Festival of Writing

What do you get if you put 400 writers, agents, editors and creative writing teachers together? Lots of talk, lots of notebooks, lots of focused people. This was my experience of the Festival of Writing at York University this September.

What can a festival of writing give to a writer? I don’t mean a literature festival, but a writing festival? The Writers’ Workshop, who organised the Festival of Writing 2016 in York in September say they aimed to do three things given that writing is hard and solitary.

  1. help improve your writing
  2. help you meet the industry
  3. give you an amazing time

I went along mostly to finds ways to improve my writing, but it was also interesting and useful to meet others engaged in the business of book production and of writing fiction.

284-fow-logo

What did I learn?

I learned a great deal more about the publishing industry, how the fiction landscape is changing as ebooks and self-publishing have grown. It can sometimes feel that the industry is in opposition to the writer, but of course agents and publishers need good writers, and we heard about plenty of good relationship. Most writers, I suspect, still feel we are somehow on the outside, looking for the magic formula that will allow us entry. Or if not some magic, some helpful guidance and tools that give us the chance of entry.

With a strapline from here to publication, the event went some way to demystifying a process which otherwise can seem like the quest of romantic medieval fiction: an epic journey with riddles and tests, ensnarements, false directions and yet no promise of attaining the goal.

Experiment, Learn, Bounce!

Experiment, Learn, Bounce! was CL Taylor’s message to us and it has merit. She described her very successful career as a fiction writer and extracted these points for us.

  • Experiment and be bold within and across different genres.
  • Learn from it all, learn from feedback, critiques, how-to books and from other published books.
  • And don’t give up, bounce back from rejection, you would miss out if you crumpled.

More than once writers were congratulated on completing the first draft of their novel, not many people in the world have done it. Perhaps they people know something that we don’t?

And perhaps we should be adding Celebrate! to CL Taylor’s imperatives. Celebrate every achievement, because writing is so hard.

284-uof-york

Workshops

There were 40 workshops on offer; everything from ‘First 100 Word Challenge’ to ‘How to Attract an Agent’. My own choices reflected my intentions to improve the first draft of my novel. I went to workshops that focused on specific aspects of the craft of fiction. All six workshops were interesting and useful, and I brought away some ideas and notes for action. Some were better learning experiences than others. It seems a misnomer to refer to a one-hour monologue as a workshop, for example.

The Writers’ Workshop is able to call upon some very experienced people in the business of helping people improve their writing. It seemed that most people attending the workshop were stimulated and challenged by their workshop experiences.

My mistake

I made a major mistake by not preparing well enough for this conference – distracted by the publication of The New Age of Ageing and other activities. I missed the information about booking one-to-one sessions and sending in my work-in-progress for feedback from an agent and an editor. Silly me! For many people present this was a really important part of attending. I know this because they were slack-jawed if I admitted that I had missed out.

Some specific things

Did you know that there is a genre called Reading Group Fiction? New to me.

It seems that post-it notes and coloured pens might be the best aid to rewriting for some of us. This does not just apply to the stationery junkies amongst us. As they are small, cheap and moveable, everything a first draft is not, post-its are a good way of visualising aspects of the novel, such as plot threads, and being able to see where rewrites are needed. Thanks Julie Cohen for the workshop on that: we did some post-it activities.

I enjoyed the generosity of the publishing community and the wannabe published writers. People were friendly, exchanged contact details, recommended books, noted successes, and bought each other drinks. Back in my writing attic I am aware of how hard it is for writers in their everyday lives to maintain the sense of community.

284-fow

But …

Half way through the weekend I lost my confidence and it all became a bit of a nightmare. I was confronted, like the hill walker who reaches the brow of the hill only to find there another one beyond, the further you go the more you can see there is to do. The consequence of knowing more about what needs revision is understanding there is more and more to do than I ever imagined. I am not convinced I can do it. I find that Neil Gaiman has expressed this rather more succinctly: ‘chasing the horizon’.

Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving.

[From the workshop Writing Tips: Rules are made to be broken by Laura Williams.]

I am hoping that this nightmare of lost confidence will soon pass, and that the practical suggestions together with the understanding I gained about different aspects of the writer’s craft, will help me through.

But here’s another useful piece of advice from Carl Sandburg which can apply to life as well as writing:

Beware of advice – even this.

Related posts and websites

During the weekend I tweeted the connection to a post I wrote in July, the 7th in a series on revising my novel. It was called Revising the novel again (and again). A few people read the post, one saying she was glad to find she was not alone.

Here’s the link to the website of The Writers’ Workshop, organisers of the Festival.

This is the 8th in the series on revising my novel, following an on-line course back in 2015, also run by The Writers’ Workshop. Previous posts were:

My purposes for the on-line course #1 January 2015

Progress On-line course: my learning #2 January 2015

Progress On-line course: post course plans #3 February 2015

On-Line Writing Course #4 Revising Structure and Plot March 2015

On-Line Writing Course #5 Deadlines August 2015

What I write about when I am not writing fiction April 2016

 

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A Room of One’s Own by Virginia Woolf

You know the most famous line from Virginia Woolf’s essay:

A woman must have money and a room of her own if she is to write fiction. (6)

I sigh with satisfaction when I open one of my copies of this essay. It was published in 1928, between Orlando and The Waves. In this post I ask what has changed after 88 years.

