1954

Moominsummer Madness by Tove Jansson

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Moominsummer Madness

I started seeing Moomins popping up in reviews all over the place, and discovered that that it is #Moominweek! Literary Potpourri and Calmgrove have set this up, and even though I was late to the party, I rushed off to read Moominsummer Madness (1954) translated by Thomas Warburton – handily also ticking the Women in Translation Month box.

Tove Jansson is one of my favourite writers – you can click her name in the tags/categories section and find all of the other reviews I’ve done – but I’ve only read one Moomin book before. She is so brilliant in her adult novels and short stories at piercing relationships between people who aren’t quite able to communicate, whether that be the beautifully unsentimental meeting of grandmother and granddaughter in The Summer Book or the who-is-fooling-whom darkness of The True Deceiver. How does that translate to a world not about humans, but instead about moomins and their ilk?

In Moominsummer Madness, a nearby volcano causes tremendous flooding in Moominvalley.

In the fair night they could see something enormous rise high over the tree-tops of the forest, like a great wall that grew and grew with a white and foaming crest.

“I suppose we’d better go into the drawing-room now,” said Moominmamma.

They had no more than got their tails inside the door when the flood wave came crashing through the Moomin Valley and drenched everything in darkness. The house rocked slightly but didn’t lose its foothold. It was soundly built and a very good house. But after a while the drawing-room furniture began to float around. The family then moved upstairs and sat down to wait for the storm to blow over.

The whole house is soon under water. Somehow they rescue food from the kitchen (why is bread edible after it’s been floating around in floodwater? Maybe we shouldn’t ask such questions) and they don’t seem very perturbed by the turn of events. Calmness is key. And, calmly, they adopt another house that floats by.

At first they are worried that they are evicting someone else, or that the residents have perished in the flood. What the reader works out pretty quickly is that this is a floating theatre. The world of stage, props and backdrops is foreign to Moominmamma, Moominpappa et al, and it’s fun to see them discovering what’s going on – helped, sort of, but a grumpy rat (Emma) that lives in the theatre and speaks often of her late husband (who passed when the iron curtain fell on him).

Along the way, some of the gang get arrested for complex reasons, and there are various sidelines about combatting an overly authoritative park keeper and adopting a group of ‘woodies’. There’s a lot going on in quite a short book, and that’s partly because it is a constant chain of events – the characters seem to take most things in their stride, so there isn’t all that much describing their reactions. But there is some lovely humour along the way. I enjoyed Jansson’s riff on the theatre:

‘I want a lion in the play, at all costs,’ Moominpappa replied sourly.

‘But you must write it again, in blank verse! Blank verse! Rhymes won’t do!’ said Emma.

‘What do you mean, blank verse,’ asked Moominpappa.

‘It should go like this: Ti-dum, ti-umty-um – ti-dumty-um-tum,’ explained Emma. ‘And you mustn’t express yourself so naturally.’

Moominpappa brightened. ‘Do you mean: “I tremble not before the Desert King, be he a savage beast or not so savage”?’ he asked.

‘That’s more like it,’ said Emma. ‘Now go and write it all in blank verse. And remember that in all the good old tragedies most of the people are each other’s relatives.’

‘But how can they be angry at each other if they’re of the same family?’ Moominmamma asked cautiously. ‘And is there no princess in the play? Can’t you put in a happy end? It’s so sad when people die.’

‘This is a tragedy, dearest,’ said Moominpappa. ‘And because of that somebody has to die in the end. Preferably all except one of them, and perhaps that one too. Emma’s said so.’

Not being super family with the family and add-ons, I couldn’t remember much about people’s characters. They are sketchily reintroduced, so I know that Moominmamma is reassuring and calm, Moominpappa is kind and imaginative, Little My is angry and looking for affection etc. But I have to admit that I can’t quite get past them all being non-human, made-up creatures. I realise that it is an imaginative failing in me, but though I enjoyed reading Moominsummer Madness, I’d have enjoyed it more if they were all humans and the story was surreal rather than fantastic.

I’ll probably keep reading Moomin books now and then, because I want as much Jansson as I can get. And, yes, this was fun. But I’m so glad that there are plenty of non-Moomin books out there to show how brilliant Jansson was at her best. (Sorry not to write a wholly enthusiastic post for #Moominweek, but I’m glad to participate nonetheless!)

