Mathilda – Black, queer, working-class – is someone who knows how it feels to be an outsider. She has a periodic need to Escape her life: to reinvent herself, even taking on a new name. She has Transfixions, historical figures with whom she feels a deep spiritual connection. She’s also particularly interested in the Bright Young Things of 1920s London.
A chance find in Mathilda’s volunteer role at the National Portrait Gallery leads her to a new Transfixion: Hermia Druitt, a Black modernist poet. Mathilda finds her way on to a residency in the European town of Sun, where Hermia eventually lived. There, Mathilda meets a kindred spirit named Erskine-Lily, and seeks to uncover what happened to Hermia and the cult that she founded.
LOTE is a fun to read, with its central mystery to be solved, and the way Mathilda shows up the absurdities of the residency. It’s not clear at first whether the foundation behind the residency is for artists or business people. Their outlook is very different from Mathilda’s, but she finds that she can bluff her way through.
Hermia Druitt is fictitious, but stands in for analogous marginalised or ‘forgotten’ figures from history. Shola von Reinhold expands on Mathilda’s story by including passages from an (also fictitious) academic text called Black Modernisms, and from what seems to be a direct account of the poet’s life.
By looking into the story of Hermia Druitt, Mathilda is also able to remake herself. LOTE takes apart received views of art and history (and art history) to create its own space for other voices to be heard.
Published by Jacaranda Books.
Read my other posts on the 2021 Republic of Consciousness Prize here.
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