1970s

25 Books in 25 Days: #1 A Way of Life, Like Any Other

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After reading Tolstoy and the Purple Chair by Nina Sankovitch – a reading memoir by someone who reads a book a day for a year – and then watching Madame Bibliophile do ‘Novella a Day in May‘ – I’ve decided I’m going to try something similar myself.

I’ve done a few weekends where I read as many novellas as I can, just to whittle down my tbr piles. And now I’m going try… 25 Books in 25 Days. Basically a book a day, though I may end up finishing off some I’ve got on the go. And sometimes those books will be SUPER short, depending on what else I’ve got on. But it’s a fun challenge, especially to see if I can fit it around my job etc., and will help me read some of the books I’ve got waiting for me.

And I’m going to write really quickly about all of them, as they happen, at least until I fail. OPTIMISM. I’m just going to go with where/how I got the book, a quotation, and quick general thoughts.

A Way of Life, Like Any Other (1977) by Darcy O’Brien

I bought this in April 2012, in Barter Books up in Alnwick, presumably because it’s a lovely NYRB Classics edition – though I do also seem to remember seeing it around the blogosphere.

It’s told as though a memoir by the child of Golden Age Hollywood actors (who are now a bit down on their luck). The main character negotiates a life dominated by his temperamental mother, but also filled with larger-than-life and slightly surreal other characters. The tone is heightened, but extremely engaging – and I really enjoyed it as a quirky, disruptive, often disjointed view of Hollywood. I’ve not read the introduction yet, so I don’t know how much Darcy O’Brien had to base on his own life.

“Stand there a minute,” he said. “I think I see a resemblance to your father.”

“I’m tired, Mr. Pines.”

“Please call me Peter. It’s in the mouth. You have his mouth. He was a very handsome man. You love him, don’t you.”

“Every son loves his father,” I said, getting into bed.

“You’re very young. It’s very hard on you, isn’t it? I know. I went through it myself. My father walked out when I was five.”

I closed my eyes. I didn’t want to hear about Mr. Pine’s father. He meant well. We all do.

“I think your mother deserves better than that cretin, don’t you?”

“He’s all right,” I said. I felt like crying all of a sudden. I turned my face to the wall. Poor Mother was going to be alone again. And poor Anatol, what would he do? Go on at Disney till he dropped? I felt sorry for everybody. What was I going to do? I wished people could stay together. I thought about baseball.

 

The Book of Laughter and Forgetting by Milan Kundera

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I love Milan Kundera, and I haven’t read one of his books for a while – so it was nice to revisit his writing on my recent holiday. I’ve still not read his most famous novel (The Unbearable Lightness of Being), but have read Immortality, Identity, The Joke, and The Festival of Insignificance – which is both the order I read them in and how much I liked them. The Book of Laughter and Forgetting (1979) is one of the best Kundera novels I’ve read – in a translation by Aaron Asher. And translations really matter with Kundera – he is notoriously choosy, but approved of this one. Which, interestingly enough, was translated from the French translations of the original Czech. An earlier English translation – in 1980, directly from the Czech – obviously didn’t quite cut it.

That sort of patchwork is quite appropriate for a book like The Book of Laughter and Forgetting, which I hesitate to call a novel or a collection of short stories – it is something in between. It is, indeed, a book of laughter and forgetting – themes which haunt the book like characters, offering the only unity available. And why (Kundera seems to ask) should not themes be a book’s unifying thread, rather than characters, time, and place?

Structurally, the book is divided into seven sections. To emphasis the iteration of thoughts and cross-connections, two are called ‘Lost Letters’ and two are called ‘The Angels’. It’s probably best (if you want a full summary) to head over to the Wikipedia page, rather than me paraphrasing what they say. But each section looks at a slice of life in various Czech people’s lives – from a man travelling and being followed by suspicious government agents, while thinking of his past love, to a fanciful scene in which schoolgirls fly away with angels. Most are connected with sex or politics, or both – which are often the two keynotes of Kundera’s created worlds.

