Isabel den Brave leads an existence that signifies the essence of obligation. Her world comprises of meticulous attention to her dwelling, religious commitments, caring for elderly family members, and diligently picking through her domestic belongings to ensure none of it has been purloined by the household staff. Her life lacks spontaneity and deviance.
In the wake of her two brothers, Hendrik and Louis, leaving, and following their mother’s demise, Isabel finds herself solitary in their family residence, which appears to be a monument of sorrow. The accumulation of her troubled experiences instils in her a sense of bitterness. When she meets Eva, the recent love interest of Louis who is known for his frequent amorous escapades, Isabel is appalled. Eva’s vibrant, disorganised personality and impulsive nature act as a thorn to Isabel’s deeply ingrained sense of judgement. Louis’s decision for Eva to reside in the familial home (that he inherited) during his business trip to London, transforms Isabel’s disapproval into outright animosity.
In her powerful debut novel, which made it to the shortlist for the 2024 Booker Prize, Yael van der Wouden intricately weaves the gradual transition in the rapport between the two women who each grapple with their painful pasts. These histories take shape subtly and revolve around the family residence which becomes a battlefield for an exhausting emotional warfare. van der Wouden shows exceptional capabilities in depicting the subtle shifts in emotions and feelings which, although barely noticeable, guide the narrative in unexpected directions. She exhibits a unique flair for capturing the nuances of a character (”Eva’s presence was marked by a loud restlessness”) or highlighting the minor details in a natural setting (”The warm season’s night created a different sound than the cold winter’s one did, with dry bugs in the bush, and nocturnal whisperings”).
The narrative unfolds in the 1960s and is situated in the quaint province of Overijssel, Netherlands. It chronicles the struggles of Isabel’s sibling, Hendrik, as he navigates coming to terms with his homosexuality amidst societal codes and covert secrecy. As unexpected intense emotions surge between Eva and Isabel, they are persistently aware of the dissonance between what’s lawful compared to what’s merely tolerated. Van der Wouden masterfully adds credible fervour to this blossoming relationship by crafting poignant sentences to record their passion without compromising emotional nuance.
With ‘The Safekeep’, Yael van der Wouden bewitches readers with a tantalising tale of love crafted in words that transfix and enthrall. Other fiction in the realm of sci-fi also includes narratives about time police, alien dimensions, terror orbs, black holes, and genre escapades.
The narrative takes a turn when Isabel stumbles upon Eva’s diary marking the end of an era – the Netherlands in peace, and the onset of a new one – wartime Netherlands. Eva de Haas, of Jewish descent, by penning down the horrors of her family’s plight – death, vanishing, disenfranchisement – and her encounter with them lead her back to the homestead owned by Isabel’s kin. The seizure of Eva’s childhood home, thanks to her father’s inability to keep up with mortgage payments after his capture and forced concentration camp internment, then purchased by Isabel’s Uncle Karel, provokes in Eva a need for retaliation against the den Brave family.
The elder members of Isabel’s clan share a habitual falseness and ongoing deception. Isabel must navigate her own path to terms with the Dutch participation in Nazi terror as everyone’s pretence of ignorance and comparative victimhood discourse act as barriers for anyone being held accountable. Isabel’s quest for sexual freedom is also hindered by hushed prejudices prevalent around her.
One of the notable highlights of The Safekeep is the depiction of the supporting characters. Johan, living next door to Isabel, evidently pursues her, leading to a couple of begrudging liaisons. Johan’s awkward joviality and casual sense of privilege is masterfully captured by van der Wouden, as well as the subtle hint of threat concealed behind his comical, fragrance-laden displays of warmth.
Uncle Karel, a stingily meticulous relative, regularly serves up tea brewed from leaves already used in the morning. He frequently mentions items that are significantly pricier now compared to the same period in the previous year. His icy self-absorption is deftly suggested by the pauses, interruptions, and sudden changes in his clipped exchange.
Sebastian, Hendrik’s significant other, is a Frenchman of Algerian descent. The book suggests a complex tragic background while, through Sebastian, unveiling occasional instances of casual racism in Dutch society. Yael van de Wouden’s first novel denotates the emergence of a highly skilled writer with a commendable mastery over various dimensions of the novel genre.
The Safekeep is a captivating romance narrated in an engaging and compelling language, ensuring the writing’s enjoyment is never overshadowed by its responsibilities towards portraying reality truthfully. The same applies to the reading experience as well.