Four more #1954Club books I read

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Let’s rattle through some other books I read for the 1954 Club which possibly don’t warrant full reviews… they range from ok to bad, so come on a journey with me.

Doctor’s Children by Josephine Elder

Let’s start with the good-in-parts. This novel was reprinted by Greyladies, who bring back forgotten women writers in very limited print runs, so they sadly become forgotten again almost instantly. It’s both by and about a female doctor – not a new concept in the 1950s, but still not a commonplace, and Barbara (the heroine) faces quite a lot of disparagement and underestimation.

At the outset of the novel, Barbara’s artist husband has deserted her and their four children (aged between 19 and five). She needs income, she needs occupation, and she is trying not to think too much about her disastrous marriage. She manages to get a job as a GP in a job interview that is probably shamefully accurate about recruitment in the 1950s – i.e. she mentions that her uncle is renowned doctor Alderman Fisher, and that is all the panel need to hear to give her a job.

It is very interesting to see life as female doctor at the dawn of the NHS, and the subplot about her husband painting a picture that starts London gossiping is quite fun. Some of Elder’s observations on being a working single mother, and learning to deal with her children growing up and opposing her worldview, are engaging and show how little may have changed in 70 years.

The downsides… it is quite often an unsubtle polemic about aspects of the NHS, particularly about private GP practices being nationalised. A lot of the talk, inexpertly put into dialogue between various figures who exist only to discuss the topic, is focused on what this will be like for the doctors. There isn’t much about the patients’ point of view, or the inhumanity of refusing healthcare to those who can’t pay.

And – well, sadly Elder isn’t a very good writer. It’s not appalling, but it’s quite clunky and unconvincing at times. I never felt like I was reading the words of a gifted novelist, or even an averagely talented one – more that I was reading a doctor playing at being a writer.

 

Dishonoured Bones by John Trench

1954 is an interesting year for Golden Age crime, because the era was on its wane. Three decades had passed since the peak of detective fiction, and yet authors like John Trench seem to have stayed firmly in the mould that had been around for a long time.

This is the middle of three novels featuring archaeologist Martin Cotterill, though I’m not sure I’d have known he was the lead if it weren’t for that. When an old man is found dead at an excavation site, he is quickly identified as Lord Garnish – who, of course, is widely disliked. Murder victims in the early pages of these novels always are.

It’s not long before there’s another victim, and there are all manner of entanglements between local families that give us clues and red herrings along the way. I’ve said that this is in the mould of Golden Age crime, but in truth it oscillates between that and an adventure novel. There is an improbable scene of falling from a cliff and almost drowning, some rather silly chasing around subterranean darkness, and that sort of thing.

The eventual solution is ok, and could equally well have been almost anything else. Trench is good at drawing the more ridiculous characters, and there is one gossipy and flamboyant side character that I enjoyed and who got most of the best lines – but ultimately it was all rather flimsy. But good fun, as long as you know what you’re going in for.

 

The Cretan Counterfeit by Katharine Farrer

Somehow another one about archaeology! And, like Dishonoured Bones, it’s apparently the middle of three novels featuring the same detective – actually a legitimate policeman – Richard Ringwood, whose wife Claire pops up a bit and presumably plays a bigger role in other Farrer novels? Anyway, one morning they are reading the paper and see a very snarky obituary about an archaeologist, Alban Worrall, who has died. It is anonymous, but seems to be from a disgruntled colleague. The next day, a defence is written in the letter column by Janet, an unmarried woman who clearly admired him unrequitedly. And then she is attacked with a knife and left for dead.

There are some things to enjoy in this novel. The writing is fair, and I enjoyed the dynamic of Richard and Claire (albeit briefly). But overall it was difficult to care what happened, not to mention heavy doses of racism, antisemitism, and sexism. And Farrer either knows a lot about Cretan archaeological finds or went and did some research, and isn’t afraid to dump it on the page. I think any detective novel should rely on knowledge that any reader could be expected to have – it’s so much more irritating when all sorts of other knowledge is needed, or introduced in an expositionary way. There were a few Poirot-esque red herrings in the final gather-round-so-I-can-tell-you-who-did-it, though the answer is pretty offensive. One to miss. But not as bad as the last of these four…

 

Beside the Pearly Water by Stella Gibbons

We all know that, at her best, Stella Gibbons is wonderful. There’s a reason that nobody has reprinted Beside the Pearly Water, which is Gibbons at her absolute worst. It’s actually only the first 83 pages of this book, the rest filled with short stories of varying merit.

