PUBLICATION SPECIAL: NEW BEGINNINGS FOR THE SURPLUS GIRLS BY POLLY HERON

I have loved every Surplus Girls book and New Beginnings is no exception. I was drawn into Jess’s story from the moment she appeared on the page. Her position as a working woman with a responsible job, but absolutely no security of tenure when a man came along, made me really think what pioneers the career girls of the 1920s were. The suffragettes may have won us the vote, but the ability of women to prove themselves at work was just as important, although of course we had to wait another fifty years for the Equal Pay Act and even now do not have true equality in every workplace.

The history behind The Surplus Girls books is expertly and meticulously researched, from the big issues like these to the slang names for particular cakes. Each and every detail sings from the page, which is why you feel you are actually there, sitting on the slightly worn sofas of Wilton Road in a suitably genteel manner, chatting to old friends and new.

This is the book that pulls all the strands of the Hesketh sisters’ stories together into a really satisfying ending. No graduate of their school is forgotten in the final chapters, and Jess’s seemingly impossible dilemma is solved as well. A fabulous read.

 

The backdrop to the whole series is the place of women in the world of work, so I asked Polly Heron what sort of research went into it in order to create a variety of different employments in such rich detail.

 

The Surplus Girls series explores the predicament faced by many young women in the aftermath of the Great War. They had grown up expected by society to marry and become housewives and mothers. Then came the war – and a generation of young men perished. Many women lost their sweethearts or fiancés while others, without knowing it, lost the men they would have married had they ever had the chance to meet. This meant that many girls now faced a future in which they would have to provide for themselves, while being regarded as ‘on the shelf’ or ‘old maids’.

The world of work offered women far fewer opportunities than came the way of men. Moreover, a woman doing the same job as a man would typically earn one third less. It was legal to refuse to employ a woman simply because she was a woman and it was considered patriotic to employ a former soldier even if a female candidate would have been more suited to the job. During an interview, an unmarried woman could expect to be grilled about her marriage prospects, because should she marry, the expectation would be that she would leave in order to be a housewife. In plenty of jobs, marriage automatically meant dismissal.

In The Surplus Girls series, I have explored various jobs that would have been open to girls and women in the early 1920s. Each book has a different heroine whom the story centres around, but one of the things that links the books together is that each heroine attends a business school to learn secretarial skills.

I loved delving into the social history of the time and seeking out suitable roles for my characters – ‘suitable’ meaning appropriate to the time, not necessarily the right job for the character personally – as Nancy finds out to her cost in Christmas with the Surplus Girls. In the newly published fourth book, New Beginnings for the Surplus Girls, Jess makes a particularly interesting heroine, as she sees herself as a career woman, not an unfortunate surplus girl. She dreams of creating a successful working life for herself but has to cope with all the disadvantages that women faced at the time.

 

 

 

Top Books of 2021: A List of Brilliance.

top books of 2021It’s that time of year where I try to whittle down all of the amazing books I have read into a short(ish) list. Each one is an essential read. So here goes…

Shiver by Allie Reynolds.

The Serial Killer’s wife by Alice Hunter.

Ahead of Her Time by Judy Piatkus.

The Garfield Conspiracy by Owen Dwyer.

Just Haven’t Met You Yet by Sophie Cousens.

Snow Country by Sebastian Faulks.

The Receptionist by Kate Myles.

The Perfect Marriage by Adam Mitzner.

Her Last Breathe by Hilary David.

Animal by Lisa Taddeo.

The Devil’s Advocate by Steve Cavanagh.

Water Memory by Daniel Pyne.

Autopsy by Patricia Cornwell.

Wild Girls By Phoebe Morgan.

One August Night by Victoria Hislop.

A Narrow Door by Joanne Harris.

Before She Disappeared by Lisa Gardner.

Perfect Timing by Owen Nicholls.

Magpie by Elizabeth Day.

Look What You Made Me Do by Nikki Smith.

Safe And Sound by Philippa East.

Perfect On Paper by Gillian Harvey.

A Poet  For Every Day of The Year by Allie Esiri.

And one for 2022: The Patient by Jane Shemilt.

