The Pelicans gets its title from the legend of the pelican mother feeding its chicks on its own blood, and there is certainly an abundance of mothers in the novel. Sisters Rosamund and Frances Grantham have lost their own mother at the start of the novel; orphaned, they are taken in by their only relative, cousin Bertha Tregaskis, who prefers to be called Bertie. The sisters acquire other substitute mothers over the course of the novel: pretentious Nina Severing, a composer who once enjoyed brief success and whose star has long since faded, takes a shine to Frances; the vague Lady Argent provides help and shelter to both girls; and Frances, eventually entering a convent, acquires new mother-figures in the shape of Mrs Mulholland, doyenne of the convent's lady-boarders, and Mère Pauline, her Mother Superior. There is only one father in the novel; Frederick Tregaskis is taciturn and misanthropic, but occasionally understanding. Bertie Tregaskis is a ridiculous character at the start of the novel, energetic, fond of fresh air and indefatigable in conversation. She considers herself as altruistic as the pelican of the title, but is in fact an early incarnation of a monstrous Delafield egotist, controlling, self-absorbed and unable to recognise that her daughters have the right to live their own lives, as Rosamund shrewdly observes. I found Bertie's characterisation satirical rather than humorous, although the scene in which she encounters the even more self-important and voluble Mrs Mulholland, and feels as if "she were listening to a caricature of herself", is one of high comedy. The novel requires us to recognise Bertie's true values, as Rosamund does, and this is a little hard to reconcile with the Bertie of the opening chapters.
There is a lot of humour in the other characters, however; Morris and Nina Severing's ongoing battle of wills, and Lady Argent's naivety and charm, both generate a good deal of fun. These characters, ranged around Frances and Rosamund, contrast with the highly serious and eventually tragic events that will overtake them. Sometimes the changes of mood are too abrupt, showing Delafield's inexperience as a novelist; the overall change of tone, as the impact of Frances's decision to become a nun shows its effects, feels rather as if two books had been joined together. Delafield's characterisation of Mrs Mulholland exemplifies this shift in tone: initially highly ridiculous and pompous, Mrs Mulholland eventually has serious things to say about faith and religion, and serious emotions to feel, but the reader needs to be able to reconcile her ridiculousness with the kindness and generosity perceived by some of the other characters.
The Pelicans was written during 1916 and 1917, and Great War Fiction's review suggests that the change in tone might have been due to Delafield's wartime experiences and the darkening mood of the country at that time, although the setting of the novel is Edwardian. It has much in common with Zella Sees Herself, particularly the themes of motherhood and conversion to Catholicism; Delafield also begins to consider what will be a rich subject for her novels, that of unhealthy sibling relationships. There is a facsimile reprint of the novel available, although the quality isn't that great, and a secondhand copy is probably best for those tempted by this rather intriguing early Delafield.
Monday, 5 July 2010
Sunday, 27 June 2010
The Great Silence by Juliet Nicolson
In The Great Silence, Juliet Nicolson sets out to describe the two years following the Armistice in the terms of the cyclical sequence of emotions that accompany grief and mourning. In chapters headed Wound, Shock, Denial, Release, Resignation and so on, she draws on personal and establishment archives, diaries and letters to bring us the authentic voices of the times. The social and political uncertainty, and sometimes unrest, of the era is also clearly narrated. Through this dense and detailed account, forgotten stories of this period are retrieved and celebrated.
As in her previous book, the highly enjoyable A Perfect Summer, Nicolson draws on the writings of the celebrated and eminent, and also on those of the obscure, so we get a range of voices and opinions from the most powerful - the King and Queen - to the least, in the form of the memories of those who were small children at the time. Often Nicolson uses key figures - T E Lawrence and Nancy Astor are good examples - to exemplify the ways in which a wounded society sought to repair and rehabilitate itself through establishing heroes and forcing change. She also retells some of the stories of hope from the period, particularly the story of Harold Gillies, a plastic surgeon who did pioneering work to repair soldier's damaged faces; Gillies's cousin Archie McIndoe started the more famous Guinea Pig Club after the second world war, drawing on the techniques and approaches Gillies had established, which included using artists such as Kathleen Scott and Henry Tonks, Professor of the Slade, to help draw and model reconstructed faces. She is also very good on the position of women, who had achieved the vote and could get an Oxford degree, but were being encouraged back to the home to make way for returning war heroes in need of jobs.
Nicolson has created a narrative of this two year period in which the shock and grief of the first World War are gradually accommodated and accepted, and in which the possibilities of hope for the future began to be permissible. Her last chapter, which describes the burial of the Unknown Soldier in Westminster Abbey on 11 November 1920, suggests that this funeral helped to heal the scars of the war, and her ending, which quotes Winifred Holtby, exuberantly in love with life, suggests an open doorway to a new world. However, she does not overstate her case; the ongoing problems left by the war are recognised, as is dissent from the establishment view of the meaning of the war and its value.
In A Perfect Summer, Nicolson had the advantage of diaries and letters which were maintained throughout the period of her narrative, giving her a continuous set of voices to draw on. In this book, voices appear only briefly, or disappear altogether, often because the writer has died. This can be seen as a disadvantage in narrative continuity and maintenance of an argument, but is perhaps an advantage in depicting the uncertainty of the times she describes, the suddenness of loss, the fragmentation of identity suffered by so many. It also helps remind the reader that the cycle of mourning is not a machine that runs in order; some people will be stuck forever in Denial, which some will move backwards and forwards through painful emotional states before reaching the promised land of Acceptance. The discontinuity of voices also speaks of the social divisions between those who sought to restore a pre-war society and those who sought the opportunity for change. This book is, understandably, much less humorous than its predecessor,but it brings into the light a period heavily overshadowed by the war and the Twenties, and is a careful, nuanced account of the people who lived through this interval between times of more revolutionary change.
As in her previous book, the highly enjoyable A Perfect Summer, Nicolson draws on the writings of the celebrated and eminent, and also on those of the obscure, so we get a range of voices and opinions from the most powerful - the King and Queen - to the least, in the form of the memories of those who were small children at the time. Often Nicolson uses key figures - T E Lawrence and Nancy Astor are good examples - to exemplify the ways in which a wounded society sought to repair and rehabilitate itself through establishing heroes and forcing change. She also retells some of the stories of hope from the period, particularly the story of Harold Gillies, a plastic surgeon who did pioneering work to repair soldier's damaged faces; Gillies's cousin Archie McIndoe started the more famous Guinea Pig Club after the second world war, drawing on the techniques and approaches Gillies had established, which included using artists such as Kathleen Scott and Henry Tonks, Professor of the Slade, to help draw and model reconstructed faces. She is also very good on the position of women, who had achieved the vote and could get an Oxford degree, but were being encouraged back to the home to make way for returning war heroes in need of jobs.
Nicolson has created a narrative of this two year period in which the shock and grief of the first World War are gradually accommodated and accepted, and in which the possibilities of hope for the future began to be permissible. Her last chapter, which describes the burial of the Unknown Soldier in Westminster Abbey on 11 November 1920, suggests that this funeral helped to heal the scars of the war, and her ending, which quotes Winifred Holtby, exuberantly in love with life, suggests an open doorway to a new world. However, she does not overstate her case; the ongoing problems left by the war are recognised, as is dissent from the establishment view of the meaning of the war and its value.
In A Perfect Summer, Nicolson had the advantage of diaries and letters which were maintained throughout the period of her narrative, giving her a continuous set of voices to draw on. In this book, voices appear only briefly, or disappear altogether, often because the writer has died. This can be seen as a disadvantage in narrative continuity and maintenance of an argument, but is perhaps an advantage in depicting the uncertainty of the times she describes, the suddenness of loss, the fragmentation of identity suffered by so many. It also helps remind the reader that the cycle of mourning is not a machine that runs in order; some people will be stuck forever in Denial, which some will move backwards and forwards through painful emotional states before reaching the promised land of Acceptance. The discontinuity of voices also speaks of the social divisions between those who sought to restore a pre-war society and those who sought the opportunity for change. This book is, understandably, much less humorous than its predecessor,but it brings into the light a period heavily overshadowed by the war and the Twenties, and is a careful, nuanced account of the people who lived through this interval between times of more revolutionary change.
Saturday, 26 June 2010
Marie Stopes and the Sexual Revolution by June Rose
Over fifty years after her death, Marie Stopes's name remains synonymous with contraception. There is a chain of private sexual health clinics in the UK that is still called after her. Most people will also be aware of her pioneering work in sexual guidance, which first articulated for a mass audience idea that good sexual relations were at the heart of happy marriages, and indicated frankly how these were to be achieved. This book contextualises her work on sexuality and fertility control among her other achievements and her complex personal life.
Marie's mother, Charlotte Carmichael, was a suffragette and a scholar in her own right, although unable, during her own youth, to undertake formal study at a university. Charlotte was in some ways a detached mother, with exacting standards that Marie found impossible to satisfy, but committed to the education of her daughters. Affection came more from Marie's father Henry, but her parents' marriage was not harmonious and Henry died when Marie was in her early twenties. Marie was something of an academic prodigy; she completed her undergraduate degree in Botany and Geology at the University of London in two years, moved to Munich to undertake a PhD, and followed this up with a Doctor of Science again in London; at the time she was the youngest person in Britain to gain this award. Her specialism was paleobotany, in particular the fossils to be found in coal, and this specialism took her down many coal mines and on a research trip to Japan where she undertook long and arduous journeys in search of specimens.
Working in Manchester as a lecturer, with several complex romantic entanglements involving both sexes behind her, Marie began to write poetry and prose with a strongly autobiographical tone. June Rose quotes enough of her poetry to give the reader a sense that, despite her facility with rhyme and metre, poetry was not really her metier, but at this time she was already working on a text that would eventually become Married Love. Invited to Canada to study the carboniferous flora of New Brunswick, she met, and within a few days had agreed to marry, Reginald Ruggles Gates, a fellow scientist specialising in genetics. Their marriage was unsuccessful, both emotionally and successfully, and was eventually annulled, but in its aftermath, and drawing on both her scientific knowledge and her own personal experience of unsuccessful marriage, Marie published Married Love to instant acclaim. Shortly afterwards she married the wealthy Humphrey Roe, who was to support her writing career and her crusading zeal for contraceptive advice with money, time and unconditional affection.
Rose is very good at evoking Marie's immense self-possession and overweening self-confidence. She had no respect for the boundaries that kept women out of politics and science, and crossed many of them herself, but this was achieved only by maintaining a self-belief that can seem unbearable or ridiculous. She can also be self-serving, making use of people and organisations while it is of advantage to her, and passing on from them when her need or interest has faded. This tendency is perhaps at its most acute in her relationship with her son Harry. Marie had longed for a child for years and, after giving birth to a stillborn baby, was overjoyed at Harry's birth when she was 44. She was an attentive, if sometimes eccentric, mother. Until he went to boarding school, Harry wore only knitted trousers or kilts, because Marie believed ordinary trousers would damage the development of his genitals. But when Harry proposed to marry a girl Marie disapproved of, for an entirely petty reason, she cut him out of her life.
The biography is very fair, however, in identifying Marie's achievements and recognising that her less attractive characteristics enabled her to break new ground and contribute hugely to the conditions of women's lives. Her unbearable self-confidence was necessary to allow her to write, as a woman in the early 20th century, about contraception and women's entitlement to sexual pleasure. It also allowed her to withstand and to counter criticism from such establishment forces as the Church of England, the Catholic Church and the British Medical Association. Even if she had been self-deprecating and kind, her enthusiasm for eugenics and the improvement of "the Race" would make today's readers uncomfortable. However, her books changed many people's lives greatly for the better, helping women take control of their fertility, and heterosexual couples achieve happier sex lives; June Rose includes many letters of thanks from enlightened readers. Marie's sexual radicalism ended there. Despite some emotionally charged relationships with women, she characterised homosexuality as a disease, and was at endless pains to demonstrate that her advice and guidance was for married people.
Rose's book is well-crafted and gives a balanced, nuanced reading of Marie's life, her successes and her failures. It presents her as a flawed but determined individual, sometimes using her grandiose ideas to propel her to greater achievements, sometimes going too far and doing damage to her own reputation. Rose is particularly good at understanding and explaining the rather mystical nature of Marie's attitudes to sex, which led her to announce herself as a prophet and to publish A New Gospel, which she claimed had been dictated to her by God. If I have one criticism it is that the latter part of Marie's life is given less attention than her early years; but to be fair, her early years are so packed with incident that it would be difficult to summarise. The book is also very entertaining, particularly when Marie's self-assurance leads to unusually egregious acts of self-promotion. It also gives a very good introduction to the context for Marie's work, particularly in terms of political, religious and social attitudes to sex and contraception.
Marie's mother, Charlotte Carmichael, was a suffragette and a scholar in her own right, although unable, during her own youth, to undertake formal study at a university. Charlotte was in some ways a detached mother, with exacting standards that Marie found impossible to satisfy, but committed to the education of her daughters. Affection came more from Marie's father Henry, but her parents' marriage was not harmonious and Henry died when Marie was in her early twenties. Marie was something of an academic prodigy; she completed her undergraduate degree in Botany and Geology at the University of London in two years, moved to Munich to undertake a PhD, and followed this up with a Doctor of Science again in London; at the time she was the youngest person in Britain to gain this award. Her specialism was paleobotany, in particular the fossils to be found in coal, and this specialism took her down many coal mines and on a research trip to Japan where she undertook long and arduous journeys in search of specimens.
Working in Manchester as a lecturer, with several complex romantic entanglements involving both sexes behind her, Marie began to write poetry and prose with a strongly autobiographical tone. June Rose quotes enough of her poetry to give the reader a sense that, despite her facility with rhyme and metre, poetry was not really her metier, but at this time she was already working on a text that would eventually become Married Love. Invited to Canada to study the carboniferous flora of New Brunswick, she met, and within a few days had agreed to marry, Reginald Ruggles Gates, a fellow scientist specialising in genetics. Their marriage was unsuccessful, both emotionally and successfully, and was eventually annulled, but in its aftermath, and drawing on both her scientific knowledge and her own personal experience of unsuccessful marriage, Marie published Married Love to instant acclaim. Shortly afterwards she married the wealthy Humphrey Roe, who was to support her writing career and her crusading zeal for contraceptive advice with money, time and unconditional affection.
Rose is very good at evoking Marie's immense self-possession and overweening self-confidence. She had no respect for the boundaries that kept women out of politics and science, and crossed many of them herself, but this was achieved only by maintaining a self-belief that can seem unbearable or ridiculous. She can also be self-serving, making use of people and organisations while it is of advantage to her, and passing on from them when her need or interest has faded. This tendency is perhaps at its most acute in her relationship with her son Harry. Marie had longed for a child for years and, after giving birth to a stillborn baby, was overjoyed at Harry's birth when she was 44. She was an attentive, if sometimes eccentric, mother. Until he went to boarding school, Harry wore only knitted trousers or kilts, because Marie believed ordinary trousers would damage the development of his genitals. But when Harry proposed to marry a girl Marie disapproved of, for an entirely petty reason, she cut him out of her life.
The biography is very fair, however, in identifying Marie's achievements and recognising that her less attractive characteristics enabled her to break new ground and contribute hugely to the conditions of women's lives. Her unbearable self-confidence was necessary to allow her to write, as a woman in the early 20th century, about contraception and women's entitlement to sexual pleasure. It also allowed her to withstand and to counter criticism from such establishment forces as the Church of England, the Catholic Church and the British Medical Association. Even if she had been self-deprecating and kind, her enthusiasm for eugenics and the improvement of "the Race" would make today's readers uncomfortable. However, her books changed many people's lives greatly for the better, helping women take control of their fertility, and heterosexual couples achieve happier sex lives; June Rose includes many letters of thanks from enlightened readers. Marie's sexual radicalism ended there. Despite some emotionally charged relationships with women, she characterised homosexuality as a disease, and was at endless pains to demonstrate that her advice and guidance was for married people.
