Everything Under by Daisy Johnson is the story of a daughter, mother, and digging into memory:
If I really cared about you I would put you in a home for your own good. Floral curtains, meals at the same time every day, others of your kind. Old people are a species all of their own. If I really still loved you I would have left you where you were, not carted you here, where the days are so short they are barely worth talking about and where we endlessly, excavate, exhume what should remain buried.
It is the story of words: their creation, meaning, and power:
Occasionally we find those old words sneaking back in and we are undone by them. It’s as if nothing has ever changed, as if time doesn’t mean a jot. We have gone back and I am thirteen years old and you are my awful, wonderful, terrifying mother. We live on a boat on the river and we have words that no one else does. We have a whole language of our own.
And it is a story about fear: naming it, running from it:
One night I wake and you are screaming and screaming. I skid along the corridor, knock you door open, put on the light.
The Bonak is here, you say, and for a moment—because it is night and I am only just awake—I feel a rise of sickening panic.
Johnson’s story reverberates from the present to the past and it balloons into more than a mother’s dementia and a daughter’s search to find meaning behind the words, truth.
Some mornings I am cold with certainty that only some ancient punishment will do, a stoning or a blinding, leaving you out for the wolves. You tell me that you didn’t know and we grow silent and wonder if either of us really believes that. Again and again I go back to the idea that our thoughts and actions are determined by the language that lives in our minds.
Truth is elusive, stretching to include a run-away youth: Margo/Marcus. And it becomes tangled like the weeds beneath the boat, knotted into words woven into the Oedipus myth.
Daisy Johnson has created an original page-turning story that was shortlisted for The Man Booker Prize 2018. Fall into Everything Under and let her laden words carry you like the river’s current.
Reading as a writer:
- Gretel, the daughter-narrator, is a lexicographer. Pay attention to the role words play in the story and why Johnson made her a word person. As you read, also consider the naming of people and objects in Johnson’s story. What is the importance of Gretel’s career choice and how does it impact or layer the story? In your writing, what do character’s names bring to your stories? What do their roles contribute?
- Can you read “Gretel” without thinking of the fairy tale Hansel and Gretel? What does this allusion bring to Everything Under? Gretel is as lost in her own way as her mother is lost in dementia. Another literary reference is made to the Oedipus myth. Think about your own literary references and ask yourself if they are integral to your story, layering it and deepening the meaning, or if they are superficial and ostentatious.
Available through your local bookstore or online: Everything Under