1930s

Corduroy by Adrian Bell – #1930Club

StuckinaBook All , , , 19 Comments

The first book I picked up for the 1930 Club was Adrian Bell’s memoir Corduroy, the first in a trilogy all of which – I think – have now been reprinted in beautiful Slightly Foxed editions. That’s quite hard to track down now, but there are plenty of other editions kicking around – and I’d certainly recommend getting your hands on a copy, because it’s lovely.

The premise is that Bell didn’t really know what to do with his life when was 19 – which was in 1920. Between them, he and his father decided that he might become a farmer – and Corduroy is his account of getting some experience to this end. Before putting all his eggs in one basket, he had to find out how the farming malarkey went.

So off he went to Bradfield St George in Suffolk – known as Benfield St George in Corduroy – accepted by the Colville family. From here, he plays a slightly odd role in the social strata of the farm. He is clearly on the level of the farm owner and family, in terms of accommodation and society, but he is among the working men for the tasks.

The majority of the book is Bell being introduced to a task, doing it badly, and getting better. What makes Corduroy such an enjoyable book is the way he writes about the experience. He is never patronising about the labourers, and nor does he idolise them in with the eye of a Romantic poet. He recognises their expertise, and they recognise his eagerness to learn – not mocking him when he is useless at milking a cow or ploughing a straight furrow or being able to tell one pig from another. At least they don’t in Bell’s memories of his year as a farmhand – it’s worth remembering that their perspectives are, of course, given in Bell’s narrative and not their own.

As with his depictions of the workers, Bell has a great eye for the natural world. Again, it is observational rather than a paean. I enjoyed this vivid description of pigs at feeding time. Don’t say you don’t get variety from Stuck in a Book:

I wandered out again, and watched Jack feeding the pigs, helped him by carrying slopping pails of barley-meal, which gave my boots a less genteel appearance. At the first rattle of a pail the pigs set up a pathetic squealing, and, when one pen was temporarily lulled with a pailful, the laments of the others rose to a hysteria of anxiety at the sight of their brothers being fed before them. By the time we had brought the refilled buckets to the second pen, the first had finished theirs and were wailing for more. Thus the chorus went on, in strophe and anti-strophe, till all were filled and slept.

Fun, no?

I’ve realised what I want in people who write about villages. Either gossipy fun, like Beverley Nichols, or the sort of writing Bell does. People who respect the countryside and village life without romanticising it. And many things haven’t changed – like the sense of community. And many things have, of course. I’ve lived in three different villages all with working farms, but there is no longer any sense that everyone in the community is involved in the life of the farm. Even more than all the mechanisation of farming, I think that’s the thing that’s changed the most. Back in 1920, when Bell started farming and my great-grandad was a farm labourer, it was the whole world for almost everyone who lived nearby. The city was another world. As exemplified when Bell asks a farmhand what his brother does, and is told ‘nothing, just some writing’ – only to learn that he has an office job with the water board!

Corduroy looks at a period a decade before the book was published, so this isn’t an absolutely accurate reflection of 1930 – but I think it gives a good sense of the sort of semi-nostalgic writing that was coming out as the dizzy hope of the 20s started to turn to the nervous misgivings of the 30s… Was war already looming on the horizon? Perhaps not quite, but Bell writes with already a sense of a world that was disappearing.

Mr Emmanuel by Louis Golding

StuckinaBook All , , , 6 Comments

I have a feeling I first bought Mr Emmanuel (1939) by Louis Golding when I was looking for novels by Louis Bromfield and got confused. And I’ve decided to try both Louises – Louis? Louiss? – recently. Unsurprisingly, they are very, very different. And Mr Emmanuel is very different from what I thought it would be when I started it.

The novel was published in 1939, but I’d be intrigued to know whether it was before or after September 3rd. That is, was it after war had been declared between England and Germany, or after? It is certainly very concerned with the situation in Germany, and is set in the period shortly before the war.

But we start out in England. Mr Emmanuel is a Russian immigrant who is now a British citizen and very proud of it. He lives in a close-knit suburb, where he is well-liked and respected by the neighbourhood. And rightly so. He is an upright, thoughtful, kind man – often depicted as being on the older side of things, in the novel, but I suspect no more than 50. (I also discovered that Mr Emmanuel is the second novel in a series of four, and so many of these characters should probably be familiar, but I think it’s fine to read this book independently.) The setting appears in quite a few of Golding’s novels, I think. It’s an interesting depiction of nineteen-thirties segregation beginning to blur.