Rose's book is well-crafted and gives a balanced, nuanced reading of Marie's life, her successes and her failures. It presents her as a flawed but determined individual, sometimes using her grandiose ideas to propel her to greater achievements, sometimes going too far and doing damage to her own reputation. Rose is particularly good at understanding and explaining the rather mystical nature of Marie's attitudes to sex, which led her to announce herself as a prophet and to publish A New Gospel, which she claimed had been dictated to her by God. If I have one criticism it is that the latter part of Marie's life is given less attention than her early years; but to be fair, her early years are so packed with incident that it would be difficult to summarise. The book is also very entertaining, particularly when Marie's self-assurance leads to unusually egregious acts of self-promotion. It also gives a very good introduction to the context for Marie's work, particularly in terms of political, religious and social attitudes to sex and contraception.
Friday, 11 June 2010
Miss Ranskill Comes Home by Barbara Euphan Todd
Miss Ranskill comes home, after four years on a desert island, to an England utterly changed by the second World War. She shared the desert island with Mr Reid, the remarkably capable man Miss Ranskill always calls the Carpenter. But at the start of the novel, the Carpenter has died and Miss Ranskill must bury him. Inadvertently, she also buries their only knife, without which survival on the island is impossible. This decides her to attempt an escape in the boat the Carpenter has built. Reaching England after no little difficulty, she finds her problems are only just starting. Lacking an identity card and a ration book, she cannot buy new clothes to replace her decayed tweed suit. New, incomprehensible terms have invaded the English language. She is also, inconveniently, officially dead.
Miss Ranskill is used to great humorous effect by Barbara Euphan Todd to satirise the more ridiculous aspects of wartime life; I particularly liked her reaction to the painted line round the bath, intended to save water. Miss Ranskill, in the house she is sharing, has the last of three baths, and simply fills the bath with as much hot water is left, whether it rises above the line or not; otherwise, the fuel that heated the water would have been wasted. This view, unsurprisingly, is not shared by her housemates; Miss Ranskill has failed to Do Her Bit. There is also some gentle challenge to the boundaries of the English class system. Her friendship with the working-class Carpenter is suspected on all sides; even on the island Miss Ranskill knows that she could never bring her friend home to meet her sister: "The man is neither fish, fowl nor good red herring now that you've made a friend of him." The two friends shared many stories of their home lives on the island, and Miss Ranskill conceives of a mission: she will visit the Carpenter's widow, and give the boat he built to his son. But her overtures of friendship are as inappropriate in a working-class home as they are in her middle-class one.
The Carpenter and his son point to some unassuming Christian allegory. Miss Ranskill is always (reasonably enough, I thought) furious whenever anyone hints, with prurient delicacy, at a possible sexual relationship between the two friends on the island, and invests their chaste affections with a strongly spiritual, transcendent quality. She pursues her mission with the diligence of a pilgrim, and in doing so discovers another that will help her fit less awkwardly into the War Effort.
Satire and allegory are achieved with great subtlety in the book, which is also hugely funny. I particularly enjoyed Miss Ranskill's schoolfriend Marjorie, now an officious ARP warden and having the time of her life in the war, puzzling over why there had been no black-out on the island: "I should have thought you'd have rigged up some kind of screen ... unless you wanted to be neutral?", and sister Edith's inability to comprehend that the Times had not been available to the castaways. Miss Ranskill is an endearing heroine, resourceful and assertive, and her passage from bewildered refugee to woman with a plan is rather inspiring.
This is another Persephone retrieval, and one of the best of the Persephones that I've read. I'll be recommending this, tiresomely and repeatedly, to anyone I think might possibly enjoy it.
Miss Ranskill is used to great humorous effect by Barbara Euphan Todd to satirise the more ridiculous aspects of wartime life; I particularly liked her reaction to the painted line round the bath, intended to save water. Miss Ranskill, in the house she is sharing, has the last of three baths, and simply fills the bath with as much hot water is left, whether it rises above the line or not; otherwise, the fuel that heated the water would have been wasted. This view, unsurprisingly, is not shared by her housemates; Miss Ranskill has failed to Do Her Bit. There is also some gentle challenge to the boundaries of the English class system. Her friendship with the working-class Carpenter is suspected on all sides; even on the island Miss Ranskill knows that she could never bring her friend home to meet her sister: "The man is neither fish, fowl nor good red herring now that you've made a friend of him." The two friends shared many stories of their home lives on the island, and Miss Ranskill conceives of a mission: she will visit the Carpenter's widow, and give the boat he built to his son. But her overtures of friendship are as inappropriate in a working-class home as they are in her middle-class one.
The Carpenter and his son point to some unassuming Christian allegory. Miss Ranskill is always (reasonably enough, I thought) furious whenever anyone hints, with prurient delicacy, at a possible sexual relationship between the two friends on the island, and invests their chaste affections with a strongly spiritual, transcendent quality. She pursues her mission with the diligence of a pilgrim, and in doing so discovers another that will help her fit less awkwardly into the War Effort.
Satire and allegory are achieved with great subtlety in the book, which is also hugely funny. I particularly enjoyed Miss Ranskill's schoolfriend Marjorie, now an officious ARP warden and having the time of her life in the war, puzzling over why there had been no black-out on the island: "I should have thought you'd have rigged up some kind of screen ... unless you wanted to be neutral?", and sister Edith's inability to comprehend that the Times had not been available to the castaways. Miss Ranskill is an endearing heroine, resourceful and assertive, and her passage from bewildered refugee to woman with a plan is rather inspiring.
This is another Persephone retrieval, and one of the best of the Persephones that I've read. I'll be recommending this, tiresomely and repeatedly, to anyone I think might possibly enjoy it.
Wednesday, 9 June 2010
That Lady by Kate O'Brien
Apparently, at this year's Hay Literary Festival, Antony Beevor suggested that "novelists ought to mark in bold type the bits they made up". He might be mollified by Kate O'Brien's forward to That Lady, which states firmly that "what follows is not a historical novel. It is an invention arising from reflection on the curious external story of Ana de Mendoza and Philip II of Spain." O'Brien extracts from her reflections a novel that deals with a complex blend of political intrigue, love, jealousy, religion, and humour.
Ana de Mendoza, Princess of Eboli and owner of many other complicated titles, is a widow at the start of the novel, but still probably the most powerful woman in Spain. Rich in her own right, the friend and confidante of Philip II, she is able to rise above the scurrilous and unfounded rumours which suggest that she is the King's mistress. Her appearance - she is thin, not traditionally beautiful, old at 35 by the standards of the day , and wears a silk eyepatch following a fencing accident when she was a child - confounds the gossip about her; many believe her virtuous because they find her ugly. Ana, knowing she is both committing a sin and taking a significant political risk, takes as a lover the King's Secretary of State, Antonio Perez. It is not long before their affair begins to excite gossip and political intrigue, which adds to the already complex and personal political situation centred around Philip and his government of Spain. The lovers are denounced by Juan de Escovedo, a political enemy of Philip, who endorses his elimination. After Escovedo's murder, the King becomes aware of the true nature of Ana's relationship with Perez, and the consequences for the lovers are terrible.
Philip's intransigent desire to punish Ana and Perez is only part of the story. Buoyed by her wealth and status, Ana is overconfident about her power and her ability to manage Philip. Perez has similar faith in his invincibility. Both, eventually, suffer at the hands of an absolute monarch who has no need to invoke the law to imprison and torture. Ana is a faithful Catholic, and denies herself the consolation of the church while her affair with Antonio continues, but her story shows us that we need to beware of earthly powers as well as heavenly ones. At the heart of Ana's story is a rather modern theme - the right to a private life. Ana is a political figure, a landowner, a manager of estates, but she continually asserts that her private relations are nobody else's business; they dishonour nobody, they threaten nobody, because nobody has the right to be interested in them. This assertion will lead to her imprisonment and eventual death.
It is often said that historical novels are really about the period in which they were written, and in this 1945 work it's possible to read the Spain of Philip II, exhausted by wars, wealthy but unable to feed its people, and struggling to maintain its imperial conquests, as a metaphor for Britain at the end of the Second World War, especially Ana's reaction to the decay of her estates during her house arrest. Ana is forced to cede the management of her estates to the King's representative: "When Ruy lived and in the six years after his death that I was in nominal charge of Pastrana, this estate and its people were prosperous. Now it's being run by the government, and I can tell from looking out of that window, walking through my own garden - even if none of the people ever came to see me - that for some reason that no one can quite fix on, that is no longer true." The fear of the ascendant middle-class bureaucracy so common in novels of the interwar and war years is clearly indicated here. There are also echoes of Franco's autocratic rule over Spain: Ana's power is not threatened by increasing democracy but by a greater despotism. But the politics of the novel merge with echoes of fairy tales; Ana is imprisoned and, like the Sleeping Beauty, her house decays and her garden becomes overgrown.
There is also a personal reading of this work: Kate O'Brien based her characterisation of Ana de Mendoza on her friend, E M Delafield. At first it is somewhat hard to reconcile a one-eyed sixteenth-century Spanish aristocrat with the author of the Provincial Lady, but Ana's unfailing good humour, affection for her friends and (most of) her children, and endurance of suffering are all reminiscent of Delafield's biography. Kate O'Brien spent a lot of time with Delafield during her last illness, and perhaps her friend's stoicism inspired Ana's:
"Ana was feeling ill that evening, in pain all through her body, but this most exquisitely tragic-comic piece of news, which she refused to accept as more than some travelling man's fantasy, roused her to a mood of mockery that was rejuvenating and even analgesic."
This is a detailed and complex book; the political machinations of the key characters, the back story which must be conveyed to help the reader make sense of the present, and the many dramatic events make it a demanding read, especially for a reader who (like me) knows practically nothing about this era in Spanish history. But it is a rewarding book, opening up many ideas and images to the reader, who cannot fail to be charmed by Ana, her bravery and her wit, or moved by her eventual decline.
Sunday, 23 May 2010
The Matchmaker by Stella Gibbons
In this 1950 novel Stella Gibbons explores the little comedies and dramas of life in rural Sussex immediately after the second world war. Alda Lucie-Brown comes to live at dreary, isolated Pine Cottage with her three daughters, Jenny, Louise and little Meg. Alda's husband Ronald, a university lecturer, is still on military service abroad, helping with reconstruction work in Germany, and the family has lived a peripatetic life since their home in Ironborough, a prosperous provincial city where both Alda and Ronald have deep roots, was destroyed in the war. Alda and the girls make friends with their immediate neighbours, the Hoadleys at the nearby farm, and Mr Waite, who keeps battery chickens and is fond of transcendent literature.
Alda is the matchmaker of the title, interfering first in the love life of her old friend Jean. Jean has reached her early thirties without marrying, although there has been a procession of unsuitable men in her life; her father has recently died, leaving her his profitable kitchenware business. Alda thinks that Mr Waite, for all that he is gloomy and old-fashioned, will do well for Jean, and develops their acquaintance. Alda goes on to encourage Sylvia, a would-be actress with dyed hair working as a land girl for the Hoadleys, to consider Fabrio, an Italian prisoner of war also working on the farm, as a potential suitor. All this is played out against a background of rural life, farm work, riding lessons and a convent school for the girls, with Ronald's occasional visits when on leave.
The underlying theme of the novel seems to be getting people into their rightful place. Alda, displaced from her native Ironborough, takes a fairly superficial attitude to life at Pine Cottage; she will not be there for long and will not see at close hand the consequences of her matchmaking. Fabrio is exiled from his impoverished Italian home and sufficiently disconcerted to consider Sylvia as a potential wife, rather than Maria, the girl at home who writes to him every week. Mr Waite has been somehow deprived of the managerial business position that he grew up expecting to have; marriage to Jean would restore this to him. The novel valorises people like the Hoadleys, who are in the appropriate setting and making it work for them; and Mr Hoadley's parents, who live, as Mrs Hoadley says, "very rough". Sylvia and Fabrio's visit to the elder Hoadleys in their patchwork house brings out fastidious disdain in Sylvia, but the narrative is quite approving of their way of life. Perhaps the strongest condemnation of the effect on place of the wrong sort of person is the description of the decline of the Linga-Longa cafe, once the clean and respectable Blue Plate, now infiltrated by gipsies, lorry-drivers and dirt, and unsuitable for Alda and her daughters. The novel flirts with the possibility that people may move between cultures through the relationship between Sylvia and Fabrio, but ultimately takes a conservative view of such mobility: people, whatever their background, are better off where their roots are.
In order to fit in the right, appointed place, people must be of the right type; the novel therefore inevitably deals in stereotypes. The Italian prisoners of war are portrayed as dirty, untrustworthy and over-emotional; Sylvia's semi-bohemian, theatrical and Communist family are described as dirty (again), vulgar and unintelligent; the London friends of Jean's original suitor are hard, fashionable and superficial. There is a good deal about the grubbiness of Italian peasant life, and the novel sentimentalises their poverty as perfectly appropriate for peasants, indeed much the best thing for them. This, alongside the general snobbishness which also permeates Nightingale Wood, can make the novel an uneasy read. Alda, with her golden hair and sparkling hazel eyes, is probably intended to be as attractive a meddler in others' affairs as Flora Poste; although she is probably as interfering as Flora, she lacks Flora's ability to divine what people really want from life, and to give it to them while, serendipitously, getting her own way.
The novel's attractive qualities lie in its contingent, happenstance approach to plot; things happen that have no particular bearing on the twin love stories. Jenny and Louise go to school for the first time, and find it difficult, but no crisis ensues; a storm threatens the harvest, but the neighbours and farmworkers all pull together to get the wheat in before the storm can break - which it never actually does. Stella Gibbons seems fond of this type of anticlimax and uses it to tease the reader. There are also lyrical descriptions of the charms of country life in the summer, with picnics and bicycle rides featuring prominently. Criticising Sylvia's taste in films, the narrator praises films like This Happy Breed and I Know Where I'm Going! which "took a story from everyday life and touched it with poetry"; I suspect this was also the ambition of this novel.
Alda is the matchmaker of the title, interfering first in the love life of her old friend Jean. Jean has reached her early thirties without marrying, although there has been a procession of unsuitable men in her life; her father has recently died, leaving her his profitable kitchenware business. Alda thinks that Mr Waite, for all that he is gloomy and old-fashioned, will do well for Jean, and develops their acquaintance. Alda goes on to encourage Sylvia, a would-be actress with dyed hair working as a land girl for the Hoadleys, to consider Fabrio, an Italian prisoner of war also working on the farm, as a potential suitor. All this is played out against a background of rural life, farm work, riding lessons and a convent school for the girls, with Ronald's occasional visits when on leave.
The underlying theme of the novel seems to be getting people into their rightful place. Alda, displaced from her native Ironborough, takes a fairly superficial attitude to life at Pine Cottage; she will not be there for long and will not see at close hand the consequences of her matchmaking. Fabrio is exiled from his impoverished Italian home and sufficiently disconcerted to consider Sylvia as a potential wife, rather than Maria, the girl at home who writes to him every week. Mr Waite has been somehow deprived of the managerial business position that he grew up expecting to have; marriage to Jean would restore this to him. The novel valorises people like the Hoadleys, who are in the appropriate setting and making it work for them; and Mr Hoadley's parents, who live, as Mrs Hoadley says, "very rough". Sylvia and Fabrio's visit to the elder Hoadleys in their patchwork house brings out fastidious disdain in Sylvia, but the narrative is quite approving of their way of life. Perhaps the strongest condemnation of the effect on place of the wrong sort of person is the description of the decline of the Linga-Longa cafe, once the clean and respectable Blue Plate, now infiltrated by gipsies, lorry-drivers and dirt, and unsuitable for Alda and her daughters. The novel flirts with the possibility that people may move between cultures through the relationship between Sylvia and Fabrio, but ultimately takes a conservative view of such mobility: people, whatever their background, are better off where their roots are.