But sections are not simple, discrete tales. Within each, Kundera shifts from image to image, thought to thought – in the first, for instance, he includes a description of a 1948 photograph of Vladimir Clementis and Klement Gottwald, from which Clementis was erased when he was no longer acceptable to the politicians’ propaganda. This is one of the senses of forgetting in the book. He also includes himself – or, at least, an author called Milan Kundera – and each section incorporates tangents, anecdotes, fables, parables. There is a section held together by the concept of litost – a Czech word without direct translation, which Kundera describes as ‘a state of torment created by the sudden sight of one’s own misery’. The book is all a patchwork that requires astonishing deftness, and Kundera is astonishingly deft.

He is very good on the significance of gesture, or of stereotyped movements and how they can be interpreted – it is, after all, the wave of an arm that kicks off the stream of connected images at the beginning of Immortality. Here he is on one of the varieties of laughter in the book:

You certainly remember this scene from dozens of bad films: a boy and a girl are running hand in hand in a beautiful spring (or summer) landscape. Running, running, running, and laughing. By laughing the two runners are proclaiming to the whole world, to audiences in all the movie theatres: “We’re happy, we’re glad to be in the world, we’re in agreement with being!” It’s a silly scene, a cliche, but it expresses a basic human attitude: serious laughter, laughter ‘beyond joking’.

All churches, all underwear manufacturers, all generals, all political parties, are in agreement about that kind of laughter, and all of them rush to put the image of the two laughing runners on their billboards advertising their religion, their products, their ideology, their nation, their sex, their dishwashing powder.

Kundera has a level of control, and imagination, that makes these patchworks succeed. Indeed, his novels that try to follow a traditional narrative structure are the least successful, to my mind. The Book of Laughter and Forgetting is such a triumph because he seems to throw out all the rules, and start from scratch with what a book can be. The characters and their paths, as they appear, are still vivid and vital – and there is a pain and hope throughout that can only come one whose homeland has been political hell. And there is, indeed, much humour – sometimes cynical, sometimes ridiculous, sometimes almost naively joyful.

It’s a brilliant mixture that I (at least) have to be in the right mood for, or it doesn’t click. Luckily I was in exactly the right mood when I picked up The Book of Laughter and Forgetting – and I very much recommend you give him a try.

I Want To Be A Christian by J.I. Packer – #1977Club

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Sneaking into the final day of the 1977 Club with my second review. And it’s been another great bunch of reviews from everyone – amazing variety, and lots of authors I know very little about. News about the next club soon, but do keep any 1977 Club reviews coming for the next few hours!

I’ve had I Want To Be A Christian (since republished as Growing in Christ) by J.I. Packer since 2004 – it was one of the books my Dad gave me when I went to university. I’ve read bits and pieces of it over the years, finding the bits that were most necessary at any point, but this was the first time I read it all the way through. It is perhaps not particularly relevant to 1977 specifically – its themes are literally eternal – but they do draw a line from to my Dad in 1977, or thereabouts, reading it for the first time.

As the title suggests, this is a book for people looking to find out more about the Christian faith, or perhaps very early in it, and it explores the central tenets of knowing Christ and being part of His church. I’ve been a Christian for my entire adult life, so there wasn’t anything in here that came as a surprise to me – but Packer writes it very well, phrasing it neatly and concisely, as well as bringing out the joy and wonder of what he explains.

The book is in four sections. The Apostles’ Creed, baptism and conversion, the Lord’s prayer, and the ten commandments. For the first, third, and fourth sections, Packer can take the words one by one – explaining what they mean, how they relate to the Bible, and what they mean for a life walked with God. The second section is necessarily a little more abstract, but is backed up with scripture, and gives an overview of some of the discussions theologians have had. But this book isn’t about deep debates and minute interpretations – it’s all about the essentials.

Packer has a great way of summarising the essential truths of something well known, and illuminating them further. I liked this on the Lord’s Prayer:

We need to see that the Lord’s Prayer is offering us model answers to the series of questions God puts to us to shape our conversation with him. Thus:  “Who do you take me for, and what am I to you?” (Our Father in heaven.) “That being so, what is it that you really want most?” (The hallowing of your name; the coming of your kingdom; to see your will known and done.) “So what are you asking for right now, as a means to that end?” (Provision, pardon, protection.) Then the “praise ending” answers the question, “How can you be so bold and confident in asking for these things?” (Because we know you can do it, and when you do it, it will bring you glory!) Spiritually, this set of questions sorts us out in a most salutary way.

