1950s

British Library Women Writers #9: Mamma by Diana Tutton

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Two new British Library Women Writers titles are out YESTERDAY in the UK – Sally on the Rocks by Winifred Boggs and The Love Child by Edith Olivier, which are both up there among my favourites in the series so far. I was going to do one of my posts about them, but realised that I’d never actually done BLWW number 9, Mamma (1956) by Diana Tutton. (You can see my posts on all the series at the blww tag.)

I first read Mamma in the Bodleian, after loving the extraordinary Guard Your Daughters but not being able to track down her other books. Older copies of Mamma do turn up now and then, but obviously this new edition is available to everyone easily!

When I read Mamma, I was a bit taken aback at first. Guard Your Daughters had been an instant favourite – almost from the first page. It was lively and funny and chaotic. Mamma is a much quieter book – it’s about Joanna, whose daughter Libby moves in with her to save money. She brings along her new husband Stephen, whom Joanna doesn’t know. He is much older than Libby – indeed, he is only a few years younger than Joanna. And gradually Steven and Joanna develop feelings for one another…

It sounds very sensational, whenever you try to describe it, but it really isn’t. It is such a gentle, thoughtful, and unsensational book – just looking at what might happen in this situation, between three decent people who don’t want to hurt each other.

When it came to writing my afterword, I ended up writing about sex – I always seem to veer into this for the series, and I’m worried that people will be alarmed. But the levels of discretion writers did or didn’t have about sex does seem to shift so much in the period – in fact, there’s a novel I’m hoping we’ll do next year that is very interesting on the topic, writing much less discreetly than you’d imagine for the era…

In Mamma, it’s all tied up with psychology and changing norms – particularly around celibacy before marriage.

“I don’t see,” said Elizabeth, smiling, “how anyone at all young can live without sex and not get warped.”

Steven’s feelings changed abruptly. Of all the tactless remarks! But Joanna answered peacefully: “Quite a lot do.”

“Well, they all get a bit peculiar.”

“I don’t think that’s altogether true.”

“Janet says it comes out in all sorts of funny little ways.”

“Well, good Lord, we’ve all heard that one,” said Steven impatiently. “But it’s by no means universal.”

“Even if it’s not visible,” calmly continued Elizabeth, “it’s still there. In fact if you can’t see if it’s probably worse.”

“Darling,” said Joanna, looking, as Steven gratefully noticed, not hurt, but amused, “we’ve all heard that, too.”

“Often,” added Steven.

“Oh, all right!” said Elizabeth, not at all offended. “But all the same, Janet says – ”

“A course in so-called psychology,” said Steven nastily, “doesn’t guarantee a profound knowledge of human nature.”

I’ve been interested to see some people preferring this novel to Guard Your Daughters – I still think that’s Tutton’s masterpiece, and one of my all-time favourite novels, but Mamma is such a different type of novel that they don’t really compare. Now we just need to decide if there is an appetite for her third and final novel, about brother/sister incest…

Mrs Lorimer’s Quiet Summer by Molly Clavering

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Sometimes it does feel like the corner of the book internet I occupy is really just Scott’s kingdom, and we live in it. Scott being Furrowed Middlebrow, of course, both blog and the series of reprints from Dean Street Press. One of the things I really like about his series is that, most of the time, they don’t just bring out one or two books by an author – they drop a whole load at once. The most recent author to get a job-lot of reprints is Scottish mid-century writer Molly Clavering – and I started with Mrs Lorimer’s Quiet Summer from 1953. She wrote a bunch of novels in ’20s and ’30s, and this was the first of seven novels after a break of fourteen years.

It was generally considered that Mrs Lorimer, that quiet woman, was not at all a sentimental person. Therefore when Nan Gibson, her valued and trusty and frequently tiresome cook-housekeeper, announced one morning as she twitched back the bedroom curtains, ”I hear Harperslea’s been sold,” the pang which her mistress felt must have been simply because another suitable house – a house she would have liked for herself, had been bought by someone else.

