1926

The Land by Vita Sackville-West [or a bit of it]

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File:Victoria-mary-sackville-west-vita.jpg - Wikimedia Commons

I am trying to be the sort of person who likes poetry, and picking some of the poems off my bookshelves. If I’m honest, it hasn’t been an enormous success yet – though I did enjoy some of the Yeats I read, and felt pretty unenthusiastic about quite a lot of it.

One of the poems I’ve been keen to try is The Land by Sackville-West – a book-length poem from 1926. It is perhaps best remembered now, at least to the non-poetry read fraternity, for Virginia Woolf’s teasing of it in Orlando. In that novel, published a couple of years later and inspired by Vita Sackville-West, Orlando spends years writing a long poem called The Oak Tree that is later lampooned by a noted Elizabethan critic.

So that is quite a starting point for trying The Land! And I can see why it might be lampooned. It’s essentially a rustic and atavistic take on nature, filled with farmers doing ancient things with scythes etc. etc. I’m going to be honest, most of it didn’t really work for me. That ‘poetic shepherd’ genre always feels a bit improbable and fey to me. BUT I am glad I read it for this small section alone, which I really liked.

Long story short – I don’t think I’m the right audience for The Land, but I love two particular pages. So, if you’re like me – here, I’m saving you some time and just sharing this bit, on comparing poets and artisans.

The poet like the artisan
Works lonely with his tools; picks up each one,
Blunt mallet knowing, and the quick thin blade,
And plane that travels when the hewing’s done;
Rejects, and chooses; scores a fresh faint line;
Sharpens, intent upon his chiselling;
Bends lower to examine his design,
If it be truly made,
And brings perfection to so slight a thing.
But in the shadows of his working-place,
Dust-moted, dim,
Among the chips and lumber of his trade,
Lifts never his bowed head, a breathing-space
To look upon the world beyond the sill,
The world framed small, in distance, for to him
The world and all its weight are in his will.
Yet in the ecstasy of his rapt mood
There’s no retreat his spirit cannot fill,
No distant leagues, no present, and no past,
No essence that his need may not distil,
All pressed into his service, but he knows
Only the immediate care, if that be good;
The little focus that his words enclose;
As the poor joiner, working at his wood,
Knew not the tree from which the planks were taken,
Knew not the glade from which the trunk was brought,
Knew not the soil in which the roots were fast,
Nor by what centuries of gales the boughs were shaken,
But holds them all beneath his hands at last.

The Proper Place by O. Douglas

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My dear friend Emily and I often watch sitcoms together – we have recently named ourselves ‘sitcommoisseurs’ – but don’t really share a taste in reading. But you know who does largely share my taste? Emily’s relatives – her mum and, as it turns out, her late great-grandmother. Mrs S very kindly thought of me when divvying up the library of her mother, which included books from her grandmother – who was a fan of O. Douglas. I’ve only read one but I really liked it, so gratefully received a little pile of them (thanks v much!) – and over Christmas I read The Proper Place (1926).

As I’ve mentioned before, househunting and moving house are things I love to read about (even though they are a world of anxiety in real life), and the opening pages of The Proper Place are all about it – which is why it was the one I got off the shelf.

The Rutherfurd family are leaving their family seat in the Scottish borders with its twenty bedrooms, no longer able to live up to such grandeur because they are so diminished in size: there are now only three Rutherfurds: Nicole (sprightly, cheerful), her orphaned cousin Barbara (realistic, wry), and her mother Lady Jane (resigned, dignified). They have lost relatives in World War 1, and must start anew – Nicole displaying bright optimism about their future and Barbara, if not dour, then not delighting in the prospect.

“How many bedrooms does that make?”

Mrs. Jackson asked the question in a somewhat weary tone. Since her husband had decided, two months ago, that what they wanted was a country-house, she had inspected nine, and was frankly sick of her task.

The girl she addressed, Nicole Rutherfurd, was standing looking out of the window. She turned at the question and “I beg your pardon,” she said, “how many bedrooms? There are twelve quite large ones, and eight smaller ones.”

They were standing in one of the bedrooms, and Nicole felt that never had she realised how shabby it was until she saw Mrs. Jackson glance round it. That lady said nothing, but Nicole believed that in her mind’s eye she was seeing it richly furnished in rose-pink. Gone the faded carpet and washed-out chintzes; instead there would be a thick velvet carpet, pink silk curtains, the newest and best of bedroom suites, a rose-pink satin quilt on the bed. 