Magnolia Street is a small street in the Longton district of Doomington, in the North of England. It is one of several streets called after the names of flowering shrubs, that run parallel to each other right and left across the central thoroughfare of Blenheim Road. It is mainly Jews who live in the streets south of Magnolia Street, though some Gentiles live there. The converse holds of the streets north of it. Magnolia Street itself is different from those others because Jews and Gentiles live there in equal numbers, the Jews in the odd-numbered houses on the south side, the Gentiles in the even-numbered houses on the north.

That has been the situation for several decades, and there was a time when it would have been as unthinkable for a Jewish family to live on the Gentile pavement as for a Gentile family to live on the Jewish pavement. The two sides of the street virtually did not exist for each other, excepting when certain major public occasions, like the Great War, or certain dramatic private occasions, like a wedding or a death, reminded the folk they were made of pretty much the same stuff, spirit and mind and flesh. There had even been one or two marriages between people from the opposite sides of the street, but on the whole these had not much affected the general situation, though they had caused a good deal of chatter at the time they happened.

In rather a protracted opening, he learns that some friends are looking after German Jewish refugees, and would appreciate his help. Mr Emmanuel is Jewish himself – as was Golding – and he is very conscious of the need to help these refugees. He is less conscious about the situation for Jewish people in Germany, at least in terms of specifics.

While staying with these refugees, he befriends a young boy called Bruno. He is unpopular among the other children, and clearly very anxious. He misses his mother, and wants to know whether she is dead or alive. And Mr Emmanuel promises Bruno that he will go to Germany and find out. Against the advice of everybody else… that is exactly what he does.

This is quite a long novel (over four hundred pages) and a sizeable portion of the first half feels like set up for the novel proper. I never quite disentangled who all the figures were in this section, and it’s quite possible that they are bigger players in the previous novel Five Silver Daughters. I kept reading, but it was only when Mr Emmanuel went to Germany that I really thought the novel started working well.

He has the name of Bruno’s mother and a potential address – which no longer exists. Golding does an excellent job of sustaining the tension for a long time as Mr Emmanuel gently, persistently tries to find Bruno’s mother’s whereabouts. We get a sense of the fear and anger on the streets of 1939 Germany. Mr Emmanuel is oddly naive in her determination, scarcely recognising the danger he is in. He firmly believes that being a British citizen will protect him from the anti-Semitism that is clearly rife.

This is where the novel gets quite grim. I was surprised how graphic the scenes were when he gets on the wrong side of the Gestapo and is imprisoned. Seeing this lovable, kind, innocent man being mentally and physically tortured is really hard. (When I say ‘tortured’, I mean beaten often and without knowing when – in case, like me, your mind replaces that word with far worse things if no details are given.) It is also illuminating about what people knew was happening, as early as ’39.

The denouement of the novel is unexpected, though it is difficult for such a long novel to sustain something that changes how we have perceived what comes before, if that makes sense. I shan’t give away more. And, while it is on the long side, Golding has a measured and steady style that makes for a good reading experience. I still think he should have cut quite a lot of the beginning, but perhaps it was necessary for getting the uninitiated reader to love Mr Emmanuel.

 

The Death of Noble Godavary by Vita Sackville-West (25 Books in 25 Days: #20)

StuckinaBook All , , , 9 Comments

Vita Sackville-West is certainly a name that’s known in the blogosphere. Sometimes that’s for her relationship to Virginia Woolf; sometimes for Sissinghurst and her garden design; sometimes for The Edwardians, All Passion Spent, and The Heir. I love all three of those books, but it is amazing how many of her novels and novellas are almost unmentioned online. One such is The Death of Noble Godavary (1932). The only review I can find is at Smithereens.

I started this ages ago, and set it aside for some reason. I went back to the beginning this time, and had much more success – it’s 100 pages of atmospheric writing, and shows that nobody is better than Sackville-West at showing the power of houses. The Heir is a wonderful example of somebody falling in love with a house and home – The Death of Noble Godavary is sort of the opposite.