There are shades of Netherfield being let at last at the beginning of Pride and Prejudice – but Mrs Lorimer is not looking for an eligible young man. She is looking for enough space to host all her adult children and their spouses and offspring. There are quite a few of them, so I shan’t go into all the details – one of the most prominent is the son-in-law obsessed with his car, and his wife (Mrs Lorimer’s daughter) who feels neglected in comparison. She decides to make her own entertainment, which she does by finding the daughter of the house at Harperslea – a Nesta Rowena Smellie. There is a lot of discussion about the name ‘Miss Smellie’, and it is a name of course, but it did all feel like an unnecessary tangent. They re-Christen her Rona, which has become rather less acceptable as a nickname in the past eighteen months…

The bulk of the tension and romance of the novel comes from the various young married couples – and it doesn’t take a genius to work out what might happen between the sole unmarried child, Guy, and this Rona girl. There are some obstacles connected with her nouveau riche family and his inability to stick to any career, but the writing is on the wall from the first moment they are mentioned.

Mrs Lorimer’s Quiet Summer is, indeed, quite packed with incident – a great deal of which crops up and is resolved throughout the novel, rather than tidying everything away at the end. But the beating heart of the novel is Mrs Lorimer herself, and what makes the book more than the sum of its parts. She is patient and consistently underestimated by those around her – who see her as a mother and not as someone with passionate feelings and thoughts herself. Her life is broadly happy and she is not demanding of others, but I enjoyed how Clavering showed the layered life behind the dependable matriarch.

Clavering doesn’t demand much of her reader, and this is definitely a cosy read where the stakes never feel quite as high to the reader as they do to the characters – but it’s cleverer than it might seem at first, and I’m glad to have found another fab new-to-me author from Furrowed Middlebrow.

April Lady by Georgette Heyer

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Complete & Unabridged (April Lady): Amazon.co.uk: Heyer, Georgette, Matheson, Eve: 9780745166322: BooksWhenever Karen and I run a ‘club’ year, somebody reads a Georgette Heyer novel. I don’t know how many she wrote, but my guess would be thousands. And every time I say ‘How on earth have I not yet read anything by Heyer?’

I think it’s partly because of the historical fiction angle, and partly because the name ‘Georgette’ is so odd. It’s certainly not for lack of trust in the legions of people who love her. And, you know what, all those people were right. I still haven’t actually read a physical Heyer novel, but I spent the Bank Holiday weekend stuck on the motorway, listening to an audiobook of April Lady read by Eve Matheson.

April Lady was published in 1957, which places it somewhere in the second half of Heyer’s writing career – it’s one of her Regency novels, and I finished it without having any idea what the title refers to. The main characters are Nell Cardross and her husband, the Earl of Cardross, or Giles. She is young and beautiful, from a relatively unwealthy family, and I do stress the word ‘relatively’. Cardross, on the other hand, has money all over the place – but wants to make sure his wife isn’t too profligate with spending, and doesn’t hide bills from him. This is the gist of the opening scene and, indeed, the entire plot.

There is a curious sort of ‘Gift of the Magi’ theme to the central couple: neither knows how much the other loves them. Giles thinks Nell married him for his money; Nell thinks Giles married her for her looks, and for convenience. Nell’s mother – described as having ‘more hair than wit’ – has told Nell to stay undemonstrative, so as not to annoy her husband, and not to question any extra-marital dalliances he might have.

For her part, Nell discovers an unpaid dressmakers bill for £300. She doesn’t think she can take it to her husband – because she fears his anger, but mostly because she fears it will confirm his belief that she is mercenary.

And so much of April Lady is Nell’s attempts to get her hands on the money without Giles knowing – and without taking the advice of her exuberant, funny, and mildly immoral brother Dysart. (His suggestions include selling her marital jewellery and making fakes, ordering more dresses to keep the dressmaker busy, and even dabbling as a highwayman.)