Virginia Wolf suggested that in 1928 the impediments to women’s fiction were removed, but I detect a slight tongue in cheek: the excuse of lack of opportunity, training, encouragement, leisure, and money no longer holds good.

May I remind you that there have been at least two colleges for women in existence in England since the year 1866; that after 1880 a married woman was allowed by law to possess her own property; and that in 1919 – which is a whole nine years ago – she was given a vote? May I also remind you that most of the professions have been open to you for close on ten years now? When you reflect upon these immense privileges and the length of time during which they have been enjoyed, and the fact that there must be at this moment some two thousand women capable of earning five hundred a year in one way or another, you will agree that the excuse of lack of opportunity, training, encouragement, leisure, and money no longer holds good. Moreover, the economists are telling us that Mrs Seton has had too many children. You must, of course, go on bearing children, but, so they say, in twos and threes, not in tens and twelves. (111)

Have the gains in women’s fiction been as expected?

283 Room VBell's cover

This is my fifth contribution to the #Woolfalong hosted by Heavenali on her blog.

A Room of One’s Own.

The essay originated in talks given by Virginia Woolf at Girton College, Cambridge and Newnham College, Oxford in 1928 and she wrote more on the topic of women and fiction in Three Guineas, published in 1938.

In six chapters, just over 100 pages, Virginia Woolf describes what she found when she researched the question of women and fiction, and what was known about women’s lives. She does this through the fictional account by Mary Seton of some days in Oxbridge and London as she prepares for the lectures. She uses the device of a fictional sister for William Shakespeare, Judith, who ends up drowning herself in the Thames for daring to follow in her brother’s path. She builds a picture of the many influences that kept women from writing or publishing. And she considers why those four great novelists of the seventeenth and eighteenth centuries were able to write, noting that three of them used male names: Jane Austen, Charlotte Bronte, Emily Bronte and George Eliot.

The core of her argument is that women needed money and their own room, to provide freedom from want and anxiety, and the necessary privacy. She was also keen to point out that a writer’s ideas and artistry depends upon what has already been written.

283 RooOO cover

It’s better now …

Some things are better now for women in fiction. We no longer think it strange that some women can earn a living, even a fortune, through their skills as writers: JK Rowling, EL James, Suzanne Collins, Gillian Flynn, Paula Hawkins. Nor are we surprised that women are shortlisted and win some of the most prestigious literary prizes; or hold positions as Professors of Literature or of Creative Writing, or run publishing houses.

People who express sexist opinions can expect to be challenged. It is no longer acceptable to keep women off the lawns, out of libraries, out of colleges or the professions. At least not in the UK.

… but not a lot.

But things have not improved as much as might have been hoped after nearly a century of the vote (1918), and 41 years of the Sex Discrimination Act (1975). And indeed since the publication of many, many volumes of fiction by women since the first novels, such as Evelina by Fanny Burney (1778).

But oh dear, how entrenched is the view that women’s fiction is of less value than male fiction! That’s why we still need Baileys Women’s Fiction Prize. And oh dear, how deeply embedded is the idea that Virginia Woolf expressed in A Room of One’s Own:

Women have served all these centuries as looking glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size. (37)

And still we do not find it strange that books by women are not published, read or reviewed in the same proportion as men’s books. I need only refer you to the VIDA statistics reporting the disparity in gender of reviewers and authorship of works reviewed. These figures have been compiled for several years, to show how bad the situation is, and how slowly it is improving. The most recent count (2015) can be found here.

VIDA is a non-profit feminist organization committed to creating transparency around the lack of gender parity in the literary landscape and to amplifying historically-marginalized voices, including people of color; writers with disabilities; and queer, trans and gender nonconforming individuals. [from the Vida website]

And …

Virginia Woolf in 1927

Virginia Woolf in 1927

The truth of the original idea, that income and privacy are necessary to the creative process is still evident. My previous post was about Jean Rhys, and in it I challenge the romantic idea that poverty and artistic creativity go together. You can link to it here.

A Room of One’s Own by Virginia Woolf, published in 1928, and in the Penguin Modern Classic edition, used in for this post, in 1945. 112 pp

Related posts

My previous contributions to the #Woolfalong include:

To the Lighthouse in January

The Voyage Out in March

Mrs Dalloway in Bond Street in May

Orlando in July

 

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The Romantic life of the writer Jean Rhys?

It’s such a romantic story. A novelist forgotten, rediscovered and a career reanimated and crowned with the publication of a masterpiece. Jean Rhys’s story is one of suffering, depression and penury. Proof perhaps that creativity arises from suffering.

Except, Jean Rhys’s story teaches us quite the opposite. Her suffering inhibited her creativity. This is my contribution to #ReadingRhys week from 12th-18th September.

282 #RRhys

Seeking information on ‘the late Jean Rhys’

Born in 1890 on the island of Dominica, Jean Rhys came to Europe at the age of 16, spending time in Paris and London. She led the life of a demi-mondaine, as a rich man’s mistress, a model and volunteering in a soldiers’ canteen during the First World War. After the war Ford Maddox Ford encouraged her writing and even established a temporary maison a trois to supervise.

The young Jean Rhys

The young Jean Rhys

She wrote many short stories and three successful novels before the Second World War.

  • 1927 Left Bank and other stories
  • 1928 Postures/Quartet
  • 1930 After Leaving Mr Mackenzie
  • 1934 Voyage in the Dark
  • 1939 Good Morning, Midnight [the link is to my review]

And then, as far as readers were concerned, she disappeared. I expect most people, if they thought about her at all, assumed she was dead.