Throughout her writing, Gibbons is brilliant at oddballs and unlikely housing situations. She is very bad at romances, and also indefatigable at including them. In Beside the Pearly Water, the famous and beautiful Julia Lanier pays a visit to a remote part of the Scottish Highlands. She went there many years earlier, and there is a young woman (a girl, on Julia’s previous visit) who has held a grudge ever since. She devises a romance between Julia and a local man with a secret…

Somehow the two fall in love instantly, and we are meant to believe that they plan to spend the rest of their lives together on the basis of a half hour conversation. The final denouement is absurd and bad – and though tied to a 1950s concern, that I won’t spoil, is so histrionic that it a schoolgirl would be embarrassed to plot it. Gibbons really dropped the ball on this one.

The stories are a mixture of strong and weak. I think the best was ‘Listen to the magnolias’, about a nervous older lady waiting the arrival of various American soldiers who are being stationed in her house. (I am a bit confused if the fact they all turn out to be African-American is meant to be a twist or not… hopefully this story isn’t racist.) It’s thoughtfully and movingly described, and I felt like I was in her house as she waited.

The oddest opening to a story is ‘Madonna of the Crossings’, with “In the early summer of that year, the figures for road accidents soared, as usual, and as usual very many of those hurt or killed were young children.” There’s an attempt at a story in historical dialect that I skipped. And others are fine… but the aftertaste of Beside the Pearly Water lingered.

 

The Native Heath by Elizabeth Fair – #1954Club

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My friend Barbara bought me a whole pile of Furrowed Middlebrow books a while ago, and one of them was The Native Heath by Elizabeth Fair – my third novel by Fair, and one with the most beautiful cover. I am assuming it is from the original edition, because otherwise it is unbelievably apt for one of the opening scenes: two busybody ladies in the village of Goatstock are peering through the railings at a house that has just been inherited by Julia. One of them gets caught in the railings, presumably moments after this illustration.

Julia Dunstan is a widow in middle age, or a little later, who is relatively merry and pretty well off. She reminded me a bit of Julia in Margery Sharp’s The Nutmeg Tree, though several notches less exuberant. She has the same witty outlook on life, unbowed by the various difficulties she has faced. As the novel opens – before the railings incident – she is talking with her old nanny about some childhood memory of the house she has inherited.

But this explanation conflicted with Nanny’s memories, which were sometimes tactlessly different from Julia’s. She laid the stocking down and gave her employer what she called ‘a straight look’. This preliminary, and the little grunt that accompanied it, warned Julia that they were about to begin an argument; and although she did not doubt that she would triumph (Nanny was so old and her memory was not what it had been) she did not wish to be in the middle of an argument when Dora arrived. Arguments took time, and also a lot of tact and sympathy and loving remarks so that she and Nanny should finish up good friends. It wasn’t – it simply could not be – the right moment for starting one.

You get the measure of Julia! Dora is her cousin, less merry, who moves in as her companion. They were both nieces of the man who left the house to Julia, and there is no obvious reason why she has been left as the sole beneficiary. It is partly guilt, partly kindness and, one assumes, partly curiosity that leads Julia to invite Dora into her new adventure in Goatstock.

I would happily have read a whole novel about the dynamics between Julia and Dora. But that isn’t really what The Native Heath is – Elizabeth Fair likes giving a wide cast of villagers, and she doesn’t stint here. I got a bit confused between a few of the older ladies, but there is also some young people and some in between. A down-on-her-luck Lady with an interest in organic food. A love triangle of sorts, including a young woman engaged to a missionary in a far-flung country. A vicar and his sister, who fears that he will marry and she will have to leave their home. A village produce and flower show. Etc. etc. Over it all hangs the threat – very 1950s – that the village will become a New Town, absorbed into a mass building project.

Because there is so much going on, each element taking centre stage for a period, your enjoyment of any particular section of the novel will depend on how invested you are in that story or person. The structure ended up feeling quite episodic. I really enjoyed an unsuccessful picnic, which was where Fair went to town with humour and character assassination. There were other sections that I found less interesting, and I think The Native Heath would have benefited from a ruthless cutting down to a smaller group of people and storylines.

