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  1. The Water Cure is set on an island in a post-apocalyptic near future. Three sisters, Grace, Lia and Sky live in a health spa hotel with their mother and King, their stepfather. Their guests are all damaged women, seeking cures from the sun and radiation and other horrors of the mainland. The radiation has not reached the island, offering the family a refuge from the horrors of the real world. And one day King dies. And three men arrive from the mainland. And mother disappears. This feels like a transposition of a 19th Century Irish manners novel into another era. The sisters might as well have been living in the big house, an Anglo-Irish family refusing to fraternise with the servants and sheltering from the growing rebellion outside the gates. The girls are expected to engage in all sorts of treatments and cures - the rituals and manners of the aristocracy - to protect them from the coarseness of the men in the fields. Then, in the season of their debut, they are expected to transform from children into wives. And just like the manners novels, we find ourselves thrown into a maelstrom of sibling rivalry; we find the blend of excitement and terror at being cut loose into adulthood; we find power games between young women and red blooded men. For the first section, before the men arrive, the narration switches often between Lia and Grace - with some sections narrated in third person - and it is intriguing. This, to be fair, is the time when it still seemed we were in a dystopian future and the novel was to be about the world that had been created rather than a character study supposed to reflect a universal and severe family. Then, when the men show up, the pace changes and the line between fantasy/dream and reality blurs. The narrative focus shifts only occasionally and the pace slows to a crawl - ironically since the characters seem to do a lot of running around for its own sake. There is a really repetitive feel; it is stated over and over again that the sisters must not touch the men for fear of contamination, yet still they are driven to touch. By the end of this section, it is no longer terribly clear what is happening at all; there are violent thoughts and violent acts but it feels pretty directionless. The ending is the pretty much inevitable conclusion that everything has been slowly working up to. I am sure some people will like this book. Read at a simplistic level, it could be taken as a battle of the sexes. The isolation of the women could be seen as a uber-feminist kind of utopia - except that the women don't seem happy with it and still live under the shadow of King. And I am sure some readers will be able to find a climate change angle to fit with their world view. Maybe I wilfully read this to fit in with my fascination with Irish politics. So maybe it is a bit of a universal truth template just waiting for readers to overlay their own personal agenda. The trouble is, as a template it is probably a bit of an imperfect, forced fit. And in its own rights, it is all a bit confusing and unevenly paced. **000
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