There are many, many books that introduce people to the Christian faith. Many would be a lot more like storytelling than this one – there are no anecdotes, no personal testimonies. I love those sorts of books, but I think there’s also a vital place for this gentle, simple, step-by-step explanation of the tenets of faith – particularly one that you can feel recognises, in every word, the glory and wonder of what he is writing about.

Apple of My Eye by Helene Hanff – #1977Club

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Why am I always super busy during club weeks? I will do catch-ups properly towards the end of the week (yes, it is already towards the end of the week, SORRY) but I’m really excited to be getting the notifications that people are joining in. And Karen is on it like a pro.

My first 1977 Club read is one I picked up in a brilliant bookshop called J C Books in Watton, Norfolk. If you’re ever in Norfolk, make sure you get there. It’s Apple of My Eye by Helene Hanff – most famed, of course, for 84, Charing Cross Road, though I don’t hear a lot about her other books. Any fan of 84CCR should get a copy of Q’s Legacy pronto, which is sort of a sequel – but I’ve enjoyed all the books I’ve read by her, more or less.

A few years ago I read Letter From New York, which was about the apartment building she lived in, her neighbours, and generally life in the city – collected, if I remember correctly, from various articles over the years. I rather thought that Apple of My Eye would be the same thing – but it is not. Rather, Hanff had been commissioned to write the accompanying text to a book of photos of New York, designed for tourists to get the most out of the city. I don’t know quite what happened to that book, but Apple of My Eye rather wonderfully combines her recommended highlights with an account of visiting them herself and choosing what to include. It’s not a guidebook, it’s more a witty memoir of writing a guidebook – but could certainly function as an edited highlights of New York nonetheless (or, at least, New York in 1977).

Like many people who live in a touristy city, Hanff found that she had actually visited relatively few of the Must See Locations. (I, for instance, didn’t go to the Pitt Rivers for my first ten years in Oxford, and still haven’t made it to the Oxford Museum.) If you have all the time in the world to do something, then you never do – but Hanff realises she has to do all the things she hasn’t. And someone else who hasn’t is her friend Patsy – who also, apparently, has a couple of months to spare. So off they go!

Now, I’ve never been to New York, and I don’t really like travel guides even to places I have been. So my heart sank a little when I realised what sort of book this might be. But it was wrong to sink! While I couldn’t get my head around 5th Street this and 84th Street that, and have never understood how you know which two streets something like ‘6th and 8th’ might be – because surely that could be the same as 8th and 6th – I really enjoyed this anyway. And the reason is because Hanff is so funny about the experience of exploring – and about her friendship with Patsy.

Hanff is brilliant at writing about her friends. In Letter From New York it was Arlene (and Richard and Nina et al), and here it’s Patsy – she tells us enough about them to understand not only their characters, but how she relates to them and what their friendship is like. With Patsy, Hanff has clearly got to the point in the friendship where they can squabble slightly, tease each other, rely on each other, and say precisely what they mean. Patsy is enthusiastic about coming on this tour, but also openly reluctant to do many of the proposed activities (often because of her fear of heights). Her refrain is “write that down”, often for details Hanff considers irrelevant – though, self-evidently, did write them down. Much is also made of their East vs West friendly enmities.

Curiously, while I find all the south-of-the-river vs north-of-the-river chat in London quite tedious (mostly because they seem exactly the same to me), I really enjoyed the way Hanff wrote about East vs West. For example…

Generally speaking, West Siders look dowdy, scholarly and slightly down-at-heel, and the look has nothing to do with money. They look like what a great many of them are: scholars, intellectuals, dedicated professionals, all of whom regard shopping for clothes as a colossal waste of time. East Siders, on the other hand, look chic. Appearances are important to them. From which you’ll correctly deduce that East Siders are conventional and proper, part of the Establishment and in awe of it – which God knows, and God be thanks, West Siders are not.

