1942

One Year’s Time by Angela Milne (British Library Women Writers)

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I’m delighted that One Year’s Time by Angela Milne has been out for a month now, and I realise I’ve mentioned it a few times but haven’t ever actually written a review of it. I’ve only seen one or two online so far, so I want to spread word more about this marvellous book.

And, gosh, it so nearly didn’t happen! I may have told this story before, but it bears repeating. It was all lined up a couple of years ago, and I think it was even in the catalogue, but it was proving impossible to track down the family. The British Library are brilliant at finding estates and negotiating publications, so it did feel like a lost cause. With the thought ‘well, it can’t hurt’, rather than any real expectations, I put a plea out here. And it turned out that one of Angela Milne’s nephews had once commented on Claire’s blog, so she got in touch with him – and he was able to connect us with Angela Milne’s children. How wonderful! The blogging world stepped in where every other attempt had failed – and the result is that One Year’s Time is back in print.

This was Angela Milne’s only novel, published in 1942 but set in the 1930s – the exact year isn’t clear, but war is clearly on the horizon. It tells of a year in the life of Liza, particularly her romantic entanglements with a young man called Walter (!), and of her work in an office. It’s rare to get the career angle of a woman’s life in a novel from this period, and I particularly enjoyed that.

As the book opens, Liza is painting the floor – rather unsuccessfully. She surveys her flat, and feels a bit sad about being single.

There was a scrubby patch on the carpet where she had washed the ink out; and two cushions hardly counted as heaping a divan, and chintz curtains weren’t necessarily chintzy, and they weren’t gay, they were just curtains hanging up. She thought, oh, all these things the newspaper say about what they call Bachelor Girls.

‘Bachelor Girls’ is a term that recurs throughout the novel. Liza feels some disdain for women who are unmarried, particularly those who have settled into lifelong friendships with other women (and one does wonder how much she might be missing about lesbians…) But she also stands up to Walter when he mentions the same topic:

“You have to wear a collar and tie and have square legs to be a bachelor girl.”

“It’s awfully unfair that they don’t call men spinster boys. I mean, men who aren’t married. Why do you think they don’t?”

“I suppose they aren’t a new enough invention,” said Walter.

We chart the ups and downs of Liza and Walter’s relationship, and what I most enjoyed about it was the dialogue. It’s very hard to get flirtiness and wit onto the page, but I think Milne does it brilliantly. A lot of what they say is quite stagey, and reminded me of Noel Coward, so it gives the sense of what their relationship is like – rather than being actual conversations that real people would have. And that, to my mind, makes it much more entertaining.

As I wrote in my afterword to the new edition, two themes that dominate One Year’s Time, or at least preoccupy the characters, are sex and money. It is surprisingly frank for a 1942 novel, particularly one probably aimed at a wide audience rather than a small literary elite. Walter casually says that the thing he likes best in the world is sex, and Liza and Walter go speedily from meeting each other to ‘me in bed with nothing on, and him kneeling there with only socks’. They have no qualms about discussing their past sexual history with each other, and Walter even casually mentions having had an affair with a married woman. 

And then there’s money. Liza earns a living and has a small legacy from an uncle, but she is very conscious of not having quite enough to live the lifestyle she’d like. We get the details of her salary, her potential raises, her rent – even how much different food items are in shops, and her silent indignance when a friend spends more than others at a restaurant then splits the bill. Such things are perennial.

So much about this book feels fresh and modern. It’s also, of course, a snapshot of the late 1930s – in a way that helps us remember that human nature doesn’t changed very much, and we all have more or less the same concerns that our parents/grandparents/great-grandparents did. Most of all, I think it’s a very funny book with a memorable pair at the centre who are often frustrating but always compelling. I’m so pleased it’s back in print, and I finally have my own copy.

Embers by Sándor Márai

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I picked up Embers (1942) by Sándor Márai in a London bookshop a little while before the pandemic, drawn by the striking cover design and intrigued by the premise. Not many books are primarily about friendship, and the small sample I read in the shop seemed beautifully written. And so it came home with me – and I really loved my experience of writing it.

Sándor Márai wrote Embers in Hungarian as A gyertyák csonkig égnek, which means ‘candles burn until the end’, and is presumably a Hungarian phrase that we don’t have in English. Embers also works very well as a title, and it was the title of the German translation (Die Glut) which was then translated in English by Carol Brown Janeway. I’m not sure why they didn’t get someone to translate straight from the Hungarian, but there we are.