I still really enjoyed spending my time there, but I think there was an even better, more incisive and interesting novel hidden within the crowds of people and plots. Still, for something perhaps more Miss Read than Margery Sharp, this is a delightful 1954 book to spend some relaxing time with.

Lease of Life by Frank Baker #1954Club

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Few things in life represent the triumph of hope over experience as much as my continued attempts to find an equal to Miss Hargreaves among Frank Baker’s other output. My attempts have ranged from actually-quite-good to extremely-forgettable, usually settling somewhere around mediocre – with Miss Hargreaves appearing as an extravagant anomaly.

But the 1954 Club is another great opportunity for me to take another chance – and this time with Lease of Life, a novel that I’ve had for the best part of 20 years. Here is the opening paragraph:

On a winter afternoon the last light of a dying sun fell slowly through the great west window of Gilchester Cathedral. Far away, from the world beyond the choir screen, the organist was playing the introduction to Purcell’s anthem, ‘Rejoice in the Lord’. As the descending C major scale passage dropped, then rose again, so did the light fall lower down the window, revealing the glory of its colours. Seeing the falling light, hearing the falling music, a middle-aged man who was the solitary occupant of the darkening nave, was curiously moved. The light must go, the music must end: this was inevitable. He was not saddened by the thought; it was like a new experience, like falling in love again and remembering from the passage of many years the heart’s elation when a girl smiled at you. Lawrence Hearne smiled now when he thought of this; he was fifty-two, far enough away from youth to begin to revalue it. So, he thought, I am in love. And what am I in love with? There was only one word which could answer the question. He was in love with life.

Lawrence Hearne is a vicar who has never come to much notice outside of his family – loving wife and daughter, the latter of whom shares his love for music, and may be a talented pianist. As the novel opens, this love of life is particularly painful. Because he is told by a doctor that he has not long to live – the sort of illness that will go unnoticed by those around him, but which will take him suddenly in the next few months. He decides not to tell his wife and daughter or, indeed, anybody else.

Meanwhile, there is a funny scene where discussion is under way for a new Dean. The role comes with more money, privilege, and notice. And Rev. Lawrence is identified as a possible candidate – so long as he does well at a sermon he is giving for schoolboys at the cathedral soon. Hearne himself has no idea that he is even in the running, or that the sermon is going to have any undue attention.

Here is a little snippet of Robert Donat delivering part of that sermon, in a film adaptation that was released in the same year the novel was published, 1954, with a screenplay apparently written by none other than Eric Ambler.

I really enjoyed Lease of Life, mostly because of Lawrence Hearne. He reminded me rather of Anthony Trollope’s Septimus Harding, and not just because of his profession. While he will never be in the same league as dear Septimus, one of the greatest creations of literature in my opinion, he has the same gentleness, humility, and determination to seek and do the right thing.

In Lease of Life, this coalesces around his sermon – which veers from an interpretation of Scripture to being something a little more avant-garde. I suspect the views expressed are Baker’s own, and they would be considered mild in 2022, but apparently rather disruptive in 1954. I did have some trouble believing that, even in 1954, anybody’s sermon would grab popular attention and scandal in quite the way that Hearne’s does. Particularly since it seems inoffensive, if a little flighty.

It is typical of Baker’s non-Miss-Hargreaves novels that the ideas are required to carry more weight than perhaps they can. By which I mean, he puts ideas down in place in plot, and the novel is more about examining and discussing them then it is about narrative and characters. Ironically, the reason that Lease of Life works better than most of his writing is that the characters still feel vital and enjoyable (albeit least of all when they are required to discuss those Ideas). If he’d just made Lease of Life about a vicar, his wife, and their daughter – maybe dealing with his diagnosis, maybe pursuing their own aims in ignorance of his fate – then I think it would have been a much more successful novel. Certainly more likely to have lasting affection, and welcome re-reads, then a novel in which Baker tries to form his own form of theology.

So, if I were ranking Baker’s novels, this would be quite high up the list. But perhaps not for the reasons Baker hoped. I wish he had been less philosophically ambitious in his writing, and happier to use his undeniable gift for character and dialogue in a simpler manner.