Hanff, it should be noted, is from the East Side – though does feel like a fish out of water sometimes.

Luckily for me, Hanff assumes no knowledge of New York at all – up to and including telling us that theatre happens on Broadway. As she darts on buses all over the place, we see Ellis Island, the Empire State Building, Bloomingdale’s, Central Park, and all the things one would expect – with a few little-known gems thrown in for good measure. The strangest part to read about was the World Trade Center  – still having bits finalised at the time of Hanff writing. Obviously she could know nothing of its eventual fate, and to read of it as an exciting new development in the city, with the best restaurant available, felt rather surreal.

Hanff is very concise in her tour – my copy of the book was only 120 pages. Obviously volumes and volumes could be written about New York, and have been, but I think this is a wonderful little book – probably even more so for somebody familiar with New York. For me, it is a funny and charming account of friendship, which just happens to have a dizzying tour of New York as its backdrop.

The Sack of Bath by Adam Fergusson

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One of the more surprising choices for Persephone Books over the past few years has been The Sack of Bath (1973) by Adam Fergusson. While they have a range of titles and topics, usually they tick at least one of the boxes from ‘written by a woman’, ‘published in the first half of the 20th century’, and ‘fiction’. The Sack of Bath is none of these things – but what it is is fascinating. And – for those who care about this sort of thing – it has one of my very favourite Persephone endpapers:

Sack-of-Bath

The book was written in the 1970s as a rallying cry – it must almost immediately have become a historical piece instead – about the destruction of Bath’s beautiful Georgian architecture. The book is short in length and in its message: stop demolishing original architecture and replacing it with hideous buildings. The council of the time apparently were all about knocking stuff down if it was – or might be – in places where they wanted to put roads or businesses or anything whatsoever. Fergusson writes about it rather eloquently:

The set pieces – Royal Crescent, the Circus, Milsom Street, the Pump Room, and so on – stand glorious and glistening (some have been restored and cleaned) for tourists to come and see in their thousands every year. But now, more and more because the devastation goes on, they have become like mountains without foothills, like Old Masters without frames. The Bath of the working classes, the Bath which made Beau Nash’s fashionable resort possible, has been bodily swept away. Irreplaceable, unreproducible, serendipitous Bath, the city of period architectural vignettes with a myriad tiny alleys and corners and doorways, is either being wrenched out pocket by pocket or bulldozed in its entirety.

Isn’t ‘like Old Masters without frames’ brilliant? The initial purpose of Fergusson’s book may be over (and was, I believe, more successful than he could have hoped), but it is still extremely interesting to read. It’s hard not to get worked up and cross when one reads the nonsense that the vandal council and architects said – and see the before-and-after pictures of streets which were knocked down and replaced with architectural horrors. Indeed, much of this short book is photos – and while 21st-century books would be better produced, there is a certain poignancy to seeing 1970s photography at work.

Fergusson is not afraid to get his gloves off. This is not an academic’s careful analysis – this is impassioned. One photo caption reads ‘The redevelopment below Sion Place lurches inelegantly down the slope, like a juggernaut with a flat tyre’. All in all, it fills one with a slightly fruitless rage – because the fight has completely changed since the 70s, but also because so much of the damage had already been done. Thank goodness Fergusson wrote this book, helping stem the tide of wanton destruction – and, now, it’s a really engaging cultural document.

 

The Men’s Club by Leonard Michaels

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mens-clubA nice issue of Shiny New Books is coming out later this week, and I’ve still got a couple reviews I’ve not sent you towards. So you’ll get a couple in quick succession – tiding me over while my wrist recovers (which also accounts for how few reviews I have in Issue 13, sadly). Firstly, here’s a very strange, somehow also very good, book from 1978: The Men’s Club by Leonard Michaels. The whole review is here, and here’s the beginning of it:

There have been quite a few reprints, in recent years, from the interwar period and thereabouts. We are familiar with Golden Age detective fiction coming back into print, or the likes of Persephone, Virago Modern Classics, and others looking to the 1920s and 1930s for forgotten gems. Less often do reprints emerge from the 1970s – and so it was intriguing that Daunt Books have looked to Leonard Michaels and The Men’s Clubfor their latest offering (originally published in 1978 according to the inner flap, and 1981 according to Wikipedia – who knows?).

