love nina“Being a nanny is great.”

Autobiography is a risk. A celebrity can write their life story and be pretty sure that it’ll sell and people will be interested. A non-famous person, though, will never get the step up that fame provides, at least when the book is first published. It’s not to say that the non-celebrity will have a life less interesting than the celebrity, the opposite is absolutely possible and perhaps in some ways more likely, as while I like celebrity biogs, eventually they start to merge into one, sometimes becoming merely lists of plays, films or name drops.

So I started reading Love, Nina because it was the story of an unknown, a woman who had published the letters written to her sister (Vic) during the time she was nannying in London in the 1980s. It was a notable choice because she worked for Mary-Kay Wilmers, editor of the London Review of Books, and her sons Sam and Will Frears (now an actor and director, respectively). I’d love to give more of a summary of the plot, but that’s about it. Nina writes letters, we get a glimpse into 80s literary London (which should be far more interesting than she makes it) and she worries if she doesn’t get Thomas Hardy.

The front and back covers, as well as the first three pages of the book are printed with reviews containing no less than twenty-six uses of the word “funny”, “hilarious” or similar. Given that most of these are attributed to newspapers, they’re clearly not all from friends trying to big her up, but it does make me wonder if they’d been given the wrong manuscript to read. Oh sure, the observations of the children, Sam and Will, are occasionally quite amusing, but none of this is laugh out loud stuff. Stibbe has all the concerns of typical twenty-somethings of the decade, but is somewhat oblivious to the wider world.

This is most obvious when you come to learn that Alan Bennett (the Alan Bennett) is a frequent guest at the house and joins them for dinner most nights. His voice utterly fails to come through, mind, and Stibbe seems completely unimpressed by his existence. She is also nonplussed by the fact that Michael Frayn and Jonathan Miller also live in their street, meaning that the book is literary London through the eyes of someone who doesn’t understand the significance of what she’s seeing.

It’s difficult to keep track of what’s going on as well, given that very rarely are any dates given. The odd letter here and there has a year on it, sometimes a month, but Stibbe herself admits that some of them may well be out of order, and it’s disconcerting to realise that you’ve suddenly skipped six months ahead. What happened in that time? The letters are one-sided (we never see Vic’s response), so we have to interpret cryptic replies to unseen questions ourselves and are left wondering what’s going on. Because of the style, too, there is no real beginning or end. We don’t find out how Stibbe came to be working there, and the letters stop just as abruptly as they start. If you’re looking for something with a plot, don’t bother looking here. I get that real life pretty much doesn’t have a plot, but it feels like something should’ve been constructed.

All in all, for the comments of the kids (both of whom seem far older than the ages given to them), it might be worth taking a look at, but it doesn’t deserve double-digit declarations of hilarity. This is the book they’re talking about when they tell you not to judge them by their covers.