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Sun Indo review of Belle

Eilis O’Hanlon reviews Belle in today’s Sunday Independent:

Impeccable period detail adds to a fun proto-feminist plotline

Growing up in a military barracks in Aldershot at the end of the 19th century, Isabel Bilton knows that she will never find a suitable man to marry, and certainly not one with prospects. The eldest, and most attractive, of three daughters, she longs to head instead to London, where her life can truly begin.

With 60 guineas from her father, who trusts her “as surely as I would a man”, she gets her wish at a tender age, and promptly sets about trying to make her fortune on the stage as a performer, bypassing the chorus line entirely to bag a leading role.

“This is bohemia,” the stage manager tells her. “And here we do anything we please.”

Soon she is joined by her younger sibling, Flo, and the Bilton sisters set about taking the music hall by storm. Nuala O’Connor’s new novel charts the four years during which Isabel rises to become the Countess of Clancarty, only for her new-found happiness to be threatened by the snobbish social conventions of the time.

Becoming Belle is based, as was its Irish author’s first book, on a true story. There was an Isabel Bilton, and she did, after various trials and tribulations, marry William, Viscount Dunlo, eldest son of the Earl of Clancarty. The court case in which his family tried to have their marriage annulled was an infamous scandal in its day. The rest – from Isabel’s attractively feisty character to the details of her life in London and unconventional courtship – is the fruit of O’Connor’s own imagination. Happily, she had no shortage of material with which to work. Isabel Bilton’s life in London was many things, but uneventful wasn’t one of them.

Women may have kept their distance from her, jealous of her charms perhaps, but men enjoy Isabel’s company enormously. The inevitable happens, as she falls pregnant to her very first lover, a notable cad who’s soon jailed for a series of frauds.

Taken in by a kindly male friend, Isabel gives birth in secret, and her son is sent to be raised by a wet nurse in the countryside. She relaunches herself back into the music hall, now calling herself ‘Belle’, and is more popular than ever.

It’s at a gentleman’s club in the city around this time that she meets William, heir to 24,000 acres near Ballinasloe in Co Galway. She falls in love, observing: “She did so like the Irish – they had a softer manner than her countrymen, were less inclined to pomposity.”

Trouble soon follows when the couple become engaged. “Belle Bilton is not the type one marries,” the Earl bluntly tells his son. “What proper gentleman would harness himself to a music-hall knicker flasher?” He threatens to cut off William’s allowance. Eventually, all is resolved happily. Belle’s husband finally stands up to his bullying father in court, where Belle has been wrongly accused of adultery; her name cleared, she returns to the stage in triumph.

Now disinherited, William and Belle live off the money she makes in the music halls, until the Earl’s death ennobles her husband, and they make the journey to a now much-reduced estate in Galway. There, a postscript informs the reader, she gives birth to twins. The house where they lived is now a school.

O’Connor is also known as short-story writer Nuala Ní Chonchúir, and the episodic nature of this novel suits such a talent for the miniature. As with her first novel, about the American poet Emily Dickinson and her maid, the bedrock of factuality also allows her to concentrate on detail – which one suspects is her preference – rather than an unfolding, interlocking narrative.

The book is carefully researched, but the learning is never laid on too thickly. A peppering of Victorian slang here and there is enough to remind the reader of the period, as when Belle is said to be “clapperclawed with tiredness”, or William is “potted on gin”, or his father calls her a “hoyden” (an old word for a rude and disreputable girl) or the single male friend with whom she is unfairly accused of having an affair is referred to by William’s macho friends as a “back-scuttler”. A dictionary is not needed; context provides meaning more often than not. A few details, such as an explanation of the rules of the card game “lanterloo”, or when the heroine takes spoonfuls of Pepper’s Quinine and Iron Tonic to keep up her strength, are enough to colour the narrative.

Some questions do arise. Did Victorian women really say they were enceinte, rather than pregnant? I must admit I’d never come across the word before. But O’Connor is a skilful storyteller, and earns sufficient trust not to let such quibbles mar the enjoyment. And enjoyment is definitely the right word.

Quoted on the cover of Becoming Belle, Irish crime writer Liz Nugent compares O’Connor to Edith Wharton. That’s a bit of a stretch. Other readers in search of a rich, layered slice of neo-Dickensian artifice in the manner of Sarah Waters’ Fingersmith may be disappointed. Becoming Belle is more reminiscent in many ways of the works of Catherine Cookson, whose tales of girls from humble origins making good in society against all odds, once sold more than 100 million copies – though many are, whilst still available as e-books, now out of print.

O’Connor’s raunchy sex scenes are much more unexpurgated but her characters have the same earthy charm, and her book satisfies that appetite for feisty, proto-feminist heroines.

IT review Belle

Excellent review by Helen Cullen of Becoming Belle in the Irish Times:

19th-century pin-up richly fictionalised

Hilary Mantel suggested that in death “we enter into fiction”, whereby the lives of the deceased become stories told by their survivors, open to interpretation, creative embellishment, reappraisal, judgment. If Isabel Bilton, the heroine of O’Connor’s absorbing work of historical fiction were to read Becoming Belle today, it is interesting to consider how recognisable she would find the portrait painted of her. No doubt she would be gratified for it is all but impossible to read of her coming-of-age in Victorian London without being utterly charmed by this woman who forged a feminist path ahead of her time.

