Morvern Callar, a low-paid employee in the local supermarket in a desolate and beautiful port town in the west of Scotland, wakes one morning in late December to find her strange boyfriend has committed suicide and is dead on the kitchen floor. Morvern's reaction is both intriguing and immoral. What she does next is even more appalling. Moving across a blurred European landscape-from rural poverty and drunken mayhem of the port to the Mediterranean rave scene-we experience everything from Morvern's stark, unflinching perspective.
Morvern is utterly hypnotizing from her very first sentence to her last. She rarely goes anywhere without the Walkman left behind as a Christmas present by her dead boyfriend, and as she narrates this strange story, she takes care to tell the reader exactly what music she is listening to, giving the stunning effect of a sound track running behind her voice.
In much the same way that Patrick McCabe managed to tell an incredibly rich and haunting story through the eyes of an emotionally disturbed boy in The Butcher Boy, Alan Warner probes the vast internal emptiness of a generation by using the cool, haunting voice of a female narrator lost in the profound anomie of the ecstasy generation. Morvern is a brilliant creation, not so much memorable as utterly unforgettable."
About the Author
Alan Warner is the author of three novels: Morvern Callar, soon to be a film by Lynn Ramsay; These Demented Lands, which won the 1998 Encore Award; and The Sopranos, also soon to be a film.
Table of Contents
What People are Saying About This
Spunky, energetic, and irreverent.
Morvern Callar is a wonder and a danger, not for the faint-hearted; the reader is cut open by a...saw finely sharpened on a stone of nihilism.
Morvern is a brilliant creation, a fearlessly cool and sassy party chic propelled by her own delicious morality...establishes Allan Warner as one of the most talented, original, and interesting voices around.
Reading Group Guide
1. Morvern Callar is the female narrator of the novel. How successful is the author in convincing the reader that this is an authentic female voice? Is it ever possible for a male writer to truly convince the reader of a female voice?
2. The boyfriend kills himself, and Morvern finds him dead on the kitchen floor. Eventually she disposes of the body and inherits his wealth, as he has organised for her. How does Warner make us believe such an unlikely series of events, and does it matter that the novel is propelled by such a fantastical set of actions?
3. Morvern steals the credit for her dead boyfriend's book without any apparent conscience but when her friend, Lanna, betrays her by sleeping with her boyfriend, she takes a moral stance against her. What is the overall moral tone of the book: moral, immoral or amoral?
4. Morvern is always described as quiet and an outsider, she gives nothing away and seeks to be on her own, whether it is in Scotland or the Mediterranean. How does this set her apart from the other characters, and we ever really find out anything about her?
5. Morvern Callar contains various descriptions of non working-class characters: the boyfriend, the Central belt boys, the London publishers and the University ornithologist. How do their characters express the class conflict of the book? Who manipulates who when Morvern is drawn in to contact with them?
6. At the end of the novel, Morvern is pregnant with the 'child of the raves'. How have circumstances changes for Morvern, has she now found her freedom? Is it a happy ending?