The new occupants are from the nouveau riche – Mr and Mrs Jackson, leaving their community in Glasgow to buy their way into the aristocracy, in the hope that it will be a bright new future for their son. Mrs Jackson is disarmingly realistic about her own shortcomings and how unlikely it is that she’ll fit into her new life, making sacrifices for that adult son (who is fond of her but not all that engaged). The meeting of the Rutherfurds and the Jacksons is not the clash of cultures that you might think – Douglas is amusing, but not at characters’ expense. Mrs Jackson is eager, Lady Jane is kind. There is pain and anxiety on either side, but not immeasurably.

The title comes from a Hans Christian Andersen story that I’m not familiar with – to quote the novel: “at a dinner-party, one of the guests blew on a flute made from a willow in the ditch, and behold, every one was immediately wafted to his or her proper place. “Everything in its proper place,” sang the flute, and the bumptious host flew into the herdsman’s cottage”. I’m not sure how relevant it ends up being, because there is no moral attached to these characters’ house moves, though they are certainly changing places. There is even a suggestion at one point that the Jacksons and the Rutherfurds will swap houses, though the Rutherfurds instead move to a harbourside house in Kirkmeikle, Fife. It’s the sort of downsizing that is a house far beyond anything I’ll ever live in, of course. (You can see where it was based in Katrina’s investigative post!)

Much of the novel looks at this new community – including (somewhat surprisingly) Simon Beckett, who was recently climbed Everest and is writing a book about it. Very little that happens among this new throng of characters is of especial note, but it is all the gentle, enjoyable happenings that are so fun to indulge in reading about. Nicole is such a lovable character, helpfully offset by Barbara’s clear-sightedness, that it was all good fun.

We don’t see as much of the Jacksons later in the book, but I think I preferred those sections. Mrs J’s anxieties about her position, together with a certain over-the-topness, made for good-humoured comedy. And the families do meet again, as Nicole and Barbara sequentially go back for visits – these were my absolute favourite sections, as it was the meeting of the families that I thought worked best. Happily for me, there is a sequel (The Day of Small Things), which I can keep an eye out for.

(I had to skip a few pages of Scots dialect, but far fewer than when I read Pink Sugar.)

 

Others who got Stuck into it:

“Unputdownable & with characters I care about. I loved the feeling of gentle melancholy that is evident in so many books of that post-war period.” – I Prefer Reading

“O. Douglas is a very fair-minded author; she always allows her characters the grace of a deep enough glimpse into their lives and thoughts to allow us to place their words and actions in full context; something I fully appreciated in this story.” – Leaves and Pages

“Her books are as sweet as home-made toffee, but they’re always mixed with sadness somehow, which makes these comfort books of hers more true to life.” – Pining for the West

25 Books in 25 Days: #24 The Misunderstanding

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(So close to the end!) I think I got a review copy of The Misunderstanding (1926) by Irene Nemirovsky in about 2012, when it was published in English for perhaps the first time, by Sandra Smith. I’ve certainly bought or been given quite a few Nemirovsky novels, but have only read Suite Française and one other. While looking around my shelves, I thought… why not?

The Misunderstanding was Nemirovsky’s first novel, and it is a love story of sorts. As Sandra Smith points out in her translator’s note, the original title Le Malentendu can be translated as ‘the person who is misunderstood’ and ‘incompatibility’ as well as the title the novel was given in English, and it is the last of these that perhaps gets the biggest focus – as we watch disaffected Yves start a relationship with the bored wife of an old friend. They are passionate but uncertain, and we follow something of a strange trajectory, as each miscommunicates what they feel about each other – dashing through 1920s French seaside and Paris. One of the biggest obstacles to their agreed happiness is – he is poor, and she is rich, and all the awkwardness and pride that comes with that.

It was already very hot; it was the beginning of a beautiful summer’s day; women’s faces peered over the balconies; street sellers passed by with their little carts full of flowers, shouting: “Roses! Who wants some beautiful roses!”; tiny fountains of water from hosepipes sprayed from one side of the pavement to the other, glistening like liquid rainbows; young children went past on their bicycles, chasing each other and singing loudly; they had wicker baskets on their backs and their smocks fluttered in the win. Yves tried hard to notice every last detail in the street, just as a sick man desperately tries to concentrate on the countless little things in his bedroom.