Swamp Angel by Ethel Wilson #1954Club

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When I was in Toronto in 2017, I was keen to buy books that wouldn’t be so easily available back home – and it made sense to pick up Canadian authors, where possible. It was also during another Project 24, so I couldn’t go wild with the number of books I bought – I restricted myself largely to Stephen Leacock, Margaret Laurence, and Ethel Wilson.

The only Ethel Wilson I’d read was Hetty Dorval, in the Persephone edition, and I remember liking it but none of the details. Now I’ve read this beautiful edition of the unprepossessingly-titled Swamp Angel, and I can see why she is so beloved by many Canadians.

We open in Vancouver. Maggie Vardoe is living with her second husband, having been widowed in her first marriage. And, on page one, we get this sentence:

Mrs Vardoe had become attached to, even absorbed into the sight from the front-room window of inlet and forest and mountains. She had come to love it, to dislike it, to hate it, and at seven-fifteen this evening she proposed to leave and not to return. Everything was, she thought, in order.

As well as a vital plot point, it’s a great indication of Wilson’s writing in this novel. She blends the beautiful with the plain. Throughout the book, we are always aware of the surroundings – views and environments and nature are as crucial as anything happening in the foreground. But Wilson is not sentimental about the natural world; she is in awe of it, and she values the vantages people have of it.

Maggie leaves the house, having cooked enough meat for her husband to eat cold for a few days. We don’t learn a lot about Mr Vardoe, except that he is irascible, unkind, demanding and unsatisfactory. It’s no mystery why Maggie wants to leave. What is less clear is where she might go, and why.

Swamp Angel follows Maggie as she becomes independent. At various places in those forests and mountains she could see from her window, Maggie learns how to live in a way that gives her autonomy, and respects the people and places around her. She is pretty good at it from the outset, so this isn’t a case of seeing a suburban housewife gradually learn to adapt to a new way of life. It is as though this way of life has always been waiting for her, and she only has to dive into it.

Maggie isn’t alone in this experience, nor is it idyllic. A large part of the novel sees her working at some remote cabins, and the difficulties this causes with the married couple who own it. She also invites a young Chinese boy to work with her, based on a brief meeting. There is little maternal in the relationship she has with him, or his brother. What I found interesting about Wilson’s writing is how often it resists comfortable emotional conclusions. People remain self-contained, or have outbursts that they regret. There is a beauty in the restraint that the characters are permitted.

In between the character interactions, Wilson allows herself leisurely envelopments in the natural world that are the novel’s most beautiful moments. I particularly loved this description of the northern lights, and how Maggie is swept into it:

One night she saw, north of the lake, a pale glow invade the sky. Maggie got up and pulled a blanket round her. The pale glow was greenish, no, a hot colour rose up and quickly took possession. The colour changed. The vast sky moved as with banners. The sky was an intimation of something still vaster, and spiritual. For two hours Maggie watched enraptured the great folding, playing, flapping of these draperies of light in heaven, transient, unrepeated, sliding up and down the sky. After declaiming lavishly, the great Northern Lights faded with indifference as one who is bored and – deploring display – says I may come back but only if I choose; I do as I wish; I am powerful; I am gone but I am here. The orthodox stars, which had been washed away, returned palely. Night was resumed, and Maggie slept.

I’ve missed quite substantial parts of Swamp Angel that take place back in Vancouver, with Maggie’s friends and husband, and haven’t even mentioned that the Swamp Angel is in fact a gun. But hopefully I’ve said enough to tempt you to the quiet tumult of this novel.

The Golden Waterwheel by Leo Walmsley – #1954Club

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One of the books I loved last year was Leo Walmsley’s Love in the Sun, a very autobiographical novel about living and loving in poverty beside the sea in Cornwall. You can read my earlier review, and it will leave you unsurprised that I was keen to read more from Walmsley. And so I was really pleased to see that the first sequel, The Golden Waterwheel, was published in 1954 – quite a long time after 1939’s Love in the Sun, but picking up where it finished.

The narrator (basically Walmsley himself) and his wife Dain have made the difficult decision to leave Cornwall behind and go back up north, to Yorkshire, where they had come from. They want to set up a home with plenty of land, still near the sea, and raise their young family. Having coped with very little in Cornwall, they know they are capable of making do – but the narrator also has a new source of income, in the form of his successful writing. In Love in the Sun, his first book was accepted – in The Golden Waterwheel, he is writing what would become Love in the Sun. It’s all very meta.

