Shuggie’s room in the bedsit may be the end of his journey in the novel, but it’s only the beginning of Stuart’s, who won the Booker Prize last month for his semiautobiographical tale of heartbreak and hope. Released to strong reviews in February, the book gained momentum as a word-of-mouth hit during lockdown, attracting praise not only for Stuart’s window into the plague of unemployment and working-class disillusionment wrought by Margaret Thatcher’s Conservative government but also, perhaps more importantly, for the empathy that radiates from every page. Despite the horrors he recounts in the book, Stuart is firm in his belief that it is ultimately a “love story.”
“What good was a soft boy in a hard world?” Shuggie’s older half-brother, Leek, says of the boy as a six-year-old; his love for dancing, playing with dolls, and instinctive aversion to football are quickly identified by those around him as “no right.” His mother, Agnes, is glamorous, charismatic, and an alcoholic, her addiction becoming an all-consuming force that her loved ones must either grapple with or eventually give up on. Shuggie and Agnes are also subject to the brutality of a cast of domineering men whose violence, both physical and emotional, never quite breaks the filial bond at the heart of the story. It’s their shared experience as outsiders that pulls Shuggie most deeply into Agnes’s orbit out of his three siblings, the pair clinging to each other as the book hurtles towards its inevitable conclusion.
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