Author: StuckinaBook

Novella a Day in May: Days 18 and 19

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Day 18: The Nymph and the Nobleman (1932) by Margery Sharp

When I was in Hay-on-Wye last year, I stumbled across The Nymph and the Nobleman, one of Margery Sharp’s first books. And – gasp – signed by Margery Sharp! And all for £5. Of course, I snapped it up straight away.

It’s a very slight work, only 75 pages – and quite a few of those are full-page illustrations by Anna Zinkeisen. The story is of a bashful member of the English aristocracy, Sir George Blount, who falls in love at first sight with a beautiful dancer he encounters in Paris. He speaks little French and she speaks little English – but she is ready enough to assent to an assignation that will take place over several days. It’s quite a coup to rush off to England with a gentleman, and she will have stories to tell when she returns to her fellow dancers. What she doesn’t realise is that Sir George is extremely honourable, and he has asked her to be his wife…

She was not used to it. She was used to the scramble of dressing, the bustle of rehearsal, the crowning excitement of the evening’s performance. She was used to fifteen companions of her own age, each with a lover or two, and a maitre-de-ballet who never stopped swearing. It saddened her, on rising, to find that no one had got up earlier and borrowed her stockings. Even a shoe out of place would be something to look for, but the new maid shut them all into a wooden press: her character had been approved by the dowager, and she never saw anything on the floor without immediately picking it up.

As you can see, if you know and love Sharp like I do, the slightly dry writing is certainly recognisable. This is a fable, of sorts, and the tone softens what might otherwise be a slightly saccharine story. But Sharp can’t put a foot wrong. This is a minor work, but an enjoyable one to spend an hour so with.

Day 19: The House (1938) by William McElwee

I love any story where a house is prominent, and the cover of this is a pretty accurate representation of the sort of house at the centre of the book.

The first impression made by the house on a sensitive visitor was one of happiness. It had charm and, in certain aspects, even beauty. But the charm and the beauty were of the kind which grows with more intimate knowledge. They did not assault the senses with an insistent demand for admiration, but waited quietly to be discovered. Everything about it was essentially unpretentious. Nobody had lavished on external appearances that constant attention which can make a house as tiresome and boring to live with as a society beauty. The gardens were care for, but not too well; they suggested the haphazard efforts of generations rather than the carefully laid design of one landscape gardener. Certain flowers grew in particular beds not because they could be the most effective where they were, but because they always had been planted there; and most of the trees stood where they did because, at some time or other, they had contrived to grow unnoticed to such a size that it had seemed a shame to cut them down.

That’s the opening paragraph, and exactly the sort of opening I want from a novel(la). Domestic, the slightest amount of whimsy, and plenty of down-to-earthness alongside. There are a few more pages setting up this lovely home. And into this scene comes the unnamed protagonist – a tramp, looking for any opportunity for food or some paid work. He is nearing 50, and came from a middle-class background but has steadily had bad luck for so long that he has hit rock bottom. But is firmly moral, and is determined never to end up at a police station, or do anything that could warrant police attention.

But he does end up going through a window into the house – because, gloriously, a cat turns up and expects to be let in and fed. I’m biased, but I always want plots to be propelled by a cat. He/she was great, and I’m sad that we didn’t see that much of him/her.

Having once got in, the man goes through a series of decisions that end up with him staying in the house and eating food from the larder. As he spends more time there, he learns about the family from their portraits and belongings. He becomes to want to know more and more about them.

I thought this was all brilliant. The second half of the novella worked a little less well for me – when he becomes obsessed with the son of the family, a man who looks (from pictures) to be in his early 20s, and a poet. McElwee creates many sonnets for this young man, and the tramp learns about his emotional trajectory through them. The poetry is mercifully good, and I certainly didn’t mind reading this, but I’m not sure it’s the direction I’d have taken the story – it felt less compelling then just seeing the tramp gradually change as he lived in the house. As it is, I was really impressed by how vital McElwee could make a book which, for almost all of it’s 191 pages, the tramp is the only human in the story.