Gervase Godavary is reluctantly taking a long journey back to the house he used to live in. He is going for his uncle’s funeral, and you get the feeling that nothing else would persuade him to return. He certainly hasn’t stayed in touch with the people there – his brother, cousin, uncle, and various other family members whose relationships to each other did rather confuse me. Among them (his cousin’s half-sister?) is the mysterious Paola, who feels like she’s plucked from a novel by Daphne du Maurier. Gervase is fascinated by her – not enamoured, but struck by her power over the household.

The house and the area are wet, dark, gloomy. Gervase is not excited about being back in his childhood bedroom, but he does feel the power and influence of these familiar surroundings. And when his uncle’s will is read out, things get particularly interesting…

I thought this was a good novella, but it becomes truly great in the final 20 pages. I shan’t say what happens, but it is an extended powerful, destructive image – combining the power of nature with the influence of houses. And hopefully that intrigues you enough for you to seek it out. It’s worth reading for the ending alone. One I won’t forget for a long time, not least because it leaves you with far more questions than answers.

Dickens by Osbert Sitwell (25 Books in 25 Days: #19)

StuckinaBook All , , , 4 Comments

I’ve gone for a still shorter book today – 47 pages – and it’s in the series of Dolphin Books that I’ve written about before. This set of slim hardbacks from the 1930s are very varied – poetry, essays, plays, all sorts – and I love them. I love how they look; I love that such an eccentric imprint existed at all. Though it didn’t last very long, so I guess it wasn’t successful – but it’s fun to see what they chose.

Osbert Sitwell was, of course, one of the famous Sitwell family – and in this volume he takes it upon himself to defend Dickens. I don’t know quite what status Dickens had in the 1930s, but apparently some sort of defence was needed. This is essentially a 47-page essay on why Dickens is great, with illustrative examples. It’s also often quite funny:

It was said he was unable to portray ‘ladies and gentlemen,’ has to be content – for such a deliberate choice was unthinkable – to concern himself with low life, the unpleasant low life of the industrial cities, and never, it was evident, could have dealt, on the one hand, in the subtle psychological reactions of baronets, after the manner of George Meredith, then in his heyday, nor, on the other, have portrayed, with the pen of a Thomas Hardy, the ever-recurring woes of simple-minded by suicidal peasants.

Sitwell manages to keep it quite broad (a lot of it does feel like YAY DICKENS) while dipping into specific examples. So we see how he beautifully he describes a scene, how he shows us a character’s essential traits in a few lines of dialogue, how he presents literary morality. We get an overall sense that he’s a very English, very era-defining writer. And Sitwell is obviously influenced by the long, winding sentences of Dickens.

It’s slightly dizzying to read such a short book with such a vast thesis, and there are plenty of novels that aren’t mentioned at all – but it was fun and intriguing, and certainly left me wanting to read more Dickens soon.

The Hopkins Manuscript by R.C. Sherriff

StuckinaBook All , , , 14 Comments

This isn’t one of my 25 Books in 25 Days – not at the page count the Sherriff weighs in at! – but I wanted to add it to my participation in Jessie’s Persephone Readathon. And I read it a couple of weeks ago – my third Sherriff, but certainly not my last.

The Hopkins Manuscript (1939) isn’t my usual fare, inasmuch as it is science fiction – not a genre I usually rush towards. But I had previously read and loved a couple of his other books published by Persephone, The Fortnight in September and Greengates, and so I was encouraged to pick up my copy of this one. It certainly didn’t disappoint. The premise is that the moon is going to hit the earth – but that really is just the premise for a character study.

There is a short (fake) preface letting us know that this manuscript has been unearthed, centuries after the events of the novel – and apparently almost all vestiges of the UK have long gone. Experts comb the world to find any evidence of what that civilisation might have been like – and this manuscript is by far the longest discovered. It is called the Hopkins manuscript because it was written by one Edgar Hopkins – and he takes over the story once the novel proper starts. This is, I suppose, his diary.