The novel opens with an old General in his palatial home, which he shares only with servants and an ex-nurse Nini, who is in her 90s and a wise, all-knowing companion. He never leaves the place – he keeps only to a handful of its many rooms. And he receives a message that an old friend, Konrad, will be visiting for the first time in more than four decades.

Normally this is a conceit that puts me off a novel: a scene in the present day that then zips back to a long, chronological sequence of the past. It usually makes everything that follows feel anticlimactic. Here I think it worked – because the General’s present day is so stultified. He doesn’t even seem to live in memories most of the time, just in a protracted period of apathy.

Before Konrad arrives, Embers takes us back to the friendship between Henrik (the General in his youth) and Konrad. As young children they were inseparable, and this bond never wavered. Through school and beyond, they were as close as it is possible for two people to be – as close as twins in the womb, the novel says.

Nothing is so rare in the young as a disinterested bond that demands neither aid nor sacrifice. Boys always expect a sacrifice from those who are the standard-bearers of their hopes. The two friends felt that they were living in a miraculous and unnamable state of grace.

There is nothing to equal the delicacy of such a relationship. Everything that life has to offer later, sentimental yearnings or raw desire, intense feelings and eventually the bonds of passion, will all be coarser, more barbaric.

Henrik is usually referred to as ‘the son of the Officer of the Guards’ in the narrative, when dealing with his younger days, and we can never forget his privileged and prestigious position. By contrast, Konrad is from poverty – and refuses any financial help. His pride is so frustrating to read about. Not least because he determines he must still move in the same milieu as his friend – must have the right coat, the right gloves, the same tipping of servants, however difficult it is to find money for this. The friendship persists because Konrad doesn’t owe Henrik anything – but this disparity is always present.

I loved the way Márai writes about friendship. He recognises its value, not relegating it to a distant cousin of romantic love. He also sees how it can be as troubled as any romance – and the reader is continually trying to piece together why there has been a gap of 41 years in this friendship that started so boldly and deeply.

The reasons are unfolded at their reunion – again, Márai breaks novelistic rules and gives the General enormous amounts of dialogue for more or less the whole second half of the novel, revealing why the friendship broke off. But, again, somehow it works. Possibly because Márai’s writing is beautiful and his building of character so brilliant.

There are no neat conclusions in Embers, and yet I came away totally satisfied. An exceptionally good short novel, moving and dramatic, and addressing deep emotions and relationships that are usually disregarded in literature.

I Ordered A Table For Six by Noel Streatfeild

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I bought I Ordered a Table for Six (1942) by Noel Streatfeild in a lovely secondhand bookshop in Ironbridge, just a few weeks before the pandemic hit the UK. It feels like another lifetime. It’s certainly been catching my eye ever since then – because isn’t that a wonderful title?

I’ve much less well-versed in Streatfeild’s output than many of you will be, having never read Ballet Shoes or any of her other children’s books. Previously, I’d only read Saplings – the book Persephone published – and was a little lukewarm about it. For my money, I Ordered a Table for Six is rather better – and it’s available from Bello, though I was lucky enough to find this old hardback. Here’s how it starts:

“I shall,” thought Mrs Framley, “give a little party for him.”

Adela Framley had come downstairs to her office. There are few things which are pleasurable in a war, but walking to what had been the breakfast-room, and was now her office, was a daily source of happiness to Mrs Framley. Her route lay through the main passage where the unpacking was done, and through the big dining-room, which was now the work-room. As she passed, women straightened their backs or raised their eyes from needles and sewing-machines and smiled. To everybody in the building she meant a lot. She was Mrs Framley who ran ‘Comforts for the Bombed’. They might say this and that about her for her story was no secret, but during the hours while her workrooms were open she was the organiser and founder and therefore a personage. For nearly four years her sense of inferiority had been so absorbing that the fibre of her nature had shrunk. Since she had founded her comforts fund it was expanding, not to its old shape and size, but enough to give some relief to her contracted nerves.

The ‘him’ in question is Mr Penrose, the patron of this charity that has given Mrs Framley purpose. It provides necessary items to those whose homes have been destroyed by bombing, and is the sort of moment for which women like Adela Framley live. She is the sort of woman who commandeers a village jumble sale and rules it with determination (and an underlying awareness that nobody much likes her) – and ‘Comforts for the Bombed’ has given her the opportunity to do this with an unassailable moral virtue. Though there are talks of subsuming her small division into a wider, better-organised scheme. And most of the legwork is done by Letty – an assistant who is blandly loyal on the surface, and doesn’t much like Adela underneath that.