In order to fit in the right, appointed place, people must be of the right type; the novel therefore inevitably deals in stereotypes. The Italian prisoners of war are portrayed as dirty, untrustworthy and over-emotional; Sylvia's semi-bohemian, theatrical and Communist family are described as dirty (again), vulgar and unintelligent; the London friends of Jean's original suitor are hard, fashionable and superficial. There is a good deal about the grubbiness of Italian peasant life, and the novel sentimentalises their poverty as perfectly appropriate for peasants, indeed much the best thing for them. This, alongside the general snobbishness which also permeates Nightingale Wood, can make the novel an uneasy read. Alda, with her golden hair and sparkling hazel eyes, is probably intended to be as attractive a meddler in others' affairs as Flora Poste; although she is probably as interfering as Flora, she lacks Flora's ability to divine what people really want from life, and to give it to them while, serendipitously, getting her own way.
The novel's attractive qualities lie in its contingent, happenstance approach to plot; things happen that have no particular bearing on the twin love stories. Jenny and Louise go to school for the first time, and find it difficult, but no crisis ensues; a storm threatens the harvest, but the neighbours and farmworkers all pull together to get the wheat in before the storm can break - which it never actually does. Stella Gibbons seems fond of this type of anticlimax and uses it to tease the reader. There are also lyrical descriptions of the charms of country life in the summer, with picnics and bicycle rides featuring prominently. Criticising Sylvia's taste in films, the narrator praises films like This Happy Breed and I Know Where I'm Going! which "took a story from everyday life and touched it with poetry"; I suspect this was also the ambition of this novel.
Saturday, 22 May 2010
Diaries and Letters of Marie Belloc Lowndes, 1911-1947
Marie Belloc Lowndes was a novelist, playwright and (auto)biographer and the sister of Hilaire Belloc; both children spent their early years in France and Marie retained a slight French accent throughout her life. Their mother, Bessie Parkes Belloc, was also a writer and friend of such literary figures as George Eliot and Elizabeth Barrett Browning. She married F S A Lowndes, a journalist on the staff of The Times, and was acquainted with a great many of the artistic, literary and political figures of her time. This is evidenced by a photograph in the book of her autograph fan, signed by dozens of celebrated people including Oscar Wilde, Edmond de Goncourt, Thomas Hardy, Arthur Balfour and Winston Churchill.
This book, edited by her daughter Susan Lowndes Marques, comprises a selection of letters and autobiographical pieces. The diary sections are often, in fact, extended reminiscences of experiences some time in the past, rather than a record of events as they occur, although these also form part of the text, as do letters to Marie Belloc Lowndes from her correspondents. The autograph fan does not overstate her network of connections: she seems to have known, and usually lunched with, pretty much everybody of significance in early 20th century French and English history. A prolonged reading of the book, I found, led to a great desire not to see any more names dropped. But for any student of this period, her reflections and commentary on the politicians and writers of the time are illuminating; there is also a good deal about the characters of the 19th century that she had known personally or through her mother.
A devout Catholic, Marie had a rather sweet if naive tendency to believe that people were usually good at heart. The long section on the Abdication, in which she gives her view of Mrs Simpson as a virtuous woman in love with Mr Simpson, is idiosyncratic to say the least. This hopeful approach to human nature does not, however, leave her as frequently disappointed with her fellow beings as you might expect, and her letters and diary writings are good-humoured and amusing; even the privations of the Second World War fail to daunt her spirit. Marie Belloc Lowndes is probably best known now as the author of The Lodger, a crime novel which inspired the silent Hitchcock film of the same name. Both are worth a look.
This book, edited by her daughter Susan Lowndes Marques, comprises a selection of letters and autobiographical pieces. The diary sections are often, in fact, extended reminiscences of experiences some time in the past, rather than a record of events as they occur, although these also form part of the text, as do letters to Marie Belloc Lowndes from her correspondents. The autograph fan does not overstate her network of connections: she seems to have known, and usually lunched with, pretty much everybody of significance in early 20th century French and English history. A prolonged reading of the book, I found, led to a great desire not to see any more names dropped. But for any student of this period, her reflections and commentary on the politicians and writers of the time are illuminating; there is also a good deal about the characters of the 19th century that she had known personally or through her mother.
A devout Catholic, Marie had a rather sweet if naive tendency to believe that people were usually good at heart. The long section on the Abdication, in which she gives her view of Mrs Simpson as a virtuous woman in love with Mr Simpson, is idiosyncratic to say the least. This hopeful approach to human nature does not, however, leave her as frequently disappointed with her fellow beings as you might expect, and her letters and diary writings are good-humoured and amusing; even the privations of the Second World War fail to daunt her spirit. Marie Belloc Lowndes is probably best known now as the author of The Lodger, a crime novel which inspired the silent Hitchcock film of the same name. Both are worth a look.
Sunday, 16 May 2010
The Camomile: An Invention by Catherine Carswell
I picked this up in an Oxfam bookshop in Suffolk because it was a Virago, and, as it turned out to be a diary novel, I bought it. After studying the piano in Frankfurt, Ellen, a young woman of twenty, has returned to her family home in Edwardian Glasgow, where she is beginning a career as a music teacher. She lives with her deeply religious Aunt Harry and her brother Ronald who is disabled in some unspecified way, although able to work as an architect, and to envisage travel to America. Her diary is actually a protracted letter to her friend Ruby who has also studied in Frankfurt and is now making a living as a teacher in London. Ellen's mother, now dead, was also a writer of some sort, although the only reference to her output describes her work as 'pamphlets' and Ellen is very disparaging about her talents; her mother's writing is seen by the family as responsible for Ronald's disability, which came about because he was left in wet clothes by their mother while she was working. Aunt Harry is very suspicious even of diary writing, and Ellen's desire for privacy in which to write and to practice the piano leads her to rent a secret room at a neighbour's house.
Ellen's diary is concerned with establishing her career, the emotional lives of her friends as they begin to marry, and her own desires for marriage and fears of becoming an old maid. Her spinster exemplars are problematic: Aunt Harry's religious discipline and disapproval irritates Ellen, although she recognises that her aunt's love for her underpins this strictness; her former teacher, Miss Hepburn, moves from emotional eccentricity into madness, and is sent to the asylum. Ellen eventually becomes engaged to the brother of a school friend. He is back, briefly, from India, but their courtship is not smooth; Ellen's desire is frustrated by the trappings and delays that an engagement at that time provides. Alongside the narrative of her developing career and love affair runs the story of her friendship with an impoverished scholar: the man she calls Don John haunts the public library and helps inspire her to write more than the diary-letters she sends to Ruby.
Ellen is not really rebellious, but she still runs up against the constraints of acceptable behaviour all the time. As well as chafing against the limitations placed on expression of her sexuality, she is forced to hide her writing from all but her confidants Ruby and Don John. Social life in Glasgow can be limited, and offence easily caused; the influence of the church remains strong. Ellen debates the rightness of her challenge to some of these conventions in her diary; should women write? should they marry? where should the boundaries of class be drawn? how awful would it be to be an old maid? Glasgow is always compared, usually unfavourably, to cosmopolitan Frankfurt, where the expression of sexuality and creativity was more possible, and conventions could be set aside in the pursuit of love and art. Compared to her literary peers, however, Ellen has a degree of freedom; E M Delafield's young Edwardian women cannot travel about by themselves, make friends that their mothers do not know, or frequent the public library. This freedom may derive from a difference in class, or the conventions of Scottish life at the time.
Ellen's voice is consistent and she is often humorous; her letters are written to entertain Ruby and to prolong the emotional intimacy of their friendship. For most of the novel Catherine Carswell avoids the sort of explication which would disrupt the form by telling Ruby things she should already know; however, there are a couple of awkward places where Ellen announces she wishes to tell Ruby more about something previously mentioned in passing, so that back-story can be conveyed. The ideals and conventions Ellen tests in life and in her diary seem to me to be authentic and very much of their time; this gives the text a slightly dated quality, like reading historical fiction.
Catherine Carswell wrote another novel, Open the Door! which seems worth seeking out, and a number of literary biographies, as well as working as a literary critic. This role brought her a productive friendship with D H Lawrence, and his influence is detectable in Ellen's musings on female sexuality; Carswell was later to write his biography and completed most of her own autobiography, Lying Awake, published after her death in 1946.
Ellen's diary is concerned with establishing her career, the emotional lives of her friends as they begin to marry, and her own desires for marriage and fears of becoming an old maid. Her spinster exemplars are problematic: Aunt Harry's religious discipline and disapproval irritates Ellen, although she recognises that her aunt's love for her underpins this strictness; her former teacher, Miss Hepburn, moves from emotional eccentricity into madness, and is sent to the asylum. Ellen eventually becomes engaged to the brother of a school friend. He is back, briefly, from India, but their courtship is not smooth; Ellen's desire is frustrated by the trappings and delays that an engagement at that time provides. Alongside the narrative of her developing career and love affair runs the story of her friendship with an impoverished scholar: the man she calls Don John haunts the public library and helps inspire her to write more than the diary-letters she sends to Ruby.
Ellen is not really rebellious, but she still runs up against the constraints of acceptable behaviour all the time. As well as chafing against the limitations placed on expression of her sexuality, she is forced to hide her writing from all but her confidants Ruby and Don John. Social life in Glasgow can be limited, and offence easily caused; the influence of the church remains strong. Ellen debates the rightness of her challenge to some of these conventions in her diary; should women write? should they marry? where should the boundaries of class be drawn? how awful would it be to be an old maid? Glasgow is always compared, usually unfavourably, to cosmopolitan Frankfurt, where the expression of sexuality and creativity was more possible, and conventions could be set aside in the pursuit of love and art. Compared to her literary peers, however, Ellen has a degree of freedom; E M Delafield's young Edwardian women cannot travel about by themselves, make friends that their mothers do not know, or frequent the public library. This freedom may derive from a difference in class, or the conventions of Scottish life at the time.
Ellen's voice is consistent and she is often humorous; her letters are written to entertain Ruby and to prolong the emotional intimacy of their friendship. For most of the novel Catherine Carswell avoids the sort of explication which would disrupt the form by telling Ruby things she should already know; however, there are a couple of awkward places where Ellen announces she wishes to tell Ruby more about something previously mentioned in passing, so that back-story can be conveyed. The ideals and conventions Ellen tests in life and in her diary seem to me to be authentic and very much of their time; this gives the text a slightly dated quality, like reading historical fiction.
Catherine Carswell wrote another novel, Open the Door! which seems worth seeking out, and a number of literary biographies, as well as working as a literary critic. This role brought her a productive friendship with D H Lawrence, and his influence is detectable in Ellen's musings on female sexuality; Carswell was later to write his biography and completed most of her own autobiography, Lying Awake, published after her death in 1946.
Monday, 3 May 2010
Zella Sees Herself by E M Delafield
Delafield's first novel is a bildungsroman that articulates a young girl's response to a world which very rarely seems real to her. We first meet Zella de Kervoyou at the age of seven, caught out by her cousins telling tall tales, and obtaining relief by confessing to her mother the lesser crime of taking a chocolate from the dining room. The main action of the novel takes place after Zella's mother has died, when she is fourteen. Zella's father Louis is half-French, of a Huguenot family but raised by his Catholic stepmother, the Baronne de Kervoyou, an aristocratic matriarch. Zella's Aunt Marianne, her mother's sister who takes care of her briefly after her mother's death, is fervently anti-Catholic and combines ignorance and piety to an alarming degree. To Aunt Marianne's horror, Zella is sent to a convent school, and eventually converts to Catholicism there, but her religious fervour dissipates once she leaves school and her aunt's thoughts turn to finding her a suitable husband.
Zella is an amiable enough character, and the novel seeks to criticise an upbringing which encourages her to adapt her responses to her surroundings, ignoring her own true feelings. The adults around her, with the exception of her affectionate father, feed this adaptability by seeking to manipulate Zella to form their own model of a dutiful young girl. Aunt Marianne's no-popery stance is carefully undermined by her ridiculousness and stupidity; even Zella at fourteen knows that Tennyson's poem is not called "In Memorial". Because Zella is such a poseuse, her responses are an unrealiable guide to her real feelings, and it is sometimes hard to tell if the narrative supports her or not; for example, her desire to convert to Catholicism is strongly expressed, but her faith waivers quickly until a crisis draws her back towards it. Her conversion is strongly ironised by a scene in which she confesses her inability to recognise what is true and real to her cousin James while he wears the robes of a cardinal for a fancy-dress party; but the end of the novel suggests that Zella may come, in time, to understand what is real, and that her faith may help her sustain this.
There are some points of high comedy - the showdown over Zella's education between Aunt Marianne and the Baronne, for example, and the self-absorbed confession of Zella's suitor that he has Loved Another - and Zella's own, usually unspoken, criticisms of others are also consistently amusing. Zella's tendency to cast herself as the heroine of a novel is exploited by several occasions when life fails to live up to the dramatic requirements of fiction. Much emphasis is placed on Zella's French ancestry and the effect it has had on her character and morals, which reminded me of Claudine in the St Clare's books, who never would acquire the English sense of honour. There is also an early satire of a modern young woman in the form of Alison St Craye, who has taken to smoking and Theosophy with great, if superficial, enthusiasm. Some of the characters verge on caricature; there is much more subtlely in Delafield's later characterisation, which relies less on extreme contrast between characters such as that between Zella and her sensible cousin Muriel.
Delafield's later qualities and themes can be discerned, sometimes in embryo form, in this novel; deployment of irony and anticlimax, the power and control exercised by older women over younger women, the proper education of girls, and the relationship between religious faith and secular life all figure here. You can buy Zella Sees Herself if you have £150 to spare; otherwise, like me, you'll have to make do with a library copy until somebody reprints it.
Zella is an amiable enough character, and the novel seeks to criticise an upbringing which encourages her to adapt her responses to her surroundings, ignoring her own true feelings. The adults around her, with the exception of her affectionate father, feed this adaptability by seeking to manipulate Zella to form their own model of a dutiful young girl. Aunt Marianne's no-popery stance is carefully undermined by her ridiculousness and stupidity; even Zella at fourteen knows that Tennyson's poem is not called "In Memorial". Because Zella is such a poseuse, her responses are an unrealiable guide to her real feelings, and it is sometimes hard to tell if the narrative supports her or not; for example, her desire to convert to Catholicism is strongly expressed, but her faith waivers quickly until a crisis draws her back towards it. Her conversion is strongly ironised by a scene in which she confesses her inability to recognise what is true and real to her cousin James while he wears the robes of a cardinal for a fancy-dress party; but the end of the novel suggests that Zella may come, in time, to understand what is real, and that her faith may help her sustain this.
There are some points of high comedy - the showdown over Zella's education between Aunt Marianne and the Baronne, for example, and the self-absorbed confession of Zella's suitor that he has Loved Another - and Zella's own, usually unspoken, criticisms of others are also consistently amusing. Zella's tendency to cast herself as the heroine of a novel is exploited by several occasions when life fails to live up to the dramatic requirements of fiction. Much emphasis is placed on Zella's French ancestry and the effect it has had on her character and morals, which reminded me of Claudine in the St Clare's books, who never would acquire the English sense of honour. There is also an early satire of a modern young woman in the form of Alison St Craye, who has taken to smoking and Theosophy with great, if superficial, enthusiasm. Some of the characters verge on caricature; there is much more subtlely in Delafield's later characterisation, which relies less on extreme contrast between characters such as that between Zella and her sensible cousin Muriel.
Delafield's later qualities and themes can be discerned, sometimes in embryo form, in this novel; deployment of irony and anticlimax, the power and control exercised by older women over younger women, the proper education of girls, and the relationship between religious faith and secular life all figure here. You can buy Zella Sees Herself if you have £150 to spare; otherwise, like me, you'll have to make do with a library copy until somebody reprints it.