The novel begins in earnest in London in the summer of 1887; Isabel Bilton at 19 has fled her small-town world and military family life to carve out a razzle-dazzle career on the stage. Before this, a somewhat superfluous prologue introduces us to her provincial upbringing, establishes her familial infrastructure and lays the foundations for her need to escape. If the novel instead had begun at the point of her first audition, our understanding would not have suffered, for it as it is from that moment onwards that the story truly starts to sizzle.

O’Connor focuses on the four years of Isabel’s life where she evolves from country mouse into the infamous “Belle” and darling of theatrical society. As one half of a double act with her sister, Flo, the Bilton Sisters are a triumph and Belle becomes a devastatingly beautiful fixture of the 19th-century bohemian clubs she frequents. During this relatively short period of time, we witness her suffering the consequences of some ill-guided decisions and questionable behaviour that society considered scandalous. It’s a compelling account of her ascent and ultimate battle to become “the peasant countess” and accepted member of the Irish aristocracy. Through her turbulent marriage to her beloved but immature Viscount Dunlo of Ballinasloe, Ireland becomes her destiny.

The novel is rich with authentic, nuanced depictions of Victorian London and it is clear that O’Connor has undertaken meticulous research; the results are woven into the fabric of the novel with a deft, light touch. Carefully considered historical details support the narrative beautifully without overwhelming it; a testimony to the author’s comfort with her subject and her craft. This is particularly evident in the vivid images conjured of the salacious after-hours salons where the society set mingled, the shimmering accounts of Belle’s performances on stage, and the sensual evocations of the London streetscapes. It is within these descriptive passages that the reader can become fully immersed in the era and dissolve into the world that the story inhabits. To have had even more insight into the world of the theatre itself, presented in such glorious detail, would have been a joy.

The novel works best when we bear witness to the physical action of the characters through their sparkling dialogue, interactions and behaviours. At times, the extended forays into their interior world feels more laboured than necessary, somewhat repetitious, and heavier-handed than was required. O’Connor is an accomplished writer and should be confident that her story-telling prowess negates the need to explain too much; the reader is inhabiting the story and understands already from her excellent account what meaning should be derived without it being spelled out to us. One of her beautifully crafted sentences such as, “Isabel only needed to be 40 miles from Aldershot in order to unlock liberty”, already tells us so much. Nonetheless, this small tendency does not detract from the overall satisfaction of living in Belle’s world and experiencing the city with her.

A pivotal court case at the centre of the narrative is expertly written with tension, compassion, and finely tuned observations of human behaviour. During these scenes, O’Connor is masterful in her control of the plot and they are without a doubt the finest passages of the novel. An economy of language, purposeful prose and unfaltering rhythm carries procedures along with a pace and execution that is pitched perfectly and completely arresting.

When we leave Belle, the recently retired starlet is embarking upon a new life in rural Ireland. How will she adjust to the role as a countess in lieu of her former position as cultural phenomenon and infamous pin-up? O’Connor allows us to feel optimistic for her, the heroine we have rooted for, despaired over, and ultimately fallen for. Perhaps the author will consider granting us a sequel where the story continues. For now, though we must be content to have been awarded this opportunity to be transported into a living, breathing Victorian London and to become acquainted with the seductive and sensational Isabel Bilton. O’Connor’s fictionalised account of this remarkable true story is an accomplished work of historical fiction that fans of the genre will no doubt enjoy.






A not so enthused review of Becoming Belle from Kristen McDermott in the Historical Novels Review.


O’Connor is a celebrated Irish author who lives near the Clancarty estate that was occupied by the “Peasant Countess,” Belle Bilton, in 1891. The best part of this novel of Belle’s life comes at the end when she finally arrives, after many tribulations, at the ancestral home of her husband, Viscount Dunlo. O’Connor clearly loves the Irish countryside and has a gift for nature description. However, the bulk of the novel takes place in the cafes and shops of bohemian London, where Belle endures years of delay in her quest for marital bliss.

It’s a story that would only work if we were convinced that Belle was a woman of grand passion and artistic ambition, neither of which are evident in her music hall celebrity status or her dogged loyalty to a bland, underage viscount. Historical fiction is a broad-minded genre; its heroines don’t have to (indeed, shouldn’t) be perfect. The heroine of Becoming Belle is lovely and feisty but incredibly naïve, not overly principled (think Scarlett O’Hara, but without her spine of iron), and maddeningly incurious about anything but clothes.

There’s little in the way of social drama to involve the reader as Belle effortlessly seduces and secretly marries Dunlo, only to see him packed off to Australia by his tyrannical father. Her passivity in the face of adversity is frustrating at first and becomes infuriating as the tale drags on. Her fixation on the befuddled William is inexplicable (graphic descriptions of their sexual activity are meant to convince us of their compatibility), and the climactic court case brought by the viscount’s father in an attempt to divorce them is presented as little more than a dry transcript. Bilton did indeed have an eventful life, but in this novel, it all comes too easily to her and leaves her with little to do but fret over her own feelings.