As I listened, I expected this to be the opening scene to a much more complex plot – but this is what sustains the whole novel. There is a parallel plot with Cardross’s sister Letty. who reminded me a lot of Lydia Bennet with her impetuousness and high drama – she is yearning to marry Mr Allendale before he heads to Brazil, but needs her brother’s permission. These two plots cleverly overlap, but Heyer is brilliant at sustaining this central motivation throughout April Lady, without flagging.

My favourite thing about the novel is how delightful all the characters are. Nell is perhaps a little too straitlaced to be truly entertaining, but I adored her wastrel brother, her impulsive sister-in-law, and her witty, calm husband. He might be the villain of the piece in another writer’s hands, but he reminded me of a kinder Mr Bennet – teasing people, especially his sister, while implacable in his own choices.

And, gosh, this novel is funny. I laughed a lot in the car – my favourite bit being a friend of Letty’s who has rehearsed various dramatic speeches about never giving away Letty’s secret plan, only nobody else seems to give her cues or react as she would like.

Ultimately, of course, all ends well and everything is explained – but not before some misunderstandings and complications come along. I genuinely cared about the happiness of these characters, though never felt a moment’s anxiety that the happy ending might not come.

I’ve used two Austen comparisons already, and I think any comparisons that have been made between Heyer and Austen are justified – at least to an extent. Heyer’s plot is not as keenly plotted as Austen’s, nor her characters in April Lady quite as immortal, but it was a truly wonderful read that exceeded my fairly high expectations. My first Heyer, but definitely not my last.

One Woman’s Year by Stella Martin Currey

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There were several independent publishers I knew I wanted to read for #ReadIndies month, and of course Persephone was among them. But which one? Well, I was most excited about One Woman’s Year by Stella Martin Currey, published in 1953 but often seeming like it was a couple of decades earlier.

One Woman’s Year is a delightful journey through the year – an anthology of anecdotes, household hints, recipes, and so on. The story/anecdote bit is the longest and perhaps most delightful of each section – just tales from family life, about enjoying village life, the countryside, and everyday activities. From a very privileged position, of course, though they are not stories of expensive outings and excess. They are the sort of stories that would be brought out at family events – from a disastrous renovation project to a French exchange student. All are told with an enjoyably British sense of deprecating humour. I was often reminded of E.M. Delafield’s Diary of a Provincial Lady, which is about the best thing to be reminded of.

Then each month has a cheerful look at the favourite chore of each month, and a wry look at the least favourite. Often this is more of a story than a genuine application, particularly all these decades later, but the recipes that follow could still be followed today, for the most part. Yes, there is an unsettling predilection for curry powder, particularly for someone who spent time in India with her military husband, but I might well be giving the strawberry shortcake a go at some point.

Each month ends with a short anthology of literary passages from novels and poems. These are usually the sorts of things that leave me cold, as I like to read with proper context, but Currey’s choices are brilliantly and thoughtfully done. For instance, she brings together a section from Cold Comfort Farm with an anonymous chronicler of an early nineteenth-century village and a poem about laburnums. Each month’s anthology works beautifully together. All the more impressive because this was, of course, long before the internet – these are quotations that Currey has drawn together from a lifetime of reading.

One of my favourite things about this book is that it’s fully illustrated with woodcuts by Malcolm Ford. No publisher has a deeper appreciation for woodcuts than Persephone Books, and these are second to the ones in The Runaway among my favourites they’ve done, either in their books or in the magazine.

Initially I intended to read one section each month, and make it last a year – well, I couldn’t stop once I’d started. Thank goodness Persephone resurrected such a lovely and comforting read.

