I love this book; I love its implacable calmness, its unwillingness to give its secrets away. It’s a puzzle that cannot be solved, isn’t supposed to be solved, because it is in the process of grappling with it that we discover the point for ourselves. Every time I have read the novel has been prismatic, opening up reflections on cruelty, on human nature, on capitalism. Reading it is not a passive experience but one that provokes, that exasperates, that moves.

If there is an essential message in a book full of such truth, the following sentence is a good place to take it from: ‘I was forced to acknowledge too late, much too late, that I too had loved, that I was capable of suffering, and that I was human after all’, our narrator muses at the start of the novel, as her life draws to an end. Then shortly afterwards, ‘After all, if I was a human being, my story was as important as that of King Lear, or of Prince Hamlet that William Shakespeare had taken the trouble to relate in detail.’ The smallness of one person left alive in the vast and mysterious world is a daunting concept. But doesn’t the best science fiction make us think about our world anew, and who we are? If the narrator has lived a life as best as she could—wildly unconventional, but one that has given her joy in many ways—hasn’t she triumphed over cruelty after all, over having everything stripped from her, her dignity and essential humanity winning in the end?

Sophie Mackintosh

2019

JACQUELINE HARPMAN was born in Etterbeek, Belgium, in 1929. Her family fled to Casablanca when the Nazis invaded, and only returned home after the war. After studying French literature she started training to be a doctor, but could not complete her training due to contracting tuberculosis. She turned to writing in 1954 and her first work was published in 1958. In 1980 she qualified as a psychoanalyst. Harpman wrote over 15 novels and won numerous literary prizes, including the Prix Médicis for Orlanda. I Who Have Never Known Men was her first novel to be translated into English, and was originally published with the title The Mistress of Silence. Harpman died in 2012.

ROS SCHWARTZ has translated numerous works of fiction and non-fiction from French, including several Georges Simenon titles for Penguin Classics, a new translation of Antoine de Saint-Exupéry’s The Little Prince and, most recently, Mireille Gansel’s Translation as Transhumance. The recipient of a number of awards, she was made a Chevalier de l’Ordre des Arts et des Lettres in 2009 and received the Institute of Translation and Interpreting’s John Sykes Memorial Prize for Excellence in 2017.

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