I’m reporting early on Wifedom, by Anna Funder (published in 1923) — just a month after the Just Arrived post, in fact, which may be close to a record for reading and posting. 😀

Wifedom, as I noted then, constitutes “an exploration of the life of Eileen O’Shaughnessy, who married Eric Blair — better known to most of us by his penname of George Orwell.” I also quoted the book’s back cover, which indicates that Anna Funder was exploring the writing and life of George Orwell, when she realized that his wife, Eileen, was a huge influence on his work. She had even written a poem, 1984, which apparently foreshadows the renowned book. Yet subsequently, she has been written out of his story.

Intrigued, Ms Funder set out to learn more, and Wifedom is the result.

In terms of reading interest, the book has two ‘pillars.’ The first is the biographical exploration of Eileen O’Shaughnessy Blair’s life, in particular her marriage to and life with George Orwell. Although she predeceased him, Wifedom does not end with her death, but with his, five years later. Since the subject of the book is their marriage, as much as her life, this does round out the account.

The second pillar is the way in which Ms Funder has constructed the book. It is part straightforward biography, with all that implies of research and discussion. Yet the author has also employed creative non-fiction around her experience of discovering Eileen. When exploring the latter’s erasure from the Orwell story, she also draws parallels to her own life and work. In this sense, Wifedom is also partially the author’s memoir, if only as it relates to this particular book and its themes.

The third structural aspect is the use of fiction, based on Eileen O’Shaunessy’s letters. The author fictionalises Eileen’s thoughts, emotions, and the experiences that inform the writing of each letter, in juxtapositon with the book’s nonfictional account.

I have not previously encountered this tripartite approach to biography and found it interesting in-and-of itself. I felt it added depth to the account of Eileen’s marriage and subsequent erasure from the Orwell story. The juxtaposition of biography (Eileen) and memoir (Anna Funder) also reinforced that the themes of Wifedom, chiefly around the significance of women’s work and time, as well as the value placed on our contributions to art and society, are by no means consigned to history. They are still very relevant today.

I enjoyed the book and discovering Eileen, as well as learning more about the writing of Orwell’s books, particularly Animal Farm and 1984, and the man himself — much of which was far from inspiring. That, of course, begs the question as to whether one needs to be inspired by an author, or only by their work, since once published, the latter stands independent of the former.

Undoubtedly, Wifedom is a very interesting, but also a well written and engaging account. One that readers who enjoy well-written and engaging biography and memoir, or fiction such as Kate Atkinson’s Behind The Scenes At The Museum or Michael Cunningham’s The Hours, are likely to enjoy.

You needn’t just take my word for it, though. 😀 Wifedom has been widely recognized. A New York Times Notable Book in 2023, it also won Australia’s “Biography Book of the Year ” and France’s “Prix du Meilleur Livre Étranger – Essai”, both in 2024.

I read a trade paperback edition (450 pp) published by Hamish Hamilton (an imprint of Penguin Random), which was loaned to me by a friend and avid fellow reader.