What kept her from writing?

Several factors combined to work against her.

War: in England during the war she worried about the lack of news of her former husband and their daughter Maryvonne. They were both safe, but she was not able to receive news of them from Holland. The stories she did write were unsuccessful and not published. She and her second husband could not settle and moved out of London.

282 Rhys at window

Poverty: Jean Rhys seems to have had no money at any time in her life. And when her husband, Leslie, died in the late ‘40s and she married Max Hamar nothing improved. And then it got worse because Max was imprisoned for fraud. Don’t imagine romantic attics, rather see her living on the edge in almost uninhabitable bungalows in Devon.

Ineptness: ‘No one who has read Jean Rhys’s first four novels can suppose that she was good at life; but no one who never met her could know how very bad at it she was,’ says Diana Athill in Stet. Jean was quite unable to deal with the practicalities of life. When she arrived from Domenica she had no experience of trains or hot water. Later, in a drunken state she agreed to a contract that gave away far too many rights to any adaptations of her work.

Drink and depression: her inability to cope with practical matters was compounded by her paranoia, depression and tendency to drink. She ate too little and drank too much.

Bad luck seems to follow hopeless people, perhaps explaining the idea that people creating their own luck.

Rediscovery

Jean Rhys was finally rediscovered in the ‘50s through an advertisement from the BBC asking for information about ‘the late Jean Rhys’. They planned to broadcast an adaptation of Good Morning, Midnight.

Francis Wyndham was an admirer and an editor with Andre Deutsch and heard about her rediscovery. He helped her get some stories published, and sent her some money. Diana Athill, also an editor for Andre Deutsch, learned that she had nearly completed a new book. That was in 1957.

Jean Rhys (in hat) with Mollie Stoner, 1970s via wikicommons

Jean Rhys (in hat) with Mollie Stoner, 1970s via wikicommons

Wide Sargasso Sea was not completed for another seven years, until 1964. Her editors provided all kinds of help, but this was difficult to do when she always put a brave face on her difficulties. And at the moment when the manuscript was to be handed over to the publisher, with a few lines left to dictate to the typist, Jean Rhys had a heart attack. She had made Diana Athill promise not to publish without this final amendment. For a while her survival was in doubt, and there was a real risk that we might never have been able to read Wide Sargasso Sea. She did not complete the novel for another two years.

The struggles were not over even when she recovered, although alleviated. But she did complete a memoir called Smile Please.

What we learn

This is not a story of a troubled romantic artist, her troubles somehow enriching the creativity. Jean Rhys’s story reveals that talent is easily negated by poverty, drink and depression. There were times when she felt her brain was empty, like an automatic dispenser she had see on a tube station: This machine is EMPTY till further notice.

Creativity requires encouragement, money, good health, freedom from anxiety and time to write a novel.

Acknowledgements

Two sources were essential for this post:

Jean Rhys (Lives of Modern Women) by Carole Angier, Penguin Books 1985

282 Stet cover
Stet: an editor’s life
by Diana Athill, Granta Books 2000

This post is part of the blog reading week called #ReadingRhys co-hosted on the blogs of Jacquiwine and Solitary Reader

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Five Novels set in Hotels

Why set novels in hotels? Hotels provide the writer with a setting which is contained, but allows the introduction of new characters as people an=re and leave. And there is a definite social structure: both the guests and the staff have their own hierarchies. In this post I explore how the writer has used the hotel location in five novels.

Hotels

Here are some of the features of hotels that can be used by the novelist. Many of these features can been seen in the 5 novels I have chosen.

  • Hotels are enclosed and can be isolated worlds. They have their own boundaries, rules and restrictions within a bigger world.
  • People come and go in hotels. The guests and staff can represent the whole world.
  • Hotels are often places of performance for the guests as well as the staff. They are presenting a public face in an enclosed world. This is especially fruitful for mysteries.
  • The confluence of people is unplanned, people are thrown together, and the combinations have possibilities for surprise and revelations.
  • The guests have leisure, and may do new or silly things.
  • The contrast between staff and guests can show up class differences and character flaws. Sometimes there are hierarchies with the guests, for example who has which room, as in Elizabeth Bowen’s novel.
  • The location is not quite domestic, not quite private and often guests are isolated, consequently there is potential for the characters to be under considerable tension.
  • Different things happen to different people, but in close proximity. There are multiple points of view, and multiple stories.

Some of these aspects of the hotel location explain the success of the Crossroads soap and other tv series– some long-running characters, others come and go in an episode – and for films.

Five Novels with hotel settings

  1. Grand Hotel by Vicki Baum

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Vicki Baum was Austrian, but the Grand Hotel is in Berlin in the late 1920s. In her novel she makes full use of the transitory coincident of guests.

