Mary Morrissy – författare

‘A wonderful writer’ Hilary MantelAll of life is laid bare in Prosperity Drive. A woman falls and remembers a moment decades earlier that changed the course of her life. A failed priest teaches children to swim at the YMCA. A teenage girl takes a spanner to the car of the young man who has driven her home. A honeymoon in Venice goes disastrously wrong. A man is reunited with his first love in an airport departure lounge. All of the characters begin their journeys on Prosperity Drive, appear and disappear, bump into each other in chance encounters, and join up again through love, marriage or memory in this mesmerising book.

MOTHER OF PEARL, the first novel by an acclaimed Irish short-story writer, explores the disturbing territory of the divided self. Through the story of the kidnapping of a baby, the notion of personal history as received fiction is examined. The novel asks: what makes a family? Is it mere kinship through blood, or something more profound and intricate? What keeps it together? What tears it apart? The action of the novel is seen through the eyes of a baby's mother, the kidnapper and the child itself. Dramatic, blackly funny and tragically topical, MOTHER OF PEARL is a remarkable achievement.

Berlin 1920. A young woman throws herself from a bridge into the Landwehr Canal, intent on suicide. But she is saved. She refuses to give any clue to her identity. She is literally a nobody. After two years of silence, she claims to be Anastasia, the fourth daughter of the Tsar of Russia. For over sixty years she lives with the firm conviction that she is, indeed, a grand duchess. It is only after her death in 1984 that DNA tests establish that the woman could not have been a Romanov. Who, then, was this mysterious woman, who lived a lie and convinced so many others of her fictional identity? And what of her own identity that she drowned that winter's night in Berlin? In The Pretender, Mary Morrissy writes the prequel to the Anastasia myth. She creates a fictional history for Franziska Schanzkowska, the Polish factory worker who so successfully donned the mantle of the doomed princess. From the few facts that are known, Morrissy fashions the biography of a nobody - an impoverished Polish childhood, an adolescence set against the First World war and the ruinous humiliation of Germany in defeat, a young adulthood blighted by violence, trauma and loss. The Pretender is a nesting doll of a book. Morrissy unspools the multiple intricacies of female identity and explores the strategies that women employ to survive in a calamitous world. Was Franziska Schanzkowska a fraud? Was she de

Trieste, 1904. James Joyce - not yet famous - arrives in the city by train with Norah Barnacle. Penniless, he goes to seek out a loan, leaving Norah sitting on a suitcase outside the train station for almost an entire day and night. In reality, Norah waited for him; they were reunited, and the rest is history. But what if she hadn't?In Penelope Unbound, one of Ireland's greatest living novelists weaves a spellbinding speculative narrative. By unhooking Norah from her famous husband, Mary Morrissy gives her a compelling new voice, with heartbreak and humanity all her own. Sensual, inventive and uproariously funny, Penelope Unbound reimagines a Joycean heroine for the modern age.

‘A wonderful writer’ Hilary MantelAll of life is laid bare in Prosperity Drive. A woman falls and remembers a moment decades earlier that changed the course of her life. A failed priest teaches children to swim at the YMCA. A teenage girl takes a spanner to the car of the young man who has driven her home. A honeymoon in Venice goes disastrously wrong. A man is reunited with his first love in an airport departure lounge. All of the characters begin their journeys on Prosperity Drive, appear and disappear, bump into each other in chance encounters, and join up again through love, marriage or memory in this mesmerising book.

Christine Beckett is faced with some home truths when her best friend, suffering from dementia, decides after a lifetime to be honest with her; Olivia Fletcher has an epiphany at a vaccination centre about a man who has loved her for decades; Bernard Travers revisits an unlikely romantic interlude with the mother of his teenage pen pal that has sustained him for 40 years. Twenty-Twenty Vision is a collection of interlinked short stories about hindsight and late middle-age regret subtly framed within the first year of the pandemic. It’s also a portrait, an emotional map of the 1950s generation moving into the third age with a mixture of apprehension and regret. The characters make chastening discoveries – one finds after a lifetime that she’s a bullying victim, another draws up a curriculum vitae of her emotional life when there are no jobs left to apply for. The work focuses on a handful of characters – Christine, Olivia, Bernard, Freddie, Triona and Eva – as they revisit their past and grapple with late-life perspectives. The overarching narrative is connected by character and situation, and united in theme, to form a tapestry of late middle-age reckoning.