52 pages 1-hour read

The Last List of Mabel Beaumont

Fiction | Novel | Adult | Published in 2023

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Background

Content Warning: This section of the guide includes discussion of death and antigay bias.

Sociohistorical Context: Gender Roles and the Criminalization of Being Gay in Post-War Britain

Pearson’s novel is rooted in the social landscape of mid-20th-century Britain, a period defined by rigid gender expectations and the severe stigmatization of being gay. During World War II, women supported the war effort by taking on traditionally male roles in the workplace; however, in the postwar period, a cultural push emerged to return women to domestic roles, reinforcing the idea that a woman’s ultimate fulfillment lay in marriage and motherhood. This societal pressure is central to Mabel’s life choices; after the death of her brother, she married Arthur because it was the expected and secure path. Her reflection that she “wouldn’t find a kinder or more generous man to spend [her] life with” underscores a decision based on social acceptability rather than passion, a choice that led to decades of quiet regret (39).


This pressure to conform was compounded by the era’s religious condemnation and legal criminalization of same-sex relationships. The efforts of organizations that campaigned for complete decriminalization, such as the Homosexual Law Reform Society in the 1950s, led to the Sexual Offences Act of 1967, which partially decriminalized private gay acts between men over 21 in England and Wales (lesbianism was never a criminal offence in England). However, as same-sex relationships remained socially taboo, the prevailing climate of shame and secrecy forced relationships like Mabel and Dot’s underground. Dot’s abrupt disappearance before Mabel’s wedding can be understood as a flight from a society that offered no space for their love. The novel contrasts this oppressive past with the contemporary setting, where various pushes for LGBTQ+ rights and several waves of the feminist movement have made being gay mainstream enough for teenage Erin to be much more open about her sexuality. Although the UK’s legalization of same-sex marriage in 2013 reflected significant legal and social progress, Erin’s struggle with her mother’s religious disapproval demonstrates that prejudice persists, creating a parallel between the generations.

Genre Context: “Uplit” and Narratives of Later-Life Transformation

The Last List of Mabel Beaumont aligns with the conventions of “uplit,” or uplifting literature, a newly emerging contemporary genre focused on stories of kindness, empathy, and personal growth in the face of adversity. Popularized by novels around the world like Fredrik Backman’s A Man Called Ove (2012), Durian Sukegawa’s Sweet Bean Paste (2013), and Gail Honeyman’s Eleanor Oliphant Is Completely Fine (2017), uplit often features protagonists who begin the story isolated or grieving and then find renewed purpose by forming connections with others. This genre offers readers hope and a belief in the power of human connection to heal past traumas. Pearson’s novel fits squarely within this framework, centering on an octogenarian protagonist who has “mostly given up on life” before her husband’s death becomes the catalyst for a profound journey of self-discovery (4).


A key element of uplit is the theme of later-in-life transformation, challenging the notion that personal growth is exclusive to the young. After the death of his wife, Backman’s protagonist Ove is rootless until he finds meaning in new relationships with his neighbors and long-forgotten friends. Similarly, after Arthur’s death, Mabel discovers his final, unfinished note with the words “Find D” (25), which she interprets as a directive to find her long-lost childhood friend and first love, Dot. This quest provides her with a new sense of purpose and forces her to confront the decades of regret that have defined her quiet existence. The uplit genre often also features intergenerational found families. In Sukegawa’s novel, a depressed, middle-aged dorayaki maker connects with an elderly woman who has leprosy and a disaffected teenager. Likewise, Mabel’s transformation is facilitated by her own found family of women of different ages—Julie, Erin, Kirsty, and Patty—who support her search and, in turn, find the courage to address their own unresolved conflicts. The novel uses its uplifting journey to explore themes of aging, regret, and the restorative power of friendship.

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