For All We Know by G.B. Stern

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What a curious novel, which has left rather an impression on me, even though I find it a little complex to untangle. I bought For All We Know [1955] in 2011, based on having enjoyed her books on Jane Austen that she co-wrote with Sheila Kaye-Smith. She’s also one of those names you see a lot if you’re interested in women writers in the early/mid twentieth century – and years ago I did read her novel Ten Days of Christmas. But somehow it still felt like I was a Stern fiction newbie. Do Christmas novels feel substantially different? Like you haven’t really heard a singer if you’ve only listened to their Christmas album?

Anyway, I decided to see what was going on with For All We Know – the sort of title that isn’t really giving anything away. What I think of as an Alan Ayckbourn-esque title – trips off the tongue and doesn’t really mean anything.

I was daunted by a family tree in the opening pages. For me, a family tree in a book is a tacit way of admitting that they haven’t done a good job delineating characters. But onwards – the first section, of five, is a family group discussing Gillian’s recent biography of the whole dynasty. She has been working on it for years, and it has been a total critical and commercial flop. Gillian is a biographer of some note, and the family is well known in theatrical circles, so why has it not been a success? Well, because Gillian has ignored the noted Bettina, and devoted significant sections to Bettina’s son Rendal, who is of no public note.

This family gathering and sotto voce discussions over, we jump back a few decades – to an infant Gillian, encountering Bettina’s side of the family for the first time. Bettina is Gillian’s grandfather’s sister’s daughter, whatever that translates into in terms of cousins and removes. That side of the family has a whole range of siblings and cousins and whatnot, and you quickly work out why the family tree is needed. All you need to know is that Gillian’s grandfather is the head of the side of the family that isn’t famous, and Bettina’s mother is the head of the side that is.

It was Timothy, her cousin, who had casually referred to Gillian’s grandfather and her Uncle Conrad as the ‘failure branch’ of the family tree. Dear, dear Timothy! Happily able to say even worse than that, not to tease nor to be cruel but because he could not for the life of him see why she need mind, as it was true. Timothy had a thick blank spot, and though only twelve years old when he came forth with this chubby definition of Gillian’s immediate family as compared with his own, indisputably the ‘celebrity branch’, he would be just as capable of saying it to-day when he was sixteen, because the thick blank spot had not grown more delicately assailable and nor had he; just one of those get-away-with-murder-boys, every year handsomer, and brilliant at everything he undertook.

Gillian is a few years younger, and in awe of this daunting family – though also enamoured by them, and desperate for them to show her attention and affection. The strength of For All We Know is the Stern’s understanding of the power of embarrassing or upsetting moments. She is so good at children and the way they feel so strongly in the moment. There are a couple of incidents where young Gillian feels she is being laughed at by the family – and, even more powerfully, one moment of triumph that is later forgotten by the people she thought she’d impressed. In a biography, these moments wouldn’t even warrant a footnote – but in Gillian’s young mind, they are seismic. She decides that she will one day write the biography of the family, and begins to fill notebooks with observations and eavesdroppings.

The novel has a further three parts, jumping forward in time, seeing how Gillian’s life becomes more embroiled with the family. Timothy fulfils his early promise and becomes a big-name actor in Hollywood; Rendal has fulfilled the prediction that he will have a much less illustrious career. Gillian has grown in confidence, though still clearly in awe of what Bettina thinks, and capable of strong emotional reactions.

One of the interesting things about For All We Know is that, jumping in stages through this family’s history, Stern doesn’t land in the most significant places. We hear about marriages that have happened between sections, and of moments of success and fame. The chapters of narrative seem almost random, in terms of a timeline, but perhaps they are the places of biggest emotional impact – not the places that Gillian’s biography would highlight. Stern is more interested in the ways that relationships within the family change. And particularly between Gillian and Bettina. There is no big surprise twist or gotcha moment – I did wonder if Bettina would turn out to be Gillian’s mother or something, but there’s nothing like that. But there are times when their relationship shifts dramatically – largely because what they want and expect from it is so different.

