Like Father, Like Daughter

Historical fiction is an unforgiving medium. As with any kind of fiction, authors of this genre must build imaginary worlds and weave all their linguistic magic to ensure that their tales will resonate with their readers. They cannot, however, entirely give free rein to their imagination. To no small extent, they must confine their stories to known historical territory. To the grey areas, the shadows on which historians have been unable to shed enough light, they will of course add some colour. For dramatic purposes, they will speculate on what may have happened or how people may have thought or behaved. We will certainly not blame them if every historical detail is not accurate or proven. But they must ensure that the overall reconstruction is credible.

Based on those criteria, The Ghost Brush, Katherine Govier’s second fictional foray into Japanese culture after Three Views of Crystal Water, is a genuine achievement. Her portrayal of 19th-century...