Yorkshire Post - YP Magazine

Uphill struggle


Sarah Moss’s eighth novel is a humane, thoughtful reflection on the lockdown experience

The Fell by Sarah Moss

Two of the buzzwords of the last 18 months have been “essential” and “non-essential”. Essential as in “essential workers” and “essential supplies”; non-essential as in

“no non-essential travel outside your local authority area”. Inevitably, this sudden bifurcatio­n of people, things and activities into the necessary and the not-sonecessar­y has been the cause of much debate, across all sectors of society. However, one area where there have been particular­ly heated discussion­s is around the vexed question of access to the great outdoors – something many would argue is essential for their mental health, but others might class as a non-essential luxury – and it’s this that provides Sarah Moss with the jumping-off point for her absorbing eighth novel, The Fell.

When we first meet Kate, the stressedou­t, cash-strapped single mother of a teenage son, she is chafing against her confinemen­t during the second lockdown, missing coffee with friends, missing singing in pubs, but most of all missing the freedom of the nearby fells. “How is anyone going to get sick from walking a few miles over the moor and standing on a hillside in the wind?” she wonders, before rememberin­g that “police were hunting people off the hills with drones a few months ago, recording footage to post on social media to ‘shame’ people who had gone for a walk, playing loud accusation­s at them from the sky”.

In the end, however, not even the threat of police drones is enough to keep Kate shut up indoors any longer, so late one afternoon she grabs her rucksack and slips out for a lockdown-breaking breath of fresh air.

The extended passage of streamof-consciousn­ess internal monologue that leads up to this moment is subtly, ingeniousl­y done. Far from being a careless rule-breaker, Moss is careful to portray Kate as considerat­e and community-spirited, yet with her desire to protect others rubbing up against an overwhelmi­ng need for agency and freedom.

On the one hand, she reasons, “it’s no use individual­s trying to opt out... that’s not how society works”; but on the other, “she wishes sometimes you could just sign a disclaimer, like a Do Not Resuscitat­e order, promising if you get sick you won’t go to hospital, won’t make any demands or expect any help, and in exchange you could take your own risks, decide how much you want to stay alive and at what risk to your sanity”.

In a recent interview Moss said she wrote The Fell very quickly, in a matter of a few months, and as with her last two novels, Ghost Wall (2018) and Summerwate­r (2020), there’s a relentless, intoxicati­ng flow to much of the writing, with ideas constantly spawning new ideas in a process of perpetual intellectu­al motion.

That said, the writing still feels precision-tooled, the words carefullyc­hosen and the details equally carefully thought through. When Kate’s son Matt realises that she might be in trouble and

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