Tuesday, 20 April 2010
Mrs Harter by E M Delafield
This is an early EMD from 1924, and one in which she experiments, rather successfully, with her narrative technique. Narrated in the first person by a man, Sir Miles Flower, the novel gives his account of the love affair between Diamond Harter and Bill Patch, which was the main interest of the village of Cross Loman for some months. Mrs Harter is the daughter of the late local plumber, who married a colonial solicitor and stepped out of her class; but now she has returned from the East to stay, without her husband, in her original home, and disconcerted the carefully arranged hierarchies of the village. The universally-liked Bill Patch is a writer, lodging with the young widow Nancy Fazackerly and her cantankerous father. Diamond and Bill's love affair develops through various village social events - a concert in the Drill Hall, a picnic and some amateur theatricals - and Sir Miles recreates the story through his own memories and the accounts of other characters. Occasionally, too, he allows himself to imagine the scenes between them that went unwitnessed.
Sir Miles is set up from the start as a potentially unreliable narrator. He is disabled following an accident in the First World War, consequently goes out little in the village, and admits that he hardly ever spoke to Mrs Harter; he is not present at many of the events he describes. His will be an impressionistic portrait, relying on a retelling of reported conversations and, on two occasions, imaginary conversations constructed between Bill and Diamond. Because the narrative is made up of hearsay from more and less reliable witnesses, the authenticity of its portrayal of Mrs Harter is always questionable. This unreliable narrative ironically supports a reading of her character as one that is permanently elusive to her neighbours; in the opening chapter, several of the characters play a paper game in which they select adjectives to describe her, but they cannot agree on the words to choose. There is also an element of voyeurism in Sir Miles’s scrutiny, and particularly in his imaginings of Bill and Diamond’s (extremely chastely described) courtship, which might be read as a critique of the prurient village gossip about the affair.
Using a male narrator seems to free Delafield to criticise more openly her anti-feminist female characters. Sir Miles’s wife Claire, a satirical portrait of a self-centred and overly emotional woman, despises the opportunities available to her medical student niece Sallie; “Mumma” Kendall exercises a benign tyranny over her unmarried daughters and deplored the activities of the Suffragettes. Both these characters are ridiculed in the text and used as the butt of jokes. Sir Miles seems to look rather more favourably than his wife on Sallie, who is an insufferable know-it-all, but his conservatism expresses itself in his critique of her modernity.
The plot sets up many ironies, particularly through the choice of play for the amateur dramatics, which also draws out and makes explicit Mrs Harter’s exoticism and remoteness from the rest of the characters, and the conclusion of the novel provides a rationale for Sir Miles’s forensic approach to narrative construction. There is also a good deal of high comedy, most of it provided by the oblivious Kendalls and the spirited Nancy Fazackerly. Unfortunately, Mrs Harter the novel is as elusive as its protagonist, and currently out of print; there are second-hand copies about, however.
Sir Miles is set up from the start as a potentially unreliable narrator. He is disabled following an accident in the First World War, consequently goes out little in the village, and admits that he hardly ever spoke to Mrs Harter; he is not present at many of the events he describes. His will be an impressionistic portrait, relying on a retelling of reported conversations and, on two occasions, imaginary conversations constructed between Bill and Diamond. Because the narrative is made up of hearsay from more and less reliable witnesses, the authenticity of its portrayal of Mrs Harter is always questionable. This unreliable narrative ironically supports a reading of her character as one that is permanently elusive to her neighbours; in the opening chapter, several of the characters play a paper game in which they select adjectives to describe her, but they cannot agree on the words to choose. There is also an element of voyeurism in Sir Miles’s scrutiny, and particularly in his imaginings of Bill and Diamond’s (extremely chastely described) courtship, which might be read as a critique of the prurient village gossip about the affair.
Using a male narrator seems to free Delafield to criticise more openly her anti-feminist female characters. Sir Miles’s wife Claire, a satirical portrait of a self-centred and overly emotional woman, despises the opportunities available to her medical student niece Sallie; “Mumma” Kendall exercises a benign tyranny over her unmarried daughters and deplored the activities of the Suffragettes. Both these characters are ridiculed in the text and used as the butt of jokes. Sir Miles seems to look rather more favourably than his wife on Sallie, who is an insufferable know-it-all, but his conservatism expresses itself in his critique of her modernity.
The plot sets up many ironies, particularly through the choice of play for the amateur dramatics, which also draws out and makes explicit Mrs Harter’s exoticism and remoteness from the rest of the characters, and the conclusion of the novel provides a rationale for Sir Miles’s forensic approach to narrative construction. There is also a good deal of high comedy, most of it provided by the oblivious Kendalls and the spirited Nancy Fazackerly. Unfortunately, Mrs Harter the novel is as elusive as its protagonist, and currently out of print; there are second-hand copies about, however.
Tuesday, 13 April 2010
The Various Haunts of Men by Susan Hill
In a narrative moving between the first-person testimony of the murderer, and a third-person narrative with an individual focus in each chapter, Susan Hill develops a range of characters, some of whom will meet their deaths at the killer’s hands. The central character is Detective Inspector Freya Graffham, new to the small cathedral town of Lafferton. Freya has recently ended a disastrous marriage but finds herself reborn in Lafferton, taking up singing again, succeeding in her new workplace and developing new friendships. When two women disappear in quick succession on the Hill, a local beauty spot much used by dog walkers, joggers and the occasional pagans at the Neolithic Wern Stones, Freya leads the investigation.
This is more of a suspense novel than a whodunit; it is clear fairly early on who the murderer is, although there are plenty of feints and red herrings to distract the reader. The tension is built as we follow the police investigation, and wondering how they, especially Freya, will resolve the mystery. This is Susan Hill, so the ending is sad, bleak and unredemptive; but also the characterisation is strong and distinctive, the writing beautiful, and the narrative empathetic to all her characters. It is particularly satisfying to see the unfortunate victims as characters in the round, rather than meeting them only as a body in the library; their engagement with life and their personalities emphasise the tragedy of their deaths. Hill is also skilful in showing how the murderer’s self-justifications unravel as the facts become exposed.
The first of the Simon Serailler series (he is Freya’s boss in this novel, and makes few, but significant, appearances), this novel makes good use of its fictional setting that is strongly evocative of little towns like Salisbury huddled around a cathedral, and of one of the themes of the novel, the relationship between medicine and complementary therapies – a generous term for some of the outright charlatanism practiced by some in the novel. It’s always nice to start the series of a book knowing there are several volumes ahead of you to enjoy; now I just need to avoid gobbling them all up at once.
This is more of a suspense novel than a whodunit; it is clear fairly early on who the murderer is, although there are plenty of feints and red herrings to distract the reader. The tension is built as we follow the police investigation, and wondering how they, especially Freya, will resolve the mystery. This is Susan Hill, so the ending is sad, bleak and unredemptive; but also the characterisation is strong and distinctive, the writing beautiful, and the narrative empathetic to all her characters. It is particularly satisfying to see the unfortunate victims as characters in the round, rather than meeting them only as a body in the library; their engagement with life and their personalities emphasise the tragedy of their deaths. Hill is also skilful in showing how the murderer’s self-justifications unravel as the facts become exposed.
The first of the Simon Serailler series (he is Freya’s boss in this novel, and makes few, but significant, appearances), this novel makes good use of its fictional setting that is strongly evocative of little towns like Salisbury huddled around a cathedral, and of one of the themes of the novel, the relationship between medicine and complementary therapies – a generous term for some of the outright charlatanism practiced by some in the novel. It’s always nice to start the series of a book knowing there are several volumes ahead of you to enjoy; now I just need to avoid gobbling them all up at once.
Monday, 12 April 2010
The Bridge by Maggie Hemingway
This novel was thoughtfully provided amongst the books in a Suffolk holiday cottage because of its Walberswick location; I enjoy reading books in their geographical setting, so gave it a whirl. The novel is a fictionalised account of the artist Philip Wilson Steer's time in Walberswick, the setting of many of his paintings (including The Bridge, shown above courtesy of a link to the Tate's collection) and a place where he spent many summers, until the early 1890s when his visits tailed off. In Victoria's Golden Jubilee year, 1887, the fictional Steer comes to know Isobel, the mother of three young girls, spending her summer at the Suffolk resort while her husband continues to work in London. Philip is passionately interested in painting, to the exclusion of everything else, until he encounters Isobel and feels himself in love before they have even spoken; Isobel arrives in Walberswick with a vague sense of dissatisfaction, but consoling herself with that "comforting word", duty, when she considers the less attractive aspects of her marriage. Their relationship, unwittingly brokered by Isobel's little daughter Emma, who craves attention, and fostered by her chaperone Aunt Jude, who likes to see her with friends, grows quickly, and a passionate attachment develops on both sides; however, the climax of their love will be dancing together at a Jubilee fete in Dunwich, once the capital of East Anglia but eroded by the sea over hundreds of years to a handful of cottages today.The book is very good at evoking the scrutiny under which Isobel and Philip conduct their relationship. They are watched by Isobel's daughters, particularly Emma, who resents their closeness even though she cannot understand it; by Aunt Jude and their social circle in Walberswick; and by their servants and the townspeople. Isobel comes to feel ever more trapped by all the eyes upon her; Philip feels obliged to offer excuses for leaving the town to his landlady, when he seeks to escape the tension of their unresolved love. It also presents a strongly hierarchical Victorian society, in which the gentry take a prurient interest in the lives of the working class, by whose difference they define themselves. After a violent storm, "Mrs Roust and Mrs Arthur moved among the fishermen's wives and, with the insinuation of assistance and sympathetic cluckings and shakings of the head, elicited every detail they could. They turned through the rubble of these women's lives [...] hoarding their finds to pore over again and again in the warm comfort of their homes." The child Emma sees the revellers at the fete as "a great crowd [...] red faces and wide open mouths, arms linked together like a string of fat sausages." Hierarchies are maintained further down the social scale, with Emma routinely oppressed by her older sisters, and Steer's landlady, Mrs Pearce, dominating an ancient servant.
The narrative shifts, in third person, between the viewpoints of several characters, principally Philip, Isobel and Emma. There was a little too much of Emma for me, but her recognition of her mother's affection for Steer is important for the plot. I found Isobel's husband Reginald a slightly cardboard character, driven only by money and intensely materialistic. He is clearly a foil for the passionate and aesthetic Steer, but to some extent they are two sides of the same coin, each relentlessly pursuing his particular vocation.
There is a film of The Bridge and the DVD was also in the cottage, but I failed to get around to watching it - next time.
The Bolter by Frances Osborne
I picked this up second-hand recently and, being a bit of a Mitford completist, thought I'd like to read the story of the model for the Bolter of The Pursuit of Love. Idina Sackville's life story is certainly fascinating; married five times and separated from her two elder children by the terms of her first divorce, she sought greater freedom as a colonial farmer in Kenya, where she was a key member of the Happy Valley set and married, at least for a while, to Lord Errol. The story of his sexual peccadilloes and consequent murder have been retold in the book and film White Mischief. Elegant, alluring and sexually voracious, Idina also made a surprisingly effective farmer and created what sounds like a truly beautiful house and garden - Clouds, high up in the Kenyan mountains with colubus monkeys in the garden and a view across the Great Rift Valley.
Overall, though, I found Osborne's retelling of her life rather limited. Osborne is Idina's great-granddaughter, and from the age of 13 had absorbed her family's mythology about Idina: that she was a scandalous woman and a wicked mother who abandoned her two little boys for entirely selfish reasons. In telling the story of Idina's divorce from her first husband, Euan Wallace, Osborne is pretty fair-handed: both had been unfaithful and their marriage, like many others, was irreparably damaged by the First World War. Both were in their early twenties and prone to seeing life in black and white terms; an older couple might have come to some accommodation, and Idina certainly negotiated open marriages with subsequent husbands that were, at least for a while, successful. The insistence that Idina should not see her boys came from Euan and Idina accepted this as the best thing for her children. Osborne has found out how many divorces there were in the immediate post-war years, but doesn't tell us whether this sort of custody arrangement was typical. Under the prevailing divorce legislation, children were viewed as the property of their father, once over the age of seven, and custody arrangements routinely excluded the divorced mother; even if Idina had been able to take her young sons with her, they would most likely have been returned to their father's care once they were seven. In its historical context, Idina's behaviour becomes less selfish, less "bad" and more usual. Euan's decision to spend the year after his divorce working in America, leaving the boys in the care of their governess in Eastbourne, does not attract any authorial criticism.
Idina made contact with both her sons (who were, tragically, killed in World War 2 within a year of each other) as young adults, and appears to have had a reasonable relationship with her daughter Diana, the child of her marriage to Lord Errol; Osborne is careful to explain that it was normal to send children back to England for their schooling and considered unhealthy for them to grow up in the African climate. Osborne, however, cannot leave Idina-the-bad-mother alone, and closes the book with the following:
"Sitting here at my desk in my hillside farmhouse overlooking the vast stretch of the Cheshire Plain, I can hear my two small children scampering back indoors. It is time I stopped writing and went to them."
The parallels with Clouds are obvious, but Idina's circumstances allow Osborne to assert herself as the better mother, achieving the hillside house with the glorious view and keeping her two children. Possibly she is reassuring herself that she is not just as bad as Idina for spending years of their precious childhood shut away writing this book. Osborne's monovalent reading of her subject, with no obvious awareness of how this reading has been informed by the biographer's own situation, wastes opportunities to explore other aspects of Idina's life (how did she learn to run a successful dairy farm, for example?) or indeed to celebrate Idina as a woman who found a way, in a deeply conservative section of a conservative society, to live life as she wanted.
To Osborne's credit, the paperback version includes a coda describing Idina's relationship with her stepchildren, the children of her fifth husband Lynx Soltau, who made their home with her at Clouds for eight years and with whom she kept in touch until her death in 1955. Idina's stepdaughter Ann McKay wrote to Frances Osborne after the first edition of the book was published, with warm memories of her time with Idina who, clearly, mothered her and her brother very effectively until well after her marriage to Lynx ended. This testimony disrupts the reading of Idina as a bad mother that the main narrative articulates, although Osborne attempts to mitigate the bad Idina model by suggesting that Idina's need for sexual love arises from her frustrated mothering instincts. Heaven forfend that she should just have liked sex! and presumably it is possible to like sex and also be a good mother, as Idina was to her stepchildren. It is interesting, however, that nobody had mentioned these children to Osborne during her research; clearly the stereotype of Idina was thoroughly embedded in many memories.
While I've got my hatchet out, I will mention that Osborne is occasionally repetitive. Do you know that children in the colonies were made to wear a pad to protect their delicate spines from the fierce heat? I do, because Frances Osborne told me so twice in this book. She's also over-fond of the device of telling the reader, in the last sentence of a chapter, what is going to happen next: "Having herself bolted twice, Idina would now find out what it felt like to be bolted from" (175). I'll leave the inelegant phrasing alone, but Joss Errol's bolt is more of a drift, and anticlimactic. Idina Sackville deserves not only a more rounded portrayal, but also one that is better written.
Overall, though, I found Osborne's retelling of her life rather limited. Osborne is Idina's great-granddaughter, and from the age of 13 had absorbed her family's mythology about Idina: that she was a scandalous woman and a wicked mother who abandoned her two little boys for entirely selfish reasons. In telling the story of Idina's divorce from her first husband, Euan Wallace, Osborne is pretty fair-handed: both had been unfaithful and their marriage, like many others, was irreparably damaged by the First World War. Both were in their early twenties and prone to seeing life in black and white terms; an older couple might have come to some accommodation, and Idina certainly negotiated open marriages with subsequent husbands that were, at least for a while, successful. The insistence that Idina should not see her boys came from Euan and Idina accepted this as the best thing for her children. Osborne has found out how many divorces there were in the immediate post-war years, but doesn't tell us whether this sort of custody arrangement was typical. Under the prevailing divorce legislation, children were viewed as the property of their father, once over the age of seven, and custody arrangements routinely excluded the divorced mother; even if Idina had been able to take her young sons with her, they would most likely have been returned to their father's care once they were seven. In its historical context, Idina's behaviour becomes less selfish, less "bad" and more usual. Euan's decision to spend the year after his divorce working in America, leaving the boys in the care of their governess in Eastbourne, does not attract any authorial criticism.
