1990

Temples of Delight by Barbara Trapido

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We all say it often, but it really is true that our bookshelves can hold hidden gems just waiting to be discovered. Back in 2009, Bloomsbury kindly sent me all six of Barbara Trapido novels that had recently reprinted (a seventh novel would be published the next year). I read Brother of the More Famous Jack and liked it a lot – then in 2019 I read Noah’s Ark and didn’t like it much. At this rate I could be reading Trapido for the rest of my life – but I have now read my third, Temples of Delight (1990) and it is my favourite so far. It’s really something special.

Temples of Delight is a coming-of-age novel of sorts, following Alice Pilling from her childhood into early adulthood. She is a shy, clever girl, made nervous by her stutter and by not being widely loved by her classmates. There is a stubborn, determined streak in her – she certainly won’t conform to the mould of the girls around her, though that would perhaps make her life easier. And this only develops when she meets Jem, a nice girl in her class who is a whirlwind of a personality. Her stories of her life, her parents, her relatives are all extraordinary, eccentric and vivid – her parents meeting over a wall after a snowball fight, for example, or her sister Patch meeting Modigliani while shading in her sketch of Michelangelo’s David‘s unmentionable parts. Even her name is a curio – she is called Veronica Bernadette, but nicknamed Jem after P.G. Wodehouse’s ‘jem-sengwiches’.

The opening line says ‘Jem was a joyful mystery to Alice’. She is a joyful mystery to the reader too. It’s very hard to pull off the idiosyncratic, ebullient character, but Jem is a complete success. We observe her with the same fascination that Alice does. For a girl who has lived an ordinary life, with ordinary, kindly parents, Jem is a revelation. It is thrilling to Alice that Jem should even pay her attention.

Alice loved the way Jem talked, even when she couldn’t understand half of what Jem said. It was infectious the way Jem grooved on words.

The opening section of the novel is a wonderful ode to the power of female friendships, even when they are founded on an enigma. I was reminded of Who Will Run The Frog Hospital? by Lorrie Moore and, to a lesser extent, Swing Time by Zadie Smith.

Jem is such a vivid, captivating, brilliant creation that we miss her as much as Alice when, one day, she disappears from Alice’s life. She announces that she must leave immediately, on the next train.

“I’ll write to you,” Jem said again. “Alice, you will always be my dearest friend.”

“What?” Alice called, because she couldn’t catch the words and Jem was getting further away.

“I’ll never forget you,” Jem called out, but the sound of her voice was drowned in a roar of gathering speed.

With Jem gone, Alice has to concentrate on her studies – and she exceeds expectations by getting a place at Oxford University. As a long-term resident of Oxford (now Oxfordshire), I enjoyed the section of the novel set there – which focuses little on Alice’s studying of Classics and more on the strange family household where she rents a room, and the confident Roland who becomes her boyfriend.

I don’t want to say too much about the plot – unlike, it must be said, the blurb on the back of my edition. But it continues with different people and places intervening into Alice’s life, and throughout it all she thinks often and deeply about Jem. She still has with her the dramatic, oddly capable childhood novel that Jem wrote in school exercise books. She refers often to what Jem might think or do in any given situation – there is a feeling that Alice is simply biding time until she meets Jem again. Despite the brevity of their friendship, there is a sense that she is a light guiding the rest of Alice’s life. It is testament to the power of Trapido’s writing that Jem’s light shines bright enough to illumine many pages and chapters after her mysterious exit.

Generally, I am most impressed by novels that are short and spare – that make a big impression in a low number of pages. Every now and then, I am bowled over by a book that does the opposite. Trapido is never in a rush. There are chapters devoted to characters who, in the scheme of things, don’t matter hugely. We delve particularly deeply into the life of schoolmate Flora and her miserly, unkind father and loyally downtrodden mother – indeed, some of the scenes with them are the most memorable and dramatic. Does Flora need to be in Temples of Delight? Not really, but it is all part of Trapido’s leisurely, expansive way of writing this novel. A review on the front says ‘fizzes along at a cracking pace’, but I think the opposite is true. Trapido envelopes us in a world and makes it whole. We move steadily through it, never wanting to increase the pace, taking it all in eagerly.