The First Four Years by Laura Ingalls Wilder (guest review)

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My RSI has come back so my one-handed typing is being restricted as much as possible – perfect timing for my housemate Melissa to write a review I can use over here – this time of a much-loved classic. As always, do make her welcome! Over to you, Melissa…

thefirstfouryearsIn my family home, the Little House on the Prairie books are a massive deal. They’re legendary. They’re practically Scripture. (Not actually Scripture though. In my family we take actual Scripture very seriously indeed, and it most definitely does not get confused with other stuff.) From the time I could first read to when I left home, I must have read the entire series every couple of years at least, which adds up to an impressive number of times.

The Little House books take the reader on a journey through the challenges of a little pioneering family venturing into the uncharted American West in the late 1800s. They’re told through the eyes of little Laura, for the most part based on the author’s life, and the books grow with her. Not only does her perspective change, but the language becomes more complex, the number of pictures gradually reduces, and even the font gets smaller from one book to the next. What I love about these books is the delicious level of detail. If I could handle an axe, I could quite happily build my own log cabin based purely on the description of Pa building one. Alternatively, I could make hats from loose straw, or cure venison, or sew a rag rug (that last one is actually on my list of projects this winter).

The First Four Years, though, is a bit of an oddity. Look up the box set of Little House books online, and you’ll see it tacked on the end, less than half the size of any of the others in the series. Unlike the rest, it was not published in Laura’s lifetime, nor even finished; although it has a beginning, middle and end, it’s really just an early draft of a book that was never completed. As a child who had loved the earlier books, I read it and disliked it. It reads clumsily, spoils scenes from the previous book by repeating them less well, inexplicably uses a different name for one of the main characters. As for the story, which picks up where the last one left off with Laura’s marriage to Almanzo Wilder, it feels just like a long list of disasters. The neat closure of the previous book is destroyed and all in all it leaves a bit of a bad taste.

But I’m not here to diss the book. In fact, quite the opposite. Over the last week I’ve reread the entire series, and thoroughly enjoyed the who thing, but this last book stood out as by far the most interesting read, for the very same reasons I didn’t enjoy it as a child.

Like I just said, the book reads like a long list of disasters. The fact is, however, that the other books also tell of many hardships. The entire plot line of The Long Winter, for instance, is simply one blizzard following another while the whole town gradually runs out of coal and then food – not exactly cheery. The difference is mainly that the other books are more detailed; a higher proportion of the pages are given up to descriptions of the wild prairies, family gatherings round a cosy fire, and how to make a fish trap. There’s also a much thicker coat of perspective. Laura’s approach to life, learnt from her parents, is built around simple faith, strict codes of behaviour and a solid work ethic. There is no time for questioning the way things are, no option but to work hard and trust that all will come well in the end. This may sound harsh to modern ears, but it is the only way to survive in an untamed world. And within this clear-cut structure there is room for love and happiness to flourish; there is joy to be found in hard work and accomplishment, in good food and beautiful surroundings, in music and laughter, in the harmony of a caring family where each one is valued and needed by each of the others.

In The First Four Years, much of this veneer is stripped away, leaving the bare bones of the story obvious. It’s a reminder that life was simply very hard and what we would now see as abject poverty was the norm. To me, it was a humbling reminder of how little most of us have to contend with these days, with our indoor plumbing and central heating and effective healthcare; and, quite frankly, what a bad job we often make of it. I know it takes considerably less than a grasshopper plague destroying my year’s work to reduce me to a shivering wreck of anxiety.

I have a feeling that the difference is something to do with how solid our worldviews are; in a pluralistic world, my generation has learnt to question everything and to build our own truth, which can make the simplest things in life incredibly complicated and exhausting. It makes me question the value of questioning things. It almost makes me jealous, although I don’t fancy the food insecurity. Finally, it’s yet another reminder that difficult circumstances absolutely do not have to define your life, if you believe in something that runs deeper.

