Author Lisa Owens' latest novel, 'Natural Disaster', is resonating deeply with parents across the UK, offering a vivid and often hilarious portrayal of the challenges faced during the early years of motherhood. The book, set over a single, frantic day, follows an unnamed protagonist as she navigates the final 24 hours of her maternity leave with two young sons, before returning to work.
Owens' narrative draws parallels with Virginia Woolf's 'Mrs Dalloway' in its one-day structure, yet the daily demands placed upon her protagonist are arguably more akin to a counter-terrorist operative. From wrestling a double buggy out of a shop door to an endless cycle of nursery rhymes and domestic tasks, all while running on minimal sleep, the novel meticulously details the often-unseen mental and physical labour of caring for small children. The protagonist's romantic ideal of a 'perfect last day' quickly dissolves into a series of unpredictable and demanding events.
The author herself, a mother of two children now aged eight and ten, experienced the intense juggle of early parenthood firsthand. As a self-employed writer, Owens adapted her career to accommodate childcare, moving into screenwriting for a period, including the 2019 film 'Days of the Bagnold Summer', directed by her husband, Simon Bird. This collaborative work provided a more flexible approach during years when dedicating her 'whole brain' to novel writing was unfeasible.
Owens' return to novel writing was prompted by her agent's suggestion to expand a short story. The pivotal moment of the protagonist's buggy becoming wedged in a shop door—a scene described by one reader as needing a 'beta-blocker'—became the catalyst for the larger narrative. This anecdote underscores the heightened reality and unexpected dramas that characterise daily life with young children, a reality many parents will find instantly recognisable.
Reviewers have praised 'Natural Disaster' for its evocative, funny, and profound depiction of this specific period. The novel, at 196 pages, manages to pack in a multitude of relatable experiences, from the involuntary 'children's TV presenter voice' used with progeny to the 'Arguments Not Worth Having' with a partner. It also touches upon the ever-present specter of 'boomer judgement', capturing the multifaceted pressures new mothers often feel.