Alongside this world-building, and her perfectly drawn characters, Trapido is very funny. Her prose is often dry – I noted down ‘The school was not one which attracted bookish girls on the whole, and there was no one in the third form who appeared athirst for a greater understanding of the English Revolution.’ She is witty, often unsparing of her characters, in that mould of delightfully eccentric prose writers like Muriel Spark, Beryl Bainbridge, Jane Bowles. But she is a little more grounded than they are, a little more accepting of hope and optimism.

I will say that the final third of the novel was not quite as good, in my eyes. I wrote in my review of Noah’s Ark that ‘Trapido writes about sex in a jarring way, with sudden and momentary explicitness’ – that isn’t quite so true, or quite so jarring, in Temples of Delight, but I did find that, tonally, the final sections weren’t quite as successful as the rest. But it doesn’t diminish my love for this book, or the likelihood of finding it on my best books of 2023. I’ve found it hard to do the novel justice. I loved it so much.

It turns out I’ve been reading Trapido’s novels in order, which wasn’t necessarily intentional, and it also turns out that her next book, Juggling, is a sequel. And then her next, The Travelling Hornplayer, combines characters from these books with those from Brother of the More Famous Jack. Will I read them while I remember enough about the characters to recognise the connections? Possibly not, at this rate, but I know that one character I won’t forget is Jem.

Screens Against the Sky by Elleke Boehmer (Novella a Day in May #5)

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I bought Screens Against the Sky (1990) by Elleke Boehmer in 2008 – just weeks before I started my Masters, because Elleke was running the course and I thought it would be fun to read her book before I met her. And here we are, a short 14 years later, and I’ve finally read it! I haven’t seen Elleke for almost a decade, but it was fun to think of her as I read her debut novel.

I’m not sure how autobiographical Screens Against the Sky is, but it would certainly fit – like Boehmer, Annemarie is a teenager in 1970s South Africa. She lives with her mother, Sylvie, and towards the beginning of the novel they mourn the death of Sylvie’s husband, Annemarie’s father. And begin the next stage of their relationship – as the only two people in the household, in a mother/daughter relationship that sometimes seems unhealthily close, sometimes is threatened by Annemarie’s leaps towards independence, sometimes in the sanctuary they need in grief. The title is literally about some hail-screens that are attached to the windows, but is also about Sylvie’s wish to keep the scary, vast outside world out.

The long slope of the veld leading up towards the hills drew her [Sylvie’s] own eyes towards the sky and the bleak white sun. There was too much space about. She preferred not to see it. With the chicken wire netted across the windows, she could focus on something close at hand. The screens made a web to which her skittering eye might cling.

They are not quite the only people in the household, in fact. There is also Simon – the garden boy, not far off Annemarie’s age. He is Black, and he introduces Annemarie to a world she had known nothing about. Her father taught her only to read world news, not local – and so she was almost entirely ignorant about apartheid, and how things were beginning to change. The most significant moment is the murder of Steve Biko, a victim of police brutality. Shamefully, I didn’t know anything about this real event – if you’re the same as me, then I recommend reading the Wikipedia article. It is a discovery that changes Annemarie’s outlook, and one of many contemporary events that leads Simon to leaving their employment. I wouldn’t say that Screens Against the Sky is a novel about apartheid, but it is unavoidably the background against which the novel is set.

But front and centre is that tortured relationship of mother and daughter – with some ups and rather more downs. The novel alternates between third and first person, the latter being Annemarie remembering this period from an undefined future. As a teenager, she rigorously recorded journals – though she no longer has them, her recollections often involve the journaling, and an approximation of what she thought she’d written. The differing perspectives come together well, often changing in a few paragraphs. It works as a patchwork.

