I
can’t remember why I ordered Who Was Sophie? (2008) online, but I can tell you that it arrived on 6th June 2011 – and, while I was browsing and looking for some unusual non-fiction to read, I picked it up. Since I also didn’t remember anything about the what the book was about, it all came as rather a surprise – strange, intriguing, and rather special.
Having now read it, I have to assume that it was the Virginia Woolf connection that led me to pick up this book. It concerns Joan Adeney Easdale who, as a teenager, became an unexpected prodigy – published by Leonard and Virginia Woolf at the Hogarth Press. This biography (by Easdale’s granddaughter) looks at her life – and what led from her being feted by the literati to being a destitute, lonely, eccentric old lady by the 1970s. As for the ‘Sophie’ of the title? That’s Joan too – a name she went by much later in life, and a fact that is only properly addressed after about 200 pages. Suffice to say, I don’t think I’d have called the book Was Was Sophie? if it had been my decision!
Robertson doesn’t include footnotes or references (beyond a broad list at the end), so it’s not always clear where all her information came from – but we follow Easdale from childhood, and presumably she has gathered good research. Indeed, we start a bit earlier – looking at Easdale’s parents, and particularly her pushy mother Ellen. Ellen was determined that Joan and her brother would become successful – and not just successful, but be recognised as geniuses. And her brother did, indeed, end up as a renowned musician. Joan started earlier – when Ellen optimistically sent off her poetry to the Hogarth Press, it was recognised as special.
Some of her poetry is included in the book (and, indeed, the final section is the entire facsimile of her long poem Amber Innocent, which she works on for many years – a lovely touch). I don’t particularly enjoy it myself, but it’s fascinating to read how Joan considered her own work – and to compare Ellen’s letters to friends with Virginia Woolf’s diary entries. Woolf was, it turned out, rather laughing at the family as people (though respectful of Easdale as a writer).
I found all of this section really interesting – though there also looms over it the knowledge that things will change. I shan’t type out all of the rest of Easdale’s life, but it can be broadly summed up by the effects of mental illness. It spoils her marriage and alienates her children; it destroys her relationships with those around her, and perhaps also contributed to the end of her writing. As she gets older, she seems not to want to consider herself a writer at all – despite her husband’s fervent encouragement – and it is one of many leaves that drop from the tree.
Robertson documents the life extremely well (even though I would have loved footnotes!) – sensitive, and combining a good level of objectivity and subjectivity. We do not forget that she is the subject’s granddaughter, but we still feel in the safe hands of a biographer. My only criticism, in tone, is that she occasionally writes about her own journey as a biographer – particularly when travelling to Australia to follow Easdale’s life – but not enough. Some biography purists would prefer the biographer to be completely absent. I really love biographies that integrate the journey of discovery into the narrative itself, but it has to be done to a sufficient amount to feel deliberate. In Who Was Sophie?, it was perhaps a bit too sporadic.
Ultimately, I’m still not quite sure what brought this to my shelves – nor how Robertson managed to persuade somebody that this forgotten writer was worthy of a biography – but I am very grateful that both things happened. It was exactly the sort of unusual non-fiction I was looking for.