Novella a Day in May: Days 16 and 17

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Day 16: Ashes in My Mouth, Sand in My Shoes (1987) by Per Petterson

TAshes in My Mouth, Sand in My Shoes: Amazon.co.uk: Petterson, Per, Bartlett, Don: 9781846553707: Bookshis 1987 book was translated from Norwegian by Don Bartlett in 2013, which is when I think I got it as a review copy. Well, here I am, almost a decade later I’ve read all 118 pages of it. There seems to be some disagreement about whether this is a novella or a series of short stories – it’s kind of both, in the way that Tove Jansson’s The Summer Book is. Arvid Jansen is an eight-year-old boy in the 1960s, living with his family on the outskirts of Oslo, with a scathing older sister, a worrying mother, and a father who never stops speaking about ‘before the war’. There is also a grandfather, who dies in one of the first chapters/stories – a brilliant portrait of a young child’s mingled grief and indifference, scared of things changing but not really in mourning, and trying with inadequate words to convey all he is experiencing but not really comprehending.

Petterson is very good at giving the child’s point of view – it has that matter-of-factness, and at the same time building an understanding of the world. Here is Arvid thinking about his mother, and about ageing:

She’d looked the way she always had for as far back as he could remember, and she still did right up until the day he happened to see a photograph of her from before he was born, and the difference floored him. He tried to work out what could have happened to her, and then he realised it was time that had happened and it was happening to him too, every second of the day. He held his hands to his face as if to keep his skin in place and for many nights he lay clutching his body, feeling time sweeping through it like little explosions. The palms of his hands were quivering and he tried to resist time and hold it back. But nothing helped, and with every pop he felt himself getting older.

Some of the dangers in Jansen’s world are philosophical and abstract, like this. But there is also malice in his world. There are bullies, there is the animosity between his father and his uncle, and his father’s drunken sadness. Petterson combines the contemplative with the unsettling.

Apparently Arvid Jansen appears in quite a few Petterson works, usually rather older than this boy. I haven’t read any of those, but now I’ve met Arvid as a child, I’d be intrigued to encounter him as an adult.

Day 17: The Girl from the Candle-Lit Bath (1978) by Dodie Smith

the girl from the candle-lit bath dodie smith 1978 001This was Dodie Smith’s last novel, written when she was in her 80s, and it is quite a departure from her earlier work. While I Capture the Castle might feature the heroine in a bath when she first encounters the hero, nobody would describe Smith’s most famous work as a thriller. And that is what The Girl from the Candle-Lit Bath is at least trying to be.

Nan is fairly recently married to an MP, and is worried that he is having an affair – she has spotted him handing a parcel to a shadowy stranger, and he is being coy about where he’s been. We never really get to know him, and even Nan doesn’t seem to particularly like him, but such is the start of the plot. In the first few pages she meets a taxi driver, after twisting her ankle and needing a lift, and he begins to talk to her about the possibility that her husband is hiding something even more significant.

The novella is told through a series of ‘tapes’, as Nan decides to record herself speaking, as a way to think things through. It’s an interesting device that felt a bit like a 1970s update of the 18th- or 19th-century heroine who had to commit all her thoughts to letters, no matter how precarious the situation.

And the title? Nan is famed from a TV advert, before she later made a success in television.

It began with something quite idiotic. I did a very well-paid commercial, advertising a soap first made back in the eighteen-nineties. They copied a wonderful bathroom in some old country house, with a marble bath, gleaming silver plumbing and all sorts of elaborate details, and they lit it only by candle-light. I came on in an exquisite negligée, took it off and stepped into the bath, but owing to the dim lighting, clever cutting and various tricks, I was never seen quite nude, even though the bath water was clear and not a bubble bath. Again and again I was almost seen but always something – usually the soap, in a silver soap dish – got in the way. The commercial was a great success and I became known as ‘The Girl in the Candle-lit Bath’ and got quite a large fan mail.

Her husband allows (!) her to start acting again, and the part of this novella I most enjoyed were her experiences re-entering the theatre as an understudy. At the same time this novella was published, Smith published the second volume of her memoirs – which, if memory serves, looked at the period of her own life when she was trying to make it as an actress. Smith is clearly at home in this world.