Most Helpful Customer Reviews
Of all the 'new' Scottish novelists, Alan Warner is absolutely the very best. This, his first novel, opens with the title heroine, Morvern Callar finding her boyfriend dead on the kitchen floor after slitting his own throat. Morvern is someone no one would want to be, a member of the Scottish 'working class,' a woman for whom life holds no promise other than sex, music and liquor, and, in time, even those will fade. So, in a life devoid of hope, Morvern does what might seem illogical to someone not caught in her circumstances: she buries her boyfriend's body, cleans out his bank account and even submits his novel to a London publisher under her own name. All this before quitting her own dead-end job and heading down to the Spanish Mediterranean for more sex, music and liquor. That's all. There is no 'hopefully more,' in Morvern Callar's world. Although Morvern may appear callous and amoral she is anything but. Warner, who captures the 'voice' of his protagonists so perfectly (see These Demented Lands and The Sopranos) has captured the very essence of Morvern Callar. There is an inescapable sorrow in Morvern that all of her coolness and hipness cannot hide. This is a real person, one who is gentle and caring with her girlfriend's grandmother and her own foster father. Morvern sees herself reflected in the wrung-out lives of her elders. Her temporary escape to the warmer, more sunny climes of the Mediterranean are a desperate attempt to grab what little escape she can, and, because of this very desperation, these scenes take on a hellish, almost surreal quality. We know, as does Morvern, that whatever release she is feeling at the moment will only magnify the emptiness of her life in the long run. A clue to Morvern's personality is her favorite video: Antonioni's 'The Passenger,' a tale about a man who tries to make a new life by switching identities with a dead man. A master writer, and a master at characterization, Warner never resorts to melodrama in portraying the bleakness of Morvern's life or in her reaction to it. He simply tells it like it is...exactly. And that is part of what makes this novel so perfect. Although Morvern's life is filled with hopelessness and despair, she, herself, is a woman filled with feeling, a true heroine in the finest sense of the word. Even though Morvern tries desperately to deaden the feelings that are killing her, she fails to do so. Obviously, Morvern Callar is a character-driven novel and Morvern, herself, is fascinating enough to carry us along. There really is very little plot in the book to speak of, although Warner does hide some obtuse symbolism here and there. If Morvern, herself, weren't enough to intrigue even the most jaded reader, Warner's writing is so good that it alone makes this book worth reading even if, by some strange chance, you don't like Morvern. Ultimately depressing and without hope, Morvern Callar will no doubt sadly appeal only to a very limited, and very literary, audience, those who read and love Irvine Welsh, for instance. This is too bad, since Warner is a brilliant and polished writer and one whose work deserves a much more widespread readership.
Her boyfriend is lying dead on the floor... and she does nothing. She leaves, looking for fun. And amazing first novel. Powerfull writing. In about twenty years this is gonna be a clssic.
First things first: Morvern Callar is not a 'nice' book, or at least, it is not populated by nice people. It's the sort of book such that if someone asks you if you're enjoying it, you'll probably say "no, but it's a good book". If you like to like your protagonists, or need your bad guys evil and your good guys angelic, put the book down and back slowly away.Morvern is a woman who does some appalling things and she describes these things in the same breath as she talks about how she shaves her legs or which mix tape she likes. Although, while she does some deeply revolting things, is she a revolting person? Nearly all the characters commit similarly casual brutalities: watch out for the man with bandaged arms, the girl in the parade, the locals' pub stories and, most obviously, the opening suicide. Compare and contrast. Selfishness and violence manifest in many different ways in different people and Warner takes a refreshingly objective view of each.The other important aspect of this story is its telling in colloquial Scots. Warner's version is more subtle than, say, Irvine Welsh's in Trainspotting, but it has tremendous effect; as in making the story highly personal to Morvern and her voice (the novel is entirely first person narration), her own lack of self-justification is even more pronounced.Also, I don't really know enough about it to say how this stands up as a comment on 90s raver culture, but I expect it would be an interesting extra layer, for those who could appreciate it.
Half way through, I wanted her friend to have killed Him (the boyfriend) and with that knowledge frame Morvern for his death, when they fall out.But seemingly there were no repercussions.Her world is fairly alien to me, easier to understand ignoring a dead body than raving on an island. Interesting rather than enjoyable.
This is a debut novel by some Scottish dude (I seem to have a strange affinity for all things Scottish. Could be a previous life...) Anyway, I'd like to recommend it because it truly sucked me in and keep me turning pages and it is so rare to find a book like that. Morvern is such a crazy character. She is this totally independent, self reliant person whose actions are shocking and still somehow understandable. Trouble is the dialog and setting. She's a young, underprivileged Scottish girl who ends up living at the rave scene in the Mediterranean. I had to re-read passages, the etymology continually tripped me up, and the music references went totally over my head but still, I want to recommend it. True, the ending did leave me expecting a bit more from Morvern. All that being said, if anyone has any interest in tackling it, I think it's worth every moment, and it's not a long book overall