Hopkins is interested in astronomy and part of the Lunar Society – which is where he is first warned that the moon is likely to hit the earth. In a state of shock, but sworn to secrecy, he heads back to his normal life. And that life is quite a lonely one. He lives alone, except for staff and the poultry that he breeds in a mildly obsessive way, and seems to regard everybody else in his small village (Beadle) as a yokel and idiot. He often reflects that none of them would understand the calamity coming, and that he has nobody of sense to talk with. In short, Hopkins is not the most appealing narrator at the start – much as the gentleman at the centre of Greengates is a little obstreperous as things kick off.

To be honest, this first section of the novel could have done with a bit of editing. We know something seismic is going to happen, and it’s important to set up the world that will be disrupted, but I got a bit impatient waiting for the moon to do its thing.

But eventually, of course, it does. By now the world has been told what will happen – or at least the UK, because Hopkins doesn’t really seem to know that the rest of the world exists, at this point. Bunkers have been built, and prayers said. Most charmingly, Hopkins has befriended a small family who live across the valley from him – a Colonel Parker and his young nephew Robin and niece Pat. These are the educated society Hopkins has wanted (though apparently without wandering far to find it), and there are some touching scenes where Hopkins’ paternal side emerges – and where he watches their lights across the valley, taking comfort from it.

But comfort cannot last. The moon arrives. The world is not destroyed, but everything changes – and Hopkins finds himself living a far different life in a semi-ruined Beadle, growing closer to Robin and Pat, but increasingly isolated from everything else.

Sherriff writes the section of the moon’s landing so brilliantly – it is very tense, while still intensely human. The aftermath is similarly well told, and the central section of the novel was definitely the bit I enjoyed most. He draws the new familial relationships beautifully, and Hopkins gradually becomes a much more likeable character – each step and shade of his character changing being done slowly and believably.

But this is not the end. The final section of the novel looks at how different countries start feuding over the moon and its apparent economic qualities – all seen from the distant perspective of Hopkins. Humanity suffers at the hands of nations’ leaders’ greed and nationalism. Published in 1939, it certainly had relevance to the Second World War – but it felt extremely relevant to Brexit and Trump and far-right parties gaining ascendance across Europe today. Some evils only change their form, it seems.

If the other Sherriff novels I’ve read have felt very much about individual groups of people, with only faint links to class or other wider issues, this one is much more a state-of-the-nation type novel. While still, of course, keeping humanity at its core. I daresay the science of what would happen if the moon did start moving is all flawed, but that certainly doesn’t bother me – and doesn’t remotely affect whether or not this is an impactful novel.

I still prefer his other books, perhaps because this one did feel like it could lose 100 pages without any detriment – but this is still wonderful, and I’m keen to see what else Sherriff has written (and fingers crossed that Persephone publish more of it!)

 

The Progress of Julius by Daphne du Maurier

StuckinaBook All , , , 9 Comments

I’m sneaking into the final hours of Ali’s Daphne du Maurier Reading Week to write about her third novel – The Progress of Julius (1933). My edition is simply called Julius – I don’t know when or why this change was made (unless perhaps it was to capitalise on the single-name success of Rebecca), but I prefer to go by the original title.

I picked this one up from my pile of unread DdMs because it had a name in the title, and thus qualified for my #ProjectNames informal reading challenge – it wasn’t one of her novels that I had heard discussed very often. Having read it, I can sort of see why…

It traces the life of Julius Levy from his birth right to the end – and his earliest days are spent in poverty in France. He has a loud and passionate mother and matching grandfather. Rather more negligible is Paul, his father, who is disparaged by everybody else in the household. He is an almost cartoonishly weak figure, good only for sitting in the corner and observing.

But Paul has a moment where he is not weak, or at least shows strength in the eyes of the world, and it leads to he and his young son escaping France – sneaking onto a train and travelling to Algeria. Here, as Julius grows, he begins to lift himself out of poverty through some legitimate projects – and lots of illegitimate ones. From stealing horses and selling them to tricking a tutor into educating him, du Maurier shows us a portrait of immoral ambition – and constant disguise. Julius only ever shows the face that is likely to win him the most reward.

Next stop – London. He has heard that this is the place to make his fortune – and make it he does, though he has been followed by the teenage prostitute whose room he frequented in Algiers. Elsa has disguised herself as a boy to sneak onto the boat with him, apparently unable to be without him. (One of the less successful plot elements, particularly towards the beginning, is how Julius is apparently an irresistible personality to all – when, to the reader’s eye, he seems to have very little to recommend him.)