I’m not always particularly interested in stories about love affairs, but I did find the way Nemirovsky wrote about Paris – and about people, about their flaws and lack of self-knowledge – rather poignant and lyrical. If it leans a little on the histrionic, we can blame that on the author’s youth – I’ve certainly read books with less emotional restraint by writers who should know better.

Introduction to Sally by Elizabeth von Arnim

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Reprints Issue 8

I really did mean to review Introduction to Sally (1926) back when I read it before I attended the Elizabeth von Arnim conference last year, but… oops. I don’t think it’s one of her best regarded novels, but I thought it was fantastic – and heard a great paper on it too. It’s rather more high concept than the others I’ve read: essentially, what would happen if a hyperbolically beautiful woman was born in a working-class environment? What if a Greek goddess came to life – but only with the looks, not with any of the powers or bravado?

Spoilers: it doesn’t go particularly well.

This novel makes an intriguing counterpoint to Zuleika Dobson, Max Beerbohm’s 1910 novel about a woman so attractive that all the undergraduates at Oxford University fall in love with her; Sally, likewise, attracts every man who sees her. The difference is that Zuleika welcomes and expects it: Sally would just like to get on with her life, and humble shopkeeper Mr Pinner (her father) is just keen that she gets married quickly, to avoid being taken advantage of by the nearby Cambridge university undergraduates. As the opening line states with typical von Arnim panache, ‘Mr Pinner was God-fearing man, who was afraid of everything except respectability.’

We start with a quick back story: Sally is short for Salvatia, being a much-longed-for daughter. Her mother sadly dies, and Mr Pinner is anxious and fraught, and not the sort of man who could put a defence against very much. Sally is docile and naive, unaware of the affect her beauty has as she grows older. Her naivety becomes quite the hallmark of the novel; she is as exaggeratedly simple and good as she is beautiful, making this all rather like a fairy tale – or, rather, a fairy tale character plunged into the slings and arrows of the real world.

The real world comes into the shop in the form of Jocelyn Luke. He is fine-speaking and high-falutin’, horrifying Mr Pinner until he realises that Luke is proposing marriage. To please her father, chiefly, Sally accepts – though she has little idea what Luke is saying when he quotes poetry or expresses his undying love. Von Arnim writes these scenes brilliantly; they are funny while also carrying dark undertones.

Jocelyn sat down too, the table between them, the light from the oil lamp hanging from the ceiling beating down on Sally’s head.

“And Beauty was made flesh, and dwelt among us,” he murmured, his eyes burning.

“Pardon?” said Sally, polite, but wishing her father would come back.

She is shy and uncertain, and very much of her class. She drops her ‘h’s, says ‘I don’t mind if I do’ rather than ‘yes’, and is generally full of habits and tics that would make Eliza Doolittle blush.

This is all very well at first, but it soon grows to infuriate Jocelyn. All Sally wants is to be a good, honest, quiet wife and mother, and von Arnim has no great notions about the egalitarian nature of marriage. If there is a message in this novel (and perhaps there is not) it is that a marriage between ‘non-equals’ cannot possibly work. In this particular marriage, Sally has to put up with Jocelyn’s interfering mother (while she, in turn, has to cope with attentions of her brash neighbour Mr Thorpe), and she finds that situation equally difficult – though with the sort of fatalistic pragmatism that von Arnim writes beautifully.

Sally’s knees shook. She clutched the grey wrap tighter still about her. Mr. Luke’s mother was so terribly like Mr. Luke. Two of them. She hadn’t bargained for two of them. And she was worse than he was, because she was a lady. Gentlemen were difficult enough, but they did every now and then cast themselves at one’s feet and make one feel one could do what one liked for a bit, but a lady wouldn’t; a lady would always stay a lady.

The chief difficulty is Jocelyn Luke’s monstrous jealousy. He cannot cope with any man speaking to Sally, believing – often quite rightly – that they have designs on her. When she meets anybody with whom she can have a normal conversation, he gets in the way and tries to isolate her. This fairy tale turns dark – though Luke’s rod of iron comes from hysterical jealousy rather than malice.

The ending is a little less engaging; it feels rather as though von Arnim has written herself into a corner, and has to find a solution that isn’t too bleak – but what makes this novel great is von Arnim’s writing style. Line by line, she shows her wry wit and her well-practised ability to turn a sentence. This may not have the charm of an Enchanted April, nor the realism of some of other dark works, but it is a triumph of its variety of twisted fairy tale. I loved it, and highly recommend tracking it down.