Where she is less at home is the thriller – the story suddenly takes a leap for the more dramatic, after a relatively promising start, and we are lost in a sea of chases and espionage and peril. It’s not at all convincing, and mostly feels very silly. I’d read Barb’s and Jane’s very unflattering reviews, and at least forewarned is forearmed. I quite enjoyed the first half, which have elements of Smith’s delicious humour (“Anyway, they hated the idea of the public tramping over beautiful old houses, which should be private, part of their owners’ private lives. If the Slepes ever acquire a private life they’ll be bitterly disappointed”) but the second half is too absurd and unsuccessful to make this a book worth seeking out.

A Jest of God by Margaret Laurence (Novella a Day in May #15)

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Wow. A Jest of God (1966) by Margaret Laurence is absolutely brilliant. I bought it in 2007, and 15 years later it has come off my shelf and been devoured in a couple of sittings. It might not quite be a novella, at 202 pages, but its scope is compact in time and space – and a spectacular success.

This is the second in Laurence’s Manawaka series of novels – I’ve now read the first, fifth, and second (in that order) – set in a fictional town in Manitoba, Canada, though with a different set of characters each time. Having read the lengthy, spacious The Diviners for ‘Tea or Books?’ and finding it astonishingly good, I wanted to see which other Laurence treasures I’d been neglecting.

They are not actually chanting my name, of course. I only hear it that way from where I am watching at the classroom window, because I remember skipping rope to that song when I was about the age of the little girls out there now. Twenty-seven years ago, which seems impossible, and myself seven, but the same brown brick building, only a new wing added and the place smartened up. It would certainly have surprised me then to know I’d end up here, in this room, no longer the one who was scared of not pleasing, but the thin giant She behind the desk at the front, the one with the power of picking any coloured chalk out of the box and writing anything at all on the blackboard. It seemed a power worth possessing then.

Rachel Cameron isn’t just living in the same small town where she grew up – she is living in the same house, and working as a second grade teacher at the same school she attended as a child. Her life has not progressed in any of the ways she’d imagined. Her days are spent at work with children who know her deeply for a year and then move on – still in the same school, the same town, but no longer part of her life. Her evenings are spent with her widowed mother, living above the funeral parlour that Rachel’s father used to run. Like some of the other books I’ve read this month, the mother/daughter relationship is too dependent, too stultifying, too thoroughly tangled with guilt and resentment, as well as love. Rachel seems to have few friends and no intimates – and she tries to avoid the closeness sought by her colleagues, such as the teacher who wants her to come along to her charismatic church.

Into this unchanging world comes Nick Kazlik. Or, rather, into it he returns.

“Hello, Rachel.”

Has someone spoken to me? A man’s voice, familiar. Who is it?

“It is Rachel, isn’t it?” he says, stopping, smiling enquiringly.

He is about the same height as myself. Not thickly built, really, but with the solidity of heavy bones. Straight hair, black. Eyes rather Slavic, slightly slanted, seemingly only friendly now, but I remember the mockery in them from years ago.

Nick was the milkman’s son, returned to stay with his elderly parents – he left; he went to teach high school in the city. He and Rachel weren’t particularly close, but now they are drawn to each other. Soon, they are spending most evenings together – clandestinely, for both know their parents wouldn’t approve of anything so sudden.

In another genre, this would be a romantic release from drudgery. But in A Jest of God, Rachel cannot get release from herself. Though there is happiness in this new fling, Rachel has the self-consciousness of an adolescent. She second guesses everything she does or says, constantly imagining how it might be interpreted, what sort of impression she is making, whether she will be accepted or rejected.

Laurence writes with astonishing psychological acuity. The Diviners was sprawling in time and space – A Jest of God takes place over just a few weeks in a town so insular that it’s hard to conceive the rest of the world exists in any meaningful way. Rachel is so detailed and complete a character that the reader loves her, wants the best for her, and knows how unlikely it is that she will get it – because of flaws in herself and her upbringing, as much as the environment in which she lives. The tension between the possibility of Rachel’s future and her own hubris is what keeps this novel pacy and compelling, even when very little is happening on the surface.

It is a fantastic success of a novel, showing how adept Laurence is at whichever scope she sets herself.

Novella a Day in May: Days 13 and 14

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I’m watching Eurovision; I’m typing up thoughts about novellas. What a day.

Day 13: Elizabeth Finch (2022) by Julian Barnes

Ooof. I’ve read a couple of Barnes novels before this one, and never really seen what the fuss was about. But I wasn’t prepared for quite how bad Elizabeth Finch would be.