Nobody bothers about anyone else in a big hotel. Everyone is alone with himself in this great pub that Doctor Otternschlag not inaptly compared with life in general. Everyone lives behind double doors and has no confidant but his reflection in the looking-glass or his shadow on the wall. People brush past one another in the passages, say good morning or good evening in the Lounge, sometimes even enter into a brief conversation painfully raked together out of the barren topics of the day. A glance that travels up does not meet the eyes. It stops at your clothes. Perhaps it happens that a dance in the Yellow Pavilion brings two bodies into contact. Perhaps someone steals out of his room into another’s. That is all. Behind is an abyss of loneliness. Each in his own room is alone with his own Ego and is little concerned with another’s. (241)

The brief intersection of lives is richly mined in this novel. The humble, terminally ill book-keeper from the provinces Otto Kringelein wishes to live for a short while. Dr Otternschlag has nothing, nowhere to go, only half a face (a souvenir from Flanders), and no friends. Baron Gaigern is dashingly attractive and a conman and thief. He provides some experiences for Kringelein, fast car, aeroplane, boxing match, casino. The fading ballerina Grusinskaya, and Kringelein’s boss, Preysing. The rich and dishonest get their comeuppance. Gaigern plans to get money out of Kringelein, but he is killed by Preysing, who is involved in a business swindle and employing Flammchen as his mistress and secretary. Both Kringelein and Flammchen know poverty and win through in the end.

Their stories are told with wit, humour, tenderness and an energy that is very attractive. It is easy to see why see why it was made into an MGM movie

I borrowed Grand Hotel from Devon libraries, which as if announcing the end of civilization, has stamped inside the cover LAST COPY IN COUNTY.

281 Last copy

Grand Hotel byVicki Baum. Published in English in 1930 by Geoffrey Bles, translated from the German by Basil Creighton. 315 pp

  1. The Hotel by Elizabeth Bowen

281 Hotel Bowen

This was Elizabeth Bowen’s first novel and is set in an out-of-season hotel on the Italian Riviera in the 1920s. Everyone there makes compromises and mistakes about love. Sydney Warren, a young woman who is too clever for happiness; her cousin, who has come abroad to try out several illnesses recommended by her doctors; the cold and selfish but elegant Mrs Kerr, who cannot remember ever having been loved by anyone; Mrs Lee-Mittison who spends her life trying to pre-empt any annoyance for her husband; Colonel Duperrier’s wife who is miserable because he neglects her; Mr Milton who indulges himself in a bathroom, reserved for one of the more wealthy guests; Mr Lee-Mittison’s picnic to discover anemone roots, even though the Lee-Mittisons themselves have no roots

Elizabeth Bowen cleverly uses the house and the countryside almost as characters in the story. And the crowd scenes (the goodbyes, the upset load of timber) are beautifully captured.

The Hotel by Elizabeth Bowen, first published in 1927, available in both Vintage and Penguin Classics.

Here is a link to my review The Hotel by Elizabeth Bowen

  1. Mrs Palfrey at the Claremont by Elizabeth Taylor

The Claremont Hotel specialises in older residents. Elizabeth Taylor uses the setting to contrast three kinds of relationships: the forced and artificial relationships of guests and staff; the unsatisfactory nature of some family relationships; and friendship based on mutual enjoyments, activities and favours.

It also allows her to explore the loneliness of Mrs Palfrey in old age. A classic novel published in 1971.

Read more here: Mrs Palfrey at the Claremont by Elizabeth Taylor

  1. Hotel du Lac by Anita Brookner

281 hotel du Lac

Edith Hope comes to the Hotel du Lac on Lake Geneva to escape her life in London which has gone badly wrong. But she finds herself exposed to new people and forced to assess her life and whether she wants to settle for marriage, with an unreliable man, or make her own way in the world. This novel won the Booker Prize in 1984. You can stay at the Hotel du Lac, a friend reports.

  1. The Greengage Summer by Rumer Godden

281 Gr Summer

A family of 5 children and their mother go to a hotel in the Champagne region of France, on the Marne. The mother falls ill and is in hospital for the time of the action. Joss, the oldest daughter, is also sick for the first few days. The remaining four children have an idyllic time, especially when taken under the wing of Eliot, the charming Englishman. When Joss recovers all changes for she is very beautiful, and men are entranced by her. The idyll unravels and Eliot is exposed as a womaniser and a thief, despite some kindnesses to the children.

It is essentially a coming of age story, but also a bit of a thriller. Made into movie in 1961, with Susannah York and Kenneth Moore.

The Greengage Summer by Rumer Godden 1958, published by Pan books in 1958. 187 pp

Motels

Some motel novels were suggested to me for this post, but they are using the setting in some different ways: transience and travel are the key aspects of the motel novel. It also very American. My five hotel novels are all European.

Related Posts

Grand Hotel a review on Jacquiwine’s blog

The Voyage Out by Virginia Woolf

Some other novels set in hotels

281 Best ExoticThese Foolish Things (aka The Best Exotic Marigold Hotel) by Deborah Moggach (2004)

At Bertram’s Hotel by Agatha Christie (1965)

Hotel World by Ali Smith (2001)

A Room with a view by EM Forster (1908)

Related posts

Another group of themed novels: Island Novels July 2016

Walking in Four Novels August 2016

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Publication Day. The New Age of Ageing

The New Age of Ageing: how society needs to change, by Caroline Lodge, Eileen Carnell and Marianne Coleman, published by Policy Press on 7th September 2016.

Caroline writes

Publication Day is here! So exciting to see something that we laboured over together, gave to the publisher, saw in various stages of completion and finally have copies in our possession! You can too have a pile of books because Publication Day is here ….

The New Age of Ageing is out. Like my fellow writers, I feel proud of what we have achieved. I am especially pleased that this book has edge, says something that no other book is saying, has used the voices of so many people, has made research accessible to readers.

