Annie Stanley All at Sea by Sue Teddern - Book Reviews

Overall Book club rating - 3.2/5

Rating 5/5

Lovely book and I enjoyed reading it. An event that could have been very sad brought every one together

Rating 1/5

On finishing this book I experienced a strange mix of sadness and happiness. I felt sad that I’d wasted several hours reading it and at the same time I was happy the nightmare was over. It’s strange to read a novel described as witty, funny and hilarious without laughing or smiling at all. We’re told the main character Annie is very funny; everyone says so. She herself says she often makes another character laugh so much that his lungs burst. Any author has to back up such claims by including lots of Grade A funnies but sadly all of the ‘jokes’ are weak and… well, just not funny. For example the phrase ‘proper tea’ sounds like the word ‘property’. So Annie asks ‘do you want proper tea? That’s theft!’ It’s a ‘joke’ aimed at the saying ‘all property is theft’. We’re told that’s so funny it’s been a running joke for years between the star-crossed lovers; long Winter evenings must fly by. On a serious note, it’s shocking to discover that ‘joke’ featured on a website ten years ago … and it probably wasn’t original even back then. So it seems we have a comedy author trawling the internet for old jokes to include in her book. The characters are not believable, not fleshed out or developed in any way; consequently they come across as two dimensional cardboard cut-outs rather than real people. Almost all of the adult male characters exist only as former lovers of Annie or as possible future lovers. Almost all of the adult female characters are sad and unfulfilled until they find themselves a partner. This subtext, that women regardless of their age, beliefs or circumstances can only be truly happy as one half of a partnership, runs right through the book; it’s an incredibly old fashioned notion that feminists everywhere will rightly take issue with. For example Annie is only able to get over her breakdown when she is in the arms of the man of her dreams. Her sister Kate completely changes her stressed icy character and lives in a constant state of bliss when she finds her partner. Furthermore, as if the author is saying this search is so necessary that it must last forever, we see an independent strong-minded 77 year old woman make a long journey just to see an old flame. Locations are as thinly described as the characters. Annie visits genuinely interesting far flung places in the UK but these aren’t described in anything like the detail given over to, say, the various outfits the female characters wear. Consequently the reader can be forgiven for assuming there’s not much difference between Thurrock Services and Kirkwall in Orkney. The author, having written scripts for Birds Of A Feather in the past, is obviously being marketed as a comedy writer. One hopes she gives serious consideration to the quality of her material for her next outing as there are few things more excruciating in entertainment than a comedian who isn’t funny.

Rating 4/5

Insouciant Annie, in attempting to quarantine herself from what she perceives as the harsh realities of the world, cocoons herself in daytime cinema; her manic thoughts whisk hither and thither -like bats at twilight, in the hope that the attentive reader may capture at least some of them. In the opening chapters, she is indeed ‘all at sea’ as she struggles to navigate the tumultuous oceans of grief -initially in relation to her mother, and later her father; her depressive state is portrayed sensitively, providing depth and authenticity to her endearing character. Teddern has produced an uncomplicated narrative quite devoid of affectations and complex plots; it is a labyrinthine, unembellished exploration of the intricacies of human attachment and emotion, and the infinite complexities of grief’s repercussions. The underlying threads of humour never detract from the quintessence of mortal affliction; Annie is on an unfamiliar, and at times fearsome, quest of self-discovery which in itself proffers a multitude of opportunities for reflection upon her relationships -with both herself and others. All characters are animated and authentic, each with their own histories; as accompanying actors on Annie’s stage, they astutely support her in her blossoming realisation of who she unquestionably is. So much is elicited as Teddern deftly interweaves this pitiful woman’s cautious analysis of her once obscure and insular perception of herself with her compelling, poignant crusade to scatter her father’s ashes. However, one cannot dismiss the tiresome element of predictability as our protagonist magically happens upon ‘fellow knitters’ in everyday places; this detracts from the otherwise intense illustration of her intimate and painful experience of loss and depression. Similarly, as the narrative progressives, it tends to resemble a tedious travelogue, losing that intrinsic connection with Annie; nevertheless, the physical touring does serve to mirror her inner journey as she acquires greater self-awareness and responsibility for her actions. The enigmatic, ingenuous Hillary becomes an all-encompassing influence as she shares centre stage; her maternal -albeit outspoken approach, is the catalyst for Annie’s maturing perceptions, and provides a much-needed vibrance without losing the focus on Annie and her quest. In conclusion, it is an uncomplicated and undemanding read, and, despite the aspects of predictability, it is surprisingly emotive; it invites identification with Annie and the plethora of supporting subplots. Much more than a geographical quest, it explores and makes accessible a journey of loss in its many guises; this elementary and subtle consideration of grief, attachment, self-worth and self-sabotage is beautifully presented within a measured and empathic approach.