The narrator is remembering a teacher – Elizabeth Finch, referred to often as EF – who has had a lasting effect on his life. Think someone with the unusual pith and dignity of Jean Brodie, dispensing philosophical insights that have her pupils thinking for decades. Except that everything she says is only a couple of notches above a ‘Live, Laugh, Love’ sign in terms of profundity.

One of the things she introduces the class to is Julian the Apostate, who hated Christians sometime many centuries ago. Don’t know much about him? Don’t worry, Barnes then includes an ‘essay’ by the narrator where he dumps all the knowledge he has about Julian. It reads like a Wikipedia article, only it’s 50 pages long. We get the facts and theories about Julian the Apostate, It’s astonishingly inelegant, in terms of novel writing.

Elsewhere, in the first and final sections, his writing is serviceable and only occasionally embarrassing (some of the dialogue he gives Elizabeth Finch is really awkward, and clearly she is a mouthpiece for a middle-aged man). But the best this novella gets to is mediocre, and at worst it is bafflingly poorly done.

 

Day 14: Sing Me Who You Are (1967) by Elizabeth Berridge

I bought this back in 2009 because I knew her name from the Persephone collection of her short stories, but I might equally have bought it for this glorious cover. The illustrator – Reg Cartwright – did three or four Berridge reprints in the 1980s and they are so characterful and wonderful.

What’s more, it is accurate to the premise of the novel. Harriet Cooper and her two Siamese cats arrive at the farm which belonged to her recently dead aunt, and where her cousin Magda and her husband Gregg live. Her aunt hasn’t left her the farm, or the land, or anything – except, pictured there on the cover, the bus.

Wading through the still-dewy grass – for the bus lived in shadow half the year, and this was autumn – Harriet went through the wooden gate set in a gap in the hedge and up on to the step. She unlocked the padlock and pushed open the door, which folded inwards down the middle. Stepping inside she became aware of the musty smell of disuse. How long, a month, six weeks? Enough for damp to invade this thin shell. She would open windows, light a fire, banish it.

She has stayed there on and off over the years, and now she has brought her few possessions to live there indefinitely.

The story then looks at how her life alongside Magda and Gregg brings up past and present tensions, as well as affinities. Central to them is the memory of a man known as Scrubbs – who deeply affected each of the three. He has been dead for a long time, but he is still impacting all of their lives, and the way they interact with each other. Along the way, secrets come out…

I’ve read three other Berridge books, and have yet to find one that I really love. This is a good novel, and Harriet is an interesting, layered character – but I think I’m really hoping for a book that will live up to those wonderful covers. If Berridge were a little weirder, or a little more stylised in her prose – a dash of Beryl Bainbridge, say – then I think I’d love her. As it is, her realism lacks a little something. And yet I’ll keep reading them, because I feel like there might be something even better in her oeuvre – and something that lives up to those covers.

StuckinaBook’s Weekend Miscellany

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I have read a novella today, but I’ll write about it tomorrow alongside whatever I pick up for Day 13. I hope you have good plans for the weekend? I’ll be heading to my godson’s first birthday party and then, of course, watching Eurovision. I’ll be cheering on Estonia, because I got them in a sweepstake.

Speaking of all things musical, last week I was in London and saw &Juliet – if you get the chance, race to it. It’s the most fun I’ve had a show ever. It might have been custom made for me – it’s a wonderful combination of Shakespeare and 90s/00s pop. The premise is that Anne Hathaway persuades Shakespeare to let Juliet live at the end of Romeo & Juliet – and then what happens next. Set to the music of songwriter Max Martin, who penned hits for people like Backstreet Boys, Britney Spears, Katy Perry, Pink etc. Basically a total nostalgia dream for an older millennial like me, and enough Shakespeare to feel vaguely intellectual. I’m already planning when I’ll go again…

Anyway, let’s do the usual think for the weekend miscellany.

1.) The link – Emily got in touch to ask if I’d like to join one of her Emily’s Walking Book Club, which meets on Hampstead Heath. If I’m ever in London at the right time then I’d love to go – but if you’re London-based, do check it out. Particularly the next one, discussing Death and the Penguin by Andrey Kurkov on 22 May, which is a fundraiser for Ukraine. More details.

