I have to start this review with a disclaimer. The opinions that follow are simply my opinions about the short story collection Roar by Cecelia Ahern. If you particularly liked this collection, you may not enjoy this review.
I seriously considered not posting a review of Roar because, to be honest, I don’t have much that’s nice to say about it. Roar is a short story collection that I can understand why a lot of people like, particularly at this moment in history. The collection contains thirty stories about women and each one plays on a popular turn of phrase, image or metaphor. There is the woman who thinks her mirror is broken because she looks aged in it. There is the immigrant woman who literally grows wings and flies away, finally free. There is the woman whose husband keeps her on a shelf for the world to see and admire but not interact with. These ideas are certainly relevant, and Ahern plays on societal concerns that are on everyone’s minds and makes them into fairytales full of magical realism.
However, in my opinion, Ahern doesn’t do social commentary very well. While her stories make sense, they are not creative and they are, ultimately, very silly. These common phrases or metaphors, such as wanting to fall into a hole and die when something embarrassing happens, are definitely used in common speech on a daily basis, but they don’t make for good or interesting fiction. Each of these stories is full of oversimplification and they border on the nonsensical. While magical realism is meant to be a bit outlandish, Ahern’s tales are downright ridiculous, and I found myself laughing every so often at how absurd and literal they are. Everything is just too on the nose and it gets to be very annoying and irritating very quickly.
What’s more, Ahern spends a lot of her time pandering to her reader. Her stories are simplistic enough that they hardly need explanation, but Ahern still feels the need to spell out exactly what each symbol means in detail. When a woman has bite marks spontaneously appear on her skin in one story, after returning to work from maternity leave, it seems unnecessary to be given a sentence like, “The guilt was, quite literally, eating her alive”, italics and all. And yet, Ahern constantly offers these analyses of her own stories, and it made me feel as though I was being talked down to or not being trusted to draw my own conclusions and insights from this fiction. There are such wonderful female short story writers out there like Alice Munro and Mavis Gallant who write about women being trapped in their hometowns or about women feeling displaced and exiled in ways that are subtle and nuanced. Ahern doesn’t do this at all, and I personally found that her stories came across as childish and unsophisticated because of it.
Don’t get me wrong, there was one story I sort of liked – The Woman Who Forgot Her Name – but one story out of thirty isn’t at all what I was hoping for. In the end, I got very clearly what Ahern was trying to do…but I wished she had tried harder to do it better.
❥❥ (out of 5)
Girl with a Green Heart