Bella Mackie’s “What A Way To Go” arrives on the literary scene with a distinctive flavor, one that might be described as exquisitely sour. In a publishing landscape often saturated with narratives seeking relatable characters and heartwarming resolutions, Mackie’s novel takes a bracingly different path. It’s a testament to her skill that this departure isn’t a misstep, but rather a darkly humorous and compelling exploration of wealth, family, and the afterlife.
The premise itself is deliciously wicked: Anthony Wistern, a loathsome multimillionaire, meets an untimely and mysterious end during his opulent 60th birthday celebration, held in a setting reminiscent of the affluent Cotswolds. Instead of finding eternal peace, Anthony is relegated to a dreary afterlife where his primary entertainment is observing the unfolding drama he left behind, a scenario the reader is equally privy to. This setup immediately evokes comparisons to “The Lovely Bones,” but with a significantly more cynical and amoral twist. For readers seeking a narrative unafraid to delve into the darker side of human nature, “What a Way to Go” presents itself as a compelling choice.
Anthony’s legacy, much like the Roy family in “Succession,” is carried on by his quartet of children, each embodying a particular brand of dysfunction. There’s Jemima, the eldest, driven by Machiavellian schemes; Freddy, the epitome of apathy and disinterest; Lyra, the expatriate living in Paris; and Clara, the youngest, armed with a sharp wit and rebellious spirit. Overseeing this chaotic brood is Olivia, Anthony’s first wife, a woman of icy composure whose passions seem limited to fine jewelry and delivering withering snubs. The parallels to “Succession” are undeniable and perhaps intentionally so, offering a familiar framework for exploring themes of familial power struggles and the corrosive influence of wealth. The novel cleverly plays with this structure, even introducing a character in Jemima’s husband, Will, who bears a striking resemblance to the sycophantic Tom Wambsgans. Adding another layer of contemporary relevance is the inclusion of a true crime podcaster, a nod to the genre’s pervasive presence in modern media.
Mackie’s writing shines in its comedic observations, particularly when dissecting the nuances of class and social pretension. Her satirical jabs are reminiscent of Jilly Cooper’s work, with Anthony being dubbed “Goldicocks,” a moniker that sounds straight out of a Rupert Campbell-Black novel. Mackie’s sharp eye misses nothing, noting the gatherings of “second wives and girlfriends” at the funeral, many of whom are genuinely mourning, “presumably mourning an opportunity lost.” A particularly cutting line describes a character as being “one more facelift away from looking like a Renaissance baby.” These moments of остроумие are plentiful, making “What a Way to Go” a genuinely funny read, even as it explores morally dubious territory.
However, unlike Cooper’s novels, which typically balance cynicism with characters possessing genuine warmth and virtue, “What a Way to Go” populates its world exclusively with morally bankrupt individuals. There are no redeeming figures, no characters to genuinely root for. In a surprising twist, this absence of virtue paradoxically makes Anthony, the deceitful and self-serving patriarch, almost sympathetic. He, at least, made a concerted effort to relish his life, however flawed. This moral ambiguity invites comparison to Taffy Brodesser-Akner’s “Long Island Compromise,” another novel that wades into the lives of the exorbitantly wealthy. While Brodesser-Akner also portrays her characters as deeply flawed, she imbues them with a sense of humanity, presenting them as complex, albeit deplorable, individuals rather than mere caricatures.
One minor critique is the novel’s occasionally limited setting. Two crucial scenes unfold within the confines of the same restaurant, a missed opportunity, perhaps, to further indulge in the lavish settings typically associated with narratives of the ultra-rich. Part of the appeal of such stories lies in the vicarious pleasure of experiencing opulent hotels, yachts, and exclusive events, even as the narrative exposes the underlying misery of those who inhabit these worlds. Olivia, in particular, is repeatedly lauded for her impeccable party-hosting skills, and exploring more of these extravagant gatherings could have heightened the satirical impact for readers who, unlike the characters, are not jaded by endless high-society events.
Despite these minor points, “What a Way to Go” is undeniably entertaining. The Tatler-esque interview with a Cara Delevingne-esque character is a highlight, brimming with satirical wit. The plot maintains a brisk pace, with some twists being predictable, while others are cleverly concealed, ensuring reader engagement throughout. Ultimately, Bella Mackie’s “What a Way to Go” is a sharply written, tartly humorous addition to contemporary fiction, offering a refreshing, if somewhat acidic, counterpoint to more conventional narratives. It’s a novel that doesn’t shy away from the unpleasant realities of wealth and dysfunctional families, making it a compelling and darkly funny read for those who appreciate their literature with a strong dose of cynicism.