2.) The blog post – it’s not too late to join in with Ali’s Daphne du Maurier Reading Week, or catch up on the participants’ reviews!

3.) The book – a new Ned Beauman is always of interest. This one, with the fairly horrible title Venomous Lumpsucker, is ‘a hilarious, terrifying novel in which Ned Beauman captures brilliantly the contradictory blend of urgency, paralysis, panic and resignation the climate emergency and its attendant mass extinctions inspire’, according to Chris Power, and it’s out in July.

Gentleman Overboard by Herbert Clyde Lewis (Novella a Day in May #12)

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Gentleman Overboard eBook : Lewis, Herbert Clyde, Bigelow, Brad, Szirtes, George: Amazon.co.uk: Kindle StoreWhen Brad of Neglected Books started recommending titles for a new series of reprints, from Boiler House Press, I knew we would be in for something special. Few people know more about overlooked literature than Brad, and he has a wide and varying taste. So I knew I’d have to read whatever output came – and first was a slim book from 1937, Gentleman Overboard by Herbert Clyde Lewis. I ordered a copy in December and it came last month, so… be careful where you order it!

Henry Standish is onboard the Arabella, sailing home from a period spent away from home. He has left his wife and young children behind in something that isn’t called a nervous breakdown, and perhaps isn’t that extreme, but certainly some mental instability has led to him wanting to get away from everything for a while. He is a successful businessman, sensible except when it comes to worrying about appearances, kind and private. (The ‘kindness’ we are told more than we see, but let’s give him the benefit of the doubt.)

As you may have guessed from the title – early one morning, walking the deck, he slips and falls overboard.

Standish’s thoughts during these seconds were strangely enough more concerned with shame than with fear. Men of Henry Preston Standish’s class did not go around falling off ships in the middle of the ocean; it was just not done, that was all. It was a stupid, childish, unmannerly thing to do, and if there had been anybody’s pardon to beg, Standish would have begged it.

The rest of the novella concerns the hours afterwards. Much of it is spent with Standish and his thoughts as he floats in the ocean – but we also go back to the Arabella and see the actions and responses of crew and passengers (curiously few passengers, helpfully for narrative purposes).

It is an unusual and very good book. I think the thing that makes Gentleman Overboard still feel vital is how timeless the idea is. Or, rather, being stuck alone in the ocean can have very few contemporary trappings. Back on board, there are some elements that remind us we are in the 1930s – but Standish, in the expanse of water, thinks thoughts that anybody in any decade or century might have thought there.

Lewis sustains the idea the perfect length – it is a short novella, and would have felt stretched if it were any longer. His writing is good – unshowy, with neat turns of phrase – but it is his psychological acumen that makes the novella work. And the subtlety with which he delivers it.

Certainly a premise unlike anything I’ve ever read, and a worthy start to a promising series.

The Rebecca Notebook by Daphne du Maurier – #DDMReadingWeek (Novella a Day in May #11)

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The Rebecca Notebook and Other Memories by Du Maurier, Daphne [1907-1989]: (1981) | Little Stour Books PBFA MemberWhen I was looking at how to double up Novella a Day in May with Ali’s Daphne du Maurier Reading Week, there weren’t a lot of options my shelves. If du Maurier wrote any novellas, then I don’t have them. But The Rebecca Notebook and other memories does come in at novella length, and has been waiting on my shelves since 2009.

I’m sure every one of you has read Rebecca – Daphne du Maurier’s runaway bestseller of 1938, and also (I would argue) her best novel. It’s been adapted for stage and screen many times, and has certainly reached classic status. That was also true in 1983, when du Maurier was in her mid-70s and The Rebecca Notebook was published. “Why, I have never understood!” claims du Maurier in the introduction – not so much that she can’t believe it has been popular, one suspects, than that she thinks it no better and no worse than all the rest of her output.

Anyway, its popularity is sufficient to sell this collection of non-fiction pieces – though the notebook itself accounts for only about 20 pages. It is an outline of the novel, though as she details later chapter it becomes rather more fleshed out with scenes and dialogue that she wanted to note. The survival of the notebook is owed to a plagiarism legal case, brought by Edwina MacDonald for a novel called Blind Windows, which du Maurier had never heard of. Du Maurier’s notes were thus used in her defence.

