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Helen at A Gallimaufry is hosting another Sylvia Townsend Warner Reading Week, and I think I’ve managed to join in every year – my bookshelves are nothing if not replete with unread STWs. I have rather failed with many of her novels, and gave up on The Flint Anchor a few weeks ago – but I tend to have much greater success with her short stories. I bought most of the available collections in a spree in 2011, and am gradually reading through them – and 1962’s A Spirit Rises is brilliant.

In her novels, Sylvia Townsend Warner travels widely through time and space. In her short stories, she tends to stick to contemporary England – and this is doubtless one of the reasons I love them so much. She doesn’t need to take us to another world; she can turn her observant eye to the world directly in front of her. And nobody is as good as Warner at the slightly unexpected twists of wording that show deep below the surface of people and their relationships with one another.

It’s always hard to write about a short story collection, so I’ll just pick out some of my favourite stories. Right up there was ‘A Dressmaker’, about an older woman who decides to stop being a dependable relative (shades of Laura Willowes!) and set up as an independent dressmaker. She is mostly doing dull, everyday outfits, but finds most fulfilment on the rare occasions when she has been asked to make evening gowns. And then quiet Mrs Benson comes – seeming quite drab, but bringing extravagant fabrics and asking them to be made into fanciful, beautiful pieces. Here is a section of it – best read slowly, enjoying every word choice Warner makes:

Five months later, she reappeared, and once more it was an evening gown she wanted. Winter had done its worst to Mrs Benson, but had not tamed her ambition. She brought billows of glistening white gauze, splashed with vermilion and rose and lemon, together with a wide ribbon of mignonette green for a sash – ‘like an azalea bed’, she remarked. Mary was about to ask if Mrs Benson was fond of gardening – many ladies were, and looked the worse for it – when Mrs Benson went on, ‘And after this, there is something else I’ve been thinking about, something quite different.’

‘A spring tailor-made, Madam?’ Mrs Benson’s daytime appearance made this a natural assumption.

‘For sad evenings.’

The word ‘sad’ had secondary meanings. It can be used for cakes that have failed to rise, for overcast weather. Mary supposed that the next dress she would make for Mrs Benson would for those dusky, clammy evenings when one almost lights a fire but instead puts on a shawl, and she was glad to think that for once Mrs Benson was facing realities. Mrs Benson was doing no such thing. The silk she brought, patterned in arabesques of brown and mulberry and a curious dead slate-blue, was fine as a moth’s underwing. Held against the light, it was almost transparent, like a film of dirty water.

‘You’ll have a slip underneath, of course, Madam. What shade were you thinking of?

But for once, Mrs Benson had not got it all planned and settled. She stared at the stuff as people stare at slowly running water, and said nothing.

Nobody but Warner could have written this. There are so many things I love in it, but ‘those dusky, clammy evenings where one almost lights a fire but instead puts on a shawl’ stands out. Just wonderful.

As another example, here’s the opening paragraph of ‘Randolph’, about a man returning to his sisters after some time away:

The date of the glossy new tear-off calendar was January 1 but from the window behind the writing-table one saw the vaguely smiling sky of a London spring. It was a room on the first floor, square, and rather too high for its floor-space. The folding-doors in the back wall were open, and gave a view of the room behind – once the back drawing-room of a Victorian mansion but now furnished as a bedroom. Both rooms were inhumanly tidy and smelled of moth-powder. Two women came in and began unwrapping the parcels they carried. 

I don’t know about you, but I’m reeled in immediately. She sets up the small world of the short story so quickly. I said earlier that Warner was describing the world in front of her – but often it is a hazy, timeless world. There are few 1960s references – and I suppose many of the stories would have appeared in the New Yorker in the previous decade. Perhaps it was writing for an audience across the ocean that meant Warner didn’t put English culture too front and centre.

When I read a later collection of stories, The Innocent and the Guilty, for Sylvia Townsend Warner Reading Week a couple of years ago, I found it all a bit vague and abstract. Some of the stories in A Spirit Rises go a different way – it’s the only time I’ve seen Warner use the precision of the unexpected denouement. I’m not sure those perfectly suit her writing style. Better are those like ‘A Dressmaker’ or ‘The Snow Guest’, about an escaped prisoner in a snowy countryside, which end on a stray observation. Something with far-reaching implications, but which is only a moment in a series of moments – not a turning point or a conclusion.

My favourite collection of Warner’s remains Swans on an Autumn River, though this was at least partly because I read them in a castle in Dorset. A Spirit Rises isn’t quite as meteorically wonderful as that book, but it’s not all that far off – it certainly includes the finest writing I’ve read this year, and I know will reward careful, slow, luxurious re-reading. If you’ve only encountered Warner the novelist, please don’t hesitate in exploring her extraordinary talent as a writer of short stories.