The slow, steady pace and the guileless tone of the first book are replicated here. Each step is given equal weight, and we see the couple find various sites they’d like to live in, before finally getting a plot further from the sea than they’d wished but with views and plenty of potential. And they set about creating their dream home – within the remit of modest, achievable dreams. I always love reading about house-hunting, house-building or anything to do with devising a home, and so I loved all of this. Again, it is a gradual development, told in a straightforward way. Walmsley doesn’t mine it for humour, and there is nothing either self-deprecating or self-aggrandising. Anything that is amusing comes from incident, not from the framing of it.

And it is beautiful. Walmsley is a deep appreciator of the natural world, and he conveys it without metaphor or ornament. He sees that it is beautiful, and he describes it as it is. Here is a walk on the nearby moor:

It was lovely. The real heather was a long way from being in full bloom. Enough of it was out to give a blush of tender purple to the dark green and browns of the moor. The sea wind had packed the sky with cloud, too even in its structure, too pale and too low to portend rain, and although there would be no visible sunset, the light was strong and the lower air so clear that every detail of the moorland landscape for miles around was optically sharp. The lone pines, the odd groups of sheep, a shepherd’s hut, the low hills each surmounted by one or several of the conical mounds that marked the burial place of an ancient Briton. The salty wind was cool but invigorating, and the sun-dried springy turf extended a warmth. There was a steady droning of bees and you could almost taste honey in the smell of the heather blooms they were plundering.

I loved this book as much as its predecessor, and I’m looking forward to The Happy Ending, the final in the trilogy. It is set on the cusp on the Second World War, so is not really representative of 1954 life – but does hark back to a halcyon time. The waterwheel of the title is never built; it is a dream that doesn’t quite come true, and perhaps that is why it remains golden. But, even without out, there is something golden about the whole period.

Return Journey by Barbara Goolden

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I love taking a trip to the secondhand bookshop in Wantage, which is less than half an hour from my house. It’s a real treasure trove, and I never come away empty-handed or anything like it. Among my recent haul was Return Journey (1954) by Barbara Goolden, and I was so taken by the premise that I started it immediately. But before I looked to see what it was about, I was drawn in by those stunning cover. Isn’t it a beauty?

It reminds me a lot of a village called Lower Slaughter that isn’t a million miles from me, and where I once accidentally gatecrashed a fete.

“You do not feel,” said the Assessor gently, “that you are altogether satisfied with your Record?”

“Most dissatisfied,” confessed the New Arrival. “I have the feeling, you see, that I am a complete failure.”

The Assessor take up a file. “You were, I think, an English spinster of the upper middle-class, living in the country?”

“Hampshire,” prompted the New Arrival, “the Surrey side, very convenient for London. Not that I myself liked town life, the traffic always confused me. I was killed, you recollect, by a tram. So bewildering. I thought it was going, when, in fact, it was coming.”

The ‘New Arrival’ is Veryan Meadows, and the place she has newly arrived is the Pearly Gates. Before her record is read, though, she is given the option of returning to Earth for any year of her life. And she can choose whether to have a change of heart, a change of mind, or a change of physical appearance. She chooses to go back to her youth, and to be beautiful.

Isn’t that a brilliant premise? Well, it swept me away, certainly.

As it happens, it was the most brilliant thing about Return Journey. I enjoyed reading the novel, but I feel that Goolden could have made more of the idea.

When she is sent back on her terrestrial way, the celestial powers that be decide to give her an added attribute, along with her beauty – the ability to express her opinions. She has always been rather shy and unsure of herself – which, coupled with plainness, led to an unhappy life as ‘an English spinster of the upper middle-class’. So here she finds herself again, the daughter of a minister in a small village. She is unused to having any male attention, and doesn’t quite know what to do with the sudden attentions of, among others, the curate. Any young gentleman is bewitched by her looks; any older man or woman seems to think she is unnecessarily odd. And you can sort of see their point. While the Assessor gave the ability to express her opinions, she does seem to be [a] pretty stupid and [b] bizarrely literal. Any turn of phrase is taken at face value, and her repeated questions madden quite a few people.

It’s unclear whether she remembers her heavenly adventure, or realises that she’s having a second lease of life. And that’s the major drawback of the novel for me. If we had Veryan reflecting on the differences this time around, or cynically thinking about how beauty has altered perceptions of her, it would be rather intriguing. What a lot to explain. Instead, it’s an enjoyable small-town novel where the heroine is unusually pretty and unusually dim. It’s good fun, but it rather wastes the initial premise.