My only memory of the plagiarism suit was that the notebook was produced in court, and after cross-questioning the judge dismissed the case. I gave the notebook to dear Ellen Doubleday as a memento, and all I can recollect, after that first visit to the States, was being seasick all the way home in the Queen Mary.

When, after many more visits to the Doubledays, dearest Ellen died, she left the notebook to her daughter Puckie. Puckie returned it to me. And I reread it, for the first time in thirty years, when I received it.

It is a curio, and I did find it interesting to see how much du Maurier kept the same and how much she changed from this 20-page outline. The ending changes, and Mrs Danvers becomes creepier. That famous opening section is introduced – or, rather, moulded from the original epilogue (which is also included, after the notebook). All of this is only interesting if you love Rebecca – which I do, so it was.

The rest of the book is essays written at various times across du Maurier’s long career. The first concerns her famous writer grandfather, the next her famous actor/director father. The ones I found most interesting related to Menabilly (the model for Manderley in Rebecca) – I hadn’t realised that du Maurier wrote Rebecca simply on the strength of trespassing in the grounds of the abandoned house, and it wasn’t until years later that she managed to negotiate a lease and live there for a couple of decades.

Other essays are less convincing – I can’t imagine anybody is interested in du Maurier’s idiosyncratic and somewhat naïve takes on religion, and certainly you won’t be by the time you come across them for the third time – but there is enough of interest in parts of this collection to make it very much worth tracking down.

Novella a Day in May: Days 9 and 10

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I will try to keep doing these daily, and I am reading novellas daily, but I had so little to say about Day 9 that I thought I’d better roll these into one…

Day 9: Every Eye (1956) by Isobel English

One of the shortest Persephone books, I’d somehow started and quit this one before. And I thought I’d go back and… well, I can see why I didn’t much bother about it before. It’s about Hatty going away away on honeymoon with a much younger husband, Stephen. That’s the present day plot, but much of it looks back at previous journeys, previous relationships, and particularly her aunt Cynthia and Hatty’s ill-fated relationship with a man called Jasper.

Some people really love this book, but I found the whole thing both confusing and negligible. I often didn’t know which timeline we were in, as it flitted back and half between paragraphs, and there was nothing in it to capture my attention. The writing, in isolation, is precise and rather lovely – but in such a way that I never felt particularly keen to look at sentences out of isolation. As a whole, it felt like a stagnant 119 pages to me.

A Change for the Better - WikipediaDay 10: A Change for the Better (1969) by Susan Hill

I had much more success with today’s novella, which I loved. Hill was still only her mid-20s when she wrote this story of people in a seaside community – and if you are immediately reminded of Elizabeth Taylor’s A View of the Harbour, then keep that comparison in mind. If Hill’s writing is not quite like Taylor’s, being here a little less piercing and a little more comforting, these characters and stories could easily have been lifted from a Taylor novel.

The canvas is a little less wide, and I think that is to the novel’s advantage – many books that take a small society as their scene end up cramming in too many characters. Here, it is really two households that are focal. One is Deirdre Fount and her mother Mrs Oddicott, who run the draper’s, and Deirdre Fount’s 11-year-old son from her brief marriage. The marriage had been impetuous and ended in a wise divorce, with the absent Fount mentioned as seldom as possible.

Deirdre Fount had never questioned her mother’s view of the whole affair, had been entirely influenced in her behaviour and beliefs by Mrs Oddicott. She found it hard now to separate what actually had happened from what her mother had always predicted would happen, and she could remember no conversations with Aubrey, no relationship, no intimacy, that was not intruded upon by her mother. It was as though, having used men to provide them with a status and offspring, to ward off the shames of spinsterhood, they were ready to discard them and sink back into their closed, female society.

As you can see, they don’t have the healthiest relationship – but Hill gives subtlety to the usual portrait of a domineering mother, because the power shifts back and forth between them. It even passes to the 11 year old. Each needs the others, but also needs freedom, and the uneasy dynamic never stays still.

