Another Century of Books Round-Up

As December continues apace, so does my need to catch up with A Century of Books posts. So here is a whole bunch of mini-reviews (more mini than review) of books I’ve read for ACOB that I don’t have a whole blog post worth of stuff to say about…

Lolly Willowes (1926) by Sylvia Townsend Warner
I got my village book club reading Lolly Willowes, and listened to the audiobook. As usual, I was bowled over by how brilliant Warner’s writing is – about the dynamics of an overlooked spinster living with her brother’s family, and the lengths she calmly goes to for some form of autonomy. I’ve read the novel many times and I always love it. It’s fair to say my book group were more mixed… and generally confused when she becomes a witch.

The Little Disturbances of Man (1959) by Grace Paley
Enormous Changes at the Last Minute (1974) by Grace Paley

Both these collections have been on my shelf for a very long time, and I’ve heard such good things about Paley’s short stories… but I ended up feeling quite lukewarm, and I can’t think of anything to say about them?

The Tao of Pooh (1982) by Benjamin Hoff
A fun book explaining the principles of Tao through the principles of Winnie the Pooh et al – and quoting liberally from the books, so enjoyable chiefly because it was a bit like re-reading the Pooh books. I’m not sure I remember much about Taoism off the back of it, but I certainly enjoyed remembering what a genius A.A. Milne was.

Tentacles of Unreason (1985) by Joan Givner
A slim collection of short stories by Joan Givner, whose The Self-Portrait of a Literary Biographer I enjoyed so much last year. Definitely not in the same league as her autobiographical writing IMO, but very readable and some very interesting character creation. I’d definitely read more stories by her, but it didn’t have the same oh-wow-this-is-excellent spark that her other book had.

Keepers of the Flame (1992) by Ian Hamilton
This is subtitled ‘literary estates and the rise of biography’, and so I’d thought it might be similar to Janet Malcolm’s ruthlessly brilliant book about Ted Hughes and Sylvia Plath – or, more accurately, about their literary estates and biographers. Hamilton covers a wide, wide range from Donne to Shakespeare to Hardy to Plath but I wished it had been (frankly) more gossipy. But perhaps I shouldn’t hope for a Malcolmesque book from someone who isn’t Malcolm. On its own terms, this is very well researched. It’s not really about literary estates or biography until the final chapters, but it’s an interesting enough walk through the history of authorial reputation.

Notes from a Small Island (1995) by Bill Bryson
A few years ago, I gave up on Bryson’s much-loved book about touring the UK. I’ve loved some of his books, but Notes from a Small Island felt a bit try-hard. It turns out I enjoy it an awful lot more as an audiobook – my second attempt at it was far more successful. It’s still not very subtle humour, and his book on Shakespeare is definitely much better and funnier in my opinion, but I’m glad I got closer to seeing what the fuss is about.

Uncle Tungsten (2001) by Oliver Sacks
I adore Sacks, and I loved his much-later autobiography. This earlier attempt of ‘memories of a chemical boyhood’ was interesting to me when it was autobiographical, and much more tedious when it was explaining various histories of science. I’ve realised why I love his neuroscience: because it is unabashedly about people. I’m just not interested in science that isn’t directly, obviously about people’s behaviours. That’s a failing in me, not the book, of course.

The Audacity (2021) by Katherine Ryan
Katherine Ryan’s memoir is exactly what you expect it to be. For me, that was a good thing.

Choose by M. de Momet

Last year, I decided to watch three films which dealt with oh-so-relatable problem of “Oops! I remarried and my first spouse is still alive!” The first was the execrable modern schlock One True Loves; the second was misogynistic Too Many Husbands (1940) and the third was another 1940 hit and comfortably the best of the lot – My Favorite Wife, starring Cary Grant and possibly overshadowed by him also starring in The Philadelphia Story and His Girl Friday in 1940. Big year for Cary.

I will say this: the oops-remarried genre sparks some very good titles, regardless of the quality of the films themselves. When I saw Choose (1947) by M. de Momet advertised on the back of another 1940s book, I couldn’t resist getting a copy – sadly without the excellent dustjacket above. I forget exactly what the advert said, but it was clearly another novel where someone found themselves in an accidental bigamy pickle.

We rush straight into the heart of the thing. Shelly has been married to Peter for a year when (on page two) she receives a letter from her first husband, John, saying that he is coming home. He went missing during the Second World War and was presumed dead – but has in fact been in a POW camp for years, missing an arm and a leg but otherwise fully alive. Shelly’s friend George offers what I could consider some rather unduly calm advice:

“Try not to worry too much, it may settle itself quite easily. One of these two must have a greater claim.”

“But which? That’s the question. Which? John had the first claim, and Peter has the last. I can’t see the answer to this – I don’t think there is an answer.”

Before John comes home and discovers the truth, we are whisked back to their initial meeting and courtship. Indeed, the next 140 pages of this 200-page novel focus on the development of their romance and their young marriage and happiness together. Reader, any hope I had for Peter winning the husband-off quickly faded. Choose is really a fairly silly romance hung on a conceit that de Momet, for some reason, thinks should be incidental to seeing John be forceful and bold and Shelly be giggly and overwhelmed. As an example…

She held out her hand. He took it and let it lie on his outstretched palm. “What a little hand,” he murmured. “So very little – it’s like a child’s. You’re so young… so young.” His voice was low as if he were speaking a blessing.