Frost editor Jane Cable chooses Claire Dyer’s Yield and Polly Heron’s The Surplus Girls’ Orphans as her books of the year.

What would you add?

JANE CABLE REVIEWS TWO VERY SPECIAL CHRISTMAS READS

 

Christmas with the Surplus Girls – Polly Heron (published 7th October)

I make no secret of the fact I love Polly Heron’s books, so the moment the review copy of this one was available I requested it and dived straight in. For a start, I think the premise of this series is brilliant; the stories of the women who had expected to marry, only for the First World War to kill so many men. Their battle to make something of their lives as single women in the 1920s is seldom told and quite frankly it should be.

A saga series needs central characters and in the Surplus Girls these take the form of unmarried sisters, Prudence and Patience Hesketh, who run a business school from their home to train women in the skills they need. In this, the third book, our understanding of their position deepens and their stories move on too, for one of them at least in a quite unexpected way.

Christmas with the Surplus Girls is a wonderful blend of the comfortingly familiar (characters from previous books making appearances, the orphanage as the heart-warming seasonal setting, and, of course, the love story) with quite a few twists and turns. There are moments when nothing is quite as it seems, as well as breath-takingly written passages of true drama, but to say more would spoil it for the reader.

For the saga fan, this is the perfect Christmas read. As ever with Polly Heron’s writing there is no mawkish sentimentality, there is genuine emotion, elegantly portrayed. And even better, if you haven’t read the other Surplus Girls books there is still time to catch up with them before it’s time to pour yourself a glass of festive cheer and settle down with this beauty.

 

Underneath the Christmas Tree – Heidi Swain (published 28th October)

While Polly Heron puts Christmas at the climax of her book, Heidi Swain’s has Christmas stamped through it like a stick of seasonal rock. Heidi is the absolute mistress of the contemporary Christmas romantic read and I think Underneath the Christmas Tree is her best yet.

Absolute genius to set the book at a Christmas tree farm, where there is every reason for the festive feeling to start in November. Nothing about the seasonality in this book is forced; it is there as a delightful backdrop to a cast of characters so brilliantly drawn you would want to meet them at any time of year.

At the heart of the book is the love story between Liza and Ned; you know it will be fraught with difficulties but you also know a happy ending could very well be written in the stars, because that is what the romance genre does. It is just that this particular book does it so very well and it was pretty hard to see how everyone’s happy ever after could possibly work out. The world Heidi Swain creates is as rich and warm and comforting as a mug of hot chocolate with a whole ton of marshmallows and cream, but never ever as sickly, and of course its entirely calorie free.

I was delighted to receive a review copy of this book but now I have a major problem. What on earth am I going to start reading when December arrives to get me properly into the Christmas mood?

 

 

 

 

THE SURPLUS GIRLS’ ORPHANS – POLLY HERON’S EXCEPTIONAL NEW SAGA

Much as I enjoyed Polly Heron’s The Surplus Girls, I can honestly say that The Surplus Girls’ Orphans is the best saga I have read. The restricted lives of women in the inter-war period is captured perfectly, but with a fresh eye and brilliant story-telling that avoids the ‘grit and grim’ which I find makes some sagas less than a pleasure to read.

I know, as a writer, that the essential structure of a saga is to pour increasingly huge problems onto the heroine, twisting and turning the plot until she (apparently) has no way out. But of course, as a reader, you know she will find one. While all the time I find myself wondering how much more of the unremitting misery I can take.

Polly Heron’s books are not like that. There is joy and beauty in small things; in the orphans playing pirates on a wet evening, in the barley-sugar legs of a washstand, in children dancing around a maypole. And the plots and subplots are so beautifully drawn together than even when life is incredibly tough – which was, after all the reality of the time – as a reader you are led from one storyline to another without ever having time to get depressed. Angry, frightened, heart-warmed, amused… but never down right miserable.

Drawing on some of the characters in The Surplus Girls, and still wound into the story of the Miss Hesketh’s business school, The Surplus Girls’ Orphans is a standalone novel in its own right, although readers will get more out of the story having read the first book. As well as the Hesketh family, two of the Layton children feature, also as Mrs Atwood, and of course the backdrop is still the Chorlton area of Manchester.