With Elsa, Julius’s selfishness tips over into a sort of sadism:

The shoulders of Elsa began to shake, and her head bent lower and lower. Julius had to cover his mouth with his hand to prevent himself from laughing. He had discovered a new thing, of hurting the people he liked. It gave him an extraordinary sensation to see Elsa cry after she had been smiling, and to know that he had caused her tears. He was aware of power, strange and exciting.

And so it continues throughout his life. At each stage, he is ruthless and selfish – he’s what we would now call a sociopath. His financial success is the only thing that motivates him (at least until another figure comes into his life, in the final third of the book). He is, frankly, vile.

Du Maurier tells her narrative well and engagingly, but it is very straightforward. There is nothing like the twists in Rebecca or the moral ambiguity in My Cousin Rachel. And it was a bit conflicting – the novel is well written, but it is deeply uncomfortable to read.

On the one hand, plenty of the characters are anti-Semitic – initially to Paul and, later, to Julius. Despite having a Jewish father and a non-Jewish mother, and thus technically not be ethnically Jewish himself, it is taken for granted by all characters and the narrator that Julius is Jewish. And though the narrative does not endorse these insults, you have to ask yourself what Daphne du Maurier was doing in writing this novel.

Nowhere does it suggest that Julius’s behaviour is technical of all Jewish people, or that he is intended to represent anything more than a single character – but it certainly didn’t sit well to have a Jewish character whose life is motivated solely by financial greed. This was, of course, a stereotype around in the 1930s – one being used, even as this novel was published, to stir up hatred against Jewish people in Germany. It is hard not to feel disgusted at the portrait du Maurier has painted, and at the author for painting it.

I don’t need characters to be likeable – but, even if he hadn’t been Jewish, with everything that suggests about du Maurier’s intention, he is so relentlessly terrible that it isn’t all that interesting. He has no nuanced character, nor does he especially develop. We just see him being appalling to person after person, never learning from his actions, or reflecting on his behaviour. It is a uniform and stylistically well written novel, but – as well as being almost certainly anti-Semitic – it feels perhaps a pointless novel too.

A Thatched Roof by Beverley Nichols

StuckinaBook All , , , 11 Comments

Yes, my love of Beverley continues apace – and I decided recently to pick up the next of his Allways trilogy, A Thatched Roof (1933). I rushed through, and adored, the Merry Hall series last year – but stalled after the first of the earlier Allways trilogy, Down the Garden Path. Would I prefer this one?

In short, yes. I certainly enjoyed Down the Garden Path, but it didn’t live up to my love for Merry Hall et al. A Thatched Roof definitely felt like a step in the right direction – with more humour, more rounding of the eccentric neighbours, and, crucially, less about gardening. Because here he moves inside.

The low lintels of the cottage have many disadvantages, but they have one supreme advantage. They afford an immediate topic of conversation. They make things start, quite literally, with a bang.

And so starts Beverley. I enjoy reading about gardens and gardening when it doesn’t rely on expertise or references to visuals that don’t appear – but I found Down the Garden Path a bit too heavy on gardening and light on narrative. I don’t mind the ratio so much when he is talking about putting a window into his study, or knocking down a section of wall and finding a surprise alcove. I love reading about interiors and renovations. I also love reading Beverley get snobbish on the topic of other people’s taste, because it is delightfully catty, and the outrage he directs on this topic to the people who rent it from him for a while is quite vicious, in a harmless sort of way. Great fun.

The locals begin to come to life more. There is Mrs M., the local busybody and interferer; there is Undine, who swears by water diviners and thinks everything heavenly (as long as it doesn’t smack of modernity). There are a cast of lesser characters, including a wonderfully lazy and cross housekeeper – none of them shine as brightly as the fond antagonists of Merry Hall, but they offer their own entertainment.