Getting to the end of For All We Know, I was left with a really strong impression of the emotional weight of the narrative – and, yes, slightly disconcerted by the curious structure and the events that aren’t covered. I can see why Stern chose to pick the moments she did – and yet I feel a bit like Gillian in the early chapters. That I’ve been watching a family from the outside, not quite privy to their most significant memories. I like a novel to leave me thinking, and I’m not quite sure yet whether I’ll remember this novel as a brilliant success or as something a little off-kilter. Or perhaps both?

British Library Women Writers #6: Tea is So Intoxicating by Mary Essex

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When I was first asked to suggest titles for the British Library Women Writers series, one of the first titles that came to my mind was Tea is So Intoxicating by Mary Essex. Some authors are loved because they are great prose stylists. Others because they have something profound to say about contemporary society. And then there are people like Mary Essex who just know how to write a rattlingly enjoyable story. I say Mary Essex – her real name was Ursula Bloom, and Mary Essex was one of a handful of pseudonyms she used for her hundreds of books. Truly, an extraordinarily prolific woman.

I’ve read a few of the books she wrote as Mary Essex, and this was the first – back in 2003, I think. I bought it because of that wonderfully beguiling title, which I’m hopeful will also attract book shoppers when bookshops are open again.

The novel is about David and Germayne, who decide to open a tea garden in a village just after World War 2. David has some experience in teashops – albeit the business side rather than any hands-on experience – and Germayne is willing to come along, though obviously a little less enthusiastic. They met when she was married to someone else, and Essex is very witty about their coming together – how Germayne wanted somebody spontaneous and more exciting than her first husband. It’s that spontaneity that leads to this ill-fated plan.

The village are not very pleased to have these outsiders coming in, and they have to try and placate various other people – from the doyenne of the village to the pub owners who claim the tea garden is stealing their business. Many things in village life have not changed since 1950, when this book was published, and I certainly recognise a lot of the sparring. Things only get more animated when Mimi is hired as a cook. She is a refugee from Vienna, and not above using her feminine wiles to get attention. As the narrator drily notes, her English gets more broken the more she wishes to charm her interlocutor.

Essex handles the whole thing wonderfully – it’s just a joyful romp, with quite an unexpected ending that I shan’t spoil here. It was quite difficult to find any contemporary issue to write about in the afterword, so I chose to write a bit about rationing. But this isn’t in any way an ‘issue novel’ – rather, it is a dollop of fun in a year that needs all the fun it can get.

Pin A Rose on Me by Josephine Blumenfeld

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I was intrigued when I first read Scott’s review of Pin a Rose on Me (1958) by Josephine Blumenfeld, mostly by this line of his: “a bit like one of E. M. Delafield’s Provincial Lady diaries as penned by Morticia Addams, or perhaps it’s like one of Shirley Jackson’s wonderful humorous memoirs of domestic life, if Jackson had let loose all the more morbid gothic impulses of her fiction instead of keeping them fairly muted.”

Well, how could I resist?

I think it ended up being a cross between the Provincial Lady and Barbara Comyns, for me – the sardonic domestic memoir combined with a matter-of-fact observation of bizarre things. Very little is given any sense of being unusual, rather we rocket through her experiences without much pause for breath.

Mrs Appleby is the first-person narrator, who has a handful of adult children and doesn’t much care for them or their progeny. As the novel (let’s call it that, though I’m not sure it quite qualifies) opens, she is more focused on her dog Fanny and her coquettishness for dogs of the opposite sex. The line ‘Tarts don’t have Fannys’ on the first page might rather make this one impossible to reprint in England…

There isn’t a plot, really, it’s just Mrs Appleby’s life – which seems crammed with movement. At one point she rather suddenly goes off to America by sea (if I understood it properly), while elsewhere she embarks on a volunteering career in a hospital. Very little is forewarned, and the eccentricity of the structure matches the eccentricity of the character.