Idina made contact with both her sons (who were, tragically, killed in World War 2 within a year of each other) as young adults, and appears to have had a reasonable relationship with her daughter Diana, the child of her marriage to Lord Errol; Osborne is careful to explain that it was normal to send children back to England for their schooling and considered unhealthy for them to grow up in the African climate. Osborne, however, cannot leave Idina-the-bad-mother alone, and closes the book with the following:
"Sitting here at my desk in my hillside farmhouse overlooking the vast stretch of the Cheshire Plain, I can hear my two small children scampering back indoors. It is time I stopped writing and went to them."
The parallels with Clouds are obvious, but Idina's circumstances allow Osborne to assert herself as the better mother, achieving the hillside house with the glorious view and keeping her two children. Possibly she is reassuring herself that she is not just as bad as Idina for spending years of their precious childhood shut away writing this book. Osborne's monovalent reading of her subject, with no obvious awareness of how this reading has been informed by the biographer's own situation, wastes opportunities to explore other aspects of Idina's life (how did she learn to run a successful dairy farm, for example?) or indeed to celebrate Idina as a woman who found a way, in a deeply conservative section of a conservative society, to live life as she wanted.
To Osborne's credit, the paperback version includes a coda describing Idina's relationship with her stepchildren, the children of her fifth husband Lynx Soltau, who made their home with her at Clouds for eight years and with whom she kept in touch until her death in 1955. Idina's stepdaughter Ann McKay wrote to Frances Osborne after the first edition of the book was published, with warm memories of her time with Idina who, clearly, mothered her and her brother very effectively until well after her marriage to Lynx ended. This testimony disrupts the reading of Idina as a bad mother that the main narrative articulates, although Osborne attempts to mitigate the bad Idina model by suggesting that Idina's need for sexual love arises from her frustrated mothering instincts. Heaven forfend that she should just have liked sex! and presumably it is possible to like sex and also be a good mother, as Idina was to her stepchildren. It is interesting, however, that nobody had mentioned these children to Osborne during her research; clearly the stereotype of Idina was thoroughly embedded in many memories.
While I've got my hatchet out, I will mention that Osborne is occasionally repetitive. Do you know that children in the colonies were made to wear a pad to protect their delicate spines from the fierce heat? I do, because Frances Osborne told me so twice in this book. She's also over-fond of the device of telling the reader, in the last sentence of a chapter, what is going to happen next: "Having herself bolted twice, Idina would now find out what it felt like to be bolted from" (175). I'll leave the inelegant phrasing alone, but Joss Errol's bolt is more of a drift, and anticlimactic. Idina Sackville deserves not only a more rounded portrayal, but also one that is better written.
Sunday, 11 April 2010
The Optimist by E M Delafield
One of EMD's earlier novels, this richly amusing book focuses principally on the generation gap between those who grew up as Victorians, and the modern generation whose values have been shaped by the devastating experience of the first World War. Appearing for the Victorians is the optimist of the title, Canon Fenwick Morchard. An elderly clergyman with five grown-up children, he provided a home in the past to Owen Quentillian, whose parents were based in India before the war. After the war, Owen returns to stay with the Morchard family at St Gwenllian; he has acquired a house nearby which is being renovated. Owen has made something of a name for himself as an essayist, and although his principles and ideas are completely opposed to the Canon's, he continues to respect him enough not to argue with him openly. The Morchard family comprises Lucilla, the eldest, who has been housekeeper and a research assistant to her father since the early death of her mother; Valeria, who has been involved in a fitful romance with a Captain Cuscaden; fey and musical Flora, devoted to her father; and the annoying Adrian, whose war service was only of six months' duration, and is now looking vaguely for a career, having rejected the Church as an option. David Morchard, the eldest son, has known Owen in the army and is now in India.
The Canon exercises a benign tyrrany over the four children who still live at home, constraining their behaviour with his excessive kindliness and his tendency to interpret any attempt at independence as a personal affront. The Canon is ghastly, but very funny; his overt emotionalism in a crisis allows Delafield to set up some highly amusing encounters between the Canon and the modern world, as three of the four younger Morchards make tentative attempts to live their own lives. He is also a frightful hypocrite, expecting far higher standards from other family members (and also Owen) than from Adrian, his youngest and favourite child.
His tyrrany allows his children to develop some creative ways of expressing their individuality. Lucilla, who failed to assert her wish to go to college as a younger woman, counsels Valeria against self-sacrifice as a way of life, and goes about her duty calmly, maintaining her love for her father while privately rejecting the majority of his values. Lucilla's rational self-control and clearsightedness make her the antithesis of her father and explain his continued reliance on her. Adrian adopts a more direct approach, getting a job on a magazine notorious for its anti-Christian standpoint. The feeling that 'father would hate it' may check some behaviours but, when his children think it sufficiently important to do so, they defy the Canon openly. The novel is ambiguous about Flora's eventual decision to enter a convent: the Canon celebrates it, but if it is mainly driven by a need to escape him, he is misguided. Owen despises it as a rejection of life and a celebration of self-abnegation: but it is Flora's opportunity for self-fulfilment.
The novel can be read as a fairly mild polemic against Victorian parenting values and in favour of children making their own way in life - indeed, this is inevitable in the terms of the novel; the Canon fails to prevent any of his children, except perhaps Lucilla, leading their own lives. It is also interesting for its depiction of the inevitable clash between the post-war generation and their parents' generation and the transformation of values that has been the effect of the Great War. All the Canon's daughters feel the need for some sort of work to exploit their skills and energies; Valeria, who undertook war-work away from home, misses it greatly once the war is over, and the novel makes some feminist points about opportunities for women of this class. The Canon is right up there with Delafield's other, usually female, parental monsters - this novel has much in common with Thank Heaven Fasting in that, and other respects - and the characterisation of the children is well-achieved. I could have lived without some of the Bright Young Things, but I can see that their mildly scandalous activities were necessary to frighten the Canon into fresh excesses.
There are some facsimile reprints of this novel available as well as second-hand copies in fairly large supply, at least in the UK. The Great War Fiction blog has also given The Optimist a favourable review - I agree that it deserves a proper reprint.
The Canon exercises a benign tyrrany over the four children who still live at home, constraining their behaviour with his excessive kindliness and his tendency to interpret any attempt at independence as a personal affront. The Canon is ghastly, but very funny; his overt emotionalism in a crisis allows Delafield to set up some highly amusing encounters between the Canon and the modern world, as three of the four younger Morchards make tentative attempts to live their own lives. He is also a frightful hypocrite, expecting far higher standards from other family members (and also Owen) than from Adrian, his youngest and favourite child.
His tyrrany allows his children to develop some creative ways of expressing their individuality. Lucilla, who failed to assert her wish to go to college as a younger woman, counsels Valeria against self-sacrifice as a way of life, and goes about her duty calmly, maintaining her love for her father while privately rejecting the majority of his values. Lucilla's rational self-control and clearsightedness make her the antithesis of her father and explain his continued reliance on her. Adrian adopts a more direct approach, getting a job on a magazine notorious for its anti-Christian standpoint. The feeling that 'father would hate it' may check some behaviours but, when his children think it sufficiently important to do so, they defy the Canon openly. The novel is ambiguous about Flora's eventual decision to enter a convent: the Canon celebrates it, but if it is mainly driven by a need to escape him, he is misguided. Owen despises it as a rejection of life and a celebration of self-abnegation: but it is Flora's opportunity for self-fulfilment.
The novel can be read as a fairly mild polemic against Victorian parenting values and in favour of children making their own way in life - indeed, this is inevitable in the terms of the novel; the Canon fails to prevent any of his children, except perhaps Lucilla, leading their own lives. It is also interesting for its depiction of the inevitable clash between the post-war generation and their parents' generation and the transformation of values that has been the effect of the Great War. All the Canon's daughters feel the need for some sort of work to exploit their skills and energies; Valeria, who undertook war-work away from home, misses it greatly once the war is over, and the novel makes some feminist points about opportunities for women of this class. The Canon is right up there with Delafield's other, usually female, parental monsters - this novel has much in common with Thank Heaven Fasting in that, and other respects - and the characterisation of the children is well-achieved. I could have lived without some of the Bright Young Things, but I can see that their mildly scandalous activities were necessary to frighten the Canon into fresh excesses.
There are some facsimile reprints of this novel available as well as second-hand copies in fairly large supply, at least in the UK. The Great War Fiction blog has also given The Optimist a favourable review - I agree that it deserves a proper reprint.
Wigs on the Green by Nancy Mitford
I've waited a long time to read this, and in fact had just realised that, in possession of a British Library reader's ticket, I now could get my hands on it - only to find that Penguin were republishing it. Nancy Mitford didn't want it published in her lifetime, telling Evelyn Waugh in 1951 that "too much has happened for jokes about Nazis to be regarded as funny or as anything but the worst of taste". Charlotte Mosley's introduction reminds us of the family row which ensued on its first publication in 1934, with Unity Mitford and Diana Mosley both seriously offended by Nancy's mockery of their political commitments.
The book casts a satirical eye over the trappings of fascism as practiced by the British Union of Fascists, including its casual violence, vague patriotism, appropriation of national artifacts and passion for uniforms. Eugenia Malmains, "the largest heiress in England", is the chief proponent of the novel's "Union Jackshirt" movement; as a portrait of Unity Mitford she comes across as both quite mad and quite charming, which seems to be true to life as far as my reading about Unity goes; her charm allows Nancy to expose the ease by which people can be attracted to fascism and the superficial reasons they may have for joining the cause. Perhaps the best joke in the book is Nancy's creation of Peersmont, a lunatic asylum specialising in the care of insane members of the House of Lords, which incorporates a replica of the Houses of Parliament and allows the Lords to go about their business with no hint that they are, in fact, incarcerated. Lord Driburgh, an inmate, has an enthusiasm for fascism that satirises similar views expressed by real members of the interwar House of Lords, including, for a time, Nancy's own father.
The pace of the novel is hectic and culminates in a pageant which, unsurprisingly, descends into violence. Woven around the satires are some rather cynical love stories in which dissipated young men search for heiresses to keep them; Nancy had just married Peter Rodd. The character of Mrs Case, the local beauty, I found rather pointless; she seems to be there only to create some opposition to the Jackshirts, in the form of her group of aesthetic young hangers-on, not as tame or as feeble as they look. Fascinating older beauties of this type were a regular feature in Nancy's early novels and presumably she couldn't quite let her go for this one.
The book casts a satirical eye over the trappings of fascism as practiced by the British Union of Fascists, including its casual violence, vague patriotism, appropriation of national artifacts and passion for uniforms. Eugenia Malmains, "the largest heiress in England", is the chief proponent of the novel's "Union Jackshirt" movement; as a portrait of Unity Mitford she comes across as both quite mad and quite charming, which seems to be true to life as far as my reading about Unity goes; her charm allows Nancy to expose the ease by which people can be attracted to fascism and the superficial reasons they may have for joining the cause. Perhaps the best joke in the book is Nancy's creation of Peersmont, a lunatic asylum specialising in the care of insane members of the House of Lords, which incorporates a replica of the Houses of Parliament and allows the Lords to go about their business with no hint that they are, in fact, incarcerated. Lord Driburgh, an inmate, has an enthusiasm for fascism that satirises similar views expressed by real members of the interwar House of Lords, including, for a time, Nancy's own father.
The pace of the novel is hectic and culminates in a pageant which, unsurprisingly, descends into violence. Woven around the satires are some rather cynical love stories in which dissipated young men search for heiresses to keep them; Nancy had just married Peter Rodd. The character of Mrs Case, the local beauty, I found rather pointless; she seems to be there only to create some opposition to the Jackshirts, in the form of her group of aesthetic young hangers-on, not as tame or as feeble as they look. Fascinating older beauties of this type were a regular feature in Nancy's early novels and presumably she couldn't quite let her go for this one.
Country Dance by Margiad Evans
This little book, discovered while poking about in the sub-genre of diary fiction, is quirky and rather fascinating. First published in 1932, and available again now through the Library of Wales, the book comprises Ann Goodman's diaries with a preface and coda provided by the author. Ann Goodman is a shepherd's daughter writing in 1850, her father English, her mother Welsh. At the opening of the book, she is leaving her relative Mary's farm in Wales, where she has been living and working for some years; she has an English sweetheart there, Gabriel, and it is at his suggestion that she begins to keep a diary. Ann must return to her parents' home in England and care for her ailing mother. While there, she will catch the attention of the local (and Welsh) landowner Evan ap Evans, her father's employer. Ann tells us not only of the struggle between her Welsh and English suitors but of the struggle within herself to reconcile her dual nationality in the border country; her body and character are part of the contested space, her struggle to express herself and choose the right lover a series of border skirmishes. Gabriel's rage, and her father's rejection of Wales and the Welsh, drive Ann towards her own Welshness and the acceptance of Evan ap Evans's attention, in a context of commonplace anger, violence and rejection.
The preface and coda are a framing device that present Ann's diary as a historic document and Ann as a real person, and politicise Ann's story as "the entire history of the border". The novel presents its characters often in terms of racial stereotypes, or behaviour is explained away as due to Welshness or Englishness. One minor character, Gwen Powys, proposes a toast to "The Border", after others have toasted Wales and England, suggesting that the Border may be a separate space where the rules of nationality do not apply. Ann's embrace of her Welsh identity is, to some extent, celebrated by the narrative, but this is undercut by its tragic consequences.
There are some points where the writing subverts the diary form. Ann records conversations in Welsh in English, noting where characters have spoken in Welsh, and the diary gradually evolves a way of transcribing Welsh into an archaic English ("What hast thou done today?") to indicate when Welsh is being spoken. But Ann understands Welsh and English and would have no need to translate it in her own diary, except in the early stages where she is writing it for Gabriel to read; the translation is for the benefit of the general reader who cannot be expected to understand Welsh beyond "Nos da".
Margiad Evans (a psuedonym for Peggy Whistler) wrote three other novels, and two volumes of poetry, as well as an autobiography and an account of her experience of epilepsy - she died from a brain tumour in 1958 at the early age of 49. Last year there was a centenary conference about her at the University of Swansea; I hope this means she is more likely to be read, as her sparse and lyrical prose merits attention, and Country Dance has resonated with me for some time.
The preface and coda are a framing device that present Ann's diary as a historic document and Ann as a real person, and politicise Ann's story as "the entire history of the border". The novel presents its characters often in terms of racial stereotypes, or behaviour is explained away as due to Welshness or Englishness. One minor character, Gwen Powys, proposes a toast to "The Border", after others have toasted Wales and England, suggesting that the Border may be a separate space where the rules of nationality do not apply. Ann's embrace of her Welsh identity is, to some extent, celebrated by the narrative, but this is undercut by its tragic consequences.
There are some points where the writing subverts the diary form. Ann records conversations in Welsh in English, noting where characters have spoken in Welsh, and the diary gradually evolves a way of transcribing Welsh into an archaic English ("What hast thou done today?") to indicate when Welsh is being spoken. But Ann understands Welsh and English and would have no need to translate it in her own diary, except in the early stages where she is writing it for Gabriel to read; the translation is for the benefit of the general reader who cannot be expected to understand Welsh beyond "Nos da".
Margiad Evans (a psuedonym for Peggy Whistler) wrote three other novels, and two volumes of poetry, as well as an autobiography and an account of her experience of epilepsy - she died from a brain tumour in 1958 at the early age of 49. Last year there was a centenary conference about her at the University of Swansea; I hope this means she is more likely to be read, as her sparse and lyrical prose merits attention, and Country Dance has resonated with me for some time.
