A Year of Marvelous Ways

Sarah Winman
55 pages1-hour read
Fiction
Novel
Adult
Published in 2015

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Background

Content Warning: This section of the guide includes discussion of death, rape, sexual violence, and mental illness.

Historical Context: Post-WWII Demobilization and Trauma

Set in 1947, A Year of Marvelous Ways captures a Britain reeling from the aftermath of World War II. After the conflict ended in 1945, Britain began a massive demobilization process, returning approximately 4.3 million service personnel to civilian life over 18 months (Carrington, John Graham. “Review of International Practice in the Reintegration of Veterans.” UN Development Programme, 2025). Unlike the more abrupt and chaotic demobilization that followed World War I, the post-1945 process was organized through a phased “class and age” scheme intended to ease people back into work and family life. Yet the homecoming was, in many ways, harder. Where WWI veterans had returned to a nation battered but largely physically intact, WWII soldiers like Francis Drake reentered a society scarred by the Blitz (Germany’s concentrated bombing of British cities) and years of war, marked by both relief and severe austerity. Rationing, already in place for years, became even stricter on certain goods; bread was rationed for the first time in 1946, and potatoes in 1947, amid ongoing shortages of food, housing, and clothing. Entire neighborhoods lay in rubble, families had been separated for years, and children born during the war often did not recognize their fathers. Drake’s arrival in a grim, bomb-scarred London where the air “smelt grubby, tasted dusty” (33) reflects this bleak reality. He returns not to a hero’s welcome but to a country too depleted to absorb him.


Beyond material hardship, veterans faced immense psychological challenges. The term post-traumatic stress disorder (PTSD) did not yet formally exist. In Britain, soldiers’ trauma was most often diagnosed through terms such as “battle exhaustion” or “combat fatigue,” which carried the same stigma associated with the earlier diagnosis of “shell shock.” British Army psychiatrists estimated that psychiatric casualties accounted for between 10 and 30% of all battle casualties in some campaigns, but treatment upon return home was patchy at best. Some men were treated at facilities like the Northfield Military Hospital in Birmingham, where pioneering group-therapy methods were developed, but many veterans received little sustained psychological care. A cultural emphasis on stoicism, reinforced by the wartime “keep calm and carry on” ethos, discouraged open discussion of mental suffering, and many veterans were urged simply to get on with things.


The psychological effects documented in veterans’ records closely parallel Drake’s symptoms. A study of war-pension records from a random sample of 500 British WWII veterans found that the 10 most commonly reported symptoms included anxiety, depression, sleep problems, and tremor/shaking (Engelbrecht, A. et al. “The Symptomatology of Psychological Trauma in the Aftermath of War (1945-1980).” Psychological Medicine, vol. 49, 2019). Drake exhibits all four: his persistent anxiety, depressive grief and survivor’s guilt, disturbed sleep, and shaking hands locate his suffering within a broader pattern of postwar psychological trauma. His flashbacks to the Normandy campaign, his survivor’s guilt regarding Dougie Arnold and his comrades’ rape of a French woman ground his anguish in the experience of a generation for whom the war was far from over. Through Drake, Winman suggests that the official narrative of victory obscured a private landscape of grief, and that genuine healing required the patient, listening presence of another human being—something the postwar state was neither equipped nor inclined to provide.

Cultural Context: The Geography and Folklore of Cornwall

The novel is deeply rooted in the unique geography and folklore of Cornwall, the isolated peninsula at England’s southwestern tip. Cornwall’s cultural distinctiveness stems from its Celtic Brythonic heritage, which links it more closely to Wales and Brittany than to Anglo-Saxon England. Its native language, Kernewek, is a Brythonic Celtic tongue that survived as a spoken vernacular until the late 18th century and has since been the subject of ongoing revival; place names, surnames, and everyday vocabulary throughout the county still carry its imprint. 


Cornwall’s distinctiveness was preserved in large part by geography. Nearly surrounded by sea and cut off from the rest of England by the River Tamar, the county developed in relative isolation, its communities looking outward to the Atlantic rather than inland toward London. The rugged coastline, ancient moorland, and mineral-rich granite bedrock shaped an economy and culture. Fishing and tin mining, an industry which originated in the Bronze Age, made Cornwall a hub of European trade long before it was politically absorbed into England. The perilous lives of miners are central to the backstory of the characters Jack and Jimmy, who worked in lodes extending “far far under the sea” (230), where they could hear the ocean overhead. This detail captures the literal interpenetration of land, sea, and labor that defined Cornish life.


This setting also informs the novel’s magical realism. Cornwall’s folklore, a direct inheritance of its Celtic past and its precarious maritime economy, is rich with tales of piskies, giants, knockers (spirits said to inhabit the mines), and sea spirits. The novel explicitly incorporates the Bucca, a merman-like sea spirit from Cornish mythology often associated with storms and fishermen. Marvelous recalls how the rumor that she kept a Bucca protected her as a woman working in the male-dominated fishing world: “Everyone knew you needed a Bucca on your side if you wanted to fish well and stay safe because the Bucca ruled the sea” (218). This belief system, born from a landscape where the ocean was both a provider and a constant threat, helps contextualize Marvelous’s mystical wisdom. Her intimate connection to the natural world blurs the line between folklore and daily life in the remote Cornish creek—a place where, as in the wider region, Celtic memory has never been fully overwritten by modern England.


The “gypsy” caravan that Marvelous inherits from her father draws on Cornwall’s centuries-old association with Romani people and other Traveler communities. The county’s rural landscape, seasonal employment, fairs, and isolated stopping places made it suitable for traveling ways of life. However, this historical reality became mixed with romantic folklore that associates Romani and traveling people with freedom, mystery, and supernatural insight. In Matthew Arnold’s “The Scholar-Gipsy,” the wandering life becomes an idealized escape from modern society, and D. H. Lawrence’s The Virgin and the Gipsy presents its Romani protagonist as instinctive, sensual, and liberated from restrictive middle-class conventions. Such works reveal how Romani communities were repeatedly reduced to a collection of limiting traits: nomadism, secrecy, communion with nature, and access to hidden knowledge.


In A Year of Marvelous Ways, Winman reflects the real Romani presence in Cornwall but also reproduces certain cultural stereotypes. Marvelous’s “gypsy” caravan, intuitive understanding of other people, healing presence, and close relationship with the natural world distinguish her from conventional society. The novel’s magical realism—dream sequences, folk legends, and a fluid boundary between memory and present reality—associates Marvelous with the familiar literary figure of the mysterious “Gypsy” woman who possesses knowledge unavailable to ordinary people. Although the narrative treats her character with sympathy and gives her a complex personal history, the caravan partly functions as shorthand for a long-established literary archetype.

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