Gr 5–8—"Cheeky," Dublin-raised Mary O'Hara, 12, is "not a little girl anymore," but she is still a child in many ways. With her beloved grandmother, Emer, dying in the hospital, Mary meets Tansey, her great-grandmother's ghost. Tansey has returned to assure Emer that dying is not so bad and "it'll all be grand." The narrative skips between time periods and the point of view alters among the perspectives of Mary, her mother, Emer, and Tansey. Readers learn that Tansey died of the flu in 1928 when Emer was only three and has been lingering near her ever since. The four generations of women go on a late-night road trip to the old family farm and the sea, a journey that allows them to learn about one another and helps them cope with past and future losses. The Irish dialect may delight some readers but frustrate others. Windows into the past give depth and meaning to each woman's struggle. The theme that love and affection are handed down through generations of women is a bit understated, but that's part of its charm. Occasionally, the frequent dialogue becomes tiresome and reads more like poetry. Pair this book with Jacqueline Kelly's The Evolution of Calpurnia Tate (Holt, 2009). An affecting story about growing up, family, life, and death.—Richelle Roth, Boone County Public Library, KY
Twelve-year-old Mary O'Hara's narrative is punctuated with scenes from the young lives of her mother, grandmother, and great-grandmother. Eventually all four generations meet ("one of them dead, one of them dying, one of them driving, one of them just starting out") and head off to an old family home. Doyle's Irish ghost tale is moving and artfully structured.
In this moving and artfully structured ghost tale, four generations of Irish women come together. At first they relate only as intertwined stories, as twelve-year-old Mary O’Hara’s narrative of the usual middle-grade challenges is punctuated with scenes from the lives of her mother, grandmother, and great-grandmother as children and young women. Eventually, however, all the generations meet in a real scene as the four -- "one of them dead, one of them dying, one of them driving, one of them just starting out" -- head off on an expedition to a family home of days gone by. The confidence and matter-of-factness of Doyle’s style dissolve potential reader skepticism about the ghost in the back seat. There is no wispiness about great-grandmother Tansey, who died of influenza as a young mother. She is made of history, sorrow, and determination. Her explanation of her kind of ghost: "They don’t go away, after the funeral. They linger. To make sure that everything is grand and the people they love are getting on with their lives." A big part of the pleasure here is the rhythm of the language and the contrasting voices of the generations. Any opportunity to read it aloud would be a treat. sarah ellis
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