Shelly didn’t feel lonely any more – she felt as if someone had wrapped something very soft and comforting about her as a protection from the hashness of the world.

I wondered about ‘M. de Momet’, about whom I haven’t been able to find any info. Is ‘M.’ an initial, or does it stand for ‘Monsieur’, with that French-sounding surname? My suspicion is that it’s a pseudonym – and it certainly feels more like a woman writing for most of the novel, though I was given pause by how much Shelly enjoys John explaining things to her. Surely only a man would have written that part of their wooing?

Choose isn’t badly written, and it certainly isn’t well-written. As you might guess from the excerpt above, it rattles along good-naturedly. There are some enjoyable descriptions of homes and nature and a very idealised version of young love. It toys with being daring at times, though in such an unprogressive way that I can’t imagine anybody being scandalised by the hints at sex – though perhaps we might be more scandalised now by his careless ignoring of consent.

He bent and kissed her.

“Shelly, I am going to sleep with you tonight.”

“No,” she whispered.

“Don’t be afraid. It’s a horrid business for a girl, so we’ll get it over now. I don’t want our honeymoon to be spoilt.”

She turned her head so that her face was buried in his shoulder.

Yikes. Anyway, by the time we’re back in the present, we haven’t learned a thing about Peter or why Shelly chose to marry him – only that she turned him down a fair few times first. He doesn’t stand a chance in the choice of the title – and I’m rather astonished that M. de Momet decided to make that decision such a small part of the novel. It feels like such a waste of an inventive idea – which can be treated comically, tragically, or everything in between. Instead, in Choose it is an afterthought to a very ordinary, silly, enjoyable and forgettable 1940s romance novel.

A Woman’s Place 1910-1975 by Ruth Adam

I have well over a hundred Persephone Books, and the hit rate of successes is astonishingly high. There’s a reason that they have the devotion and respect of legions of readers. And so why had I left A Woman’s Place 1910-1975 by Ruth Adam neglected since I bought it 2008(!)? Even after reading – and loving – Adam’s memoir A House in the Country in 2020, I didn’t race to my shelves and devour more by her. More fool me! Because A Woman’s Place 1910-1975 is a remarkable, and incredibly readable, achievement.

Over the course of the book, Adam traces the most significant societal changes affecting (and effected by) women in the UK. We see the fight for suffrage, the impact of two world wars, changing attitudes to sex and so much more. Adam covers an astonishing range of topics – divorce, abortion, equal pay, employment law, female MPs – and does so with a level of research that would be impressive with the internet. I’ve no idea how she has so many statistics, as well as anecdotes and quotations from major historical figures.

She is so good at putting her finger on significant moments, and she balances her research with a total accessibility. You can tell she is a novelist, because characters (albeit real people) are so well-drawn and impress, inspire, frustrate, or move us in turn. I’m going to end up quoting an awful lot of this book – let’s start with one of the moments that she demonstrates as seismic in altering women’s lives:

The change from a large nineteenth-century family to the small twentieth-century one, as a social custom, took place with startling speed, so that mothers could be shocked or envious (probably both) at the difference between the life of their married daughters and their own past. The transformation was brough about – not by a Lysistrata-type political campaign or by a change of heart on the part of the male sex – but, like most of the landmarks in women’s emancipation, by a material fact: which in this case was the invention of convenient birth-control equipment.

And I’m going to immediately move onto another quotation, about nursing, as it’s a very representative example of Adam’s approach to social history:

The second-largest professional women’s group was that of the nurses, who were 78,000 strong in 1911. Their record in the women’s struggle for work-status was less single-minded and less successful than that of teachers. One reason was that, since Florence Nightingale, they had been brainwashed about making sacrifices for their vocation, such as putting up with long hours, low pay and dismal working conditions, which was extremely convenient for their employers. The other, less creditable, reason was because the leaders of the profession wasted a lot of time and energy on in-fighting, mostly on the subject of class distinctions, when they should have been united against an all-male government which refused to give them even the standing of a recognised profession until it came to the point where they dare not refuse.

What makes it so representative? It’s partly because it combines a statistic with the stories of women behind the number – but it’s also a great example of the subjectivity she weaves into her history. She is unafraid of putting forward her own opinion, highlighting where people have acted poorly in history, or bringing out elements of the treatment of women that infuriate her. A Woman’s Place certainly isn’t dry. You can feel Adam’s passion throughout her record, and it makes for a much better book than if it had been otherwise.

To structure her book, Adam characterises decades by significant events and movements. It does mean that these get hermetically sealed within certain periods – so we see changing attitudes to sex in one chapter, or marriage in another, or the role of women in parliament in another, and so on. Naturally these are not things that begin and end within a decade, and you can find yourself thinking (in the middle of a section on divorce law, say) – what about the job market? It was a wise decision on Adam’s part to compartmentalise to an extent, so you just have to go with it.