Essentially, it is an exercise in tone. Here are a couple of examples of it…

After dinner the others play bridge and say, ‘The rest are mine’, while I do my occupational therapy, a rather revolting piece of tapestry I am doing for my nephew and his wife who don’t want it but who daren’t say ‘no’. It has gone wrong somewhere, it rises to a tight peak in the middle and is lopsided.

“It’s pretty, isn’t it?” people say sadly. “But isn’t there something a wee bit wrong? Haven’t you pulled the wool too tight? You’ll have to have it stretched, won’t you?”

I shan’t have it stretched, I shall throw it into the sea the day we leave. But now while the others are writing their log books and we are drifting about between the islands, it is infinitely soothing to push coloured wools in and out of any old holes I feel inclined, and it keeps my mind off the rough seas.

And another…

Sad friend sends white hand-knitted shawl for my birthday.

“It will go well with your dark hair, my dear,” she writes. “It was originally meant for Derek’s wife, but things didn’t turn out to plan as you know, so I feel that you should have it for your birthday.” She goes on to say she has arthritis in all her fingers and is finding it more and more difficult to get through her tea cosy orders. “The doctor says I should winter abroad. What wild ideas they have.”

The shawl is beautiful, wide, long, soft and miraculously woven in the shapes of giant cobwebs and open roses. In a shop it would cost a lot. Sad friend wouldn’t get a lot from a shop, but she will get nothing from me as it is my birthday present and I can’t pay for my birthday present.”

Sometimes the tone worked really well – sometimes the deliberate inconsequential nature of Mrs Appleby’s descriptions of life were, well, too inconsequential. Overall, it is exuberant and odd, and it doesn’t quite cohere into a full novel, but perhaps Blumenfeld is trying something completely different. It certainly felt pretty dizzying to read, and there were plenty of moments that made me laugh – as well as times I had no clue what was going on or where we were. Mrs Appleby’s determined forthrightness, and total absence of anything resembling etiquette or regard for others, made her an enjoyably eccentric protagonist to spend time with. She would be a nightmare in real life, but some of the best protagonists would be.

I think I’ll re-read one day and see if I can work out what’s going on a bit better. But it’s great fun and very unusual – not quite consistent enough to warrant becoming a classic, but a tour de force that may have influences of Delafield, or even Comyns, but ends up being its own strange little thing.

Thin Ice by Compton Mackenzie – #1956Club

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Thank you for some additional 1956 Club reviews since I updated the page recently – I will make sure the list is fully updated at the end of the week. And will read all the reviews too! This week has rather got away with me, but I always manage to read them in the end – and what a variety of books people have been reading.

I don’t think I’ve seen anyone else reading Thin Ice, though. It’s my third Compton Mackenzie novel, and the other two (Poor Relations and Buttercups and Daisies) both of which ended up being among the favourite books I read in those respective years. Since then, I’ve been buying a lot of his novels, and I was aware that he wrote in various different styles. The first two I read were very funny, bordering on farce. Thin Ice is… not.

It’s narrated by a man called George and is about the life of his close, long-term friend Henry Fortescue, from 1896 to 1941 – when, as we learn on the first page, Fortescue dies. They were friends as youths and continued to be as Henry became an MP, with an eye on potentially becoming prime minister. The only thing that might stand in his way is if he ‘indulges in his indulgence’ – which is being gay. This is a secret for only a few dozen pages, and even during that time it is a secret only from George – the reader has worked it out almost instantly. Henry states early on that he will never marry any woman, and that he intends to either be celibate or throw caution to the wind completely – and this is where the title of the novel comes from:

”You’re pacing this orchard with me, Geegee, trying to look sympathetic, and only occasionally peering nervously round over your shoulder to see that nobody is within earshot, but how can you be sympathetic? You can’t possibly understand my emotions. I can assure you that I shouldn’t be inflicting them on you now if I were not determined to suppress them henchforth. That’s why I’m telling you. Edward Carstairs would jeer at that. All he would ask is that I should be discreet. And that’s what I was intending to be until I realised that for me discretion was impossible. It had to be complete self-denial, or complete surrender. And walking about for ever on thin ice does not appeal to me.”