The other household is an older couple living in a hotel – Major Carpenter and his wife Flora. He is one of the most realistically infuriating characters I’ve ever come across. His life is spent in selfish complaining, but each complaint is phrased in a way that makes Flora seem selfish, thoughtless or hectoring. Throughout the book, but particularly in scenes with these characters, Hill is brilliant at dialogue. It’s impossible to refute what Major Carpenter says, because he uses logic like a weapon. But, oh, he is appalling. But even he is treated with some sympathy – part of his unkind and self-centred nature comes from a terrible fear of illness and death.

Alongside nuanced character portraits, there is plenty that happens in A Change for the Better. Nothing is static, even in lives that don’t feel like they are developing. It all reminded me a little of the ‘well-made play’ – characters neatly doing enough to make a good, solid plot. And I found it absolutely enthralling and wonderful, a perfect balance between event and observation.

The only thing I would add, which could be either criticism or praise depending on your point of view, is that A Change for the Better feels very like a novel by someone who has learned more from reading than from life. I suppose most of us end up learning more from reading, since it encompasses much wider experience – but this feels especially like a novel built from reading many other novels. A few details suggest that it’s set contemporaneously, in the 1960s, but without those I could easily have believed it 1930s or even earlier. All this means that it doesn’t quite have the vividness of lived experience, but that is a quality that I am willing to sacrifice for something as satisfying as A Change for the Better.

Tea or Books? #104: Do We Care What Characters Dream? and William – an Englishman vs The Great Fortune

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Olivia Manning, Cicely Hamilton and dreams – welcome to episode 104 of ‘Tea or Books?’!

In the first half of this episode, Rachel and I discuss whether or not we like dreams in books, and how different authors use them. In the second half, we compare two novels about couples on the brink of World Wars – The Great Fortune by Olivia Manning and William – an Englishman by Cicely Hamilton.

The podcasts I was a guest on are Lost Ladies of Lit and The Mookse and the Gripes – go and check them out!

You can get in touch at teaorbooks[at]gmail.com, find us on Patreon if you’d like to support the podcast, and listen to us through Spotify, Apple podcasts, or your podcast app of choice.

The books we mention in this episode are:

O, The Brave Music by Dorothy Evelyn Smith
Lady Audley’s Secret by M.E. Braddon
The Castle of Otranto by Horace Walpole
Longbourn by Jo Baker
Dreaming of Rose by Sarah LeFanu
Rose Macaulay by Sarah LeFanu
Rebecca by Daphne du Maurier
Alice’s Adventures in Wonderland by Lewis Carroll
Life After Life by Kate Atkinson
Wuthering Heights by Emily Bronte
Jane Eyre by Charlotte Bronte
Metamorphosis by Franz Kafka
Elizabeth Goudge
Dangerous Ages by Rose Macaulay
Diary of a Provincial Lady by E.M. Delafield
Tom’s Midnight Garden by Philippa Pearce
Moondial by Helen Cresswell
A View from the Bridge by Arthur Miller
All My Sons by Arthur Miller
The Crucible by Arthur Miller
A Streetcar Named Desire by Tennessee Williams
Arcadia by Tom Stoppard
The Flick by Annie Baker
John by Annie Baker
The Watsons by Laura Wade
Home, I’m Darling by Laura Wade
Posh by Laura Wade
White Noise by Suzan-Lori Parks
The Importance of Being Earnest by Oscar Wilde
Private Lives by Noel Coward
Still Life by Noel Coward
Hay Fever by Noel Coward
Blithe Spirit by Noel Coward
The Dover Road by A.A. Milne
Mr Pim Passes By by A.A. Milne
Much Ado About Nothing by William Shakespeare
Lungs by Duncan Macmillan
People, Places and Things by Duncan Macmillan
The Balkan Trilogy by Olivia Manning
Charles Dickens
George Orwell
School for Love by Olivia Manning
The Feast by Margaret Kennedy
Grand Canyon by Vita Sackville-West

Novella a Day in May: Days 7 and 8

StuckinaBook All , 8 Comments

I did read my novellas (…sort of) on days 7 and 8, but I didn’t write yesterday because I was in London overnight. (I saw the musical &Juliet, and if you get a chance then please do so – it’s such a marvellous combination of 90s/00s pop and a clever spin on Shakespeare. It could have been purpose-made for me.)