The other thing that made this read interesting was the insight into how Laura wrote. The story may be complete, but the book is unfinished. Descriptions and reflections are present, but they don’t flow. The characters aren’t really developed; we know Laura well, and Almanzo less well, from the rest of the series, but we don’t get the chance to really meet anyone else. It seems that Laura’s approach was simply to get the story down on paper first, then add the flourishes later. I think I could learn from her here – my first attempt at the NaNoWriMo challenge has yielded a paltry 1,866 words, partly because I spend so long fussing over getting each sentence right rather than getting on with the story.

As a wannabee writer (like literally every other arts graduate I know), I also found it encouraging that the book was, frankly, not great. In case you didn’t catch this at the beginning, Laura Ingalls Wilder wrote some of my very favourite books, and the rest of the world seems to rather like them too, but it seems her drafts didn’t cut it. If even the best have to start by producing something unimpressive, then I needn’t balk at my own poor attempts. This leaves me with no excuse not to try. I like that.

Maybe I’ll see if I can hit that 2000 word mark tomorrow.

The Bird of Night by Susan Hill

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My theme of paperbacks-I-took-to-Edinburgh continues; on the way back, I read most of The Bird of Night (1972) by Susan Hill, and then finished it later that weekend.

The Bird of Night

I’ve read quite a few of Hill’s novellas over the years, though mostly the ones that have come out more recently – so it was interesting to see how she was writing 40+ years earlier in her career. There is even a very young, quite morose, picture of her on the back of my 1976 Penguin paperback, when Hill was presumably around my age. Unlike me, though, Hill had already published six novels by the time The Bird of Night hit the shelves.

The opening sets the tone of the novel:

Once, during the summer we spent at Kerneham, Francis locked himself in the church for a whole night. I found him there, at five o’clock the next morning, huddled up beneath the pulpit. It was cold. He could not feel safe anywhere else, he said, and then he began to weep, as so often happened, and shouted at me through his weeping, to understand the truth, that he deserved to be locked up, why would I not admit that and see to it, why had I driven him to do it for himself?

That is what I remembered this morning but I do not know why one bubble should break upon the surface rather than another. I should be content that I remember.

Francis is Francis Croft, a renowned and garlanded poet (though Hill wisely gives us, as far as I can recall, no lines of his poetry – his greatness is not tested on the page); the narrator is Harvey Lawson. He is describing their relationship from the distance of years – where he is the protector of Croft’s reputation. Or, rather, he keeps mostly schtum about Croft and insists that there are no papers to share (though there are). And his reflections take him back to their shared history: they meet incidentally, and develop an intense and restless friendship. It is intense chiefly because of Croft’s mental illness and descents into madness.

And this is the trajectory the novel follows. Somehow it is hard to describe the plot; it is more a portrait of a friendship (or more? It is never clear). But the faint structure matters little, and that is because of the strength of Hill’s writing here. I always think she’s at her best when she is looking in detail at the minutaie of relationships between individuals, or characters’ introspections and self-analysis (and how rare is that? Usually that’s where authors fall down). Here is Harvey describing looking after Francis during his most troubled times:

But the cycle of Francis’s madness was never a regular or predictable one. I had prepared myself for days, perhaps weeks, spent closeted in that dismal flat by candlelight, having to comfort and support him through his deepest apathy and depression. Certainly, for the next two days he stayed in bed or sat slouched in a chair looking as though he were half drugged, his eyes blank and all his attention turned inward upon himself. He hardly spoke to me and when he did answer a persistent question, it was with a monosyllable. He would not shave or eat or read, but only sat up once in a while and muttered to his own hands. “It’s all wrong, I tell you, it’s all wrong.” Once I caught him staring at himself in a mirror, his face very close to the glass. He looked puzzled. “I’m afraid we have not been introduced,” he said to his reflection. “I do not know your face. Should I know your face? Is this a good party?”

Much of the novella follows this pattern – a detailed, nuanced, and interesting depiction of mental health and a troubled friendship.