It’s certainly an interesting theme for the 1956 Club, being published more than a decade before homosexuality would become legal in the UK. Sadly, it’s not a very interesting novel in any other way.

Because it covers such a long period, and gives weight to each year, the chapters hare through a lot of time at breakneck speed. Details of the day are thrown in, often political, many of which didn’t mean much to me but do give a good sense of historical accuracy. Doubtless the 1956 reader enjoyed the references that took them back to their own younger days. But this speeding through years gives Thin Ice a feeling of being constantly in flux, and never letting us bed in to any details of the characters. The narrator is largely there to relay events, but we expect a bit more of a personality from the main character’s best friend. And Henry himself is drawn with a bit more complexity, but we don’t get enough time to dwell on any of it.

Mackenzie isn’t writing in humorous mode here, and I certainly missed that. It all felt a bit colourless and repetitive. Bland. Perhaps it wouldn’t have done if he’d picked a few years and focused more on characters and relationship between them. The scope of the novel left it without any depth.

A shame to end 1956 Club with a bit of a dud, and perhaps it wouldn’t feel quite so much a dud if I didn’t love Mackenzie’s comic fiction as much as I do.

Spam Tomorrow by Verily Anderson – #1956Club

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It is well documented that I want to own every single one of the Furrowed Middlebrow titles from Dean Street Press, and I’m doing my best to achieve that goal. I bought Spam Tomorrow by Verily Anderson last year, having coveted it when Scott first blogged about it. It’s a war memoir – and it’s always interesting to see the tone these have in the post-1945 club years. I get the impression that things went a bit quiet on the war memoir front immediately after the war, but 10+ years later people were ready to look back on that bizarre time.

First off, yes her name was Verily. And here’s why:

One of my father’s interests is words. He devised a system for naming his five children. Each name had to have six letters; and, because his and my mother’s names contain an R and an L, each of ours had to too – plus some peculiarity not shared by others. Merlin (n), Rhalou (h), Erroll (doubles), Verily, (v) – not so much a name as an adverb – and finally, to fall in with the system, he had to invent Lorema.

Spam Tomorrow starts off with Verily going briefly AWOL as a F.A.N.Y. (First Aid Nursing Yeomanry) so that she can marry Donald, which they do hastily and illicitly – illicit because she didn’t have leave, rather than because they couldn’t be married.

She then jumps back a bit to joining the F.A.N.Y. – before which she had found a job that used her artistic talents to some extent, in that she designed the wrappers for toffees. It is an example of the slightly eccentric and bohemian spirit that is key to understanding Anderson’s character and writing – a detail that might seem too niche and absurd in a novel, but just happens to be true.

Anderson doesn’t work for the nursing yeomanry for a very long time, and is quite open about how poorly suited she was to such a regimented life. There is a very funny and odd scene early on where she is arrested and threatened with court-martialling for crashing a government vehicle into a gatepost.

A few minutes later, while I was getting ready for lunch, two F.A.N.Y.s of the quiet, useful, obedient type came into the bedroom which I shared with four others (including one whose claim to fame was that her husband had been fallen on by Queen Mary in her recent motor accident). The two F.A.N.Y.s stood in a waiting attitude, one each side of me.

“Want to borrow a comb?” I asked affably.

“You’re under arrest,” said one.

“I’m what?” I asked.

“Under arrest. We’ve had orders to close in on you and march you to the orderly room without your cap or belt.”

She never quite works out what is going on, but ultimately receives a reprieve. It’s an insight into the daftness that always comes with a militaristic attitude to life.

The bulk of Spam Tomorrow is taken up with her married life and particularly her domestic life. Some of the most dramatic pages, unsurprisingly, are when she goes into labour during an air raid. Apparently this left her quite ill for a long time, and the only cure was to have another child – which rather baffled me, but it seemed to work.