While I knew a large amount of what Adam covers – as much of it overlaps with things I’ve studied in my own academic research – there was still an awful lot that was new to me. As one instance, I didn’t know about the way the suffrage movement turned their efforts fully to the war effort at the outbreak of the First World War – putting their original mission on hold in an instant. Adam describes Millicent Fawcett’s decision in a very evocative way: ‘Only the age-old obligation of women, to be self-effacing and self-sacrificing, to give up their own less important interests when a men’s crisis arose, still remained.’

Note that she says ‘obligation’ rather than ‘character’. This isn’t something that is inherent to Fawcett and her ilk – it is an expectation imposed on them, and to women throught this book. So much of this book is really a history of the way men have treated women – how their decisions and impositions either expanded or limited women’s lives. That’s not to do down the work women did to effect change (and a small group of men who battled alongside them) – just to comment that, sadly often, change happened when powerful men stopped being obstacles.

During the war, women’s lives changed dramatically: they were not only allowed to start working, but actually encouraged to. Adam turns her attention to the ways this worked, particularly on the question of equal pay. It’s a theme that recurs throughout A Woman’s Place – and I hope you’re prepared to be infuriated by the different, feeble reasons that powerful men gave to avoid passing equal pay legislation, and the similarly callous ways that they evaded paying it once legislation was passed. From the outset, though, two workplaces offered equal pay without quibble. I could have guessed for a week and I don’t think I’d have come up with the correct two:

The London bus conductresses were one of the only two groups of women workers who were given equal pay for equal work at once, without question. The others were the women welders, who had been trained by an organisation set up by the one-time London Society for Women’s Suffrage

Speaking of war, Adam says ‘a quick change of character has been demanded of them [women] every ten years or so of this century. Men are not required to be flexible in the same way.’ That seemed a rare misfire in A Woman’s Place. What greater ‘flexibility’ could be required then to be taken from your office job or factory and be told you have to start killing people in a foreign trench? There is no onus on A Woman’s Place to cover men’s 20th-century experiences, but – while I see what she’s getting at – this is quite a silly statement.

And the downside to a book that relishes in its subjectivity is, of course, that it might date horribly. Surprisingly little of substance has dated in the book since it’s 1975 publication – the two things that struck me were the assumption that there would be no minimum wage, and the other assumption that university education was free. But then there are paragraphs like this, about the high death count in the First World War leading to large numbers of unmarried women:

The war years, which had yielded such a rich harvest to the women struggling for sex equality, had cost them too much. All the gains in status and freedom and independence were, in the end, arid and tasteless without their men there to witness them. It meant that young women and girls had to face the prospect of forced virginity, and parents the long boredom of waiting for death without grandchildren to give any meaning to their old age.

This earned three pencilled exclamation marks in my margin! Women’s independence is ‘arid and tasteless’ without men?? Old people have no meaning in their life without grandchildren??? Yikes, Ruth Adam, yikes. I’ll charitably assume you are doing a bit of character work, here. (And let’s not get started on her statement that ‘The Lesbians’ – her capitals – were ‘partly a product of the mutilated society; that is, young women pairing together as a second-best because there were not enough men to go round.’)

But these are minor quibbles in a book that is an extraordinary achievement. I’d bought it, as I will buy any Persephone Book, but I hadn’t been particularly enthusiastic about actually reading it. If it weren’t for A Century of Books, A Woman’s Place could have lived on my shelves for many more years – but I’m so glad it didn’t. Ruth Adam combines an incredible amount of thorough research with a real gift for storytelling. Of course this book doesn’t tell the whole story of British women over the course of 65 years – how could it? – but it is a detailed, captivating portrait of a sizeable portion of that population. Or, to be more accurate, of the expectations they faced and the achievements they managed in the face of them. I’ll close with Adam’s final paragraph:

A woman born at the turn of the century could have lived through two periods when it was her moral duty to devote herself, obsessively, to her children; three when it was her duty to society to neglect them; two when it was right to be seductively ‘feminine’ and three when it was a pressing social obligation to be the reverse; three separate periods in which she was a bad wife, mother and citizen for wanting to go out and earn her own living, and three others when she was an even worse wife, mother and citizen for not being eager to do so.

Frederica by Georgette Heyer

Believe it or not, I’ve only read one Georgette Heyer before – I listened to April Lady and really enjoyed it. In the three years since, I’ve bought quite a few Heyer novels but haven’t actually got around to reading any of them. A little while ago, I thought I’d see if any of the Heyer titles on my shelves matched gaps on A Century of Books – and landed on Frederica (1965), which comes rather late in her publishing career.

Like most of Heyer’s novels, this is a Regency romance – and she certainly enters into the style and ethos of a novel from the period. How many 1960s novels would open with this lack of urgency?

Not more than five days after she had despatched an urgent missive to her brother, the Most Honourable the Marquis of Alverstoke, requesting him to visit her at his earliest convenience, the widowed Lady Buxted was relieved to learn from her youngest daughter that Uncle Vernon had just driven up to the house, wearing a coat with dozens of capes, and looking as fine as fivepence. “In a smart new curricle, too, Mama, and everything prime about him!” declared Miss Kitty, flattening her nose against the window-pane in her effort to squint down into the street. “He is the most tremendous swell, isn’t he, Mama?”

Lady Buxted responded in repressive accents, desiring her not to use expressions unbefitting a lady of quality, and dismissing her to the schoolroom.

