My work recently has involved lots of screen hours and acres of text, so when I saw that Posy Simmonds’ new graphic novel Cassandra Darke was out, and that it had a distinctly criminal slant, I knew instantly what my next read would be. As expected, it’s been a thorough delight.
Posy Simmonds, Cassandra Darke (Jonathan Cape, 2018)
Opening line: ‘Last December – the 21st to be precise, and not so long before they came to arrest me – I remember buying macaroons in Burlington Arcade’.
The first thing to say about this book is that it’s beautiful. Simmonds’ artwork, as ever, is exquisite, and is presented in hardback on high-quality paper, with gorgeous design touches like a yellow ribbon bookmark and yellow flyleaves, which match the yellow title and Cassandra’s Marigolds on the front cover. Just having the book in your hands is an aesthetic pleasure.
Simmonds is known for taking literary classics as a point of departure – for example, 2007’s Tamara Drewe was a contemporary reworking of Thomas Hardy’s Far from the Madding Crowd. The inspiration for Cassandra Darke is Charles Dickens’ A Christmas Carol, although elements from the original story (such as the apparitions) are woven in with the lightest of touches.
The most obvious similarity to Dickens’ story is the Scrooge-like characterisation of Cassandra, who’s a well-heeled art dealer living in a £7 million house in Chelsea, London. Completely self-sufficient, she lives life very much on her own terms, which is laudable in some respects, but not in others, as she’s often inconsiderate, abrasive and rude. Like Scrooge, she’s forced to go on a journey of personal discovery, partly because she overreaches herself in the art world, and partly because she gets drawn into a messy and potentially criminal situation by her lodger Nicki, the daughter of Cassandra’s ex-husband. In fact, the whole novel is stuffed with crimes – an unexplained body and art fraud are just the beginning – with Cassandra taking on the mantle of detective at one point.
I loved Cassandra’s distinctive narrative voice, but the cast of characters around her, from lodger Nicki and ex-husband Freddie to Corker the dog, are all beautifully observed. Simmonds’ has a gift for capturing the cadences of dialogue, and of course the way in which she draws her characters and their settings tells us a huge amount about them as well. She also skilfully incorporates some trenchant social commentary on the wealth divide in London, on urban loneliness, and on various aspects of gender, class and violence. It’s only when you come away from the novel and start to mull on its themes that you realise how much the author has packed in.
Having read Cassandra Darke once – primarily to get to the bottom of the crimes – I’m now keen to read it again. The story is told in three sections (the middle one a flashback), and I’d like to explore that narrative structure a bit more. But mainly, I’d like to spend some time just looking at the artwork and admiring how Simmonds melds images and words. This is a book that will keep on giving.
Feast your eyes on a lengthy extract from the opening of Cassandra Darke over at The Guardian.
And you can read an interview with Posy Simmonds here: ‘Women in books aren’t allowed to be total rotters’