Hot Stew
Fiona Mozley
John Murray, 18 March 2021
Available as: HB, 320pp, e, audio
Source: Advance e-copy
ISBN(HB): 9781529327205
Fiona Mozley
John Murray, 18 March 2021
Available as: HB, 320pp, e, audio
Source: Advance e-copy
ISBN(HB): 9781529327205
I'm grateful to the publisher for an advance e-copy of Hot Stew via NetGalley.
One of the many striking effects of the year we've all just lived through has been the emptying out of busy city centres. Nowhere, I imagine (I haven't been able to go there to see) can this have been more startling than in Soho, the part of London most firmly associated in the popular imagination with bustling nightlife: with clubs, restaurants and bars, the gay scene, the film and music business, the sex trade.
Mozley's novel gives us a glimpse of this district, in all its contradictions, still active and vibrant yet threatened by gentrification, by the spread of bland investment properties and above all by a meta-ness that trades on the sleazy image while holding its nose and standing one pace back. Yet in pointing to these threats, Hot Stew isn't a sentimental book by any means. One of the central characters, sex worker Precious, reflects of the district that 'There are people here who would sell their own mothers, or eat you alive. If society fell apart... this is the last place she would want to be.'
No more sentimental is Agatha, whose viewpoint we follow for a fair chunk of the novel. Agatha has inherited a property empire built by her father based on violence and other forms of lawlessness. He went "legit", up to a point, and now she is trying to go more legit, tidying away the sex workers and immigrants from her properties - "blank slating" them as she describes it - so that after modernisation or replacement, new tenants can be moved in. Agatha is an absolutely appalling example of somebody who sees life in transactional terms, as she shows over and again, treating her relationship with a dog, even a horse, a young employee in just just the same way, taking what she wants, turning her regard off and on as it suits here, paying no attention to the others' nature or needs.
Yet Mozley does show us how this attitude may at least partly be rooted in Agatha's insecurity and fear of losing what she has. She has studied history ('The fragility of law and order is never far from Agatha's thoughts') and she keeps a yacht ('named Versailles') ready on the river in case things go bad quickly. She remembers how badly, as the daughter of a Russian immigrant, she was treated by the posh girls at the school her mother slaved to put her through.
There is a contrast between Agatha and the sex workers whose future is (as much as anything is) at the heart of Hot Stew. Precious and campaigns against the redevelopment of her home ands workplace, one of Agatha's assets, becoming a real thorn in Agatha's flesh, and that of the police and city authorities. Mozley paints Precious's working setup as something of an ideal, a relatively safe space where she has control and agency, acknowledging that other women find themselves in much worse, more exploitative circumstances, even in captivity. This is a controversial issue and Hot Stew, while pointing to the risks of well-meaning interventions, doesn't draw conclusions but instead highlights the complexity of real life.
The book also explores other denizens of Soho: Robert, a retired hard man, sits drinking with insecure young actor Lorenzo in the afternoon in a bar that is also under threat of modernisation. Roster is Agatha's fixer and enforcer, a tool from the old days that she can't, quite do without. (He's also her dog walker - Robert, remembering him from another life, sees him as a ghost walking a dog) There is a young corporate lawyer, Bastian, whose relationship with his alpha girlfriend is under pressure. An ambitious police officer on the make. And, most strikingly of all, a group of homeless people whose existence roaming the streets and dossing in a cellar makes them a kind of chorus in this book: it's they who, literally, feel the tremors as a massive engineering project takes place under Soho, as oligarchs burrow down and down under their houses to create lavish suites where who knows what may go on, as construction trucks and delivery vans shake the streets.
Indeed, the homeless group gives this story an almost timeless sense, blending the present with the post, with more than a hint of fantasy. Is their leader, the "archbishop" really some ancient figure who remembers when Soho was fields and woods? Or is he just another man trying to cling on? We are given differing stories. Where do the couple referred to as "Paul Daniels and Debbie McGee" (they do a really bad magic act in the pubs and bars) really come from - what lives have they lived before and who are they connected to? One of them will, in this story, almost step out of their world to experience something quite different, causing consternation for those left behind.
Mozley weaves together all these elements and many more, creating a real sense of bustle and sprawling activity, of intersecting lives, most of them tinged by regret: Lorenzo at getting typecast based on his brown(ish) skin, Agatha beset by the half-siblings whose inheritance she enjoys, another young woman hovering on the edge of homelessness, only able to find a place to stay that's not-quite-above-board. Of all these figures, Precious perhaps regrets least. She's the one for whom Soho is both most permanent (she has a decent flat, a steady income) and most temporary (eviction is threatened, but even without that she's here for a purpose, and will move on when it's done). But she is also one of the more vulnerable.
Hot Stew creates a powerful sense of movement, with the characters who are going somewhere and others who are just going, who can't rest or settle. It jumps backwards and forwards to show what these people are to each other and what they have been, creating little "aha" moments when the reader spots events or people through new eyes, underlining the degree to which all perspectives are partial. It's a very human book: even with her flaws, there is sympathy for Agatha. Another character, Rebecca, who came across to me as rather unpleasant, is really stupid rather than bad ('Rebecca was emphatically apolitical, which meant she liked things the way they were.') Robert regrets his violent past and refuses to be drawn back into it. Lorenzo breaks with Robert on learning a dark secret about him, but hates himself for doing that.
The book is full of beautiful writing and characterisation. We are told that 'There's something about the night in this city that is brighter than the day'. Rebecca is 'a highly measured person. Bastian is frequently astonished by her levels of self-control'. Precious 'puts on a voice that is sweet and pliable, a voice she reserves for men'. While Agatha's senses 'only decipher the present', a dog uses its nose to 'deal with history'. After a betrayal says that she '"was an idiot for trusting [her]. But whatever. Damage done. lesson learned. I've moved on." Precious has not moved on.' The writing simply flows, making even most mundane episodes a joy to read, stuffed with insights and unexpected perspectives. Covering several months in its characters' lives, it isn't forced and doesn't round everything off neatly. Whatever the challenges and changes, the comings and goings, Soho will continue and its people will adapt.
I would really, really recommend Hot Stew.
For more information about Hot Stew, see the publisher's website here.
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