I finally ticked the last book off my March TBR, with a little help from Gil @ Gil Reads Books, who kindly volunteered to buddy read it with me! John Boyne’s The Heart’s Invisible Furies is a nearly 600-page LGBTQ+ historical fiction novel that reads quickly for its size and has received a lot of love since its 2017 release. Though it didn’t quite live up to the massive hype for me, Gil and I were largely in agreement about this one, and I had a good time reading and discussing it despite a few disappointments.
In the novel, Cyril Avery narrates 70 years of his life, beginning with his mother’s eventful pregnancy and ending with the ghost of a friend telling him the (fast-approaching) date of Cyril’s own death. In between, the reader is given an overview of the challenges faced by gay men in Ireland from the 1940’s onward. The prevalence of strict Catholocism and the illegality of homosexuality in Ireland through much of the 1900s made life very difficult for a lot of people who, like Cyril, were forced to hide their true identities, create elaborate cover-ups, and/or leave Ireland altogether in order to simply exist as themselves.
“It was a difficult time to be Irish, a difficult time to be twenty-one years of age and a difficult time to be a man who was attracted to other men. To be all three simultaneously required a level of subterfuge and guile that felt contradictory to my nature.”
I’ll start on a positive: I think Boyne does a great job of conveying how oppressively unfair the social, political, and Catholic response to homosexuality and AIDS was in Ireland (and beyond, to some extent) until very recently. Politicians outed as homosexual would lose their careers. Men who confessed to doctors their shame and unhappiness over their sexual preferences were given cruel and ineffective “treatments.” Children were convinced by authority figures from a young age that the roads to Hell are many and being a homosexual is one of the most certain paths. Being gay in this place, in this time, led to arrest, loss of respect and even recognition from friends and family, direct verbal and physical violence from utter strangers, and more. Cyril’s introductions to sexuality are secretive after-hours public encounters that leave him feeling guilty and far from love. The Heart’s Invisible Furies gave me a good sense of the difficulties faced on every side, and the political/religious atmosphere of the country in these years that led to such intolerant reactions.
” ‘What’s wrong with you people?’ he asked, looking at me as if I was clinically insane. ‘What’s wrong with Ireland? Are you all just fucking nuts over there, is that it? Don’t you want each other to be happy?’ / ‘No,’ I said, finding my country a difficult one to explain. ‘No, I dont think we do.’ “
Unfortunately, a lot of the rest of the book’s potential positives were undermined for me by the sheer absurdity of the narration. I think my mention above about Cyril narrating his mother’s pregnancy and communing with ghosts is a good indicator of how very whimsical Boyne’s narrative choices are here. Though on their own none of the plot details would seem quite so far-fetched, all together it makes for a particularly comedic journey. I can’t deny that it was fun to read and guess which outlandish plot twist was coming up next (I did not have “villain crushed by statue in the nick of time” on my bingo card, sadly), but I had so much difficulty suspending disbelief that I could barely take any of the plot seriously. There’s a ton of ground being covered here, and I hate to bash this book because I do think it’s a decent (fictionalized) source of information for those who haven’t lived the experience; but perhaps its greatest fault is that it tries to encompass too much of the gay Irish experience within one man, and thus loses what strength it could have had in characterization. This might have been a very different experience if I had been better able to emotionally invest in Cyril’s saga of suffering.
As it is, I’ve heard of many of the horrors this book contains prior to reading it (the clandestine exchanges in parks after dark, the loveless marriages, the medical treatments, the prejudice). Shocking reveals were never going to win me over the way heartfelt characterization might have, and I found that lacking. The children don’t sound like children, the seven year time gaps between every chapter feel forced and make new character introductions belated and awkward, and relationships between them are difficult to understand without being explicitly told. Character reunions and deaths feel manipulative, exacerbated by the fact that each person in this story is so one-note that they read more like caricatures with a single personality trait each than actual people. Even the dialogue is presented very literally, lest the reader miss the point:
” ‘I just know that if she goes to America she’ll end up being raped by a black man and having an abortion.’ / ‘Jesus Christ,’ I said, spitting out my tea. ‘For God’s sake, Anna, you can’t say things like that.’ / ‘Why not? It’s true.’ / ‘It’s not true at all. And you sound very small-minded saying it.’ / ‘I’m not racist if that’s what you’re implying. Remember, my husband is Jewish.’ “
And yet, despite all the complaints I’ve lodged, I can’t deny that most of the read was engaging and entertaining, even if not in the way I expected or hoped for. I had a better time than with my last Boyne novel- A Ladder to the Sky. All in all, a mixed experience, though the fact that I seem to be in the minority with my complaints means I’d still readily recommend this book to anyone looking for a humorous, dramatic account of an important social issue.
My reaction: 4 out of 5 stars. This would probably have been a lower rating if I hadn’t enjoyed laughing my way through the most unrealistic of the plot points, and dissecting them all with Gil. Without a buddy I think I would have been even more frustrated than I was. I suspect I’m just not the right reader for Boyne’s style, though there’s enough to appreciate in his work that I’m not counting out trying more of his work in the future. I just won’t be rushing to pick it up.
The Literary Elephant