One of the wartime mysteries is the absence of Adela’s son. I can’t remember how soon in the novel that is revealed, so I shan’t say anything – but there is certainly early doubt that he is away fighting, not answering her letters. And one of the five people invited to the dinner is a friend of this son’s, who is only there in the hope that it could be financially advantageous to him. Adela’s daughter – on the cusp of adulthood – is also coming to London for it, against the advice of the relative she is staying with in the depths of the countryside. A dully suitable man has been invited in the hopes of being an eligible future husband.

The dinner doesn’t take place until towards the end of the book, but there is plenty to engage us before this. Streatfeild gives us richly detailed characters, and isn’t shy about making them unlikeable. Everybody is shades of grey – Adela’s war work being a good example of the different impulses, good and the reverse, that motivate most people. The only thing I found confusing was when we were thrust into the world of another of the dinner guests, and suddenly had whole new places and sets of characters to meet and engage with – it always felt a little severed from what had preceded, even though the different threads come together well at the climactic dinner.

It’s always interesting to read a book so centred in the Second World War that was published while the war was in full flow. I Ordered a Table for Six gives a perspective on the war that I hadn’t seen before, with perhaps the closest being the sections on war work in E.M. Delafield’s The Provincial Lady in Wartime. There are few characters to warm to, but it feels like a vividly real depiction of a moment in a desperately strange period of recent history – managing to merge a sort of abrasive uncertainty about the future with the ingredients of an early-20th-century domestic novel of middle-class life. I think definitely worth tracking down – just don’t read the full description on the publisher’s website, as it gives away the ending!

25 Books in 25 Days: #4 Our Heritage of Liberty

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Image result for stephen leacock
Image via WikiCommons.

I’ve loved Stephen Leacock for years, and was intrigued when I found Our Heritage of Liberty (1942) by Stephen Leacock in Hay-on-Wye a couple of years ago.

It’s a brief (75pp) history of liberty – from the medieval world to the 1940s, via Rousseau, the Victorians, etc. etc. Curiously, it is largely only about Western Europe and the USA – Leacock largely overlooks his own country of Canada. It’s quite interesting as a potted history, but I found it most valuable in the final quarter – where he talks about the various conditions of freedom in the 1940s, from housing to working. It’s not as witty as I’d hoped Leacock might be (Milne, for instance, can be very amusing even on serious topics – c.f. Peace With Honour), but it’s pretty good. It’s also interesting that every age thinks itself the exception and pinnacle…

To-day there are no new lands, and the machine in a certain sense has become the master, mankind the slave. Most of the habitable world has been explored and appropriated. Invention still goes on, but finds its readiest application in the means of death. Nor can even the industry of peace follow its perpetual changes. Nor is there left any longer the escape from civilisation, the new start in the wilderness. The last frontier is vanishing. From our narrowed world there is no getting away, except by what mathematicians call the velocity of escape – meaning to be fired off into space at the rate of seven miles a second – on which terms no traveller returns.

We cannot wonder that this imprisoned feeling, this loss of one’s own control, breeds in many people something like despair, a wistful longing for the “good old times”.

Evenfield by Rachel Ferguson

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evenfieldFor some reason, despite quite a lot of reading time, I haven’t managed to finish more than one short book so far in 2017. What’s going on? Well, for now, here’s a Shiny New Books review of Evenfield (1942) by Rachel Ferguson – one of the new Furrowed Middlebrow reprints. It’s quite an extraordinary novel – in terms of what it’s trying to do and be. Below is the intro to my review, and you can read the whole thing here.

The launch of the Furrowed Middlebrow series from Dean Street Press, under the editorial eye of blogger and middlebrow expert Scott of Furrowed Middlebrow, is an occasion for much rejoicing. His knowledge of neglected writers from the twentieth century is second to none, and I very excited to see which names he picks for the ongoing series. But there was one name in the first tranche that particularly thrilled me: Rachel Ferguson.

Ferguson is known now, if at all, as the author of The Brontës Went to Woolworths and Alas, Poor Lady, which have been reprinted over the years, but the rest of her novels have remained neglected. Dean Street Press have now brought back A Harp in Lowndes Square, A Footman for the Peacock, and Evenfield, written between 1936 and 1942. The last and latest of these is the novel I’ve read for Shiny New Books, and it is a bizarre, enticing curio that could have come from no other pen.

Sword of Bone by Anthony Rhodes

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sword-of-boneI’ve read quite a few war memoirs, but I’ve not read one quite like Sword of Bone before – this is the first of my reviews at Shiny New Books’ latest edition that I’ll be pointing you towards. Here’s the opening of my review; you can read the rest here.