Uncle Vernon – more commonly known as the Marquis of Alverstoke, or just Alverstoke – is very wealthy and very selfish. His sisters are forever importuning him with requests to use his power and connections to help their various offspring, and he languidly refuses to do any such thing because it doesn’t interest him. There is a very believable grown-up-siblings dynamic between them, with a fair dose of Mr Bennett being needlessly antagonistic to his wife in Pride and Prejudice, all the while intending to help. But more often than not, Alverstoke won’t do anything for anybody else unless he finds it interesting. It’s not a very attractive character trait, truth be told, and it’s fortunate that Heyer manages to make almost every occasion an example of an exception to the rule – so the rule is really just what we are told, and the exceptions are what we are shown.

Bursting into this contented world are the Merriville family. They are oprhaned and as desolate as you’d expect of a family who will never have to work for a living. Oldest of the lot is (as we might expect from the title) Frederica – a sensible, clever, funny and caring woman who considers herself on the shelf as a spinster, aged 24. Next is Charis, who has that Regency trio of characteristics: beautiful, dim-witted, and kind. And finally three brothers, one of whom is away at Oxford. The other two are Jessamy, pious and anxious, and Felix, enthusiastic and boisterous.

It’s an enjoyable whirlwind to encounter, and Alverstoke finds himself rather taken aback. Having initially turned down the opportunity to help them as guardian, he ends up agreeing when he sees that they aren’t really mercenaries – and that Frederica is a capable, unsentimental woman. From this point onwards, none of the negative character traits that we’ve been led to believe beset Alverstoke ever really appear again.

What makes Frederica so fun is Heyer’s unceasing commitment to the Regency vibe. It’s a rich, detailed prose which you can’t read quickly, as the verbal sparring between characters is delightfully Austenesque and the narrative voice itself is, if not on Austen’s level, still great fun. Here, for instance, is Alverstoke trying to get Frederica to be chaperoned in town:

“I was under the impression that I warned you that in London country ways will not do, Frederica!”
“You did!” she retorted. “And although I can’t say that I paid much heed to your advice it so happens that I am accompanied today by my aunt!”
“Who adds invisibility to her other accomplishments!”

and here is Alverstoke being wonderfully bitchy to his sister:

“Do you mean to tell me that Mr. Trevor read my letter?” demanded Lady Buxted indignantly. “Your secretary?”
“I employ him to read my letters,” explained his lordship.
“Not those written by your nearest and dearest!”
“Oh, no, not them!” he agreed.”

The only downside to Heyer’s commitment to verisimilitude – in my opinion – is the vast quantity of era-appropriate slang, particularly from the boys. Here’s a selection, just flicking through: basket-scrambler, ninny-hammer, Friday-faced, high fidgets, rumgumption, Queer Nabs, mawworm, and so on and so forth. I can see how some readers would love these touches of authenticity, but they always took me out of the action. They were the only times it felt like Heyer’s researchw as being unceremoniously dumped into the dialogue.

To go back to the hero and heroine: what really warmed me to Alverstoke was his reluctant devotion to the young boys. (I didn’t need to warm to Frederica, as I loved her from the off.) And Heyer does the boys so well – especially the youngest, who believes he is offering a great treat to the men he meets by talking to them at length about mechanics, and being escorted to mills or something. Her eye for young people is so accurate, and timeless.

The Marquis believed himself to be hardened against flattery. He thought that he had experienced every variety, but he discovered that he was mistaken: the blatantly worshipful look in the eyes of a twelve-year-old, anxiously raised to his, was new to him, and it pierced his defences.

Frederica is a long book, and did feel long. My copy was about 300 pages but the font is tiny – I see other editions are around the 400-page mark. There are some brilliant set pieces – a runaway dog; a chase after a hot air balloon – but most of the novel is simply the steady, detailed study of these people interacting, squabbling, matching wits and falling in love. I had to relax into it and not expect anything to happen quickly – but, on those terms, it was a total treat.

The Razor’s Edge by W. Somerset Maugham

Someone in my book group chose The Razor’s Edge (1944) by W. Somerset Maugham after hearing it recommended on a YouTube video – making it my second Maugham of the year, after reading Theatre for the 1937 Club. It wasn’t one I was familiar with, and the paperback that arrived did little to encourage me – isn’t this the drabbest thing you’ve seen? Maybe it faded over time… Anyway, here’s a short and unenthusiastic review of the novel.

The novel is supposedly narrated by Maugham himself, in a conceit that doesn’t quite pay off, and concerns three main characters. The first is an American immigrant in France – a dyed-in-the-wool snob:

During the years that followed our acquaintance became fairly intimate without ever developing into friendship. I doubt whether it was possible for Elliott Templeton to be a friend. He took no interest in people apart from their social position.

Next is Elliott’s niece Isabel – an intelligent but avaricious woman, whom Maugham cannot mention without talking about how wonderful her legs are. Third of the trio (and weirdly the one that the novel’s Wikipedia page thinks is the only main character) is Larry. He is engaged to Isabel, and declares that his intentino is to ‘loaf’. When pressed on his plans, that is all they are: he doesn’t need excess money or company. He will simply exist.

