Click for Source Image By Pamela Banayoti
CAUTION: EVERYONE MUST READ
Revolutionary, thought provoking, shocking; this is a novel that does not disappoint on any level. Made up entirely of cut up advertisements from magazines in the 1960s, the story follows Norma Fontaine who makes her decisions based on consultations with the women’s glossies. However, Norma bears a secret that threatens to halt her brother’s blossoming romance. As the plot develops, readers realise everything is not as it seems, and the glossies that are mentioned ever so casually, are in fact important in aiding us with the twist that comes towards the end of the novel; as we come to know who Norma really is. Graham Rawle worked on this project for five years, before completing his masterpiece and bringing it to the world, for which we are so thankful.
CAUTION: EVERYONE MUST READ
Revolutionary, thought provoking, shocking; this is a novel that does not disappoint on any level. Made up entirely of cut up advertisements from magazines in the 1960s, the story follows Norma Fontaine who makes her decisions based on consultations with the women’s glossies. However, Norma bears a secret that threatens to halt her brother’s blossoming romance. As the plot develops, readers realise everything is not as it seems, and the glossies that are mentioned ever so casually, are in fact important in aiding us with the twist that comes towards the end of the novel; as we come to know who Norma really is. Graham Rawle worked on this project for five years, before completing his masterpiece and bringing it to the world, for which we are so thankful.
Click for Source Image Experiencing the world through Norma’s eyes, the narrative stems solely from magazines of the 1960s, the language is unique, and phrases which may seem out of context in an ordinary novel, is in fact celebrated in Woman’s World. One wonders how Rawle was able to construct a narrative based on scissors and glue. The fiction may be deemed as clichéd, due to the source of the text, and were we to see these phrases in a normal realist novel, we would reject it and possibly discredit the writer, but rather than just working for this novel, it almost needs it in order to continue with the strong voice that speaks so eloquently throughout the novel. We welcome the clichés as we begin to think like Norma. The saturation is part of the appeal and showcases Norma's perception of the world, as we in turn question our own perceptions. The world that Rawle has created draws us in with the poetic nature of the sentences, contrasted by the graphic cut outs. Readers are able to draw parallels with Norma’s instability and the visual text as it reflects her mind process.
The aesthetic appeal of the novel pertains to the vibrant images painted in the story as we visualise the scenes, an example being on page 38, when Norma is getting ready for a job interview; ‘my lips were velvety roses scattered profusely on the white satin background of my face.’ Not only is this novel fun to read, it also allows us to empathise with the characters, the story and the tragedy which encompasses this family’s life.
The narrative voice is so strong, that we begin to think and speak like Norma, willing the best for her. No spoilers will be found here. The book must be read. It's surprising, eloquent and beautiful in its debilitated relation of memory, mental health and the tragedy that belonged to the 1960s woman’s world.
The aesthetic appeal of the novel pertains to the vibrant images painted in the story as we visualise the scenes, an example being on page 38, when Norma is getting ready for a job interview; ‘my lips were velvety roses scattered profusely on the white satin background of my face.’ Not only is this novel fun to read, it also allows us to empathise with the characters, the story and the tragedy which encompasses this family’s life.
The narrative voice is so strong, that we begin to think and speak like Norma, willing the best for her. No spoilers will be found here. The book must be read. It's surprising, eloquent and beautiful in its debilitated relation of memory, mental health and the tragedy that belonged to the 1960s woman’s world.
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