Sylvia Townsend Warner, Elizabeth Bowen, linear narratives – welcome to episode 114!
In the first half of this episode, we use a suggestion from listener Sarah – do we prefer linear or non-linear narratives? In the second half we look at two books from Rachel’s tbr pile that don’t, honestly, have much in common – though we do manage cobble together some thoughts, as per: A World of Love by Elizabeth Bowen and the short story collection Winter in the Air by Sylvia Townsend Warner.
As usual, we’d love to hear from you at teaorbooks[at]gmail.com with any questions, comments or suggestions – you can listen on Spotify, Apple Podcasts, or wherever you get your podcasts. Please rate and review, it would mean a lot, and you can support us at Patreon too.
The books and authors we mention in this episode are:
Bricks and Mortar by Helen Ashton
The Captain Comes Home by Helen Ashton
Miss Ranskill Comes Home by Barbara Euphan Todd
Return to Cheltenham by Helen Ashton
Babbacombe’s by Susan Scarlett aka Noel Streatfeild
High Wages by Dorothy Whipple
Free Air by Sinclair Lewis
Babbitt by Sinclair Lewis
Main Street by Sinclair Lewis
Spiderweb by Penelope Lively
Life After Life by Kate Atkinson
Which Way? by Theodora Benson
The Versions of Us by Laura Barnett
Dangerous Corner by J.B. Priestley
Constellations by Nick Payne
The Eternal Return of Clara Hart by Louise Finch
The Seven Deaths of Evelyn Hardcastle by Stuart Turton
The Night Watch by Sarah Waters
The Good Liar by Nicholas Searle
The Long View by Elizabeth Jane Howard
Wise Children by Angela Carter
The Time Traveller’s Wife by Audrey Niffenegger
Time’s Arrow by Martin Amis
Patricia Brent, Spinster by Herbert Jenkins
O, The Brave Music by Dorothy Evelyn Smith
South Riding by Winifred Holtby
Rebecca by Daphne du Maurier
Swans on an Autumn River by Sylvia Townsend Warner
To The North by Elizabeth Bowen
Sense and Sensibility by Jane Austen
Quartet in Autumn by Barbara Pym
Journal of a Solitude by May Sarton
Any chance of getting transcripts of your podcasts? I love many of your topics and tried to listen, but for some reason the frequency of your voices make it almost impossible for me to follow the discussion, I have to keep adjusting the volume up and down. I particularly would love to follow the first part of this discussion as I have some very strong views on the issue.
Sorry to sound like I am complaining, you are doing a podcast not a blog post here, and it is my issue that I struggle to be able to listen.
Hi Jerri – sorry about the frequency issues. I’m not sure how to go about putting together a transcript, but I’ll google and see what I come up with.
Thank you Simon and Rachel for another very enjoyable episode. I am broadly in agreement with both of you! I too thought Life after Life worked well and I loved Which Way, which reminded me of the film Sliding Doors. I’m reading Catherine Cho’s memoir of post- partum psychosis at the moment and that also jumps backwards to before and after. Nevertheless, I agree that often the device is used to try to make a weak or boring story stronger and that just makes it confusing or annoying. It tends to be found more in modern work (as Simon mentioned, ‘Versions of Us’, which I didn’t like).
For the second, part, I really loved some of the stories in Winter in the Air. The first paragraph of the first one (of the title) drew me in with the wonderful description of the rearranged furniture. The other ones I liked best were ‘Hee-Haw!’, ‘Idenborough’ and A Second Visit’.
I am afraid to confess that, much as I could appreciate some of the descriptions of the property and surroundings in ‘A World of Love’ , I did not finish it. I did not like the characters nor was I interested enough in these mysterious letters. As Rachel suggests, perhaps I should try another Bowen
Looking forward to the next head to head of books. I have just read the May Sarton and might reread A Quartet in Autumn too.
If you are still looking for first half ideas, I did wonder about whether you prefer books with main character in the first half or second half of their life (or say over or under 30 or 40 or older – it could tie in with the characters in the next two books being in the autumn of life)?
Love getting your thoughts, thank you! And glad you were more or less in line with us. Warner is really good on domestic arrangements and lay-outs – some of the stuff on that in Lolly Willowes is so perfectly done.
And thanks for the first half suggestion – again, seems astonishing that we haven’t done it, but I think you’re right that we haven’t!
TBH I don’t mind either – it depends on the book, really, and I’m quite happy with a narrative which moves backward and forwards in time!
You have a better mind than mine :D I get so confused nowadays!
Another great episode as always! And I can’t wait to hear what you two have to say about the May Sarton and Barbara Pym matchup.
I had an idea for the first half but it might be too silly …. “Lowbrow vs. Highbrow?” (Middlebrow is not an option :) I’m not really sure what “lowbrow” IS or what it would have been during the time period you two love the most, so it would be fun to hear what you said :)
Despite the fact that you were both unimpressed, I have to thank you because my reading of A World of Love in preparation for the podcast has sparked a Bowen renaissance! In fact it became my favorite Bowen novel until I started The Last September – and I’ll have to finish that one to be sure. :) I agree that Bowen can write convoluted sentences, but I think her characterization, dialogue, and brilliant descriptions outweigh that one negative. I loved the scene where the drunken party at Lady Latterly’s were commenting on the extra place setting and empty chair at dinner, and, “leaning across her neighbour, she [Mamie] dropped the rose between the knives and forks of the empty place, saying “There, darling! You’re my ideal man.’” Hilarious – I loved that – but aside from the humor, it highlights the crux of the dysfunction at Montefort. Guy was idealized by both Antonia and Lilia. Jane finding the letters with the unidentified recipient prompted the two women to think more critically about that relationship. They both finally acknowledged that Guy was not waiting for either of them at the station – there was someone else. We only see the beginning of how freeing this is for Lilia and her ability to relate to Fred. They start to have actual conversations, go on a drive, and, seeing Jane off at the end, Lilia ‘links her arm maritally through Fred’s.’ Until the finding of the letters, Fred was the imperfect reality compared to the perfect life she imagined she would have had with Guy. Maybe the family can move forward and, yes, pay attention to Maud! Another great character and great line: “Few are children for whom one feels no concern; Maud happened however, to be one of them.”