Having set the ball rolling with these three, the narrator meets them at various times and in various places. Occasionally they feel the need to update the narrator with what he’s missed in the meantime, meaning that many long, long chapters are relayed to him. One of the things I hate in storytelling is when one character says, “Let me tell you about the past…” and then goes on to remember every single word of dialogue uttered many months earlier. On and on and on, all of it deadened because it’s happened and we, the reader, weren’t there. I complained about that fatal flaw in the first 80 pages or so of Theatre – in The Razor’s Edge it’s even worse, and even more monopolising the narrative. If only somebody had told him to show not tell.

It’s particularly a shame, because when the reader is present for scenes, they are much more vital and interesting. Some are even funny. Isabel’s unfortunate choice of husband leads to some fascinating, well-drawn scenes some years into marriage, while there is a protracted scene about Elliott being shunned from a socialite’s party that felt vibrant, funny, and moving. When he wants to, Maugham can do it. Why did he bog so much of the novel down in dullness and conversations we can’t possibly care about?

The Razor’s Edge wastes the talent of an author who didn’t know how to wield it. If he’d told it all as it happens, in the moment, it could have been an engaging book with brilliant characters. As it is, the brilliant characters have to fight their way through total tedium.

The Man on the Pier by Julia Strachey

Strange at Ecbatan: Old Non-Bestseller Review: Cheerful Weather for the  Wedding/An Integrated Man, by Julia StracheyIf you know the name ‘Julia Strachey’, it’s probably for Cheerful Weather for the Wedding – reprinted by Persephone Books, and later made into a very enjoyable film. Or perhaps you know her connection to Bloomsbury Group regular Lytton Strachey, who was her uncle (though, until I googled it, I thought she was his sister). Well, either way, let me introduce you to another of her books: The Man on the Pier (1951), later republished as An Integrated Man.

“Everything in my life is well ordered and serene. I wake up in the mornings rested and refreshed! And above all with a feeling of virtue. My days are spent unharassed by pressures that torture and distort. At the age of forty-one, I’m bound to admit that I have become that fabulous beast an ‘integrated man’!”

So opens the novel, and you can see why they chose the later title. I’m not sure it’s the most promising opening, and it does sound rather artificial to me – thankfully the tone naturalises relatively quickly. Speaking is Ned Moon, staying with a friend Reamur Cedar (!) in an estate. The opening scene is quite a funny one of him trying to avoid a chaotic maid, and that’s about the most plot the first half of the novel has. The rest of this section is conversation and description, and Strachey does both very well.

Outside, a vast summer confusion was going on. Beetles, spiders, caterpillars, ladybirds, insects innumerable were crawling in and out of flower-pots, and leaping off the tops of grasses. Hedgehogs were stealing cautiously through the long clover in the fields. Amongst the corn, field-mice, rabbits and young partridges were scuttling, where already binding-machines joggled along, clogging the air with petrol vapour. In the little orchard, beyond the yew tree, thistles were seeding and the thistle seeds and the white butterflies came floating about over everything, whilst cows coughed grassily, cats sneezed fishily, and all of this and more besides was being recorded on the air in sound and smell.

Pages are devoted to beautiful descriptions, which do not contribute to any sense of momentum but which make the novel very enjoyable to sink into. Sometimes it is the surroundings – sometimes it is merely the day-t0-day lives and habits of those present:

After dinner, reading. And at last bed, with much discussion as to who would, and who would not, have a bath. Finally, Agatha Christie, owls, and the sounds, through the dark corridors, of gushing bath-taps behind locked doors, together with innumerable clickings and latchings of bedroom doors both near and far and… sleep.

So, why is Ned staying here? To discuss with another guest, Aron, the prospect of them opening up a private school together. Neither seem to have any particular aptitude for it – unless self-confidence is an aptitude – but I enjoyed all the discussions. Particularly good is the sibling relationship between Aron and his sister Gwen (Reamur’s wife), who, in that sibling way, is unafraid to poor cold water on his pronouncements. Every time they clash is believable. They bicker without restraint, knowing that no lasting damage will be done to their close brother/sister bond, and able say things that could end flimsier relationships.

Gwen is particularly unsure that Aron’s new wife Marina will be suited to the role of headmaster’s wife. Ned hasn’t met his friend’s wife, as he was out of the country when the wedding took place. It’s clear, from Gwen’s description, that she is of a class and disposition that will struggle to mingle with the wives of teachers – it will be considered beneath her, perhaps, and be awkward for everyone.

We hear a lot about Marina before she appears, and are predisposed to be intimidated by her. Preemptively, we imagine she will be a cat among pigeons. But when does come, with her daughter Violet, something more unexpected happens. Ned instantly falls in love with her. Not only that, he decides with very little hesitation that he must have an affair with her. Even more surprisingly, she feels the same.

It’s hard to see what this mutual infatuation is based on, and it felt like a stone flung in the calm waters of the novel – and not in a good way, at least in my opinion. There is nothing subtle about a stone being flung. The Man on the Pier was such a rich, detailed, calm novel – and the introduction of a would-be affair felt quite ordinary and boring in comparison. It did lead to some of the most beautiful scenes, describing the site of a planned tryst between them – an abandoned and decrepit mansion. Strachey wrote about that location with almost mythical beauty, like describing a fantasy land. But I don’t find the possibilities of an affair anywhere near as interesting as the dynamics of siblings, friends and potential entrepeneur colleagues.