I was a bit worried when I started Screens Against the Sky that it would be very overwritten. The style of the first few pages is certainly leaning that way, with sentences like ‘On the bedside table, painted buff eggshell off-white, lies a New English Bible, abutting on a colonnade of pill phials.’ More of this does appear later, occasionally, but the style calms down for the most part. And quite a lot of it is told in spare, effective sentences – like this:

The Reverend Guthrie brought relief. Within an hour of his eventual coming, he and Mother retired to the seclusion of her bedroom to pray. I heard her voice rising, falling and rising. I heard them pray together, prayer after prayer. I feared they might at some stage call me in to join them, so I went walking. There was an errand I had to run for which I had not yet had the time. I walked to the edge of town, a place not far from the bus depot, the site of the municipal dumping grounds. It was a wide piece of land, covered with slowly smoking ash and hidden from the road by dense bramble bushes. It smelt distinctively of rust and pus. I did not spend very long. As soon as I arrived, I felt I had to hurry home. I was right in doing so. At the gate Mother was waiting: she wanted me to be with her during the Reverend’s closing prayer She said it would help her. I walked with her to the bedroom, she behind me. She asked where I’d been. I said to town and back – for air. That was, I think, the first lie I consciously told my mother.

Screens Against the Sky is a novel written in a place and a decade that I know little about in literature, and it was rewarding to spend time there. I’d certainly be intrigued to read more by Boehmer, and found the different elements of this book very rich – I think it would merit rereading, exploring all the depths.

25 Books in 25 Days: #14 Touching the Rock

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I’m out four nights of the next five, so I’m slightly nervous about how I’m going to fit the week’s reading in… but today I didn’t have much on after church, so I could take my time over Touching the Rock (1990) by John M. Hull. I was aware of the book, because Oliver Sacks writes about it in The Mind’s Eye and elsewhere, but it was a recommendation from my friend Sanjay that made me actually go and get a copy.

The subtitle of this memoir is ‘An experience of blindness’, and that’s exactly what it was. Hull had various issues with his eyesight for his whole life, but it was in his early forties – with two children and a third shortly to be born – that he lost his sight completely. By the time he was writing the book, he could no longer even tell light from dark.

A day on which it was merely warm would, I suppose, be quite a nice day but thunder makes it more exciting, because it suddenly gives a sense of space and distance. Thunder puts a roof over my head, a very high, vaulted ceiling of rumbling sound. I realise that I am in a big place, whereas before there was nothing there at all. The sighted person always has a roof overhead, in the form of the blue sky or the clouds, or the stars at night. The same is true for the blind person of the sound of the wind in the trees. It creates trees; one is surrounded by trees wheres before there was nothing.

Each section is dated, and it’s sort of a diary – but it’s really a collection of descriptions, reactions, and philosophy about being blind. And it’s done in such a fascinating way. He writes about how other people react, and how they get it right or wrong – from treating him like a child to guiding him incorrectly. He writes about his young children gradually growing to understand why daddy can’t see. And he describes his understanding of the world so patiently and ably – about how concepts of space and time completely change; how small talk and friendships become different entities. He also talks about his faith and God, though less than I had expected.

The title is about ‘touching the rock on the other side of despair’. If there is despair, and I’m sure there was, he somehow manages to keep the book almost absent of it. He has the accuracy of the scientist with the slow, unfolding narrative of the storyteller, and the stark honesty of the memoirist. It’s an extraordinary book.

A Home at the End of the World by Michael Cunningham

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A Home at the End of the WorldI read Cunningham’s second novel on the flight to America, having bought it on my previous trip. I loved The Hours and enjoyed Land’s End, and wanted to read more by him. This novel is mostly told from the perspective of two men, Bobby and Jonathan. That is to say, they start as boys. The opening lines, from Bobby’s perspective, are:

Once our father bought a convertible. Don’t ask me. I was five. He bought it and drove it home as casually as he’d bring a gallon of rocky road. Picture our mother’s surprise. She kept rubber band on the doorknobs. She washed old plastic bags and hung them on the line to dry, a string of thrifty tame jellyfish floating in the sun.