Praise for Becoming Belle

Becoming Belle

“O’Connor wrote about Emily Dickinson in Miss Emily (2015); here she vividly reimagines the life of another nontraditional historical heroine. Though certainly less well-known than the poet, Isobel Bilton nevertheless leaves an indelible mark on the Victorian-Edwardian world she inhabited. … Grounded in real-life characters and events, this passionate tale of ambition and love has cross-genre appeal for fans of historical fiction and romance.”

Margaret Flanagan, Booklist Online

“Nuala O’Connor has the thrilling ability to step back nimbly and enter the deep dance of time?this is a hidden history laid luminously before us of an exultant Anglo-Irish woman navigating the dark shoals and the bright fields of a life.”

Sebastian Barry, award-winning author of The Secret Scripture and Days Without End

Becoming Belle is a glorious novel in which Belle Bilton and 19th century London are brought roaring to life with exquisite period detail. In her portrayal of Belle, Nuala O’Connor delivers a seductive study of a complex and fascinating woman, who deserves the stage provided for her in this wonderful book.”

Hazel Gaynor, New York Times bestselling author of A Memory of Violets

“O’Connor has a genius for finding the universal and unifying life essence of seemingly diverse women as they nurture their deepest sensibilities and draw upon their enduring strength. … O’Connor’s rendering of a now little-known nineteenth-century music hall dancer in Becoming Belle is thrillingly dramatic and achingly moving and profoundly resonant into this present era.”

Robert Olen Butler, author of A Good Scent from a Strange Mountain

“Nuala O’Connor is a gifted writer who, with incandescent characters and mellifluous prose, captivates the reader with the same command as magnificent theatre. Becoming Belle is so mesmerizing you will be distraught when it ends and you remember that she lives no more. O’Connor has resurrected a fiery, inexorable woman who rewrites the script on a stage supposedly ruled by men. Sensual, witty, daring, and unapologetically forward, Belle Bilton and her cohorts will dance on in your mind long after the curtains fall.”

Lisa Carey, author of The Stolen Child

“A thoroughly engrossing and entertaining read. O’Connor’s meticulous attention to period detail and scrutiny of the upper classes and their shallow lives [is] reminiscent of Edith Wharton at her very best. It also makes us question whether women have ever really escaped from the censorious judgement of Victorian times.”

Liz Nugent, author of Unraveling Oliver

“Masterful storytelling! I was putty in Nuala O’Connor’s hands. She made the unsinkable Belle Bilton and her down-to-earth sister Flo real to me, and brought 1880’s London to my living room. Encore! Encore!”

Lynn Cullen, bestselling author of Mrs. Poe

Becoming Belle is luscious, addictive and as satisfyingly wise as it is huge of heart. Nuala O’Connor has gone in deep to imagine the life of a fascinating woman, and from the dance floor to the townhouse to the bedroom, she renders Belle Bilton’s passion, determination and vulnerability bracingly real. A treat as well as a tribute; utterly absorbing”

Belinda McKeon, author of Tender

“O’Connor offers a stunning historical reimagining. Her eye for details, including Victorian dress, food, and technology, enhance her mastery of character and inner dialog.”

Library Journal Starred Review

Joyride to Jupiter Reviews

“O’Connor’s language is clean and conscientious as well as poetic and lyrical, evident in the abstraction of “Yellow”. The collection exudes a quiet confidence and exercises the exemplary restraint of a seasoned writer who knows when to pull rather than push.”

Louisa Carroll The Sunday Times – 04-June-2017

“This blending of wry, caustic irreverence and meditative poignancy is central to the success of O’Connor’s storytelling. The mix is just right…”

Houman Barekat Irish Times – 10-June-2017

“Like a volume of rich poetry, this collection begs to be returned to again and again.”

Anne Cunningham Sunday Independent – 18-June-2017


Evening Echo – 23-June-2017

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Miss Emily Reviews

The Noise of Time initially appears to be the latest addition to a hybrid literary form with which we are increasingly familiar – the fictional biography. Recent examples range from Colm Tóibin’s The Master (which presented a repressed and unhappy Henry James) to Nuala O’Connor’s excellent Miss Emily (which gave us a wilful and tormented Emily Dickinson).

Alex Preston, The Guardian

“…Irish writer Nuala O’Connor breathes new life into reclusive poet Emily Dickinson in her mesmerizing U.S. debut. Like one of Dickinson’s poems, the deceptively simple narrative packs a powerful punch…”

Margaret Flanagan in Booklist

“Miss Emily is a triumph of a novel, creating an utterly human and believable Emily Dickinson through the eyes of an enchanting and complex fictional Irish woman. Their story is smart and witty and harrowing and brilliantly revelatory of the interplay of life and inspiration in a nascent great artist. And all this is done in prose that has the same condensed, particularizing power of Dickinson’s poetry. Nuala O’Connor has long been one of my favorite contemporary Irish writers. She will certainly find an ardently admiring American audience with this extraordinary novel.”

Pulitzer Prize-winning author Robert Olen Butler

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