That’s personal taste, of course. For others, the arrival of Marina and the romantic storyline might be when the novel began to pick up. I would so much rather Strachey had kept confidence in her ability to write a strikingly beautiful, often amusing novel about very little indeed. If the first half of The Man on the Pier had kept going in a similar vein, I think it could have been something very special. Either way, Strachey was an excellent prose stylist and observer of behaviour, and it’s a shame that her output was so limited.

The Children’s Bach by Helen Garner

I bought The Children’s Bach (1984) by Helen Garner in Oxford’s newest bookshop, Caper, a while ago. I might have mentioned the shop before. From the outside, it looks like a children’s bookshop – all joyful colours and suchlike – and it is, indeed, a children’s specialist. But there is a sizeable section at the back for adult books, all arranged together under headings like ‘the mundane everyday’ and ‘incredible journeys’. It’s a fun idea that invites serendipitous finds. When I came across the W&N Essentials reprint of The Children’s Bach, I couldn’t resist. This cover is so beautiful – one of my favourites of recent years.

The Children's Bach by Helen Garner | W&N - Ground-breaking, award-winning,  thought-provoking books since 1949

I’ve been listening to a lot of Garner’s non-fiction in the past couple of years, but I did start my reading journey with her about 15 years ago with The Spare Room. My return to her fiction – only my second novel by her – reminds me of how taughtly she tells stories of disrupted domesticity.

In The Children’s Bach, Dexter and Elizabeth meet after years apart. They were at university together but drifted apart – yet, when they reunite, they almost unquestioningly bring their attendant worlds together. Dexter and his wife have two young children, Arthur and Billy (whose unspecific disability is dealt with in a way that felt quite shocking, and probably wouldn’t be done now). Elizabeth is dating an untamed musician, Philip, and he has a daughter, Poppy. Elizabeth’s closest relationship is with her much younger sister, Vicki, who is still on the cusp of adulthood while Elizabeth is heading into middle-age. The coming together of these families ultimately brings about a crisis.

A synopsis of Garner’s book is one thing. The reading experience is quite another. Garner has cut away at the plot until what is left is really an impression of a plot. There is an excellent scene where each line of dialogue and narrative is clearly a moment from an extended evening – it is the most filmic scene I’ve ever read; the most clearly like a film montage. It’s extremely effective. Writ on a larger scale, that is what the whole of The Children’s Bach does. You won’t find lengthy examinations of motivations and emotions – rather, Garner gives us stark glimpses into these people’s lives. That means that the choices people make play out almost before you realise they’ve made them.

And then, on the other hand, Garner gives some scenes unexpected breathing room. As David Nicholls highlights in his enjoyable introduction: ‘Major confrontations are overheard but never described, while smaller incidental scenes – a cello lesson, a conversation in a playground with a strange scabby boy, the experience of getting locked in a cemetery – expand.’

But the main star of The Children’s Bach is Garner’s writing. The unwavering, merciless observation she brings to her non-fiction is less intimidating in fiction, but no less present. She is exceptionally good on small domestic moments – and, much harder, equally good on the occasional abstract or nebulous moments. Here’s something which combines most – the recognisable ‘braced for more sobbing’ leading into a lovely dream scene.

Dexter lay rigid as a board, braced for more sobbing, but Athena slept, and dreamed that she was in a garden, on a large, flat, well-kept lawn, where yellow leaves off poplars lay about in drifts. As she watched they began to rise off the grass and play in the air in orderly streams as if being squirted from a hose: they rose and fell and rose again, in a variety of patterns, and everything was beautiful and enchanting and as it should be.

Threaded throughout the novel is music. The soundtrack – of Bach, of Philip’s grungier music – is never used heavy-handedly, but at the same time gives us insight and a rhythm to the story.

Athena understood why people gave up playing an instrument. She knew she did not play well, that her playing, even when correct, was like someone reciting a lesson in an obedient voice, without inflection or emotion, without understanding: a betrayal of music. She took her hands off the keyboard. There was dust on all the keys except those an octave either side of middle C. She closed the lid.

The only drawback I found with The Children’s Bach is how unknowable the characters are. Or is that a drawback, or simply a choice? Garner’s impressionistic writing is stunning to read, and every paragraph has the weight and confidence of a poem. I often stopped and reread sentences simply because they were so beautiful with such well-judged balance to them. But I don’t think I could describe the characters. Philip and Vicki are the exceptions to that rule, but the others felt like ciphers – or perhaps like containers for Garner’s beautiful observations and discrete moments. Is it deliberate, or a casualty of the novel’s sparseness?

Some critic apparently said The Children’s Bach was one of only four perfect short novels in the English language, which is the sort of silly thing that critics say when they want to get noticed. I can think of many short novels that I think are probably better, though perhaps not many that are as delicately and deftly done. With stronger depths to her characters, it would be a masterpiece. And perhaps those depths would come with rereading – my main takeaway from the experience is that I’m keen to reread, and perhaps find still more than I did this time. While googling for reviews, I discovered that Whispering Gums did exactly that.

So, how to conclude? I think there’s a strong chance that this is a brilliant novel, and it’s certainly a brilliant piece of writing. And perhaps it couldn’t have been such a beautiful reading experience if it had been more grounded. Or perhaps it would feel more grounded the second time around? Well, why not find out for yourself?