Day 7: What the Neighbours Did (1972) by Philippa Pearce

On the train on the way there, I read What the Neighbours Did and other stories by Philippa Pearce – as you can tell by that title, it is a collection of stories rather than a novella. It’s one of those I bought on impulse online a decade or so ago, probably after (re)reading her masterpiece Tom’s Midnight Garden, but somehow didn’t get around to it. 

I thought that it was a collection for adults, and I suppose you could argue it is, but every story features children. The events are quite mundane – a tree being felled, a midnight feast, going blackberry-picking – but Pearce fills them with expansive wonder. Everyone and everything feels so free in this collection. The children head out for adventures in the countryside on their own, as every generation believes they were the last to do, and somehow Pearce gives these stories the feel that they will be treasured memories – like we are seeing the creation of nostalgia in the moment.

This edition also has the bonus of characterful illustrations by Faith Jaques. They give added beauty to a collection that is quietly joyful.

Day 8: Heartburn (1983) by Nora Ephron

Last year, in a work ‘secret’ Santa, I was given Heartburn by Nora Ephron. I put ‘secret’ in inverted commas because I know it was my good friend Katherine, and she chose very well. A bit of a gamble to get such a well-known book, but I hadn’t read it and had long intended to.

Heartburn is a fairly (but not completely) autobiographical novella about a cookbook writer called Rachel discovering that her husband Mark is having an affair while she is seven months pregnant with their second child. It covers the next couple of months, but also fills in the gaps about Rachel’s first unsuccessful marriage, as well as how she and Mark met and fell in love. 

Ephron writes just brilliantly, and I’m going to spend most of this short review sharing quotes… like this one, which was the first bit I noted down:

It is of course hideously ironic that the occasion for my total conversion to fidelity was my marriage to Mark, but timing has never been my strong point; and in any case, the alternative, infidelity, doesn’t work. You have only a certain amount of energy, and when you spread it around, everything gets confused, and the first thing you know, you can’t remember which one you’ve told which story to, and the next thing you know, you’re moaning, “Oh, Morty, Morty, Morty,” when what you mean is “Oh, Sidney, Sidney, Sidney,” and the next thing you know, you think you’re in love with both of them simply because you’ve been raised to believe that the only polite response to the words “I love you” is “I love you too,” and the next thing you know, you think you’re in love with only one of them, because you’re too guilty to handle loving them both.

She is very funny, and often takes sentences in a different direction than expected – both in terms of what they are saying, and the emotion she is conveying. For example…

My father said a lot of terrific daddy things to me that made me cry even harder, partly because the dialogue was completely lifted from an obscure Dan Dailey movie he’s played a pediatrician in, and partly because he nevertheless delivered the lines so very well.

Along the way, food is an important factor. Several actual recipes are included, and my edition even has an index of the different recipes as people clearly try them out. I might give the bread and butter pudding a go, and need to find out if her vinaigrette is really as marvellous as she suggests. The food isn’t incidental either; it connects with various stages of her life and her journey. And it gives way to this glorious quote about the association we have between specific cooking techniques and people we’ve known:

The next man I was involved with lived in Boston. He taught me to cook mushrooms. He taught me that if you heat the butter very hot and put just a very few mushrooms into the frying pan, they come out nice and brown and crispy, whereas if the butter is only moderately hot and you crowd the mushrooms, they get all mushy and wet. Every time I make mushrooms I think of him. There was another man in my life when I was younger who taught me to put sour cream into scrambled eggs, and since I never ever put sour cream into scrambled eggs I never really think of him at all.

The author I kept thinking about, as I read Heartburn, was Anita Loos and Gentlemen Prefer Blondes. I don’t know if that’s a common comparison or not, but it has the same feeling of words tumbling out uncontrollably. The same endless self-reflection, but never pausing to get any of the benefit of it. Everything is told quite matter-of-factly, so even when Rachel is telling us how heartbroken she is, it comes in a stream of other stories and events and thoughts, so somehow the book maintains an even emotional keel in the telling.

Though I saw comparisons to Loos, Ephron has a really distinct voice here – and one that is kept up successfully throughout. I thought it was marvellous, and wonderful that somebody capable of writing such a cynical comedy of a novel could also write quintessential romantic comedies.