And what we have to say is in the sub-title: how society needs to change. Too much age-blaming, age-hating and age-fearing going on. I like that we have turned this round so that we provide some different ways of seeing our society, because there will be more older people than previously. There is an alternative to ageism and segregation. We call it age-integration and we suggest ways in which it can be achieved and benefit everyone.

Please read and enjoy and let us know what you think.

280 pile

I asked my co-authors to tell us how how they each feel about the book and what they hope for it

Eileen wrote

Oh the joy of holding a brand new published book in one’s hand. I am thrilled, overjoyed. It is out there and available for the world to read.

And at the same time I am bereft – the book has gone – it doesn’t feel part of me anymore. I do not wake up every morning with that pressing research to consider. It has left a gap in my life.

This has been the pattern over my writing career. I recognise the mixed feelings and I am itching to start the next book. It is there – a little embryo. So I see writing as a never-ending process rather than a finished product. But hold on a minute. Let’s savour the moment.

It is a time to rejoice. I remember the first time a book of mine was published and going out to dinner to celebrate with a co-author. We took the book along and sat it on a chair between us. I don’t quite get the same giddy feeling 40 years on but it is still special moment and a reason to smile. Writing a book is a long slow difficult process taking years to complete. And as previous blog posts suggest getting published can be a really hard, tortuous time. Well, we made it.

The reason we made it is that we worked so well as a team – the three of us writing collaboratively and sharing our heart-felt concerns. The issues really matter to us.

Getting the testimonials suggest that this book is going to be well received:

This book demolishes the myths that dominate the discussion of ageing … a compelling and original account that gets to the heart of what needs to change in order to create a better, more age-inclusive society.

This observation is just what we hope for the book. We want things to change – we want people to think differently about the issues of ageing and to stamp out ageist practices and policies. We want readers to have their senses aroused, personally and politically. We want this book to challenge the stereotypical image of older people as frail and on the scrap heap. And wouldn’t it be fantastic to think that this book represents one small step in bringing about this change.

Marianne, Eileen and Caroline meeting at Kings Place in 2014

Marianne, Eileen and Caroline meeting at Kings Place in 2014

Marianne wrote

Now our book The New Age of Ageing: how society needs to change is actually published and available I feel very pleased and proud of what the three of us have done. It is important to sit back and enjoy this time before starting to think: ‘what about the next project?’

Looking back, it is hard to remember that we actually had to work rather hard to achieve this. What I remember are the wonderful and productive meetings we had from time to time to discuss the development and progress of the book, and in between the meetings, the exchange of dozens of e-mails which kept up the creative and supportive dialogue between us.

I am glad that we went to meet some of the people involved at the publishers Policy Press in Bristol, where looking at the marketing of the book was a further part of the creative process, making us think of who our audience might be and who, in the media might be most interested in what we have to say.

The fact that the book is now in physical form is the end of something for us, but it is the beginning of the book’s real life as it will appear in bookshops, libraries and eventually on people’s bedside tables and amongst their holiday reading and hopefully encourage critical thinking about the popular general view of ageing.

Along with the other two authors, I hope that the book will be read by individuals who are heartened and encouraged by what we have written, as they or others in their family move into older age. We also hope that it will be read and will potentially influence policy makers and opinion formers who will find that their view of older people has been modified. My personal message (see earlier blog) is about not seeing older people as ‘other’. It is not ‘them and us’, it is all ‘us’.

274 New Age

Copies of The New Age of Ageing are available through the Policy Press website, at a 20% discount. It costs £14.99 £11.99. You can also download one chapter for free!

Related Posts

Every month since February we have written posts about the stages from bright ideas to publishing our book. You can find them here:

Trouble with Titles and Covers (August 2016)

Marketing our Book (August)

Learning to be old by Eileen Carnell (July)

Ageing: it is not ‘them and us’, it is all ‘us’ by Marianne Coleman (June)

Getting feedback to improve our writing (May)

First Catch Your Publisher (April)

One Book, Three Authors (March)

Writers’ Residential (February)

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Walking in Four Novels

Writing and walking work together very well. I explored some connections for writers in a recent blogpost: Steps to Improve Your Writing. Here I explore four novels to consider how walking features in them.

Few characters walk in novels to get from A to B or for the good of their health. These aspects of walking do not contribute to interesting plots. Instead, some characters walk to escape, such as the woman in white, Rosaleen along the Green Road, or Harold Fry. Some characters need to walk to be connected to other people, the history in their surroundings, or their memories. Frequently by walking, characters assert their independence, as in the case of Elizabeth Bennet.

The Woman in White by Wilkie Collins

279 The_woman_in_white_Cover_1890

Who can forget the first meeting with the woman in white? The narrator has visited his mother in Hampstead and is returning on foot at night to London. He is, indeed, walking from A (Hampstead) to B (back to London). The stage is set: dark, isolated and already a bit weird.

I had now arrived at that particular point on my walk where four roads met – the road to Hampstead, along which I returned; the road to Finchley; the road to West End; and the road back to London. I had mechanically tuned in this latter direction, and was strolling along the lonely high-road – idly wondering, I remember, what the Cumberland young ladies would look like – when, in one moment, every drop of blood in my young body was brought to a stop by the touch of a hand laid lightly and suddenly on my shoulder from behind me.

I turned on the instant, with my fingers tightening around the handle of my stick.