Monday, 15 March 2010
Women Are Like That by E M Delafield
This collection of short stories, first published in 1929, deals mainly with episodes from the lives of a variety of women - as you might expect - and a couple of men. Many of the stories focus on romance: proposals, affairs, temptations and partings often provide the dramatic pivot. Middle-aged women, often suburban, are exposed to romance directly and indirectly; apparently forty-three is a dangerous age for a woman. Thankfully, I shall be forty-four in a couple of months.
Two of the stories feature characters who appear elsewhere in Delafield's novels. "The Sprat" acquaints us with Raoul Radow, the sulky Roumanian violinist from Challenge to Clarissa. "Oil Painting, circa 1890" is a version of the later lives of the sisters Frederica and Cicely Marlowe from Thank Heaven Fasting; this story, entirely serious and rather tragic, shows the effects of a "morbid", introspective love between sisters that forbids either of them a life of her own. Delafield suspends her ironic voice again for "The Whole Duty of Woman", a story alluding clearly to Charlotte Perkins Gilman's "The Yellow Wallpaper". Elinor Ambrey, recuperating in a nursing home after a breakdown, considers interior design choices:
"How clever of them not to have wall-paper with a pattern. Looking at that plain, unbroken, cream-coloured surface was very restful - one wasn't obliged to trace, with weary eyes and resentful brain, the repeated convolutions of twisting, impossible, floral combinations, to count and recount the spirals and horseshoes, and crescents, fomred by their distorted leaves and stems." (227)
This, of course, is exactly what the unfortunate heroine of "The Yellow Wallpaper" does spend her time doing, with tragic consequences. But even a plain cream-coloured surface cannot save Mrs Ambrey from nervous collapse at the thought of resuming married life. Delafield's story also has in common with Gilman's the medical control and regulation of women: Mrs Ambrey would prefer to sleep alone, but her doctor reminds her that the whole duty of woman resides in thinking of her husband and providing him with opportunities for procreation.
The majority of the stories, however, deploy Delafield's usual amusing ironic approach to love. Middle-aged women pursuing romance are sympathetically ridiculed. Modern girls, approaching love-affairs with scientific detachment and a grounding in Havelock Ellis, find that they care rather more than they expected. Several stories contrast the morality of the late Victorian and Edwardian period with that of the 1920s, usually to the advantage of the modern age; a couple ironise the way in which mothers, unhappily married to minor domestic tyrants, ensure their daughters exploit to the full their own opportunities for unhappiness.
This is an entertaining collection, reminiscent at times of Dorothy Whipple, especially in those stories focusing on suburban middle-age; the final story, in which bad weather changes the lives of its two protagonists, reminded me, with its irony, bathos and slight cynicism, of Sylvia Townsend Warner. There is enough variety in approach, narrative voice and subject matter to sustain the reader's interest and enjoyment. My copy is a facsimile reprint by PFD and is pretty clear, although some pages have had the ends of the lines cut off by the scanner, requiring a little extra input from the reader.
Two of the stories feature characters who appear elsewhere in Delafield's novels. "The Sprat" acquaints us with Raoul Radow, the sulky Roumanian violinist from Challenge to Clarissa. "Oil Painting, circa 1890" is a version of the later lives of the sisters Frederica and Cicely Marlowe from Thank Heaven Fasting; this story, entirely serious and rather tragic, shows the effects of a "morbid", introspective love between sisters that forbids either of them a life of her own. Delafield suspends her ironic voice again for "The Whole Duty of Woman", a story alluding clearly to Charlotte Perkins Gilman's "The Yellow Wallpaper". Elinor Ambrey, recuperating in a nursing home after a breakdown, considers interior design choices:
"How clever of them not to have wall-paper with a pattern. Looking at that plain, unbroken, cream-coloured surface was very restful - one wasn't obliged to trace, with weary eyes and resentful brain, the repeated convolutions of twisting, impossible, floral combinations, to count and recount the spirals and horseshoes, and crescents, fomred by their distorted leaves and stems." (227)
This, of course, is exactly what the unfortunate heroine of "The Yellow Wallpaper" does spend her time doing, with tragic consequences. But even a plain cream-coloured surface cannot save Mrs Ambrey from nervous collapse at the thought of resuming married life. Delafield's story also has in common with Gilman's the medical control and regulation of women: Mrs Ambrey would prefer to sleep alone, but her doctor reminds her that the whole duty of woman resides in thinking of her husband and providing him with opportunities for procreation.
The majority of the stories, however, deploy Delafield's usual amusing ironic approach to love. Middle-aged women pursuing romance are sympathetically ridiculed. Modern girls, approaching love-affairs with scientific detachment and a grounding in Havelock Ellis, find that they care rather more than they expected. Several stories contrast the morality of the late Victorian and Edwardian period with that of the 1920s, usually to the advantage of the modern age; a couple ironise the way in which mothers, unhappily married to minor domestic tyrants, ensure their daughters exploit to the full their own opportunities for unhappiness.
This is an entertaining collection, reminiscent at times of Dorothy Whipple, especially in those stories focusing on suburban middle-age; the final story, in which bad weather changes the lives of its two protagonists, reminded me, with its irony, bathos and slight cynicism, of Sylvia Townsend Warner. There is enough variety in approach, narrative voice and subject matter to sustain the reader's interest and enjoyment. My copy is a facsimile reprint by PFD and is pretty clear, although some pages have had the ends of the lines cut off by the scanner, requiring a little extra input from the reader.
Sunday, 28 February 2010
What is Love? by E M Delafield
Delafield answers her own question by telling us of the complicated interactions of naive, beautiful Ellie Carey; her kind and handsome brother Lionel; her attractive, modern cousin Victoria; and the sophisticated Simon Lawless, laden with sex appeal and addicted to flirtation. In the margins of their story are Ellie and Lionel's scandalously divorced parents, George Carey and Fay Dallinger; Eglantine de la Riviere, daughter of the agent's widow at Milton Waters, the Carey country house; and Robin Alistair, a colonial planter back in England seeking a wife. It is impossible to write much more about this book without giving away the plot, so if you don't want to know what happens, look away now.
Ellie is an old-fashioned innocent, a contrast to the monocle-sporting Victoria whose attitudes to life and love are relentlessly pragmatic. Inevitably, Ellie falls for the magnetic Simon Lawless, who is charmed by her beauty but soon disappointed by her hopeless dancing, her lack of interest in clothes and social life; there is one particularly choice episode where he criticises her flower arranging in a way we would now see as thoroughly metrosexual. Everyone she knows is against the match, including the amoral Lady Dallinger, who counsels Ellie not to marry her first love; and in the end, Simon's overt attention to other girls causes Ellie to break off their rather tentative engagement.
Victoria and Simon have flirted with each other for years, knowing how much they resemble each other; when the main action of the novel takes place, Victoria is twenty-nine and believes she must marry soon if she is to marry at all, but Simon is a bad financial prospect. Lionel is in love with Victoria, and has proposed many times, but she eventually rejects him in favour of Simon when her mother's death leaves her better off than she expected, and Simon has made a killing on the stock exchange; she has also recognised that the similarity between them will make a successful match. Lionel takes Ellie back to Madrid where he works as a diplomat, but not before Ellie and Victoria have made their peace with each other.
Robin, originally infatuated with Victoria, is refused by her in explicit terms, and eventually recognises a kindred spirit in Eglantine. Both are cowed by domineering mothers, and seeking escape; Eglantine admires Robin and he likes her. As with Simon and Victoria, however, the match is presented as a practical alliance of equals rather than a grand romance. Robin and Eglantine are an exaggerated, hopefully satirised, version of Robert and Elizabeth Dashwood's courtship; Eglantine de la Riviere is an exaggerated version of EMD's awkward maiden name, Edmée de la Pasture. Robert Dashwood was apparently anxious to read this book when it came out; I wonder what he made of it.
Love, then, in this book, has little to do with marriage, bearing out Fay Dallinger's advice to Ellie. It is possible to read Victoria's acceptance of Simon as an act of rescue to keep him permanently away from Ellie, whom Victoria loves and knows that he can only hurt. Ellie's recognition that Simon and Victoria simply cannot help themselves, and her forgiveness of Victoria, suggest a stronger, more enduring love between the cousins than that supporting any of the marriages contracted during the novel.
The early parts of the novel rely quite heavily on the language and devices of romantic fiction - Ellie's "fiery bliss" under Simon's touch is my favourite bit of Mills and Boon-ese - but towards the end the plot and characters develop in rather unexpected ways, undermining any tendency towards love story. There is a tendency towards stereotype - Robin's sister Maud is a stock eccentric spinster, still schoolgirlish and awkward, rather like Olive in The Heel of Achilles; George Carey is a gruff but genuine English gentleman, with hints of Uncle Matthew about him. Victoria and Ellie are given enough depth of character, however, to rise above their particular roles, and Victoria's thoughtful, calmly affectionate nature belies the hardness of some of the agressively modern characteristics attributed to her.
You can now buy a facsimile reprint of What is Love?, as well as several other Delafield titles, as PFD who manage her literary estate have started a print-on-demand service for a number of authors. Good news for Delafield fans - although at £12 each it is often cheaper to get a secondhand copy of an original edition.
Ellie is an old-fashioned innocent, a contrast to the monocle-sporting Victoria whose attitudes to life and love are relentlessly pragmatic. Inevitably, Ellie falls for the magnetic Simon Lawless, who is charmed by her beauty but soon disappointed by her hopeless dancing, her lack of interest in clothes and social life; there is one particularly choice episode where he criticises her flower arranging in a way we would now see as thoroughly metrosexual. Everyone she knows is against the match, including the amoral Lady Dallinger, who counsels Ellie not to marry her first love; and in the end, Simon's overt attention to other girls causes Ellie to break off their rather tentative engagement.
Victoria and Simon have flirted with each other for years, knowing how much they resemble each other; when the main action of the novel takes place, Victoria is twenty-nine and believes she must marry soon if she is to marry at all, but Simon is a bad financial prospect. Lionel is in love with Victoria, and has proposed many times, but she eventually rejects him in favour of Simon when her mother's death leaves her better off than she expected, and Simon has made a killing on the stock exchange; she has also recognised that the similarity between them will make a successful match. Lionel takes Ellie back to Madrid where he works as a diplomat, but not before Ellie and Victoria have made their peace with each other.
Robin, originally infatuated with Victoria, is refused by her in explicit terms, and eventually recognises a kindred spirit in Eglantine. Both are cowed by domineering mothers, and seeking escape; Eglantine admires Robin and he likes her. As with Simon and Victoria, however, the match is presented as a practical alliance of equals rather than a grand romance. Robin and Eglantine are an exaggerated, hopefully satirised, version of Robert and Elizabeth Dashwood's courtship; Eglantine de la Riviere is an exaggerated version of EMD's awkward maiden name, Edmée de la Pasture. Robert Dashwood was apparently anxious to read this book when it came out; I wonder what he made of it.
Love, then, in this book, has little to do with marriage, bearing out Fay Dallinger's advice to Ellie. It is possible to read Victoria's acceptance of Simon as an act of rescue to keep him permanently away from Ellie, whom Victoria loves and knows that he can only hurt. Ellie's recognition that Simon and Victoria simply cannot help themselves, and her forgiveness of Victoria, suggest a stronger, more enduring love between the cousins than that supporting any of the marriages contracted during the novel.
The early parts of the novel rely quite heavily on the language and devices of romantic fiction - Ellie's "fiery bliss" under Simon's touch is my favourite bit of Mills and Boon-ese - but towards the end the plot and characters develop in rather unexpected ways, undermining any tendency towards love story. There is a tendency towards stereotype - Robin's sister Maud is a stock eccentric spinster, still schoolgirlish and awkward, rather like Olive in The Heel of Achilles; George Carey is a gruff but genuine English gentleman, with hints of Uncle Matthew about him. Victoria and Ellie are given enough depth of character, however, to rise above their particular roles, and Victoria's thoughtful, calmly affectionate nature belies the hardness of some of the agressively modern characteristics attributed to her.
You can now buy a facsimile reprint of What is Love?, as well as several other Delafield titles, as PFD who manage her literary estate have started a print-on-demand service for a number of authors. Good news for Delafield fans - although at £12 each it is often cheaper to get a secondhand copy of an original edition.
Wednesday, 17 February 2010
Try Anything Twice by Jan Struther
I found this collection of Jan Struther's journalism considerably more engaging than her better-known Mrs Miniver. Written for a variety of inter-war journals, designed to amuse, these pieces must have piqued rueful self-awareness among Struther's readers as she delicately skewers middle-class pretension. Of course, she is not immune to this vice herself, and to the 21st-century eye some of her topics - second homes, boarding schools - smack of privilege. The essay "Pump Lane" is probably typical: the narrator enumerates the comical vices of her neighbours in the slum behind her elegant house, only to regret their departure to modern Council houses and the occupation of their cottages by Bohemians. The status quo may be annoying, and inconvenient, but its disruption provokes a conservative nostalgia. However, Struther the essayist is less smug than Mrs Miniver, and more open-minded; this comes across particularly in her travel pieces. My favourite piece in the book, "The Philosopher in the Pine Trees", is not only beautifully written, but evokes the beauty of a place, the generosity of strangers to travellers, and characterful, wise individuals with great irony; by the time Struther wrote about her journey and her inadvertant stay with her philosopher host, the pine wood and the house had disappeared into the Spanish Civil War. Possibly the book is most interesting as a document of what material would be amusing to the readers of the Spectator or the New Statesman at the time.
Tuesday, 16 February 2010
The Diary of a Young Lady of Fashion in the Year 1764-1765 by Cleone Knox
Poking about in the minor sub-genre of fictional diaries written for humorous effect, I discovered a reference to this little book, in which twenty-year-old Cleone Knox, of a wealthy County Down family, travels with her father, and brother Ned, on a grand tour of Europe. At the opening of the book, she is being courted by David Ancaster, whom she loves, but her father is against the match. After a bungled attempt at elopement, Cleone is hurried away to see whether travel will bring her to her senses. We travel with her to visit her sister in Derbyshire and then on to London, Bath, a French chateau, Paris, Switzerland and finally to Venice. Despite her affection for Mr Ancaster, Cleone is a lively diarist and not averse to a little flirtation; she is also greatly interested in matters of dress; she is constantly surprised and amused by the people and places she encounters; and given to Random Capitalisation to express the Strength of her Feelings.
On its publication in 1925, the Diary was taken to be genuine, having been presented as edited by one Alexander Blacker Kerr, a distant descendent of Miss Knox. After about six months, there was a minor scandal when the Daily Express revealed that the diary was in fact the work of Magdalen King-Hall, then aged twenty-one. The real author contributes a foreword to the copy I have, explaining that she was inspired by her sister’s suggestion to make a first attempt at a novel in the form of an eighteenth-century diary. The result is an amusing little book; Cleone’s style is a well sustained pastiche, and some episodes are extremely funny indeed. Magdalen King-Hall went on to have a successful career as a writer, and her work includes the novel which inspired The Wicked Lady, for which we should all be grateful. Margaret Lockwood would have also made a marvellous Cleone Knox.
On its publication in 1925, the Diary was taken to be genuine, having been presented as edited by one Alexander Blacker Kerr, a distant descendent of Miss Knox. After about six months, there was a minor scandal when the Daily Express revealed that the diary was in fact the work of Magdalen King-Hall, then aged twenty-one. The real author contributes a foreword to the copy I have, explaining that she was inspired by her sister’s suggestion to make a first attempt at a novel in the form of an eighteenth-century diary. The result is an amusing little book; Cleone’s style is a well sustained pastiche, and some episodes are extremely funny indeed. Magdalen King-Hall went on to have a successful career as a writer, and her work includes the novel which inspired The Wicked Lady, for which we should all be grateful. Margaret Lockwood would have also made a marvellous Cleone Knox.
