Caro Claire Burke's 'Yesteryear' Review: A Tradwife Tale That Promises More Than It Delivers
Caro Claire Burke's debut novel "Yesteryear" has generated significant buzz in literary circles, with its premise sparking massive rights auctions and securing a film deal with Anne Hathaway. The story follows Natalie, an Instagram influencer who embodies the "tradwife" movement—women promoting traditional Christian values like pronatalism and wifely obedience to large social media followings.
A Genius Premise That Captivates Initially
The novel's central concept is undeniably brilliant: Natalie, a self-proclaimed "good Christian woman" with a rageful core, wakes up in what appears to be the actual pioneer days of 1805. She quickly discovers that traditional wifedom proves far more challenging than her carefully curated social media re-enactments had suggested. Burke creates a compelling character in Natalie, who describes herself as "the manic pixie American dream girl of this nation's deepest, darkest fantasies."
Natalie's biting, occasionally hilarious voice drives the narrative forward. Her description of losing her virginity to her new husband—"I felt like I needed to throw a dish towel over his penis and wait an hour to let it rise"—demonstrates Burke's talent for sharp, memorable dialogue. The protagonist emerges as a sort of Maga-era Becky Sharp, intelligent and ruthlessly ambitious yet callous toward her own children as she builds a millions-strong following.
Where the Novel Stumbles and Falls Short
Despite its promising start, "Yesteryear" struggles to maintain its initial momentum. The mystery of whether Natalie has actually time-traveled, entered a reality TV show, received a message from God, or simply lost her mind becomes the novel's primary focus, overshadowing more profound thematic explorations. This narrative choice comes at the expense of deeper character development and social commentary.
Burke makes several curious omissions that weaken the novel's impact. For a story centered on a woman who births multiple children as part of a pronatalist agenda, the female body receives surprisingly little attention. Descriptions of pregnancy and birth remain shallow and clichéd, with breastfeeding mentioned only in passing without meaningful exploration. Natalie's postpartum difficulties bonding with her children receive minimal development.
Missed Opportunities for Political Commentary
The novel hints at the homophobia, misogyny, and racism underpinning the tradwife movement through Natalie's observations about declining birth rates and racial anxieties. However, these political dimensions remain largely unexplored, creating a bizarre omission that feels particularly noticeable to European readers. This avoidance of substantive political engagement may represent a deliberate attempt to appeal to broader American audiences, but it leaves the novel feeling disconnected from the cultural moment it seeks to critique.
A Troubling Plot Development That Undermines the Story
Most concerning is Burke's handling of birth injury and child disability as plot devices. The treatment feels shockingly clumsy and under-researched, demonstrating a disappointing lack of curiosity about how such experiences shape both mother and child. This narrative choice comes across as cynical and manipulative, prioritizing clever plot twists over character humanity.
The novel's Hollywood connections—having been workshopped by producers and executives from its earliest drafts—may explain some of these shortcomings. Had Burke been allowed to explore her themes more deeply without commercial pressures, "Yesteryear" might have developed into a substantially different and more meaningful work.
Final Assessment: Promise Unfulfilled
"Yesteryear" serves as a cautionary tale about allowing a fun premise to overshadow substantive storytelling. While Burke demonstrates undeniable talent in her sharp social observations and memorable character voice, the novel ultimately fails to deliver on its considerable promise. The child disability plot twist feels particularly problematic, raising questions about its film adaptation potential.
For readers drawn to the premise of a tradwife confronting pioneer reality, "Yesteryear" offers moments of brilliance but ultimately disappoints in its execution. The novel's commercial success and Hollywood interest highlight the market's appetite for such stories, but Burke's debut serves as a reminder that concept alone cannot sustain literary achievement.
