Michiel Heyns crafts novels that delve into the complexities of human nature and societal dynamics, often infused with a subtle wit. His narrative voice explores intricate relationships and the interplay between characters and their environments, shifting fluidly between contemporary themes and historical settings. Heyns is lauded for his precise prose and literary sophistication, reflecting a deep understanding of literary tradition honed by his academic background. His work offers a keen critical perspective on social phenomena, making his storytelling both insightful and engaging.
The book emphasizes the importance of fully embracing life and seizing opportunities. It explores themes of regret and fulfillment, urging readers to reflect on their choices and experiences. Through its narrative, it encourages a proactive approach to living, highlighting that avoiding risks and experiences can lead to missed chances for growth and happiness. The message is clear: to live authentically and passionately is essential to a meaningful existence.
Against the background of massive public events -- the tenacious, at times violent struggle for the vote for women and the First World War -- "Bodies Politic" examines, in fictionalised form, the private lives of the participants in these events, focused through the highly articulate accounts of three suffragettes. Moving, dramatic and at times grimly humorous, "Bodies Politic" is an entirely original account of great love and bitter resentment, political victory and personal defeat; but ultimately of the indomitable spirit that escapes the shackles of the body. The three women who look back on a past they shared, not always harmoniously, are Emmeline Pankhurst, the formidable leader of the Women's Movement; her daughter Sylvia, 'the weeping suffragette'; and the enchanting Helen, who was loved by Harry, the neglected son of Emmeline and beloved brother of Sylvia. Through the narrative of each woman flits the figure of Christabel, Mrs Pankhurst's favourite selfish, vain but irresistible. The three accounts, sometimes contradictory, sometimes confirmatory, movingly reconstruct Harry's last days and the human entanglements behind the public acts of the Sylvia's sacrifice in bringing Helen to Harry's bedside, Emmeline's bitterness at Sylvia's act, and Helen's ambivalence about Sylvia's extraordinary 'Tell him you love him; he has only three weeks to live.'