I loved everything about her looking for housing, and it was fascinating to read about the precarious nature of homes in London in a period when they could easily be bombed at any moment. And then there is the section where she starts taking house guests in a larger place in the countryside, and discovering how inept she is at it. Which gives plenty of opportunity for being scathing about some of the worst paying guests – particularly those who come from an artists’ colony and have extremely demanding tastes. It reminded me quite a lot of the latter stages in another Furrowed Middlebrow title, Ruth Adam’s wonderful A House in the Country.

Basically, the whole book was very funny and enjoyable, without ever shying away from the perils and privations of the home front. I’ve read far more home front memoirs than those of active soldiers, and I can’t imagine that trend will change, and Anderson’s is a worthy addition to the genre – because of her experiences, but mostly because of her frank, eccentric, and indomitable character.

Beyond the Gates by Dorothy Evelyn Smith – #1956club

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I’ve been buying up Dorothy Evelyn Smith’s novels, because I’m worried that when O, The Brave Music is published by the British Library later in the year, there will suddenly be none of them on the secondhand books market. Of course, Miss Plum and Miss Penny from Dean Street Press might already be having the same effect. Well, I bought Beyond the Gates earlier in the year and was delighted when I saw that it qualified for the 1956 Club.

This novel came somewhere in the middle-to-late period of Smith’s all-too-short writing career – she was 50 when her first novel was published. It concerns a 15-year-old called Lydia and the gates she is going beyond are those of Mary Clitheroe Orphanage. She has been chosen to go and be a servant for Marion Howard and her small household – though she is so diminutive that Marion initially mistakes her for someone much younger than 15. Rather a lot of emphasis is placed on how small and ugly Lydia is, though they’re not particularly significant characteristics for the rest of the novel – except for contributing to the low self-esteem she has.

Marion is unsure if Lydia will be able to manage the work on her own, but takes her back to the house and agrees to a trial. Marion is a single woman who lives with her niece Midge – various other siblings and nephews/nieces come to visit at different times, though most members of the sprawling family were killed in an accident. I drew out a family tree in the pack of my copy, and then most of them died and it became less relevant!

When she was a very old woman, whatever else Lydia might forget, she would never forget one thing – her first sight of the room which Miss Howard told her was to be her very own. 

She advanced across the threshold slowly, warily, as an animal enters strange territory, fearful of the hidden enemy, the biting trap. She stared about her furtively. Her flat, sallow face showed nothing of the leaping, incredulous pleasure that swept her in a great wave.

“Put down your box, Lydia.”

Lydia set the trunk down carefully against the wall.

This is all in 1920. The novel is in three parts, and the others are in 1930 and 1940. There is some plot along the way, not least when Lydia’s past life catches up with her in the middle section, but for the most part Beyond the Gates is about relationships. It’s about how Lydia discovers being part of a family for the first time, gradually thawing until she can believe that she is loved.

Which makes it sound extremely mawkish. And it does lean a tiny bit that way occasionally – I would have preferred Lydia and Marion to have a few more negative character traits, to offset the loyalty and kindness that they have in common. But mostly Smith is too good, too delicious a writer to be disliked. I’ve read four of her novels now (though don’t remember much about the one I read years and years ago), and what really makes her stand out is the way she brings the reader into the world of the story. I never visualise the books I read, but I feel like I’ve spent time in each of her communities. I don’t know quite how to explain that, because I haven’t imagined myself in those surroundings (my brain doesn’t work like that), but I belong to these worlds. There is something in the warmth of them, the timbre of them, the atmosphere of them, that has enveloped me and kept a bit of me behind.

It’s a rare quality, and it’s precious. O, The Brave Music remains my favourite of her books, and the one that enveloped me most completely, but I loved reading Beyond the Gates too. I’m so glad this special writer is finally being rediscovered.