There, in the middle of the broad, bright high-road – there, as if it had that moment sprung out of the earth or dropped from the heaven – stood the figure of a solitary Woman, dressed from head to foot in white garments, her face bent in grave inquiry on mine, her hand pointing to the dark cloud over London, as I faced her. (23-4)

It is dramatic and weird. Who would not read on to find out the mystery of the pointing Woman in white?

The Woman in White by Wilkie Collins, (1860), I used the Penguin Classic edition.

The Green Road by Anne Enright

231 Gr Rd cover

In the second novel, Rosaleen also takes a night walk. This walk shapes a dramatic scene, towards the end of the novel, as if it will lead to a reconciliation or final departure. It is late on Christmas Day, in west Ireland near the Flaggy Shore. Rosaleen, an older woman, leaves her disconnected family for a solitary walk she has taken many times along the Green Road. It is cold and dark and she is plagued first by the wind and then by reflections on her life.

She had been waiting, all her life, for something that never happened and she could not bear the suspense any longer. (259)

Like many walkers, she responds to the elemental atmosphere.

Rosaleen spread her arms wide and flung her face up.

‘Hah!’ she said.

In the middle of nowhere, on Christmas Day, when no one was out, not one person was walking the roads.

‘Hah!’

Old women were not given to shouting. Rosaleen did not know if she still could, or if your voice went slack like the rest of you, when you got old.

‘Oh, don’t mind me!’ she said. She roared it. She stuck her fists down straight by her sides. ‘Don’t mind me!’ (260)

She is walking along the Green Road in response to her fractured family, the loss of her husband, her advancing years.

This is why Rosaleen had come up here, to this wild place. She had come to cleanse herself of forgetfulness and of fury. To shout it loud and leave it behind. To fling it away from herself. (265)

Rosaleen gets into trouble in the dark and the cold and her family must find her. It should lead to reconciliation. This novel is highly recommended, by the way, for many other qualities too.

The Green Road by Anne Enright (2015), published by Vintage and winner of several prizes including the Man Booker Prize. My full review can be read here.

Pride and Prejudice by Jane Austen

136 Pride & Prej

Elizabeth Bennet is a walker, energetic and undeterred by poor weather. Her walks are associated with key plot moments in Pride and Prejudice. She walks to Netherfield Park to take care of her sick sister, Jane. The reactions of those in residence reveal a great deal about each of them, as well as about Elizabeth. Mrs Hurst, Bingley’s sister, makes the following comment.

‘To walk three miles, or four miles, or five miles, or whatever it is, above her ancles in dirt, and alone, quite alone! what could she mean by it? It seems to me to show an abominable sort of conceited independence, a most country town indifference to decorum.’

‘It shows an affection for her sister that is very pleasing,’ said Bingley.

‘I am afraid, Mr Darcy,’ observed Miss Bingley, in half a whisper, ‘that this adventure has rather affected your admiration of her fine eyes.’

‘Not at all,’ he replied; ‘they were brightened by the exercise.’ (82)

Elizabeth walks a great deal in the grounds of Rosings and here is met by Darcy the day following his disastrous proposal and he must give her a letter. She next meets Darcy accidentally when she is walking in the grounds of his great house, Pemberley. And finally Darcy and Elizabeth ‘get it together’ on another walk near her own home. As Willoughby says, in his cheerful way, ‘Mr Bennet, have you no more lanes in which Lizzy may lose her way again today?’ (383)

Pride and Prejudice by Jane Austen, published in 1813. Edition used: Penguin English Library.

The Unlikely Pilgrimage of Harold Fry by Rachel Joyce

279 Harold Fry

The fourth novel is structured by Harold Fry’s walk, He is an older man, retired, who has lost his energy, emotionally and physically. Harold receives a message to say that an old friend he lost touch with is dying. He sets off from his home in Kingsbridge, Devon to post a letter to her, but just keeps on walking, and after 87 days arrives in Berwick-upon-Tweed. He walks 624 miles and along the way, as is the case with pilgrimages, he meets other people and has adventures which help him understand his life and other people. He is reconciled with his wife and learns a great deal about himself including his own resilience.

The Unlikely Pilgrimage of Harold Fry by Rachel Joyce published by Black Swan in 2012.

Some other novels that feature walking

Mrs Dalloway by Virginia Woolf, compared to her short story Mrs Dalloway in Bond Street

Wild by Cheryl Strayed

The Long Walk by Stephen King

Over to You …

Can you recommend other novels that feature walking?

 

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The Empress and the Cake by Linda Stift

The third in Peirene Press’s fairy tale series, The Empress and the Cake by Linda Stift is my final choice for August: #WITMonth, women in translation month. I’ve been enjoying picking up lots of ideas for reading women in translation. This is another intriguing novella from Europe, this time from Austria.

278 cover of Empress

The Story

It begins with cakes, and the empress.

She was inspecting the pink and green custard slices, the glazed tarts and fancy meringues piled high in the window of the patisserie. Her dress touched the floor, with only the toes of her shoes poking out. The dress was black and woollen, and around her shoulders sat a black lace mantilla, whose dipped hem was tucked between her armpits. (13)

The anonymous narrator is inveigled by this older woman, Frau Hauenembs, into sharing a cake in her flat in Vienna. The narrator has a continuous battle with food and has not had cake for years, but she is also easily led. Frau Hauenembs’s flat is full of late Austro-Hungarian stuff, and looked after by Ida, an overweight but dedicated servant/housekeeper. Something strange is going on. Soon the narrator is ensnared by this odd couple and participates in a plot to steal a rabbit press (see later), then to replace the head of the assassin Lucheni, and then to steal a cocaine syringe that once belonged to the Empress Elisabeth. Gradually the narrator becomes more and more embroiled in Frau Hauenembs’s schemes and way of life, moving in with her, injecting her with cocaine, winning the Sissi lookalike competition, and even wearing housecoats as Frau Hauenembs requests. In the final paragraph it is clear that another victim is going to go through the same process.