A couple of pages later, we shift to Jonathan’s perspective…

We gathered at dusk on the darkening green. I was give. The air smelled of newly cut grass, and the sand traps were luminous. My father carried me on his shoulders. I was both pilot and captive of his enormity. My bare legs thrilled to the sandpaper of his cheeks, and I held on to his ears, great soft shells that buzzed minutely with hair.

So, Bobby is five and Jonathan is five. And, it turns out, A Home at the End of the World was first published on my 5th birthday,  7 November 1990, which is a fun coincidence. But, instead of 1990s Merseyside (where I spent that birthday), these boys are in Ohio in the 1960s.

Had I known the extent to which this novel incorporated the ‘coming-of-age’ genre, I might have fun a mile; it’s not a subset of literature that I often enjoy. In describing this novel, I can’t really deny that it is firmly in that genre. And yet it’s done rather better than I could have hoped for; events and emotions follow on from events and emotions, and Cunningham entirely captivates the reader while they’re relayed. Usually I just roll my eyes or wait for some horizon where they become adults and the prose can start describing a destination rather than a journey. Here, the journey of growing up was made to feel an apt focus.

There are some significant events – including deaths – that affect the lives of both boys. One of the most powerful comes early in the book, when the older brother Bobby idolises dies in a freak accident, running full pelt through glass doors. Their relationship was mostly founded on taking drugs together, so he was hardly a stablising influence on Bobby’s life but Cunningham conveys the closeness of brothers extremely well – and the ways in which Bobby responds to it.

Throughout the novel, he is shown as sensitive, attuned to others, and with a deep-set need to belong. Jonathan, on the other hand, values independence – struggling to accept the overtures of his friendship his mother offers. As Bobby and Jonathan grow older, their close friendship turns into a sexual relationship, albeit one that neither of them want to directly discuss even between themselves. The alternating first person narratives give the reader a chance to see how both characters feel and think about their experiences, while at the same time witnessing their diffidence. Cunningham handles the tension between first-person insight and objective events really beautifully.

Here was another lesson in my continuing education: like other illegal practices, love between boys was best treated as a commonplace. Courtesy demanded that one’s fumbling, awkward performance be no occasion for remark, as if in fact one had acted with the calm expertise of a born criminal.

In a coming-of-age novel, this might be where events would have ended – but, for Cunningham, it is simply the beginning. One chapter of their lives end, and another begins – indeed, takes most of the novel – as Jonathan moves to New York. Bobby remains behind, even moving in with Jonathan’s parents; the men lose touch, until Bobby decides to move to New York too.

Another thing Cunningham portrays brilliantly is the way that friendships peter out. In fiction, once characters bond they often seem ineluctably close forever after. Far more realistic is the awkwardness between Bobby and Jonathan – an affectionate awkwardness, but where all the affection is based on memories. Still, Bobby moves in with Jonathan and his housemate Clare. The three of them form a delicate trio. I shan’t write any more about what happens, but suffice to say that plenty more happens – all of which (as throughout the novel) is played well for plausible emotional impact and character rather than simply the shock of plot.

Easily the greatest achievement here is Cunningham’s writing. I jotted down, in my pencil note at the beginning, that the writing was ‘seductive’ – by which I meant that it seduces the reader into the world of the novel. And that, I think, is by gradually building up composite portraits of its characters (particularly, of course, Jonathan and Bobby) through a sort of restrained intimacy. The first-person narratives feel like they’re telling us everything, but they are not confessional voices: they reveal parts of the people, and keep enough back to reel us in.

Although this novel is not flawless (I think death and dying is used a little too often to maintain its impact, for instance), it’s difficult to fault the creation of character, the exploration of perspective, or the realism of behaviours. He really is an exceptional writer. (And which others do you think I should read?)

Many things Milne

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Issue 3 of Shiny New Books had not one, not two, but three posts about A.A. Milne & family – and I’d really encourage you to go and read them all.