Goolden is neither dim not literal, and she is rather good at one of my favourite authorial tricks – showing when characters are inadvertently revealing their true nature, or using quick narrative asides to send up the characters. Return Journey ended up being one of those novels that slightly frustrated me, because it could obviously have been better than it was – if Veryan had had an ounce of the wit and intelligence that Goolden has, it would have been much improved. More fun than seeing a virtuous innocent be virtuously innocent.

So, this has ended up one of those confusing reviews where I might sound more negative than I feel. Return Journey is fun and diverting. It’s only that I think it could have been truly brilliant. Maybe next time around?

The Gipsy in the Parlour by Margery Sharp

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After reading a lot of titles for A Century of Books during my 25 Books in 25 Days, I got too cocky and started reading quite a few that didn’t fit years. And my advantage slipped away. I tend to read about 100 books a year, so I can’t afford to get too distracted – so I went to my list of gaps and decided to pick one. It was 1954 and it was Margery Sharp – The Gipsy in the Parlour has been waiting on my shelves since 2011.

This is the fourth Sharp novel I’ve read – the first being back in about 2003 – and it is very different from those others. I really enjoyed the first three, but they were all comic novels, at least to some extent. The Gipsy in the Parlour is emphatically not a comic novel – but it is a wonderfully atmospheric and involving novel, and I think it’s absolutely wonderful. From the opening line onwards…

In the heat of a spacious August noon, in the heart of the great summer of 1870, the three famous Sylvester women waited in their parlour to receive and make welcome the fourth.

The novel is told from the perspective of a young girl (who, I only now suspect, might be unnamed) who is niece to the Sylvesters. She is a Londoner, but spends her summers in Devon with this family who all live together on a farm – the women are not related, but each has married a different Sylvester brother. The brothers are inconsequential in the novel and in life – essentially good-natured, easy-going, unexpressive men who work the land and let their wives run the house. The chief of these is Aunt Charlotte, who married the oldest son and is de facto leader of the household. It is she who has arranged for the other two wives to join the family.

But the youngest Sylvester brother, Stephen, has chosen his own wife – and Fanny arrives as the novel opens. She does not have the beauty of the other sisters – and she seems somehow wilder and less part of the domestic picture. Disconcertingly for the narrator, she sees Fanny wandering the garden at night, staring back at the house with an expression she cannot quite understand…

For the narrator, who is seven when the novel starts, this is a mysterious but halcyon world. She longs to return to the farm and to the security of her aunt’s plain speaking affection. (And, miracle of miracles for the reader, they speak in dialect but are neither unintelligible nor annoying.) She also longs to be at the wedding of Fanny and Stephen, but the timing is wrong for her start back to school – so she must leave shortly before it takes place, and waits to hear about it via letter in London. But the letter never comes.

On her next visit, the next summer, she discovers that Fanny is in a decline, of the sort common in the 1870s. She is weak, nervous, and spends all her time lying in bed or on the sofa – and tensions in the house grow steadily over the months and years, witnessed by the niece who sees all but does not understand all.

There are definite elements of The Go-Between in this novel. Sharp has drawn the child and her perspective so well – so she is never a dishonest narrator, but clearly cannot piece together all the different elements she witnesses. Her interpretations of characters are given to the reader, who must take a step back to try and understand the whole picture – it is all handled brilliantly, and with the feelings of rich nostalgia that a child would feel who can only return to a much-loved world once a year.

In fact, the whole of The Gipsy in the Parlour is pervaded with a wonderful atmosphere. I felt as though I were immersed in this 1870s farm, with the same limited scope and detailed canvas felt by those who seldom or never left the village. It is odd to read Sharp with so little levity, but her talent at this almost melancholic, elegiac domestic novel is quite something. It is not flawless, particularly in the later chapters, but it’s still an extraordinary achievement. If I had to pick between this and (say) Cluny Brown, I wouldn’t know quite which to choose – but I’m impressed that Sharp could do both so well, and delighted that I can read both.