Casualties by Lynne Reid Banks

Long-termers here will know how much I love The L-Shaped Room, and over the past couple of years I’ve been exploring more of Lynne Reid Banks’s considerable output – further prompted by her death earlier this year. Her writing for novels slowed considerably, and in fact she only published two novels for adults during my lifetime. The first of those is Casualties (1986). And the insipid cover is certainly the worst of the 1980s.

The narrator is Sue. She is a frustrated writer in a frustrating marriage. She rows often with her husband, Cal, and is irked and upset by the way he and she differ in raising their children. Any conversation ends in a fight and it’s clear that she is debating ending the marriage. Her work is no better: having written one literary novel, she found she was able to get more success and more money writing soppy books she can’t respect. But the economics of the household demand it.

The fact that I’ve just invested nearly £3,000 in a word processor and printer, complete with all the floppy trimmings, which should make me feel better about it somehow, but has only made everything worse because now I can turn out four books a year with as little effort as I formerly took to write three.

Effort. There. That’s the key to much of my disquiet. It’s become effortless, and writing shouldn’t be. My first (I nearly said my real) book was written in blood, sweat and tears. Now I sit down for a regular three-hour stint most days and out it pours. I see it coming up in those little eerie green letters on the screen and wonder where it’s all coming from and feel like a conduit running between that costly machine and some over-embellished silver-gilt cornucopia on a chypre-scented pink cloud somewhere.

Into this very comfortable and middle-class life – but one Sue finds deeply unsatisfying – comes contact from Mariolain. Mariolain – there is a curious footnote from Banks, saying she knows it should be spelled Marjolijn, but has decided not too – is a friend from Sue’s distant past. They were close as teenagers, and penpals until that petered out. There was one moment of reunion, years back, but nothing since. On something of a whim, Sue agrees to take her family to visit Mariolain  in Holland.

The best parts of the novel, in my opinion, are the dynamics of the two families meeting. Mariolain and Sue manage to resurrect long-forgotten affections, finding their differences and changes interesting rather than sad. Their respective husbands and children are less enthusiastically brought into the clash, and Banks is very good on the well-meaning, uncertain union of a whole group of people who have very little in common. Each family naturally forms into individual tribes, while there are members of each who seek greater sympathy on the other side. It’s clearest in the children – feuding siblings will form a united front against a common ‘enemy’ – but it’s there in the adults too.

Less successful, in my opinion, is the main reason for the novel. Mariolain was a child during Nazi occupation. Her family sheltered Jews, and lived through the dire food shortages and abiding fears of occupation. Much of the novel takes place in flashback to these scenes.

Perhaps Banks could have written a brilliant novel set entirely in that time and place. What worked less for me is what often doesn’t work in novels which flashback: even the most urgent events lose urgency if they are buried in the past. There was a vibrancy to the contemporary scenes that wasn’t there in the historical ones, even when the historical ones were undeniably more momentous. It’s the reason I tend not to read historical fiction, and it deadened sections of the novel.

More compelling was what we saw about the far-reaching impact of this trauma. Early in the novel, Banks spells out the novel’s theme in Sue’s voice:

I can see now that Cal is right when he says that the worst thing about wars is not the casualties that happen on the battlefield, but the ripples going out from them, on and on towards some shore so impossibly remote in terms of time that effectively it doesn’t exist.

Perhaps it would be more subtle to show rather than tell, but at least we know where the novel is going and which bits we should pay most attention to. I thought Cal’s summing up was more powerful:

Cal took a deep breath and turned to me. “It’s not over yet, here,” he said. “The war. In England it’s over. I didn’t realise.”

“We weren’t occupied,” I said.

Is it still possible to write a contemporary novel about the effects of the Second World War? The youngest people who remember it would be perhaps in their 80s, so there’s still scope for it – but perhaps not with the culture-saturating sense that Banks can bring to 1980s Holland.

A hallmark of Banks’ writing is how compelling it is; how urgently you want to turn the pages. She creates worlds that you are totally immersed in, never more so than the l-shaped room and the block of flats its in. Sadly I can’t say the same for this novel, which is interesting rather than captivating. The cover quote from the Daily Telegraph says “How lucky we are to have Lynne Reid Banks! Casualties is her eighth novel and easily the best.” Well, I absolutely agree with the first half of that. By no stretch of the imagination is Casualties her best novel – but I’m glad to have read it nonetheless.

All Men Are Liars by Alberto Manguel

I see quite a few people write about Alberto Manguel’s non-fiction, about reading and libraries, but not so often his novels. I picked up All Men Are Liars (2008, translated from Spanish by Miranda France) in Washington D.C. in 2013, off the back of enjoying that non-fiction, and it’s interesting to see how the kind-hearted wisdom that characterises his non-fiction does or doesn’t transfer here. I was also drawn by Jason Booher’s excellent cover design.

The title is a quote from (some translations of) Psalm 116 – but this isn’t a biblical book, or even the feminist polemic you might expect from that title. In context, the phrase is really about the way different accounts of the same instance will contradict.