Saturday, 9 January 2010
The Crowded Street by Winifred Holtby
Holtby's 1924 novel is the story of Muriel Hammond, brought up in Edwardian Marshington and Kingsport (a disguised Hull) to marry well and help maintain her family's social status. Muriel, however, is not a success in the marriage-market, but her sense of duty to her family keeps her at home, unlike the Vicar's dynamic daughter Delia Vaughan, headed for Newnham. Muriel is no iconoclast, and accepts the limitations of her environment: when, at school, her request for teaching in astronomy is diverted into extra dressmaking classes, much more suitable for married life, she is disappointed, but not enough to rebel. Rebellion is left to her younger sister Connie, who pays a heavy cost for it, but her sufferings teach Muriel to follow her duty to herself, which leads her to new pleasures and opportunities.
The characterisation in the novel is, for the most part, very subtle. Dutiful Muriel could be dull, but the depth of character Holtby achieves renders her interesting and three-dimensional. Her mother could be a cardboard tyrant, but Holtby gives us her back-story and some explanation for her obsession with social status and its maintenance. Mr Hammond, a sack-manufacturer made good with philandering habits, could be straight out of Brass, but surprises us often enough in his brief appearances to avoid stereotype. The only failure in this respect is probably William Todd, the crippled and pious patriarch of the farming family into which Connie marries. The failure isn't really Holtby's fault, but he is so reminiscent of Amos Starkadder that he cannot avoid being humorous. The Persephone catalogue suggests this novel might have been an influence on Cold Comfort Farm. There are episodes where Holtby's novel is funny enough in its own right: Muriel's triumph after a tennis match evaporating thanks to an exposed safety-pin, for example, and Connie's escapade with a bolting horse, as well as Muriel's faux pas at the party described in the opening Prologue.
I found this a profoundly feminist novel, although it contains little obvious polemic. Delia and Muriel debate woman's proper duty, but neither of them is clearly presented as either right or wrong. The narrative gradually leads Muriel, and with her the reader, to an understanding of the constraints on women's lives and how they are maintained - and also how they can be effectively challenged. This allows moving insights into the lives of antifeminist women and men as well as those who attack the status quo. The end of the novel makes it clear that freedom of choice for women improves the lot of men as well. Muriel's journey from hapless wallflower to a woman confident enough to make her own choices (albeit backed by money settled on her by her father, and stimulated by Delia's need of her) is moving.
I find the title a bit perplexing. There is as epigraph a poem by Vera Brittain, which goes:
"Beware!
You met two travellers in the town
Who promised you that they would take you down
The valley far away
To some strange carnival this summer's day.
Take care,
Lest in the crowded street
They hurry past you with forgetting feet,
And leave you standing there."
So we see how the title arises, but the "strange carnival" that Muriel is in danger of missing sounds faintly sinister, and the strongest theme of the novel is the development of agency from within, even if Muriel's agency is based on her need to be needed. There is a Longfellow quote, "Not in the clamour of the crowded street, not in the shouts and plaudits of the throng, but in ourselves, are triumph and defeat" (from "The Poets") which fits the theme better. I assume that this text inspired the title, and the VB poem was added afterwards, but would love to know if this is really how it happened.
The characterisation in the novel is, for the most part, very subtle. Dutiful Muriel could be dull, but the depth of character Holtby achieves renders her interesting and three-dimensional. Her mother could be a cardboard tyrant, but Holtby gives us her back-story and some explanation for her obsession with social status and its maintenance. Mr Hammond, a sack-manufacturer made good with philandering habits, could be straight out of Brass, but surprises us often enough in his brief appearances to avoid stereotype. The only failure in this respect is probably William Todd, the crippled and pious patriarch of the farming family into which Connie marries. The failure isn't really Holtby's fault, but he is so reminiscent of Amos Starkadder that he cannot avoid being humorous. The Persephone catalogue suggests this novel might have been an influence on Cold Comfort Farm. There are episodes where Holtby's novel is funny enough in its own right: Muriel's triumph after a tennis match evaporating thanks to an exposed safety-pin, for example, and Connie's escapade with a bolting horse, as well as Muriel's faux pas at the party described in the opening Prologue.
I found this a profoundly feminist novel, although it contains little obvious polemic. Delia and Muriel debate woman's proper duty, but neither of them is clearly presented as either right or wrong. The narrative gradually leads Muriel, and with her the reader, to an understanding of the constraints on women's lives and how they are maintained - and also how they can be effectively challenged. This allows moving insights into the lives of antifeminist women and men as well as those who attack the status quo. The end of the novel makes it clear that freedom of choice for women improves the lot of men as well. Muriel's journey from hapless wallflower to a woman confident enough to make her own choices (albeit backed by money settled on her by her father, and stimulated by Delia's need of her) is moving.
I find the title a bit perplexing. There is as epigraph a poem by Vera Brittain, which goes:
"Beware!
You met two travellers in the town
Who promised you that they would take you down
The valley far away
To some strange carnival this summer's day.
Take care,
Lest in the crowded street
They hurry past you with forgetting feet,
And leave you standing there."
So we see how the title arises, but the "strange carnival" that Muriel is in danger of missing sounds faintly sinister, and the strongest theme of the novel is the development of agency from within, even if Muriel's agency is based on her need to be needed. There is a Longfellow quote, "Not in the clamour of the crowded street, not in the shouts and plaudits of the throng, but in ourselves, are triumph and defeat" (from "The Poets") which fits the theme better. I assume that this text inspired the title, and the VB poem was added afterwards, but would love to know if this is really how it happened.
Thursday, 31 December 2009
Annual Reading Meme 2009
Thanks to Catherine for this annual round-up meme.
How many books read in 2009?
About 65, I think - there are 56 books reviewed here, I've re-read a couple, and there have been a number of critical works read for my DPhil that I've not blogged about.
Fiction/Non-Fiction ratio?
I've reviewed 18 non-fiction works and probably read 25 this year, so still getting on for 2:1 in favour of fiction. I'm never sure where to count poetry on that particular divide.
Male/Female authors?
16 male authors and 33 female authors.
Favourite book read?
Probably the most enjoyable was Waterlog, but honourable mentions to The War-Workers, Miss Buncle's Book and The Rest is Noise
Least favourite?
I was probably most disappointed by The Whole Day Through and the very silly Nightingale Wood.
Oldest book read?
New Grub Street was the only pre-twentieth-century book I read last year.
Newest?
I've read a few 2009 publications this year but The Little Stranger was probably read nearest its date of issue.
Longest book title?
The excellently named Ladies, Please Don't Smash These Windows, assuming subtitles are to be ignored.
Shortest title?
I think it must be Waterlog.
How many re-reads?
Not so many this year, although certainly Diary of a Provincial Lady, Cold Comfort Farm and I Capture the Castle. I've made frequent reference to Andi Clevely's The Allotment Book and Denis Cotter's Wild Garlic, Gooseberries and Me.
Most books read by one author this year?
E M Delafield is unsurprisingly this year's winner - I've read seven of her novels plus assorted short pieces of writing.
Any in translation?
Tove Jansson's A Winter Book.
And how many of this year’s books were from the library?
About five of the titles I've blogged about, and probably about 10 unreviewed books. I'm now a member of four libraries, and I have no more room on my bookshelves, so that figure ought to go up next year.
How many books read in 2009?
About 65, I think - there are 56 books reviewed here, I've re-read a couple, and there have been a number of critical works read for my DPhil that I've not blogged about.
Fiction/Non-Fiction ratio?
I've reviewed 18 non-fiction works and probably read 25 this year, so still getting on for 2:1 in favour of fiction. I'm never sure where to count poetry on that particular divide.
Male/Female authors?
16 male authors and 33 female authors.
Favourite book read?
Probably the most enjoyable was Waterlog, but honourable mentions to The War-Workers, Miss Buncle's Book and The Rest is Noise
Least favourite?
I was probably most disappointed by The Whole Day Through and the very silly Nightingale Wood.
Oldest book read?
New Grub Street was the only pre-twentieth-century book I read last year.
Newest?
I've read a few 2009 publications this year but The Little Stranger was probably read nearest its date of issue.
Longest book title?
The excellently named Ladies, Please Don't Smash These Windows, assuming subtitles are to be ignored.
Shortest title?
I think it must be Waterlog.
How many re-reads?
Not so many this year, although certainly Diary of a Provincial Lady, Cold Comfort Farm and I Capture the Castle. I've made frequent reference to Andi Clevely's The Allotment Book and Denis Cotter's Wild Garlic, Gooseberries and Me.
Most books read by one author this year?
E M Delafield is unsurprisingly this year's winner - I've read seven of her novels plus assorted short pieces of writing.
Any in translation?
Tove Jansson's A Winter Book.
And how many of this year’s books were from the library?
About five of the titles I've blogged about, and probably about 10 unreviewed books. I'm now a member of four libraries, and I have no more room on my bookshelves, so that figure ought to go up next year.
A Tale Told by Moonlight by Leonard Woolf
A delightful little volume from the Hesperus Press, this book contains three of Leonard Woolf's short stories, all set in colonial Ceylon, and two extracts from his autobiography which describe his voyage out to Columbo and his experiences at the Pearl Fishery in Ceylon, experiences which find their way into "Pearls and Swine", the second story here. First published by the Hogarth Press in 1921, the stories are a frank appraisal of colonial life, its limitations and its opportunities. The title story deals with a young colonial administrator in thrall to a Sinhalese prostitute; the second, which has strong echoes of Heart of Darkness, describes what happens when the narrator is sent to manage the Pearl Fishery with a young, ambitious civil servant, Robson, and an old alcoholic, White; it exposes the costs of imperialism, both to the coloniser and the colonised. The final story, "The Two Brahmans", explores the effects of stepping outside the behaviour prescribed for one's caste, an ironic parable applicable to any class system.
The first two stories use a framing device for the narrative: a first-person narrator opens each story, but the actual tale will be told by another character, in both cases something of an outsider. These outsiders narrate their tales of the unfamiliar in a very English setting: in the English countryside at night with nightingales singing, for "A Tale Told by Moonlight", and in a Torquay hotel for "Pearls and Swine". Victoria Glendinning's Foreword notes the affinity with framing techniques used by Conrad, a writer Woolf admired; the admiration seems to have been mutual, since "Pearls and Swine" may well have informed a later Conrad work, Allmeyer's Folly. As with The Wise Virgins, the prose throughout this little book is crystalline, precise and elegant, equally at home with beauty, violence and degradation, and densely packed with meaning.
This is a beautifully produced book, but, annoyingly, there seems to be a particularly egregious typographical error on page 3; "recruiting" is used instead of "recuperating" twice in the same paragraph. At ten pence a page, correct typesetting doesn't seem too much to ask for. Perhaps it was a Hogarth Press original error, and Virginia was having an off day?
The first two stories use a framing device for the narrative: a first-person narrator opens each story, but the actual tale will be told by another character, in both cases something of an outsider. These outsiders narrate their tales of the unfamiliar in a very English setting: in the English countryside at night with nightingales singing, for "A Tale Told by Moonlight", and in a Torquay hotel for "Pearls and Swine". Victoria Glendinning's Foreword notes the affinity with framing techniques used by Conrad, a writer Woolf admired; the admiration seems to have been mutual, since "Pearls and Swine" may well have informed a later Conrad work, Allmeyer's Folly. As with The Wise Virgins, the prose throughout this little book is crystalline, precise and elegant, equally at home with beauty, violence and degradation, and densely packed with meaning.
This is a beautifully produced book, but, annoyingly, there seems to be a particularly egregious typographical error on page 3; "recruiting" is used instead of "recuperating" twice in the same paragraph. At ten pence a page, correct typesetting doesn't seem too much to ask for. Perhaps it was a Hogarth Press original error, and Virginia was having an off day?
Tuesday, 29 December 2009
William, an Englishman by Cicely Hamilton
Another Persephone reprint, William is the story of the sudden impact of war on two people who thought it could never possibly come. William is a suburban clerk, suddenly precipitated into freedom by the death of his overbearing mother, who leaves not only their home, but a significant some of money. William uses his freedom to devote himself to political life as a left-wing Internationalist in the years before World War I. Through his political work he meets Griselda, who shares William's causes and has long been an active and commited suffragette, even to the extent of a spell in Holloway. The opening chapters, with their descriptions of William and Griselda's limited intellects and understanding of the ideals they espouse, could come out of H G Wells: we are in familiar territory, mocking the suburban clerk, his undeveloped body and mind. But the rest of the novel will take us far away indeed from the Diary of a Nobody landscape.
William and Griselda marry in July 1914 and choose an isolated location for their honeymoon: the Ardennes forest in Belgium. For a while, all is appropriately blissful. Then one day they visit the farmer's wife who is cooking their meals, and find it deserted. Faintly alarmed by this, and rather hungry, they eventually decide to walk back to the nearest town, and find that it is occupied by the German army. From an English-speaking officer, they learn of the war, and that they are now prisoners. This is only the beginning of a nightmare which will see William renounce his previous ideals of pacifism and internationalism.
This was Cicely Hamilton's only novel - she is better known as a playwright and non-fiction writer and journalist, as well as a prominent suffragette - but shows a skilful handling of her narrative and plot. You would expect a playwright to rely more on dialogue, but Hamilton's descriptive passages are lucid and powerful. I found the meaning of the book, which you might expect to be clearly political given Hamilton's suffragette background, rather ambiguous. Willam and Griselda's political campaigning and militancy are mildly mocked, and their self-satisfied radicalism swiftly punctured; William has no experience to back up his political convictions, and it is suggested that Griselda's attraction to suffragism is more to do with the opportunities it brings for attention and notoriety, rather than because of a deep commitment to a feminist cause. William's political transformation into patriotic Englishman after the atrocities he experiences is reactive and emotional and therefore unsustainable; faced with the reality of war service behind the lines in a clerical role, the passion that inspired him melts away. Their social positioning within the novel could allow an ironic reading of their suffering, but the narrative tone is straightforwardly sympathetic and the descriptions of their plight harrowing. William seems to me to attempt to come to terms with the experience shared by thousands of Englishmen in the immediate and raw aftermath of the Great War, hinting at the critique of that war as futile which would be articulated more explicitly by later writers.
William and Griselda marry in July 1914 and choose an isolated location for their honeymoon: the Ardennes forest in Belgium. For a while, all is appropriately blissful. Then one day they visit the farmer's wife who is cooking their meals, and find it deserted. Faintly alarmed by this, and rather hungry, they eventually decide to walk back to the nearest town, and find that it is occupied by the German army. From an English-speaking officer, they learn of the war, and that they are now prisoners. This is only the beginning of a nightmare which will see William renounce his previous ideals of pacifism and internationalism.
This was Cicely Hamilton's only novel - she is better known as a playwright and non-fiction writer and journalist, as well as a prominent suffragette - but shows a skilful handling of her narrative and plot. You would expect a playwright to rely more on dialogue, but Hamilton's descriptive passages are lucid and powerful. I found the meaning of the book, which you might expect to be clearly political given Hamilton's suffragette background, rather ambiguous. Willam and Griselda's political campaigning and militancy are mildly mocked, and their self-satisfied radicalism swiftly punctured; William has no experience to back up his political convictions, and it is suggested that Griselda's attraction to suffragism is more to do with the opportunities it brings for attention and notoriety, rather than because of a deep commitment to a feminist cause. William's political transformation into patriotic Englishman after the atrocities he experiences is reactive and emotional and therefore unsustainable; faced with the reality of war service behind the lines in a clerical role, the passion that inspired him melts away. Their social positioning within the novel could allow an ironic reading of their suffering, but the narrative tone is straightforwardly sympathetic and the descriptions of their plight harrowing. William seems to me to attempt to come to terms with the experience shared by thousands of Englishmen in the immediate and raw aftermath of the Great War, hinting at the critique of that war as futile which would be articulated more explicitly by later writers.