The Empress

Photograph of Empress Elisabeth by Ludwig Angerer 1862 via WikiCommons

Photograph of Empress Elisabeth by Ludwig Angerer 1862 via WikiCommons

Frau Hauenembs is and isn’t the Empress Elisabeth. This is a fairy tale. In addition to the objects that are nefariously acquired, she adopts many of the behaviours of the original empress: she is tall, has a 16 inch waist, eats very little, keeps very slim, rarely sits down, has a dog and appropriately an imperious style with Ida and the narrator.

In Frau Hauenembs’s flat the narrator notices : … several pictures of the young Empress Elisabeth, including a small copy of the famous painting in which Elisabeth is dressed only in a nightie, her long hair tied in a thick knot in front of her chest. (18)

278 empress-elisabeth-of-austria-by-franz-xaver-winterhalter-1864

The story of the Empress Elisabeth is probably more familiar to Austrian readers. She was brought up in Bavaria, and married the Emperor Franz Josef at sixteen. He had been engaged to her sister. Despite her rather unconventional activities and the dominating behaviour of her mother-in-law, the couple appear to have been happy together until she was assassinated in 1898 by Luigi Lucheni in Switzerland. Known to her intimates as Sisi, (Sissi was the film name for her – see below) her childhood pet name, she frequently travelled on her own, was very active, went on long hikes, was fascinated by circus people, and passionate about Hungary. She was devastated by the suicide of her son Rudolf, at Mayerling.

278 Sissi

If any of this sounds familiar, it may be that you have seen one of the three films in the Sissi series, starring Romy Schneider, made in the 1950s.

The Cake

Food, and Viennese patisserie in particular appear, throughout the novel. The narrator is seduced with them, Ida is greedy for them, and Frau Hauenembs cannot resist buying them. The prize at the Sissi look-alike competition is the winner’s weight in praline. The trio frequently have lavish picnics, carried by Ida, picked at by Frau Hauenembs, futilely resisted by the narrator.

Frau Hauenembs’s protracted beauty rituals mimic the Empress’s. The duck press is for squeezing out juices from the dead bird, to prepare a health drink. Control of eating, body weight and shape are frequent themes of this novella; how much they matter, how much they are under the control of the eater, what they look like in clothes, what they weigh …

The book also offers an exploration of the way the mind creates its own realities and – quite often – deludes us into believing that we control what is actually controlling us. [From the publisher, Meike Ziervogel]

The original German title of the novel is Stierhunger, which translates as bulimia nervosa. The prose is appropriately physical in response to all this bodily fixation. The descriptions of the means by which the narrator attempts to hide her bulimia are especially vivid.

It may be a fairy tale, but the realities of the lives of Elisabeth and her servant, of Frau Hauenembs, Ida and the narrator are far from romantic. No saccharine here, but there is lots of toxic sugar.

The Empress and the Cake by Linda Stift, published in 2007 as Stierhunger, and by Peirene Press in 2016. Translated from the German by Jamie Bulloch. 184 pp

Related posts

Books in Translation on this blog looks at the small number of translations, especially by women published in this country.

Tales from the Vienna Streets on this blog in July 2013.

The Beauty Rituals of C19th Empress Elisabeth of Austria on Mimimatthew’s blog. Mind-blowing!

 

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Trouble with Titles and Covers

The New Age of Ageing: how society needs to change comes out on 7th September. One of the hardest bits of writing our book was finding the right title. And another was agreeing the cover design. These two aspects of book production carry the first ideas of the book to possible readers. Despite their importance, for us, both title and cover came after we had finished the manuscript.

274 New Age

Finding the title

For most of its time, from first ideas, through the proposal and contract signing stages, and even as we were writing the chapters, our book was called Ageing now: the impact on individuals, families, communities and society. We had already rejected Positive Ageing and We’re Still Here, although that one made it as a chapter title. You can see where we were going with Ageing Now. But we knew it was not right, and asked the publisher to consider it a working title. What should the book be called?

This is a summary of the contents:

Our society, communities, family and individuals have much to gain and less to fear from our ageing population.

We give innovative ways of considering ageing, challenging widespread account of it as simply problematic and burdensome. We counter ageism and the political opportunism that obscures the opportunities and benefits of age. We reject the common belief that transitions into older age bring inevitable pain, loneliness, depression and dependency whilst recognising the challenges involved.

The book challenges common assumptions about ageing and offers a new vision for an age-inclusive society.

You can access a free copy of Chapter 4 called Time bombs and Agequakes: the economics of ageing: here.

The summary above hardly does justice to our arguments, and yet we had to compress it even further into a title. We wanted to find a title that told our readers that this book is about how all society is changing, and everyone will be affected by increased longevity. We did not want a title that suggested we were guiding people into a happier old age, although we hope it can contribute to that. So out went Positive Ageing, The Joys of Ageing and all associated suggestions. Other suggestions were rejected by the marketing people at Policy Press for not being strong enough.