The instance, or at least the person, is a writer called Alejandro Bevilacqua. He has died in suspicious circumstances, falling from his balcony the day before his masterpiece was published, and the various characters of the novel take it in turn to narrate their history with him – and what they know of his death. Amusingly, the first of these men is an author called Alberto Manguel…

While at times it feels like they are under police inquiry, they are actually speaking to a journalist called Terradillos, who is piecing together the truth about Bevilacqua’s life, or is at least trying to. Each account is as much about the speaker as it is Bevilacqua, and we quickly get a sense of their character.

He had something of the provincial gentleman, Alejandro Bevilacqua, an unruffled air and an absence of guile which meant that one toned down jokes in his presence and tried to be accurate about anecdotes. It’s not that the man lacked imagination, but rather that he had no talent for fantasy. Like St Thomas, the Apostle, he needed to touch what he saw before he could believe it was real.

That is why I was so surprised the night he turned up at my house and said he’d seen a ghost.

Each person has their frames of reference, their own go-tos for metaphor, and their own placing in the geopolitics that is the true heart of All Men Are Liars. Because almost everyone involved is an Argentinian ex-pat whose lives were forever changed by the brutal politics of the period. Bevilacqua was imprisoned and tortured for reasons that were unclear to him, and other speakers in the novel have experienced similar ordeals.

There are central questions in the novel – who truly wrote Bevilacqua’s masterpiece, which his lover found amongst his belongings and got published without his involvement; what machinations led to Bevilacqua’s torments and death – but above all it’s an experiment in perspective. What even is lying, if people can tell untruths without realising? Where is the line between deceit and subjectivity?

All Men Are Liars is an interesting and pretty captivating novel, though I did feel a bit at sea by my poor knowledge of mid/late-century Argentina. Manguel is a delightful companion even when he’s writing about dark topics, and there were continual chinks of light coming through the miseries and antagonisms he describes.

I think I’d still start with his non-fiction and treasure books about reading above this sort of fiction, but there is probably more urgency to All Men Are Liars than anything else I’ve read by Manguel. And I think that’s the truth?

Interpreter of Maladies by Jhumpa Lahiri

Interpreter of Maladies Audiobook by Jhumpa Lahiri | Rakuten Kobo United Kingdom

A Century of Books can sometimes turn up some real gems that I wouldn’t have otherwise read. When I was looking through my books, I didn’t find anything I particularly wanted to read from 1999 – so I did some googling about 1999 books, and decided to listen to the audiobook of Jhumpa Lahiri’s debut collection of short stories. And, my goodness, it’s among the best short story collections I’ve ever read.

The stories are mostly about the lives of people in India or part of the India disapora abroad – largely the US. Each story is primarily about relationships – the things that are said and unsaid, or taken for granted, or misunderstood. Lahiri is so, so good at circling around a pairing of people, whether they are a couple, colleagues, or strangers, and gradually creating a complex portrait that tells us about their whole lives in a snapshot.

Two of my favourite stories in the collection are about married couples. In the opening story, ‘A Temporary Matter’, Shukumar and Shoba are a couple whose relationship has grown strained and silent – but they take advantage of a protracted power cut to use each evening to share things they’ve never told each other. (‘The notice informed them that it was a temporary matter; for five days their electricity would be cut off for one hour, beginning at eight P.M.’) The secrets range from surprising to bitterly shocking. It’s such a beautiful and restrained portrait of a couple who have faced tragedy and don’t know how to communicate.

The other married couple I was fascinated by are Sanjeev and Twinkle in ‘This Blessed House’. They have recently moved to a new home in Connecticut, and begin to find Christian relics around the house, hidden in corners, behind radiators, in drawers. Twinkle is delighted by them all – while Sanjeev doesn’t understand, since they aren’t Christians, and is increasingly embarrassed by her exuberance. It’s perhaps the funniest story in the collection, but still has a lot to say about a marriage where husband and wife don’t quite understand each other – and what happens when only one of the pair is troubled by this.

I’ll just mention the title story, since you might be wondering what an ‘Intepreter of Maladies’ is. Mr and Mrs Das are Indian Americans visiting India – they have grown up abroad and don’t understand either the language or the culture, but treat it with the slightly patronising fondness of the tourist. Mr Kapasi is hired as their driver and tour guide – when he is not doing this work, he is a translator at a doctor’s clinic. While Mr Kapasi’s wife belittles the work, Mrs Das is very complimentary about how vital his role is: without his translation, his interpreting of maladies, the patients could never be treated. And Mr Kapasi takes her kindness and encouragement as a sign that they could become long-distance friends, penpals, and perhaps more. It’s a touching story about how the significance of a relationship in one person’s mind doesn’t guarantee the same in the other person’s mind.

Lahiri’s stories are mostly calm. There are some bigger changes in people’s lives and relationships, but even these are just larger-than-usual ripples on the surface of seemingly tranquil lives, not crashing waves. Her vantages and choices of perspective are interesting and unusual, and she uses them to reveal so much about ordinary human lives. And the writing is simply beautiful, with a measured, thoughtful rhythm to the sentences that feels observational rather than overly poeticised.

This is my first Lahiri book and it surely won’t be my last. Having listened to the audiobook, I’m going to make sure to pick up a paper copy when I have the chance. Lahiri is a stunningly good writer, and I’m glad I’ve finally read her.