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Summary
Summary
In Dublin, 1918, a maternity ward at the height of the Great Flu is a small world of work, risk, death, and unlooked-for love, in "Donoghue's best novel since Room " ( Kirkus Reviews )
In an Ireland doubly ravaged by war and disease, Nurse Julia Power works at an understaffed hospital in the city center, where expectant mothers who have come down with the terrible new Flu are quarantined together. Into Julia's regimented world step two outsiders -- Doctor Kathleen Lynn, a rumoured Rebel on the run from the police, and a young volunteer helper, Bridie Sweeney.
In the darkness and intensity of this tiny ward, over three days, these women change each other's lives in unexpected ways. They lose patients to this baffling pandemic, but they also shepherd new life into a fearful world. With tireless tenderness and humanity, carers and mothers alike somehow do their impossible work.
In The Pull of the Stars , Emma Donoghue once again finds the light in the darkness in this new classic of hope and survival against all odds.
Author Notes
Emma Donoghue was born on October 24, 1969 in Dublin, Ireland. She received her BA degree from the University College Dublin and PhD in English from University of Cambridge. Her first novel was Stir. Her next novel was Hood which won the 1997 American Library Association's Gay, Lesbian and Bisexual Book Award for Literature. Her novel Slammerkin was a finalist in the 2001 Irish Times Irish Literature Prize for Fiction. The Sealed Letter, published in 2008, is a work of historical fiction. This work was the joint winner of the 2009 Lambda Literary Award for Lesbian Fiction. She continued writing several award winning novels including Room which was shortlisted for the Man Booker Prize in September 2010. Some of her other works include Astray, Three and a Half Deaths, and Frog Music.
(Bowker Author Biography)
Reviews (4)
Publisher's Weekly Review
Donoghue's searing tale (after Akin) takes readers to a Dublin beleaguered by wartime shortages and ravaged by a lethal new strain of influenza. On Halloween in 1918, nurse Julia Powers, single and ambivalent about marriage, is about to turn 30. When Julia's supervisor gets the flu, Julia is left alone serving a ward of high-risk pregnant influenza patients. Kathleen Lynn (the story's only historical figure), an activist involved with the radical Sinn Féin party, supplements Julia's own knowledge of obstetrics, and volunteer Bridey Sweeney arrives to help with the backbreaking work. Julia feels a powerful draw to the smart and willing Bridey, whose optimism belies her impoverished upbringing in a brutal charity orphanage. As they cope with the ward's unceasing cycle of birth and death, their closeness challenges Julia's sense of herself and her life. While the novel's characters and plot feel thinner than the best of the author's remarkable oeuvre, her blunt prose and detailed, painstakingly researched medical descriptions do full justice to the reality of the pandemic and the poverty that helps fuel it. Donoghue's evocation of the 1918 flu, and the valor it demands of health-care workers, will stay with readers. (July)
Guardian Review
Emma Donoghue's publishers might regard it as a mixed blessing that her latest novel is set during the 1918 flu pandemic. While she can't be faulted for topicality, it seems unlikely that many people will want to spend more time than they need to thinking about a deadly virus. This would be a shame as, for the most part, The Pull of the Stars is a beautifully modulated historical novel. There is also the comfort - for most of us - of how much more likely we all are to survive the current emergency than anyone on the 1918 Dublin maternity fever ward, the setting for Donoghue's 13th novel. For a small cast, the death count here is high. As anyone who has read Donoghue's internationally bestselling novel Room - inspired by the grotesque Josef Fritzl case - will know, she is quick to draw the reader in. After only four short sentences, we can already smell the "dung and blood" of the Dublin streets as nurse Julia Power cycles to work at an understaffed hospital in the city centre. Donoghue's prose is visceral, and the sense of peril in the cramped, tiny ward is compelling. The first part of the story takes place over 14 hours as women weakened by flu contort themselves in labour. There is tenderness and even beauty amid the horror, as nurses manoeuvre the expectant mothers into bizarre positions to accelerate labour and thus save lives. Nurse Power has been sent a young volunteer helper for the day, Bridie Sweeney, who is so ignorant she is astonished to feel a baby moving inside its mother's body: "I thought it only came to life once it was out," she admits. Donoghue has abandoned quotation marks in this book. She has said she wanted to give the dialogue a "hallucinatory effect", and it certainly conjures up Nurse Power's exhaustion. Where the novel falls down is in Donoghue's weakness for lurid melodrama. Attending the postmortem of a mother who died before her baby could be born, Nurse Power gazes at the foetus: "I wept for him, and his mother on the slab, and his five brothers and sisters gone before him, and the seven orphaned ones, and their bereft father." This may simply have been the state of things, but Donoghue appears at pains to ensure the reader never forgets about grief and suffering. Poverty and flu are not the only cause of pain, of course - the first world war is still going on during the three days of the novel's action. Nurse Power reflects on war neurosis and "the Englishwoman who lost her mind in an air raid and decapitated her child". The effect of so much blood and guts is quite deadening, and lessens the impact of the final tragedy in the book. There is also a subplot featuring a doctor on the run from police, but this fails to really go anywhere. This feels like a wasted opportunity, given that Donoghue is such a capable writer. Early on, an exhausted doctor "held on to the stethoscope around his neck with two hands, as a swaying passenger on a tram might grip an overhead strap". It is this ability of Donoghue's to conjure a whole world in a short phrase that makes the book worth reading; one only wishes she could occasionally have exercised a little more restraint.
