The Biographer's Lover
Since I read this novel, my eye was caught by an article about Nora Heysen, an Australian artist who was the first female official War Artist, a post that Edna Cranmer, the artist at the centre of the book, aspires to but does not manage to attain. The story of women in art is an endlessly fascinating one; I mean woman as artists, not subjects. Overlooked, squeezed out, disparaged, shouted down, forgotten -- it is rare for a female artist, particularly a painter, to achieve recognition in her lifetime. Edna Cranmer, though fictional, is typical of this trajectory, and the novel traces the parallel stories of Edna's uncovering and posthumous celebration, and her (unnamed) biographer's journey to bring Edna's art to the attention of the world.
Two other books on related topics spring to mind here -- Drusilla Modjeska's Stravinsky's Lunch, and Rachel Power's The Divided Heart, both non-fiction, both exploring the difficult tensions that women face in balancing ambition and family, caring for others with following their own creative path.
As a writer, this is a dilemma that I am somewhat familiar with (as I interrupt writing this blog post to prepare food for my daughter, and run down to the chemist for my mum). But it's easier for a writer to carve out time and space and resources to write. Not so easy for a painter, who needs to buy paint, and canvases, and a space to keep them, a big light space to work and big stretches of time. Ruby Murray teases out these difficult debts of dependence and duty, the tangles of family loyalty and the frustration of repeated rejection.
This is such a rich field for a novelist, it can hardly help but be a winner.