Not least when the topic of electric light comes up. This takes up much of the final section of the book – as they debate whether or not it should come to the village (and then Beverley rebels and gets it all for himself, listing for us the wonders of illuminating statues and stairways). He doesn’t care at all that others can’t share his electricity – indeed, he is not always the most likeable of people, but he writes beautifully and we can charitably assume that a lot of what he writes is self-lampooning or exaggeration. Hopefully…

I bought this book way back in 2004, on the strength of the title and the age of the book (and perhaps, had I flicked through the first few pages, the reference to The Provincial Lady Goes Further). It’s good to have finally read it – and I’m sure I’ll move on to the third of the trilogy before too long. I don’t know if I’ll revisit the Allways books, but it certainly fitted the mood I was in at the time, and that sort of dependability is to be cherished. Now, if only I had an edition with Rex Whistler’s illustrations on the dustjacket…

Excellent Intentions by Richard Hull

StuckinaBook All , , , , 6 Comments

Who doesn’t love the British Library Crime Classics? I’m amassing them far faster than I can read them, but earlier this month I did read Excellent Intentions (1938) by Richard Hull, which is one of their more recent publications. I was beguiled by the description of it being an unusual twist on the detective novel. And the reason it’s a twist is because we start in the courtroom, with the accused in the dock…

“May it please your lordship – members of the jury.” Anstruther Blayton rose to his feet and, as was his habit, moved some papers that were near him in an unnecessary and fussy manner. At the age of fifty-two he was, he knew, comparatively young to have been selected by the Attorney-General to act as leader in a trial which was arousing a certain amount of public interest. Even though he had been known for some time as a leading K.C. on the circuit, it was his chance and he meant to make the most of it.

That’s the opening paragraph, throwing us right into the midst of the trial. But – crucially – we do not know who the accused is.

As the trial continues, the scenes described run parallel to it. So, as the brilliantly-named Anstruther Blayton talks us through the scene of the death, we then jump to seeing it – Mr Cargate, taking snuff on a train, and dying almost immediately. Cargate is that stereotypical murder victim from this genre – universally disliked, and rightly so. All manner of people are suspected, from his household staff to the inheritors to a group of people involved in (of all things) the stamp trade.

I don’t know if Hull was a philatelist or simply did a lot of research, but buckle up to learn a huge amount about stamps. Unless you already know it, in which case… well, I hope he got the details right. I could have done with perhaps less of this information, not least because I spent the whole time marvelling that anybody could care whether or not a particular stamp did or did not have a dot of ink in a particular place. But Hull does a good job of immersing us in this world.

Hull writes with wit, which always helps this sort of novel, and many of his characters are very vivid – particularly in the silent sparring within the courtroom. The actual plot seems like it might be rather flimsy, but don’t form your opinions until the final page… and perhaps not even then. A worthy addition to the BLCC series.

Buttercups and Daisies by Compton Mackenzie

StuckinaBook All , , 14 Comments

OK, that’s it. I’m going to have to start buying all the Compton Mackenzie novels I see, aren’t I? I read Buttercups and Daisies (1931) before my 25 Books challenge started, but didn’t manage to write about it – and I bought it in Hay on Wye recently. I always like to start one of the books I buy on holiday, and the intriguing opening pages of this one made it my nomination.

Here are the opening paragraphs – which, accompanied by an illustration of Mr W, were what made me both buy the book and start it immediately:

“This,” Mr. Waterall announced, on a fine Saturday morning in late September, as he gazed over the top of his paper at his wife, “this is what I have been looking for for years.”

Mrs. Waterall’s impulse was to suppose that her husband was enjoying one of those little triumphs to which he was periodically addicted. He had a habit of putting articles away in safe places, forgetting the place immediately afterwards, and accusing every member of his family, from his wife to the boy who came in to do the knives, of having interfered with his arrangements for security. Mrs. Waterall could not be blamed for assuming that. This was one of the mislaid treasures.

“For years!” Mr. Waterall portentously repeated. “Have the goodness to listen, my dear.”

Mrs. Waterall, realising that her husband wanted to read something from the Daily Telegraph, jumped to the conclusion that he had discovered another cure for baldness. She hoped it would not be as complicated a cure as the last one he had tried, when he had sat for two hours in the bathroom every Sunday morning, wearing upon his head a hemisphere of indiarubber which has kept firm by the vacuum and was connected by a long tube to an electrical apparatus emitting fizzes and blue sparks.

