When I first started The Mule Spinner’s Daughter, I wasn’t sure if I was going to like it. A great deal of the story is written in non-standard English and the book isn’t set against the backdrop of any big historical event so it feels more like a social drama than an HF novel. The Mule Spinner’s Daughter is a sometimes challenging book but it is a rewarding read, and I am glad I stuck with it to the end.
Set in a rural village in 19th century England, The Mule Spinner’s Daughter is a multiple protagonist novel. I tend to gravitate to multiple-protagonist novels so I did not consider this a deal-breaker but I can understand why others might, especially if that style of story-telling is combined with occasional time skipping and unfamiliar diction. Truth be told, I think the story could have done without the time skipping as flashforwards tend to deflate narrative tension. Having said that, I suspect most readers won’t mind as many stories do not rely unfold on a chronological timescale.
Nonetheless, Griffith’s diction does set The Mule Spinner’s Daughter apart from many contemporary books. Instead of saying about, characters say abart and instead of saying after, they say arter, and they often use three words instead of one or two. To be fair, Griffith did not do so simply to set his book apart–he did so because he wanted to use time-appropriate language. It took some getting used to but once you get past the first few chapters, it’s easy to enough to understand. To my surprise, I came to enjoy the unusual turns of phrase. I think it gave Griffith a chance to not only show off his chops as a writer, but to also add some spice the narrative. It gave the book a very historical feel and I think that’s something that matters a lot to historical fans.
Even readers who care little for mood and atmosphere will appreciate the humor in The Mulespinner’s Daughter. The scene with Pud, the police officer, and the British ladies had me in stitches and a great lampooning of formal sensibilities. The truth strength of The Mule Spinner’s Daughter lies in Griffith’s narrative choices, though.
The police officer’s investigation helped give the story some narrative thrust but the John Wroe storyline is where everything really came together for me. The Wroe cult is mentioned early on in the book, but I assumed it would be unimportant from a plot standpoint. Following a disastrous wedding, the Wroe cult takes center stage in the climax of the book and I really appreciate how everything came together in such a logical way. I could completely understand why each character decided to seek out John Wroe–some because they are desperate for comfort and some because they are outraged by his predatory ways–and I also understood why the other characters tried to hide the truth about John Wroe. The race to get to Dover made for exciting reading and serves as a great example of how a story does not need duels or sword fights to be exciting. I recommend The Mule Spinner’s Daughter to anyone interested in the Victorian era, historical romances, or social dramas and I will be sure to keep an eye out for more of Griffith’s work in the future.
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