SWAN SONG by Kelleigh Greenberg-Jephcott
Hutchinson, 2018 (UK)
Much like Swan Song‘s subject, Truman Capote, Kelleigh Greenberg-Jephcott’s novel is at times charming, at times vicious, and at times insufferable. Despite the fact that it took me over a month to get through this and I was complaining about it for a lot of that time, Swan Song actually does have a lot to recommend it. Its first person plural narration is particularly well done as Greenberg-Jephcott attempts to reclaim the voices of the women whose social lives Truman Capote effectively destroyed with the publication of his salacious story La Cote Basque 1965 (the first chapter of Answered Prayers, which was eventually published unfinished, posthumously). In stealing the real life stories of his close circle of friends for his planned novel, Capote faced extensive backlash and was unable to repair his lost friendships, which ultimately haunted him until he died. It could have been a gripping tale of betrayal and a searing commentary on the kind of symbiotic relationship with high society that both made and destroyed Capote’s career, but while it had its moments, it sadly falls short.
My first issue with Swan Song is how ungodly long it is, which naturally leads to all of my other criticisms, being that this book overstays its welcome in every conceivable way. All of Greenberg-Jephcott’s party tricks wear thin after not very long, the worst offense probably being Capote’s characterization – he’s constantly infantilized and reduced to a caricature in a way that starts to feel more spiteful than constructive after not very long. He’s referred to as ‘the boy’ even as a grown man, his height and voice are incessantly referenced, he’s described as ‘elfin’ or even more derogatory synonyms on just about every page, and after a while it’s like… what’s the point of any of this? The bottom line is established early: Truman Capote was capable of extreme kindness and extreme cruelty. This book just revels in the latter in a way that never convincingly dovetails with the voices that are purportedly being reclaimed with this retelling.
Because that’s the other issue at the heart of this: I love the concept of reframing a traditionally male-dominated narrative by using women’s voices – it’s a concept that’s carried through many of my favorite Greek mythology retellings quite soundly – but here it falls flat, because Greenberg-Jephcott never makes a convincing case for why this is a story that need reclaiming. A bunch of high society women have affairs and sail around on yachts and they’re betrayed by their close friend but… so what? This books feels like an elaborate revenge fantasy that’s so mired in gossip and cattiness that it loses its thematic heft.
But, like I said, it’s not all bad: Greenberg-Jephcott’s writing is lively and charming, the style is inventive (elements of poetry and screenwriting are incorporated), the research is admirable, and maybe it’ll appeal more to a different kind of reader, but I’m afraid I just struggled to care.
You can pick up a copy of Swan Song here on Book Depository.