Of the many ways in which Hill writes fiction, I think this might be my favourite – something like an extended character study. I have read somewhere that Hill doesn’t rate this amongst her best novels, but I would put it up with In the Springtime of the Year as containing the best of her writing that I’ve read.

The Bottle Factory Outing by Beryl Bainbridge

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The Bottle Factory OutingIt’s Beryl Bainbridge Reading Week, guys! Somehow, I haven’t actually read any more books by Beryl Bainbridge since the last week organised by Annabel – during which I read Injury Time, Sweet William, and Something Happened Last Week, reviews of all of which you can find under my Bainbridge tag by clicking on the tag above or choosing ‘Bainbridge’ from the dropdown Browse menu. Well, I’m very glad that Annabel resurrected this reading week, as it has brought The Bottle Factory Outing (1974) to the top of my tbr pile – and it was everything I would expect from Beryl.

I actually read the whole thing on train journeys to and from London – i.e. it’s pretty short. And I even finally managed to stop calling it The Bottle Factory Opening in my head; it is, after all, focused on an outing rather than a grand opening. That is the main ‘event’ of the novel: all the workers at the bottle factory are going to go on a picnic, from the families of immigrants who put up with the low wages offered to the two women who are the focus of the novel, and who stick labels on wine bottles (while maintaining that all the wines are the same).

The Bottle Factory Outing would work very well with other novels I grouped back when I was doing Five From the Archive regularly (I must bring that back) and grouped together five excellent books about pairs of women. It’s chiefly about Freda and Brenda, who have a typically Bainbridgian dysfunctional relationship. They’re not quite friends – they moved in together after a moment of misunderstanding, and they’re not particularly compatible as housemates. Not even housemates: they share a bed, with a bolster and a line of books down the middle.

Freda is forthright and confident; Brenda is nervous and awkward. But nobody in a Beryl Bainbridge novel deals well with others (it seems) and she lends the same spikiness and discomfort to The Bottle Factory Outing that I’ve come to love elsewhere. There is affection and well-meaning alongside, but of the sort that cannot survive the awkwardness of everyday encounters.

Oh, and Beryl is funny. This awkwardness definitely permeates into both humour and unpleasantness. This paragraph combines the two…

She couldn’t think how to discourage him – she didn’t want to lose her job and she hated giving offence. He had a funny way of pinching her all over, as if she was a mattress whose stuffing needed distributing more evenly. She stood there wriggling, saying breathlessly ‘Please don’t, Rossi,’ but he tickled and she gave little smothered laughs and gasps that he took for encouragement.

‘You are a nice clean girl.’

‘Oh, thank you.’

It’s basically assault, of course, but the mattress comment is quintessential Bainbridge – a moment of levity thrown in that also illuminates the situation and gives a unique description.

And the outing? Well, it is not free from disaster. And it is the culmination of the different strands of the novel in a dramatic way that one feels Bainbridge has earned throughout; every moment leading up to it somehow both dramatic and mundane at once, wrapped together in her slightly distorted view of the world. She finds the bizarre amongst the ordinary, and somehow turns it back upon itself to seem ordinary too. It’s been great to get back to Beryl.

The Secret Orchard of Roger Ackerley by Diana Petre

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Secret OrchardMore from Shiny New Books! And it is becoming almost a tradition for me to read one of Slightly Foxed’s beautiful memoirs in almost every issue – this time an author I’d never heard of. It’s a brilliant memoir about a distant mother/daughter relationship – sometimes literally distant – and discovering that someone Diana thought was a family friend was actually her father. And it more of a study of those around her than a memoir, really, as she remains an enigma to the end. Heartily recommend!

As usual, here’s the start of what I wrote, and you can read the whole thing at SNB.

I am always unable to pass on the chance to read a Slightly Foxed Edition and, having re-loved 84, Charing Cross Road in the last issue of Shiny New Books, it was fun to go and read something about which I knew absolutely nothing. Who was Roger Ackerley? Who, for that matter, was Diana Petre? And what was this orchard? The answers weren’t what I was expecting, but this memoir is none the less brilliant for that.