A Wreath for the Enemy by Pamela Frankau

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A Wreath for the EnemyPamela Frankau is one of those names that has been around the edges of my consciousness for years – it’s hard to read about interwar fiction, academically, without seeing Pamela and Gilbert Frankau (her father, it turns out; I had assumed brother) mentioned a lot. Yes, I’ve got her confused with Pamela Hansford Johnson in the past, but having read A Wreath for the Enemy (1954) now, I shan’t make the mistake again – mostly because I thought it was really, really good.
Many thanks to my good friend Caroline for giving me a copy of this book – Caroline was in my Oxford book group and, very sadly for us, moved away a while ago. We’ve stayed in touch, and she sent me A Wreath for the Enemy because she thought it would be up my street. What an unusual, clever, innovative novel it is. And how’s this for an opening line?

There had been two crises already that day before the cook’s husband called to assassinate the cook.

It is told in three sections, though with overlapping sets of characters. In the first, we see Penelope Wells and her family – looking after an eccentric hotel on the French Riviera. She calls her father and stepmother by the first first names, and is one of the most deliciously unusual child characters I’ve ever encountered. She is an adolescent, but one who has learnt language from books rather than friendships – guess who can relate? – and her conversation is a delight. It would be precocious if the character were showing off, but she isn’t; it’s simply the only way she knows how to communicate.

“Painful as it is to refuse,” I said, “my father has acquired visitors and I have sworn to be sociable. The penalty is ostracism.”

What a creation on Frankau’s part. She has brilliantly drawn a girl turned eccentric by her upbringing (when we meet her, she is writing her Anthology of Hates) who is quirky without being irritating, and a world away from a Manic Pixie Dream Girl. For the reader, she is endearing and interesting – but with an undercurrent of sadness: she has not chosen her upbringing any more than anybody else has, and she clearly has some understanding

Penelope meets the Bradley family, and is enamoured by the children Don and Eva. They come from a strikingly conventional family (Penelope’s father calls them ‘the Smugs’), and they find her enticing – she, in turn, admires the conventionality of them. It is an unusual but entirely plausible friendship – which lasts until a disreputable woman known as The Duchess comes to stay at the Wells’s hotel. The Bradley parents are shocked… and the section ends with something tragic, beautifully understated while at the same time having a significant emotional impact on them all.

The second section jumps forward a few years, and is from the perspective of Don. He is now at a boarding school, and beginning to rebel against his father’s conventionality – chiefly through his friendship with Crusoe. Crusoe is an older man in a wheelchair, brusque and direct with all, but with evident fondness for Don and a certain amount of wisdom. But absolutely no regard for ‘doing the right thing’, in the British-upper-class sense, and Don has to choose between his father’s commands and the new world he has glimpsed – while also still affected by the events of the first section of the book. And I shan’t talk too much about the final section – but Penelope is back, everybody is older, and new challenges come to the fore.

What makes A Wreath for the Enemy so brilliant, to my mind – well, it’s the writing, and the quirkiness, and the great humour – but it’s also the unusual way in which it’s written. It’s as though Frankau took a traditional novel, threw it up in the air, and wrote up what fell to the ground. It should feel disparate and jagged, but the different elements are ingeniously combined. It’s something of an abstract portrait, where the reader is left to fill in some gaps – but can understand a whole world of half a dozen characters, just be the brief moments we see them.

I will confess that I had always rather assumed that Frankau wasn’t very good. She was so prolific, and (I think I’m right in recollecting) disparaged in the highbrow/middlebrow debate – but both these facts are true of authors I love, so I should have realised that she’d be a winner. If any of her other novels are up to the quirky, imaginative, and confident calibre of A Wreath for the Enemy, I greatly look forward to reading them. And I have The Willow Cabin next on my tbr…

Others who got Stuck into this…

(I could only find one, but it’s a lovely one.)

Fleur Fisher: “This is lovely: a quite beautifully written book that speaks so profoundly. I find myself wanting to say so much, and at the same time being almost lost for words.”

My Family and Other Animals

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If you follow me on Twitter, you’ll already have seen me raving about this one (oh, yes, I have Twitter – @stuck_inabook – tell your friends) but I loved the latest Slightly Foxed memoir My Family and Other Animals by Gerald Durrell.

And, indeed, I have written about it at Shiny New Books. Even if you don’t usually like clicking from one place to another, do go and read more about this one, because I’d be surprised if this can be beaten as my book of 2015… (strong words for a book read in January!)