However there is an entirely new main character in the form of Molly Watson, who is suffering perhaps the longest engagement ever, to a penny-pinching, controlling man. Deciding she would rather be a surplus girl, to the horror and shame of her family she breaks free to find work in an office, and then the orphanage, where she looks to change the lives of those around her and not just her own.

Her relationship with Aaron Abrams unfolds beautifully; the initial misunderstandings never overdone, the attraction between them perfectly paced. Nothing is sugar-coated and although the ending is perhaps inevitable (as it has to be to satisfy the genre) their journey feels unforced in a way all the best fictional romances do.

The subplots work perfectly too, in symmetry with the main story. A single thread connects Molly and the Hesketh household as secrets are revealed, with certainly some big surprises along the way. And Jacob Layton’s bullying at the hands of the inescapable thug Shirl brings an at times terrifying tension to the book.

Polly Heron has tremendous skill as a story-teller, but on top of that the quality of her writing shines through. She has a knack of wasting not a word on description, but of weaving detail into the action so the reader had a perfect mental image of a place and time as the story unfolds around them.

Overall, this is a brilliant book. I smiled when I read the acknowledgments, seeing that some of it had been written while we were on a retreat in Bath. I clearly remember Polly at the kitchen table, writing in longhand in a large notebook, and it is gratifying to think that as well as friendships, such a fabulous novel was forged at that time.

SISTER SCRIBES’ READING ROUND UP: JANUARY

Jane:

The last book I read in 2019 was Raynor Winn’s The Salt Path, a fitting end to the year. It was our book club choice, one we’d begged the library for after having suffered the poet laureate’s egotistical whinge about doing the same walk at roughly the same time.

Phrases such as ‘greatest surpasses least’ spring to mind. Raynor Winn and her husband Moth had nothing left to lose when they embarked on the South West Coastal Path in the summer of 2013; no home, no jobs, no money and in Moth’s case, having been diagnosed with a terminal illness, no future. And yet the book is a joy, well deserving of its award nominations and best-seller status.

That isn’t to say it sugar coats the pill. I felt desperate with them, thirsty with them – and mostly hungry with them. But I also saw the beauty that surrounded them, heard the wash of the waves, the weather howling in from the Atlantic as autumn started to bite. That is the genius of Winn’s writing, the power of her words. That and making an autobiography read and feel like a novel.

There is a lovely postscript to my review too: yesterday I went to hear Raynor Winn speak and had a long conversation with Moth, still very much alive. He told me she wrote the book as a gift for him, for when he can no longer remember the wonderful thing they did. Which makes it a love story as well.

When Kate Field found out I was reading The Salt Path she begged me not to read her new book next because she thought it would be an anti-climax. It is typical of her modesty, but wide of the mark. Hers is a completely different book and I wouldn’t even begin to compare them.

A Dozen Second Chances is just the sort of romantic fiction I like. The characters are real and relatable, mature and shaped by their lives. And being characters in a book Eve and Paddy have had plenty of history, which has done just that. The will-they-won’t-they story of their second chance made me unwilling to put the book down, with a clever and beautifully sewn up plot and satisfying ending.

On a personal note I loved the fact they are archaeologists. The heroine of my next book is as well and I could see Kate’s research had gone along similar lines to mine. I just hope she enjoyed it as much as I did.

 

Kitty:

January is the perfect time to catch up with my reading and I have read several books that I have absolutely loved.

Our Sister Scribe, Susanna, published her first book as Polly Heron – The Surplus Girls. Jane has already shared an extensive review on Frost but I have to add that I adored it and I urge saga lovers to give it a go.

I also raced through Mhairi McFarlane’s If I Never Met You and, true to form, it didn’t disappoint. I love everything about Mhairi’s writing, it’s always fast-paced, insightful and genuinely funny – guaranteed to make me cackle. In this one the heroine is in her mid-thirties when her life and expectations are thrown into disarray and she starts a faux-romance with the office Lothario. Truly fabulous.

And finally, Cathie Hartigan’s Notes From The Lost. A timeslip with part of the story set in wartime Italy and part set in modern-day Exeter. I fell so heavily in love with Alfie, an escaped POW hiding out in mountains and villages and found this book to be uplifting and restorative, with both parts seamlessly woven together. I cannot wait for some time to pass so I can have the pleasure of reading it all over again.