Kirkus Review
A nurse in a Dublin hospital battles the ordinary hazards of childbirth and the extraordinary dangers of the 1918 flu. Donoghue began writing this novel during the 1918 pandemic's centennial year, before COVID-19 gave it the grim contemporary relevance echoing through her text: signs warning, "IF IN DOUBT, DON'T STIR OUT," an overwhelmed hospital bedding patients on the floor, stores running out of disinfectant. These details provide a thrumming background noise to the central drama of women's lives brought into hard focus by pregnancy and birth. Julia Power works in Maternity/Fever, a supply room converted to handle pregnant women infected with the flu. The disease makes labor and delivery even more high risk than normal. On Oct. 31, 1918, Julia arrives to learn that one of her patients died in the night, and over the next two days we see her cope with three harrowing deliveries, only one of which ends well. Donoghue depicts these deliveries in unflinching detail, but the gruesome particulars serve to underscore Julia's heroic commitment to saving women and their babies in a world that does little for either. Her budding friendship with able new assistant Bridie Sweeney, one of the ill-treated "boarders" at a nearby convent, gives Julia a glimpse of how unwanted and illegitimate children are abused in Catholic Ireland. As far as she's concerned, the common saying "She doesn't love him unless she gives him twelve," referring to children, reveals total indifference to women's health and their children's prospects. Donoghue isn't a showy writer, but her prose sings with blunt poetry, as in the exchange between Julia and Bridie that gives the novel its title. Influenza gets its name from an old Italian belief that it was the influence of the stars that made you sick, Julia explains; Bridie responds, "As if, when it's your time, your star gives you a yank." Their relationship forms the emotional core of a story rich in swift, assured sketches of achingly human characters coping as best they can in extreme circumstances. Darkly compelling, illuminated by the light of compassion and tenderness: Donoghue's best novel since Room (2010). Copyright (c) Kirkus Reviews, used with permission.
Booklist Review
Julia Powell, a dedicated nurse at a Dublin hospital in 1918, pours her energy into caring for patients in the women's fever ward, tending to pregnant women struggling to both give birth and fight off the flu. Turning 30, Julia is unbothered by the prospects of never marrying, focusing her concern instead on the prospects of recovery for her brother, Tim, back from the war with no physical wounds but deeply wounded, nonetheless. At work, Julia laments the extra cots jammed into wards and dire newspaper headlines. She is on the front line in what had been seen as a golden age of medicine conquering maladies from anthrax to malaria but is now no match for the disease "beating us hollow." In the tumult of influenza and the post--WWI era, she meets two extraordinary women: a sprite of a helper, Bridie Sweeney, a young woman well acquainted with the battle to survive poverty, and the indomitable Dr. Lynn, a firebrand indicted in the Irish uprising who was released to help in the overcrowded hospital. These two women will change everything Julia thought she knew about life, nursing, politics, and love. Donoghue (Akin, 2019) offers vivid characters and a gripping portrait of a world beset by a pandemic and political uncertainty. A fascinating read in these difficult times.HIGH-DEMAND BACKSTORY: Readers ardently pursue every book by Donoghue, but the prescient pandemic theme and valiant nurse protagonist in her powerful latest will increase interest exponentially.