In this lurid, big-boned, often brilliant book about a sculptor and a true-crime documentary, state-of-the-nation commentary and gruesome chills combine
Claire Fuller is fascinated by corpses: by the moment when a supple, beloved body turns into inert, heavy matter. In her masterful 2021 Costa winner Unsettled Ground, adult twins veer between pathos and gawky comedy as they attempt to dress and bury their dead mother, floored by the sheer, awful weight of her. Now in Hunger and Thirst, Ursula’s destiny is shaped by encounters with two cadavers. And as the book oscillates between social realism and gothic horror, these two unruly corpses destroy her life.
The first is Ursula’s itinerant, troubled but loving mother, who’d been busking with her child alongside her since giving birth at 16. Aged seven, Ursula spent an appalling two days stuck in a bathroom in Morocco, with the door trapped by her mother’s dead body after she died of dengue fever. By the time the novel opens in 1987, Ursula is 16, and has been moved between seven children’s homes before ending up at a “halfway house” alongside recovering addicts and released prisoners. She lands a trial job in the postroom at Winchester School of Art: there she makes friends with bold, madcap Sue, who thrusts on Ursula an unfamiliar intimacy, introducing her to her enviably warm and rambling family. Ursula is narrating the book 40 years later, and it’s clear from the start that something will go so horribly wrong between Ursula and Sue that a prurient documentary-maker will end up making a film about Sue’s murder. Scenes from this documentary, Dark Descent, punctuate the book, adding to the sense of foreboding.
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In this lurid, big-boned, often brilliant book about a sculptor and a true-crime documentary, state-of-the-nation commentary and gruesome chills combineClaire Fuller is fascinated by corpses: by the moment when a supp...
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