 

 

 

The Surplus Girls by Polly Heron

I’ve been excited about The Surplus Girls ever since fellow Sister Scribe Susanna Bavin (writing for Corvus as Polly Heron) told me about the concept over a year ago. It is just such a brilliant idea to write about the lives of these neglected women, living in the aftermath of the first world war, in the form of a series of sagas.

The surplus girls were, quite simply, the women who lost fiancés and boyfriends (or even just potential partners) in the war. Whatever their class they had been brought up to expect marriage and children, but now there were not enough men to go around and they were ill prepared for any other sort of life. Most would need to find gainful employment with little or no training, and all would have to look for other ways to make their lives as fulfilling as possible.

The Surplus Girls is set in the suburbs of Manchester in the early 1920s, with a cast of characters from both working and middle classes. Belinda Layton, a mill worker, lives with her late fiancé’s family and after four years of deep mourning is beginning to feel a little smothered by their kindness and intense grief. Belinda’s own family is even further down the social scale, living hand-to-mouth as her feckless father drinks away what little they have.

When Belinda bumps into her old teacher she hears the term ‘surplus girls’ for the first time and is forced to consider her future, beginning to dream of leaving the mill and working in an office. At first this seems hopeless, but then she is introduced to spinster sisters, Prudence and Patience Hesketh, who have their own reasons for opening a business school for young ladies.

Polly Heron has a rare talent for portraying the atmosphere of a setting with a few carefully selected sentences, which never detract from the pace of the plot. And pacey plot it is, making The Surplus Girls hard to put down.  The detail of the era is there, forming a rich background tapestry, but I never once felt I was bogged down by it. While I could see, hear and breathe the world the characters inhabited, as I reader I was free to enjoy being transported there and immerse myself in their story. And it takes a great deal of skill for an author to achieve that.

SISTER SCRIBES: SUSANNA BAVIN ON A CHANGE OF NAME

In common with many women, I have gone through the process of a name change. I have twice gone through the hassle of changing my surname. Incidentally, if ever you have to send away your marriage certificate, do include in your covering letter a specific instruction that the certificate should be returned to you after the admin people have finished with it. Some years ago, I blithely sent off my marriage certificate… and it wasn’t returned. Not only that, but no one in the office could track it down. In the end, it transpired that someone had stashed it away in the safe – and all because I hadn’t given a specific instruction to return it!

Anyway, I am in the process of having another change of name, but this time it is to introduce a new pen name – Polly Heron – and it’s because I have a new publisher – Corvus, which is the commercial fiction imprint of Atlantic Books. The Corvus list includes women’s fiction, romance, historical fiction, sci-fi, crime and thrillers. As a saga writer, I’m not sure whether I come under ‘historical’ or ‘romance.’ Possibly a bit of both.

My first book for Corvus is the start of a series. Both the series and the first book are called The Surplus Girls. So who were the surplus girls, exactly?

They were the generation of young women, who, after the Great War, were left without the possibility of marriage, because of the appalling death toll exacted on the battlefields. This was at a time when marriage to a man who could support you and the children you would have, was pretty well universally regarded as the correct and desirable aim for any girl. So these young women, whose possible husbands had perished, found themselves – unexpectedly and without preparation – in the position of facing a future of providing for themselves. Not only that, but no woman could hope to earn as much as a man, even a man doing the same job (sounds familiar?).

Writing about the 1920s is something I have done before, in two of my books written as Susanna Bavin – The Deserter’s Daughter and A Respectable Woman. Although the decade was all but a century ago, to me it feels very close. My parents weren’t exactly spring chickens when they had their children and they were themselves born in the 1920s, so it is an era I grew up hearing about when family tales were told and, of course, I have family photographs as well.

It is in some ways perhaps a bit odd to write about surplus girls in the context of a saga in which, by definition, the heroine will end up with the hero and therefore no longer be a surplus girl, but I hope I have also conveyed both the universal shock and sorrow that pervaded society at the loss of such a large number of men and also the way that these losses brought the lives of individual girls and women into a new, sharper focus as they faced life on their own.