Personally, I’m not a fan of the word ‘genius.’ It’s derived from ‘genie.’ The idea that a little imp comes and sits on your shoulder and gives you an idea, and that’s where your fantastic work comes from. To me, that detracts from the graft, the inspiration, the dedication, needed in order to produce something of wonder and beauty. As Adam Grant points out in his TED talk, one of the reason people end up with beautiful creative things is that they create lots of average or crap things first, which means that their practice and honing of talent produce something pretty impressive in the end. The word also implies a disconnection, as if a celestial firebolt has been flung at the head of some unsuspecting person.
For that reason, I wouldn’t describe Eimear McBride as a genius. She has produced something singular and beautiful that no doubt shows flair, imagination and rare talent, but I don’t want to give the credit to the little green guy whispering in her ear.
A Girl is a Half-Formed Thing is a tough read, for many reasons. Firstly, the prose. It is disjointed and poetic, freely flowing with unusual syntax and grammar (no commas!). This fluid style takes a while to get into and absorb, but somehow it seems to capture the voice of the narrator so much more internally than ‘regular’ writing does. The second reason is the ordeals that the central character goes through. It’s not light reading, but it is important reading, for many reasons.
Most reviews I’ve looked at tend to focus on the prose style. Which is understandable. At times it moves into something almost incomprehensible – when the protagonist is undergoing some deep trauma, the prose becomes barely anything but noise; a deep, guttural response to the awful things she is subjected to. It’s one of the things which makes this novel so special. The other, which I’ve not encountered nearly as much, is the exploration of female sexuality. Perhaps the interviewers were too embarrassed to ask, suspecting it was autobiographical (an assumption levelled far too often at female writers) or perhaps, like so much of the world, they’re terrified of the possibilities of female sexuality. An intellectual debate about her language neatly sidesteps the incredibly important issues she exposes.
Early on in the book, she is raped by her uncle when she is thirteen. The way she recounts this event is very important. She does the unthinkable – she acknowledges that a young teenage girl is a sexual being. Feelings she cannot name arise within her. She hears and knows of sex but cannot comprehend the implications of what it is. These feelings are aroused by her uncle. From her perspective, she feels as if it is reciprocal, that she has led him on, that it is a mutual act. Exposing this complexity is important. Grown men have claimed underage girls were ‘asking for it’ in order to defend themselves from statutory rape. Judges have even accused schoolchildren of ‘grooming’ adults in abuse cases. The graphic and uncomfortable scene in McBride’s book reveals the obvious truth – it is the adult that carries the responsibility. No matter how ‘flirtatious’ a young girl may seem, she is merely beginning to explore the sexual possibilities of her body, she is certainly not begging to be raped. Her inability to understand her abused nature is a central point in this heartbreaking narrative.
If female sexuality were not so feared, perhaps little girls would not feel the need to police their clothes, actions or speech in order to maintain archaic ideas of ‘propriety,’ be it inflicted by religious dogma (as it is in the novel) or to fit into societal expectations. The mantra that ‘boys will be boys’ and cannot help themselves is as insulting to men as it is to women. In the book, McBride shows us how the shame she is encouraged to feel for her sexual activities places the blame squarely in the lap of the victim, not the creepy uncle who continues to hound her into adulthood.
Later, too, we see highly promiscuous behaviour. While we can see that the girl is damaged, it is not necessarily saying that a sexually promiscuous woman has to be broken in some way. In fact, she uses it as a tool for power and control, in situations where she feels she has none. Dealing frankly with what young people actually do in bed and why is far more important than pretending that males still prowl around looking for targets, while females ‘let’ themselves be preyed upon, or not. The protagonist actively seeks out sexual partners, and enjoys it. That’s not to say her experiences are entirely positive, and all too often she is taken advantage of and abused, but it is interesting to see a female character so open and experimental.
I wasn’t entirely convinced by the ending. Wouldn’t want to put spoilers in, but it did seem a bit of a disappointment, a nice arty way to round it off but not particularly convincing in light of the harsh realism that we were treated to up to that point. But endings are always tricky. What’s more important, is what we’re left with.
The ‘half-formed thing’ that Eimear McBride leaves us with is an objectified female, but not just a victim. She is marginalised and judged for her sex and her sexuality, and demonised for her knowledge and understanding of those restrictions placed upon her. Because she refuses to bow to religious dogma or traditional roles for herself, she is pitted against her family, her peers and the religious establishment. But she is so much more than this. The novel is a jarring yet harmonious call for the status of females to be reimagined outside the cages that are set up for them. I like to think that McBride is hopeful, that, for some girls, they flower into a fully-formed woman, and are given the grace and freedom to do so.