But what he has actually found, in fact, is a cottage in Hampshire for sale. I say cottage – it is a ‘two-roomed bungalow’, but Mr Waterall has bold ideas about what he can turn it into. He doesn’t intend to move his wife, daughter, and two sons there permanently – but he certainly intends for it to be their country house. Off he goes, to meet the man selling it. For some reason, I can never get enough of house hunting scenes in novels, particularly if they’re amusing ones, and Mackenzie’s is a corker. It becomes more and more apparent that the man selling the bungalow is a charlatan, who lies and evades questions and flatters Mr Waterall’s ego until he has agreed to take it. All he needs to do is add a few more rooms, buy some trees, and he’ll be good to go.

The novel shows how his long-suffering wife, adventurous boys, and simpering girl (simpering mostly because she knows how best to placate him for her own advantage, to the ire of her brothers) are carted out to the middle of nowhere. All does not go well. The buttercups and daisies of the title are certainly ironic. Little Phyllis falls down a well. A cow wanders in, because they don’t have a back door to the kitchen. The neighbours range from amiably mad to obstreperous.

And I loved reading all of it.

The other Mackenzie novel I’ve read, Poor Relations, was also very funny – with a put-upon protagonist whose success comes with the price of having all manner of relatives expect to live off him. In Buttercups and Daisies, we exchange an empathetic lead for one who is a well-meaning tyrant. His absolute certainty of his own rightness, and the fact that he blights lives around him without being remotely malicious, puts him in the fine tradition of characters like Mr Pooter. Mackenzie is a very amusing writer, with an excellent use of the narrative voice that undermines the character – and it’s all extremely funny.

As the novel goes on, we get more from the brothers’ perspectives, which I found a trifle less enjoyable – perhaps because it feels like we’re supposed to be on their side as they plot pranks, trespass etc., and they didn’t seem particularly likeable to me. And the tide of the novel gets taken up with whether or not the community should be called Oaktown or Oak, which does work as a conceit, but comes a bit late in the day to be the main thrust of the novel.

So, it’s not perfect – but, particularly in the first half, it’s rather wonderful. And the second half is also fab, even if I wish Mackenzie hadn’t broadened his focus so much. But one element that doesn’t falter is the ego and bravado of Mr Waterall. How I wish there were a sequel, so I could find out more about him!

There isn’t a sequel, but there are an awful lot of other Mackenzie novels out there. It seems a shame that he is basically synonymous with Whisky Galore and nothing else, when he clearly was far from a one-trick pony. Any recommendations from anyone?

25 Books in 25 Days: #19 The Land of Green Ginger

StuckinaBook All , , 5 Comments

When my dear friend Stilo asked if I’d read The Land of Green Ginger, I said no but thought she was talking about the Winifred Holtby novel of that name. I also haven’t read The Land of Green Ginger (1937) by Noel Langley, but it had the added distinction that I hadn’t heard of it. I’d only heard of Langley’s novel Cage Me a Peacock, and had read nothing by him – and was only about 70% sure he was a man.

Well, Stilo said she and her mum loved it, and lent me her copy – illustrated by the wonderful Edward Ardizzone. It’s a sort of sequel to Aladdin, about his son Abu Ali (who can talk from birth).

“I understand you called the Queen Mother a Button-Nosed Tortoise?” he inquired.

“That’s not quite true,” replied his SOn and Heir politely. “I only said she had a Face like One.”

“He only said you had a Face like One, Mamma,” Aladdin explained weakly.

“And what right had he to say even that?” demanded the Widow Twankey indignantly. “Even if there were such a thing as a Button-Nosed Tortoise; he hasn’t seen one!”

“True,” agreed the Son and Heir, “but I’d know him as soon as I saw him!”

“How?” the Widow Twankey challenged him.

“It’d look like you,” said the Son and Heir simply.

Fast forward a bit and as a young man, he has to go on a quest to win the love of a fair maiden. Yes, it’s a children’s book – but it’s extremely funny. I love any author who can get humour from mixing tones successfully. Playing with the expectations of register, and distorting them, is the sort of whimsical wit that I rush towards – and The Land of Green Ginger was great fun. I’m keen to see what other sorts of things Langley wrote…