They’ve done it again! Slightly Foxed have brought out yet another fascinating, entertaining, and well-written memoir – and another one that I would never have heard of without their curated collection in Slightly Foxed Editions. This time, it’s the memoir of a billeting officer during the Second World War – with the added interest that it was originally published in 1942 when, of course, the war was far from over.

An unusual Vita and books for the train

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A quick note that I’m over at Vulpes Libris today, writing about a novel by Vita Sackville-West that you might not have heard about… Grand Canyon is quite unlike anything else I’ve read by VSW.

Sorry for the lack of book reviews actually on SIAB for a while. Holidays and RSI and busyness have all collided, it seems, though my pile of books ready to review is steadily growing. And next week I’m off to Edinburgh, with a pile of paperbacks to read on the train… I thought these would be small and light enough to leave plenty of room for buying more!

books for Edin train

 

Let’s see how many I manage read on the long train journey…

So, Cornelia Otis Skinner is the actual best (and a GIVEAWAY, y’all)

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In the early days of discovering authors for myself, it seemed like every one I stumbled upon turned into a lifelong favourite. I still have massive devotion to A.A. Milne, E.M. Delafield, Richmal Crompton, Stephen Leacock, The L-Shaped Room (because, let’s be fair, it’s that book; not Lynne Reid Banks in general) etc. There were so few duds. And these sorts of epiphanies come so infrequently now that I’ve started wondering: is it just the glitter of the new? Or even the opportunity to blitz through an author’s work, when there aren’t teetering tbr piles (real and imaginary) of pressing reads?

Well, thank you Cornelia Otis Skinner, for coming along and proving me wrong. Consider me devoted.

Cornelia Otis Skinner Nuts in May

 

I read Our Hearts Were Young and Gay, which she wrote with Emily Kimbrough, after Danielle lent it to me. I absolutely loved it, and kept an eye out for the authors ever since – but they are tough to come across in the UK. I did manage to read Popcorn by Cornelia Otis Skinner, which I wholeheartedly adored – and brought five of her books back with me from the US. That included a duplicate of Nuts in May – which I’m going to write about today, and offer as a giveaway to people in the UK, who will also have a tough job tracking her down. (Btw, in the US, they’re available cheaply online, so… have at!)

Skinner is a humorous essayist who reminded me a lot of Delafield and Diary of a Provincial Lady – which, if you know me well, you’ll realise can hardly be bettered as a compliment. Essentially, her books are masterpieces of self-deprecation. If that’s your cup of tea – and I live for it – you’ll find Nuts in May hilarious. Skinner (or her essay persona, at least) takes us through various aspects of her life, and activities she has attempted, and gives extremely amusing portrayals of how horribly everything goes wrong. Small stakes, of course: the worst that happens (and it repeatedly happens) is embarrassment or awkwardness. Take, for example, this (longish) excerpt from the chapter most redolent of the Provincial Lady, ‘Ordeal for Sons’, wherein Skinner visits her son at boarding school. (Incidentally, subscribers to the New Yorker can apparently read the whole article in its original glory. And I daresay that’s true for other Skinner essays.)

I set forth with my child who, the moment we get to territory totally unfamiliar to me, again disappeared. I wandered on aimlessly, passing stray professors and groups of boys who looked at me as if they wondered if my attendant knew I was loose. Some of the mink-coat mothers also passed and we bestowed on one another that sickly smile which can be taken for recognition or pure imbecility. After a time, my offspring hove in sight armed with skates and a stick and told me to follow him. Hockey was being played on a pond some hundred yards beyond us and the people I had passed were all heading for the barrier, which seemed to be the vantage place for watching the game. Once arrived at the pond, however, my son started leading me off in an oblique direction. When I shyly asked the reason, he said he didn’t want me near the barrier… that I might get in the way, or fall down, or otherwise make myself conspicuous. His method of making me inconspicuous was to station me off on a remote and windy promontory. A strange, solitary figure, silhouetted against the snow, I felt like the picture of Napoleon overlooking Moscow. I could hardly see what was going on, much less make out which of the distant swirling figures was my child, which, perhaps, was just as well as it saved me the anguish of seeing him make a goal on his own side which counted some sort of colossal penalty and made him a pariah for the remainder of the game. On my forthcoming visit I am told the sport will be boat racing and I suppose by way of making me inconspicuous, I shall be placed behind a tree.

Oh, Cornelia. You and me are going to be best buds, I can tell. I mean, sure, I wish you had learnt more about paragraph lengths (this lady loves a long para) but I shan’t fault-find too much, as you’re so darn hilarious.