Curiously enough, none of them are actually reviews of books by A.A. Milne himself (as in the books weren’t by him… neither were the reviews, but that is perhaps less surprising.)

I reviewed a long-term favourite, which I re-read as Bello have just reprinted it – Ann Thwaite’s brilliant, award-winning biography A.A. Milne: His Life. Review here.

Another long-term favourite is Christopher (Robin) Milne’s The Path Through the Trees, the middle of his autobiographical trilogy – so it’s not so much about being Christopher Robin as it is about fighting in WW2 and opening a bookshop, but I love it. Claire (The Captive Reader) reviewed Bello’s reprint here.

And then I put together Five Fascinating Facts about A.A. Milne.

Let me know which Milne books you’ve read, or would like to read!

Symposium – Muriel Spark

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I really thought I had written about Symposium (1990) by Muriel Spark months ago, when I read it, but a quick search suggests that I, in fact, did not.  And that was foolish on three levels – (a) I’ve forgotten quite a lot about it, (b) it was a lovely gift from Karen/Kaggsy and thus part of Reading Presently, and (c) it’s one of the best Muriel Spark books I’ve read.

In some ways, it is not simply a collection of people around a table, or a series of events, but a symposium of Sparkian traits and tricks – a pantheon of Sparkisms, characteristically condensed into only 140 pages.  There are (of course) the flashbacks and flashforwards which subvert the typical ways in which authors dispense information, and moments which would be big ‘reveals’ in most novels are slipped in incidentally.  There are self-important characters who dramatise their lives when nobody is really listening.  The narrative – as always with Spark – is darkly dispassionate, showing things happening without permitting emotion to enter the tone of the narrative, even for a moment.  Selfishness, cruelty, greed, avarice, and foolishness are all present in spades.  And, oh, I loved it.

The first words are definitely dramatic:

“This is rape!” His voice was reaching a pitch it had never reached before and went higher still as he surveyed the wreckage. “This is violation!”It was not rape, it was a robbery.
This is one of the pivotal moments of the narrative, despite appearing on the first page – the narrative weaves back and forth, with Spark’s usual disregard for linear structure, with this burglary appearing repeatedly in the timelines of the various characters.  It is Lord and Lady Suzy who have been robbed, but this is not the only robbery which takes place; while the guests assemble at Hurley Reed and Chris Donovan’s dinner party, another burglary is taking place…

The dinner party (or, indeed, symposium) is depicted in the present tense, and the conversations swirl snippily in Spark’s inimitable style, conversationalists never quite on the same plane as each other, and logic never quite being followed.  And then Spark takes the reader back into the recent history of everyone at the table – and further back still, so that this slim novel encompasses Marxist nuns, a complicated case of possible insanity, and family tensions between a newlywed and his mother.

“I don’t give it a year,” said Hurley Reed.  He was referring to William Damien’s marriage.”
You might be able to tell that many of the specifics have now gone from my mind, as I read Symposium months ago, but quotations like the one above reveal why I love Spark so much.  That quirky way of expressing herself, so the reader is constantly being jolted in their expectations, and conventions of narrative being consistently disturbed.  And of all the Spark novels I’ve read (which is about a dozen, I think) this is probably my second favourite after Loitering With Intent.

Since it is an amalgam of everything that I love about Spark, and representative of so many of her characters and writing quirks, I can’t decide whether it would make a brilliant entry-point for sampling Spark, or if it can only truly be appreciated by somebody who has already developed a love for Dame Muriel… maybe the latter; for us Spark appreciators, it is a delightful treat, of her best qualities neatly parcelled up.  Karen – thank you so much!

Others who got Stuck into it:


“What I read this time was a murder mystery but the really brilliant thing about this book is that next time I read it when doubtless […] I’ll find myself reading a book about love, or obsession, or family, or friendship…” – Hayley, Desperate Reader


“Spark doesn’t play to the emotions – I was watching them all from a distance, detached.” – An Adventure in Reading


“A perfect little morsel of the macabre set against the backdrop of everyday life.” – Polly, Novel Insights