Monday, 28 December 2009
A Winter Book by Tove Jansson
I've been meaning for a while to buy this book as a midwinter treat and read it by the fire, and having finally done so, I'm very glad I did. A Winter Book is a collection of Tove Jansson's stories and memoirs, telling of her early childhood with her artist parents, later life as a successful writer and as an old woman. Her childhood stories are luminous and bright, sometimes dealing with matters of great significance to the narrator, at other times quotidian in focus. This division is picked up again elsewhere in the collection: the story "Messages" comprises scraps of notes presumably addressed to the author, sometimes loving, sometimes ordinary, sometimes mad and threatening; the narrator of "Travelling Light" seeks adventure and escape but reaps only domestic confidences from a fellow traveller.
Jansson's adult and child narrators share the quality of clear-sightedness and are swift in their judgements, although even in the world of childhood ambiguity creeps in, as when attitudes to the sacred world of art are challenged in "The Spinster who had an Idea". The longest story here, and for me the most enjoyable, is "The Squirrel", in which an old woman is joined on her island home by a squirrel in November and finds that her visitor is occupying all her time and thoughts and knocking her off balance. This story is not only densely packed with ideas about solitude, the relationship between the wild and the domestic, and writing and art, but will also delight readers of Beatrix Potter by confirming that squirrels really do cross water on little rafts, unless Jansson could possibly be pulling our legs. The book is illustrated with photographs of Jansson, her family and her partner Tuulikki Pietilä; it is bound in the usual beautiful way by Sort Of Books, who have published another Jansson novel, The True Deceiver, which will probably be my next little treat to myself.
Jansson's adult and child narrators share the quality of clear-sightedness and are swift in their judgements, although even in the world of childhood ambiguity creeps in, as when attitudes to the sacred world of art are challenged in "The Spinster who had an Idea". The longest story here, and for me the most enjoyable, is "The Squirrel", in which an old woman is joined on her island home by a squirrel in November and finds that her visitor is occupying all her time and thoughts and knocking her off balance. This story is not only densely packed with ideas about solitude, the relationship between the wild and the domestic, and writing and art, but will also delight readers of Beatrix Potter by confirming that squirrels really do cross water on little rafts, unless Jansson could possibly be pulling our legs. The book is illustrated with photographs of Jansson, her family and her partner Tuulikki Pietilä; it is bound in the usual beautiful way by Sort Of Books, who have published another Jansson novel, The True Deceiver, which will probably be my next little treat to myself.
Saturday, 19 December 2009
A Boy at the Hogarth Press and A Parcel of Time by Richard Kennedy
This is an utterly charming little book, published by Slightly Foxed, who, alongside their Quarterly, offer a small range of little hardbacks in numbered limited editions. The first half of the book contains Richard Kennedy's recollections of joining the Hogarth Press as a school-leaver whose education had left him with no discernable talents or abilities. Based on diaries and letters as well as memoir, the book tells of Kennedy's successes and failures at the Press in naive and humorous tones, and includes highly entertaining depictions of Leonard and Virginia Woolf as well as any number of minor Bloomsbury characters.
The second half is Kennedy's childhood memoir, tracing his early years until he is sent to Marlborough School. Kennedy's father was killed in the First World War, and his widowed mother and paternal grandmother struggled over Kennedy 's upbringing as they did over money and various possessions that his grandmother sought to repatriate to the family home. The memoir is funny and poignant, and the descriptions of his epiphanies in drawing and finally learning to read from a book called When the Somme Ran Red are particularly touching. Richard Kennedy made his career as an illustrator, and the book is full of his own drawings. My favourite is on page 31, in which Virginia Woolf peers through a small window at the Press employees packing parcels.
Like Persephone, Slightly Foxed seem to have the knack of producing books that are delightful to read and to look at, and I am sorely tempted by others on their list.
The second half is Kennedy's childhood memoir, tracing his early years until he is sent to Marlborough School. Kennedy's father was killed in the First World War, and his widowed mother and paternal grandmother struggled over Kennedy 's upbringing as they did over money and various possessions that his grandmother sought to repatriate to the family home. The memoir is funny and poignant, and the descriptions of his epiphanies in drawing and finally learning to read from a book called When the Somme Ran Red are particularly touching. Richard Kennedy made his career as an illustrator, and the book is full of his own drawings. My favourite is on page 31, in which Virginia Woolf peers through a small window at the Press employees packing parcels.
Like Persephone, Slightly Foxed seem to have the knack of producing books that are delightful to read and to look at, and I am sorely tempted by others on their list.
Ordinary Families by E. Arnot Robertson
Ordinary Families is a rather odd book. It is narrated by Lalage, usually known as Lallie, aged eleven at the start of the story, and part of the entirely unordinary Rush family, which comprises four children: Ronald, Drusilla, Lalage and finally beautiful Margaret, whose family position and physical attractiveness mean she is indulged with more of everything, but especially love and attention, than her siblings. Their father is a sailor, scratching a living out of trading in yachts, and with a back-story that packs in more adventures than might seem possible for someone of his years. Their mother has married out of her class; she is mainly, at least in Lalage's eyes, interested in ensuring that her children keep no secrets from her and are fed to bursting at all times. Their neighbours in the Suffolk seaside village are the Cottrells, a left-leaning intellectual family with a hint of Bloomsbury, and the Quests, rich and rather frightening to the young Lallie.
The story focuses, essentially, on Lallie's efforts to preserve the things that are important to her from her family's attention and teasing, which invariably spoils them for her, and it is usually Margaret who reads Lallie's mind and betrays her secrets. As a child, it is Lallie's love of birds that is revealed by Margaret, to Lallie's shame and dismay; as a young woman, she will compete with Margaret for the attention of Gordon, the man she loves, while struggling to prevent her family recognising her attachment and teasing her out of it.
The structure of the novel is episodic, often with large gaps of years between chapters - the First World War takes place in one of these - but Lallie's narrative voice is always adult and poetic. The narrative is strongly retrospective, evoking an adult's distant memory of childhood and adolescent experiences, and the first page makes it clear that the narrative may be unreliable, influenced by details added afterwards, distorted by re-tellings to third parties. This retrospective voice comes to a juddering end in the final paragraphs, in which Lallie, Gordon and Margaret are trapped in a moment in time, waiting for time to begin to move again.
Polly Devlin's introduction tells us that E. Arnot Robertson was no feminist, and Lallie's attitudes to the women around her bear this out: she despises her mother's domestic concerns, a neighbour who goes to Oxford is wasting her time, Stella Quest is disliked because she treats men as if they were big babies. At the same time, Lallie values the men in her life; her father is her early hero and she transfers this worship to Gordon, which makes her father seem a little ridiculous. She relies, for help, advice and generous hotel lunches, on the misogynous Mr Quest. The doubtful figures in Lallie's binary model of gender values are Gordon's former lover Esther, and Margaret herself, who have a power Lallie recognises as greater than her own.
The irony of Lallie, seeking something other than her mother's life for herself, but throwing away the opportunity of interesting work to pursue Gordon, who is likely to lead her straight back into the world of unfulfilled domesticity, is not explored by the novel. We could read from that an endorsement of the wifely role, were it not for the great sadness with which the last chapters are imbued; this is a very unhappy happy ending.
There is an interesting little mention of how the Rush family come by their reading material; most of it is chosen for them by the bus conductor's daughter, who lives next to the Ipswich Boots' library, and brought back by the bus conductor to isolated Pin Mill. Her taste is apparently "jollier" than that of the educated Cottrells. I can't think of any other novels of this period in which the reading of upper-middle-class characters is controlled by a member of the working classes in this way. Q D Leavis would have been horrified.
The story focuses, essentially, on Lallie's efforts to preserve the things that are important to her from her family's attention and teasing, which invariably spoils them for her, and it is usually Margaret who reads Lallie's mind and betrays her secrets. As a child, it is Lallie's love of birds that is revealed by Margaret, to Lallie's shame and dismay; as a young woman, she will compete with Margaret for the attention of Gordon, the man she loves, while struggling to prevent her family recognising her attachment and teasing her out of it.
The structure of the novel is episodic, often with large gaps of years between chapters - the First World War takes place in one of these - but Lallie's narrative voice is always adult and poetic. The narrative is strongly retrospective, evoking an adult's distant memory of childhood and adolescent experiences, and the first page makes it clear that the narrative may be unreliable, influenced by details added afterwards, distorted by re-tellings to third parties. This retrospective voice comes to a juddering end in the final paragraphs, in which Lallie, Gordon and Margaret are trapped in a moment in time, waiting for time to begin to move again.
Polly Devlin's introduction tells us that E. Arnot Robertson was no feminist, and Lallie's attitudes to the women around her bear this out: she despises her mother's domestic concerns, a neighbour who goes to Oxford is wasting her time, Stella Quest is disliked because she treats men as if they were big babies. At the same time, Lallie values the men in her life; her father is her early hero and she transfers this worship to Gordon, which makes her father seem a little ridiculous. She relies, for help, advice and generous hotel lunches, on the misogynous Mr Quest. The doubtful figures in Lallie's binary model of gender values are Gordon's former lover Esther, and Margaret herself, who have a power Lallie recognises as greater than her own.
The irony of Lallie, seeking something other than her mother's life for herself, but throwing away the opportunity of interesting work to pursue Gordon, who is likely to lead her straight back into the world of unfulfilled domesticity, is not explored by the novel. We could read from that an endorsement of the wifely role, were it not for the great sadness with which the last chapters are imbued; this is a very unhappy happy ending.
There is an interesting little mention of how the Rush family come by their reading material; most of it is chosen for them by the bus conductor's daughter, who lives next to the Ipswich Boots' library, and brought back by the bus conductor to isolated Pin Mill. Her taste is apparently "jollier" than that of the educated Cottrells. I can't think of any other novels of this period in which the reading of upper-middle-class characters is controlled by a member of the working classes in this way. Q D Leavis would have been horrified.
Wednesday, 9 December 2009
Faster! Faster! by E M Delafield
Taking its title from Alice's experience through the looking-glass, running ever faster only to stay in the same place, Faster! Faster! looks, like The War-Workers, at women who work outside the home, albeit with a less caustic and more considered approach. The novel centres around Claudia Winsloe, who runs a Universal Aunts type of business, coupled with a literary agency and transcription service, and her family: Copper, her husband, who has been unemployed for some years; Sylvia, her eldest daughter at 19, intended for a job in publishing but secretly longing to stay at home and arrange the flowers; Taffy, 17, who longs to escape to Bryn Mawr; and Maurice, about 12, who admires his mother greatly. [Please note that the next paragraph contains plot spoilers].
Claudia assumes the role of family breadwinner and perfect modern mother, allowing her children to make their own choices in life and being totally frank and open about herself. The novel opens with a long section taking place over a bank holiday weekend in August. While her family and guests enjoy themselves, Claudia remains a martyr to her work; when they begin to assert themselves against her, and her self-conception as Atlas holding up the family world is challenged, she is shaken but resolute in her self-control. In the second section of the novel, set in October of the same year, Copper is offered a job. Claudia is sufficiently disturbed to attempt to thwart his chance of employment, causing her sister Anna to condemn her perpetual martyrdom and lack of self-knowledge: Claudia enjoys the role, the pose, and all her efforts go to support that, not her family. In the final section, after Claudia is killed in a car accident, we see her family getting on, pursuing their own interests and dreams, and surviving very well without her.
The novel is one of EMD's romans psychologiques, and by the time this novel was written she was probably at the height of her powers in this mode. Her ironic tone, which wavers through the similar Gay Life, is firmly in place here, and she plays off characters and generations against each other to generate humour. The characterisation is detailed and less reliant on stereotyping than in earlier novels; Claudia is a much more rounded character than the similarly autocratic, self-sacrificing Char Vivian in The War-Workers, although quite as deluded as to her own motives. Copper is, to a certain extent, a typical Delafield grumpy husband, but he shows depth of character when he catches his eldest daughter pursuing an unsuitable potential lover in her pyjamas, and in his enthusiasm about his new job. I also like the minor characters who form Claudia's office staff; the office girls could easily be middlebrow stereotypes, and at first it seems that they are, with their fascination with slimming and clothes, but they have real wit and a generosity that opens out their characters and makes them memorable. My only complaint is that there is too much of Mrs Peel, Claudia's mother; a peevish woman given to repetition moves quickly through humour and into dullness.
This novel, Mrs Peel's views aside, is much less conventional on the topic of working women than Delafield's earlier fiction. It is taken for granted that girls will need a career, that women need interesting work to support themselves, and that women can work well and efficiently, providing a professional service; only Claudia among her staff is tempted to martyrdom and overwork. Her office manager, Mrs Ingatestone, combines work with caring for a daughter, albeit one at boarding school. Claudia's friend Frances, whose return to England and reacquaintance with Claudia frames the novel, naturally turns to work as a young widow, not only from financial reasons but also to gain the satisfaction of work well done. Claudia's problems are nothing to do with work in itself, but stem only from her inability to understand herself or to relinquish control.
I was lucky enough to find a copy of this with its dust-jacket intact. The spine shows a slim woman, the world balanced on her shoulders, admiring herself in a pool of water. This image of Claudia as Atlas recurs throughout the novel, and was suggested by EMD herself for the spine. It's rather ironic that the spine of the book (which is holding it all together) should use this image of a woman whose attempts to hold it all together will go so disastrously wrong, for her and for her family.
Claudia assumes the role of family breadwinner and perfect modern mother, allowing her children to make their own choices in life and being totally frank and open about herself. The novel opens with a long section taking place over a bank holiday weekend in August. While her family and guests enjoy themselves, Claudia remains a martyr to her work; when they begin to assert themselves against her, and her self-conception as Atlas holding up the family world is challenged, she is shaken but resolute in her self-control. In the second section of the novel, set in October of the same year, Copper is offered a job. Claudia is sufficiently disturbed to attempt to thwart his chance of employment, causing her sister Anna to condemn her perpetual martyrdom and lack of self-knowledge: Claudia enjoys the role, the pose, and all her efforts go to support that, not her family. In the final section, after Claudia is killed in a car accident, we see her family getting on, pursuing their own interests and dreams, and surviving very well without her.
The novel is one of EMD's romans psychologiques, and by the time this novel was written she was probably at the height of her powers in this mode. Her ironic tone, which wavers through the similar Gay Life, is firmly in place here, and she plays off characters and generations against each other to generate humour. The characterisation is detailed and less reliant on stereotyping than in earlier novels; Claudia is a much more rounded character than the similarly autocratic, self-sacrificing Char Vivian in The War-Workers, although quite as deluded as to her own motives. Copper is, to a certain extent, a typical Delafield grumpy husband, but he shows depth of character when he catches his eldest daughter pursuing an unsuitable potential lover in her pyjamas, and in his enthusiasm about his new job. I also like the minor characters who form Claudia's office staff; the office girls could easily be middlebrow stereotypes, and at first it seems that they are, with their fascination with slimming and clothes, but they have real wit and a generosity that opens out their characters and makes them memorable. My only complaint is that there is too much of Mrs Peel, Claudia's mother; a peevish woman given to repetition moves quickly through humour and into dullness.
This novel, Mrs Peel's views aside, is much less conventional on the topic of working women than Delafield's earlier fiction. It is taken for granted that girls will need a career, that women need interesting work to support themselves, and that women can work well and efficiently, providing a professional service; only Claudia among her staff is tempted to martyrdom and overwork. Her office manager, Mrs Ingatestone, combines work with caring for a daughter, albeit one at boarding school. Claudia's friend Frances, whose return to England and reacquaintance with Claudia frames the novel, naturally turns to work as a young widow, not only from financial reasons but also to gain the satisfaction of work well done. Claudia's problems are nothing to do with work in itself, but stem only from her inability to understand herself or to relinquish control.
I was lucky enough to find a copy of this with its dust-jacket intact. The spine shows a slim woman, the world balanced on her shoulders, admiring herself in a pool of water. This image of Claudia as Atlas recurs throughout the novel, and was suggested by EMD herself for the spine. It's rather ironic that the spine of the book (which is holding it all together) should use this image of a woman whose attempts to hold it all together will go so disastrously wrong, for her and for her family.
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