While her family shows up in quite a few sections (notably when her son believes he has discovered dinosaur bones, and they lug their find to the New York Museum of Natural History), Cornelia Otis Skinner’s name loomed largest as an actress, apparently. It’s a rich vein for anecdotes and amusing stories: she writes wittily about being demanded to appear in unpaid productions, the anguish of opening nights (for one’s friends and family), and the sort of person who comes backstage after a play. More unexpectedly, she writes a section about meeting the Pope. The only section that didn’t win me over was a spoof of John Steinbeck.

I’m at the risk of typing the whole thing out, so I shall just reiterate that she has that rare touch – to make stories entirely about herself and her situation (which is unashamedly middle-class) somehow hilariously identifiable, and light without being disposable. She is frivolous, but great frivolity takes enormous talent.

So, that giveaway part. As I say, I’m afraid it’s UK only – because Skinner’s work is tricky to find over here, and I feel like we Brits deserve a chance to get to know her. To be in with a chance of winning, just let me know your favourite American writer in the comment section, and I’ll do the draw on Saturday 6 June. I’m hoping to nab some suggestions along the way.

 

Agatha Agatha

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Sometimes you just need to read an Agatha Christie, don’t you?  Well, I do.  When I was getting bad headaches still (they seem to have worn off now, for the moment at least) I needed something that didn’t require much thought, but which still would be good – and so I picked up Five Little Pigs by Agatha Christie.  You may remember, from my report of a talk at Folio HQ, that Christie’s biographer Laura Thompson considered Five Little Pigs her best novel, and so I had to give it a go.

I shan’t write that much about the novel, because I really want to use this post to find out which one you think I should read next, but I’ll give you a quick response to Five Little Pigs (1942).  Well, for starters, I don’t think it’s her best.  Laura Thompson admired the way in which character and plot progressed together, and depended upon one another.  I agree with that in the abstract – but not in the way that the novel actually reads.
Poirot is investigating a murder that took place 16 years previously – on the commission of the daughter of the woman who was convicted.  Carla is the daughter, Caroline is the supposed murderer, and Amyas – Caroline’s husband; Carla’s father – is the artist who died of poisoning.  Shortly before she died in prison, Caroline wrote to her daughter to say that she was innocent… Carla, although only a young child at the time, believes her mother is telling the truth.  Poirot agrees to investigate… and narrows down the search to five people.  
The title Five Little Pigs is based on a nursery rhyme.  To quote Wikipedia: “Poirot labels the five alternative suspects “the five little pigs”: they comprise Phillip Blake (“went to the market”); Philip’s brother, Meredith Blake (“stayed at home”); Elsa Greer (now Lady Dittisham, “had roast beef”); Cecilia Williams, the governess (“had none”); and Angela Warren, Caroline’s younger half-sister (“went ‘Wee! Wee! Wee!’ all the way home”).”
The conclusion is clever and believable, and the characters well drawn (especially the contrasts between their present personalities, and the personalities shown in everyone’s accounts of the fateful day.)  The big problem with the novel, for me, is how repetitive it is.  Poirot goes to interview each of these five in turn, and he then receives written accounts from each of them (which are given in full).  That means we get ten accounts of the day, one after another.  Ten.  Five felt like it was pushing it; ten was simply dull by the end.  I get that Agatha Christie wanted to show how perspective can shed different lights on events.  But… too much.
Still, this is Agatha Christie.  It was still very enjoyable, and pretty compelling reading, but I don’t usually want to skip chunks when I read her.  Contrary to what Laura Thompson said, this is probably one of my least favourite Christie novels…
…and now I want you to suggest which one to read next.  Whenever I read one Christie I want to read more straight away.  I asked on Twitter, and got some great recommendations which I’m definitely keeping in mind, but I want to see which one would be most popular – so do comment with a recommendation even if someone else has already mentioned it.  To help you out, the following are the novels by Christie I HAVE read, so you don’t need to suggest these… oh, and I know the twist to The Murder of Roger Ackroyd, so I don’t really want to read that one just yet.  Over to you (thanks in advance!)
The Mysterious Affair at Styles
The Murder at the Vicarage
Peril at End House
Murder on the Orient Express
Why Didn’t They Ask Evans?
The ABC Murders
And Then There Were None
One, Two, Buckle My Shoe
The Body in the Library
Five Little Pigs
The Moving Finger
A Murder is Announced
They Do It With Mirrors
A Pocket Full of Rye
Hickory Dickory Dock
4.50 From Paddington
The Mirror Crack’d from Side to Side
A Caribbean Mystery
At Bertram’s Hotel
Endless Night
Nemesis
Sleeping Murder