported Ernest Hemingway throughout his career. The Lost Generation (later the name of the generation after World War I) consisted largely of American and British expatriates in Paris, such as Ernest Hemingway (The Sun Also Rises, A Farewell to Arms) and F. Scott Fitzgerald (The Great Gatsby, Tender Is the Night), who originated the Modernist literary movement.

Opaline’s experience in a psychiatric hospital is another important historical reference. The Connacht District Lunatic Asylum was a real hospital, now called St. Brigid’s Hospital, and was one of many such places throughout Ireland. Initially built to care for “curable lunatics,” they became places of ill treatment where those with genuine mental illnesses, criminals, and those committed without cause were mixed together in dangerous environments (“‘Tales From the Big House’ The Connacht District Lunatic Asylum in the Late Nineteenth Century.” History Ireland). Many of these establishments were run by religious organizations, allowed people to be “committed” against their will and without just cause, and often kept people for decades without proper care or opportunities for release. Diagnoses such as “hysteria” and other illnesses were used to justify the forced control of outspoken or unconventional women. Some psychiatric hospitals behaved like Magdalene Laundries, Catholic-run institutions where unmarried pregnant women were placed against their will and indentured while their babies were taken away for adoption (Ostberg, Rene. “Magdalen Laundry.” Britannica).

In addition, the novel references a prisoner of war (POW) camp in Ireland during World War II. Ireland remained neutral during the war, so their laws required only that German prisoners not be allowed to return to the war. Therefore, the Irish POW camp, Curragh, had a relatively relaxed system. POWs were allowed to drink, read newspapers, and go to movies and dances. Eighteen prisoners were allowed to attend courses at the University in Dublin. Many prisoners developed friendships with local townsfolk, and several even married and remained in Ireland after the war (“German Internees at the Curragh Camp.” History Ireland).

Literary Context: Magical Realism

The term “magical realism” first appeared in Germany in the 1920s, referring to a style of art that depicted objects with realistic detail to highlight the uncanny and magical of the everyday. The term was then adopted by Latin American writers, who originated the literary form of magical realism, and with whom the subgenre is still mostly readily associated. The most well-known Latin American magical realist authors are Gabriel Garcia Marquez (One Hundred Years of Solitude, Love in the Time of Cholera) , Isabel Allende (The House of the Spirits, Violeta), and Jorge Luis Borges (The Aleph, Borges and I). These early Latin American works of magical realism contained social and political commentary, particularly in postcolonial contexts. David Lodge states: “All these writers have lived through great historical convulsions and wrenching personal upheavals, which they feel cannot be adequately represented in a discourse of undisturbed realism” (Lodge).

In his article “Magical Realism: A Typology,” Guatemalan author William Spindler argues that magical realism can be placed in three categories: European metaphysical magical realism, containing feelings of estrangement and the uncanny; ontological magical realism, characterized by a matter-of-fact depiction of inexplicable events; and anthropological magical realism, in which a supernatural Indigenous worldview coincides with a rational Western worldview (Spindler, William. “Magic Realism: A Typology.” Forum for Modern Language Studies, vol. 39, no. 1, 1993). Other authors who write in the magical realism tradition include Angela Carter, Sherman Alexie, Louise Erdrich, and Haruki Murakami.

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