The hunt for the title took many emails, many, many emails. I consulted my writing group. Emma said that even though we had not yet found the title, it would eventually reveal itself to us, we should be patient. And it did. An idea had come from Marianne’s husband, John. Finally we all agreed on The New Age of Ageing: how society needs to change.

Turning pages of a book by Mummelgrummel, February 2013 via WikiCommons

Turning pages of a book by Mummelgrummel, February 2013 via WikiCommons

Cover

And then we had similar issues with the cover. Just for a moment consider what images you would put on a book about ageing. Older people? Older people being active? We were conscious of the clichéd image of older people on bicycles, tandems and motorcycles with sidecars. We have been writing about retiring and ageing for some years and our publications have been blessed with all these!

We learned about how difficult covers can be on a previous occasion. Some years ago Eileen and I wrote a book aimed at secondary schools. The publisher’s initial design showed primary age pupils looking very learningful. The brief to the designer must have omitted the relevant age.

The trouble with images of people on books is that they often represent stereotypes, or categories. Writing about social policy, changes to society and so on, we wanted an inclusive cover. If people are to be shown the reader has to see people of different ethnic origins, men and women in positive activities (I guess that’s where the bikes come in), in relationship with each other, and in our case, not representing the usual image of older people: passive, miserable, in decline.

230 road sign

We suggested no people. We suggested a neutral image: in our case it’s a rising or setting sun. And we were keen on getting a good strong colour, clear lettering and strong layout. Ideally we would have liked some of Eileen’s artwork, but this was beyond budget. We like the strength of the blue cover, and its ambiguous sun. I referred to the endorsement on the back cover in the previous post on marketing. We hope all this – title, design, blurby bits – will attract readers.

And finally …

… it’s all done. As I write this we are waiting for our printed copies to arrive. One has been seen somewhere in Britain. Publication day is only a few weeks ahead.

The New Age of Ageing: how society needs to change, by Caroline Lodge, Eileen Carnell and Marianne Coleman will be published by Policy Press on 7th September 2016.

Copies of The New Age of Ageing will be available through the Policy Press website, at a 20% discount. It will cost £14.99 £11.99.

Related posts

On the Tricky Topic of Titles (November 2015)

We are writing monthly posts about the stages from bright ideas to publishing our book. Earlier posts include

Marketing our Book (August 2016)

Learning to be old by Eileen Carnell (July)

Ageing: it is not ‘them and us’, it is all ‘us’ by Marianne Coleman (June)

Getting feedback to improve our writing (May)

First Catch Your Publisher (April)

One Book, Three Authors (March)

Writers’ Residential (February)

 

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In Gratitude by Jenny Diski

So I’ve got cancer. I’m writing. (13)

I came to know Jenny Diski through the London Review of Books, in which her ‘cancer diaries’ appeared. I followed her as she published 17 articles, from September 2014 until earlier this year and admired the vividness and honesty of her writing.

276 In Grat

Here is a taste of her approach and style from the opening paragraph:

Diagnosis

The future flashed before my eyes in all its preordained banality. Embarrassment, at first, to the exclusion of all other feelings. But embarrassment curled at the edges with a weariness, the sort that comes over you when you are set on a track by something outside your control, and which, although it is not your experience, is so known in all its cultural forms that you could unscrew the cap of your pen in your hand and jot down in the notebook on your lap every single thing that will happen and everything that will be felt for the foreseeable future. Including the surprises. (1)

Rejection of Metaphors of fighting cancer

Her writing appealed to me because, in her first article, I read this statement.

One thing I state as soon as we are out of the door: ‘Under no circumstances is anyone to say that I lost a battle with cancer. Or that I bore it bravely. I am not fighting, losing, winning or bearing.’ I will not personify the cancer cells inside me in any form. I reject all metaphors of attack or enmity in the midst, and will have nothing whatever to do with any notion of desert, punishment, fairness or unfairness, or any kind of moral causality. (10)

Glynis in Lionel Shriver’s novel, So Much for That, makes a similar comment. The metaphor of fighting can blame the loser for losing – you didn’t fight hard enough! In the case of Glynis, she was fighting the US health insurance system, which decided that the rarity of her cancer made her uneconomic to research or treat.

‘Cancer Diaries’

276 J Diski

And despite the ‘preordained banality’ and the rejection of the metaphor of fighting cancer, Jenny Diski decided to write about her illness.

I’m a writer. I’ve got cancer. Am I going to write about it? How am I not? I pretended for a moment that I might not, but knew I had to, because writing is what I do and now cancer is what I do, too. (11)

Reading the cancer diaries

And so over the next months I read the diaries as they appeared in the LRB, and marvelled at the quality of the prose, how Jenny Diski used her skills to examine the experience of treatment and facing terminal illness. Of course I admired her bravery, but was mostly absorbed in her writing because it was taking me into an experience with which I had only a small amount of familiarity: the best kind of writing.

I also enjoyed her humour, not so much the graveyard kind as of a good companion who finds humour and humanity, life, even in cancer treatment. The ‘Onc Doc’ is an example. So is the description of the radiotherapy procedures. And when the articles were collected and put together in a book, published more or less as she died in April, I bought the book and read it all again.

Doris Lessing

Doris Lessing and Jenny Diski in 1963

Doris Lessing and Jenny Diski in 1963

And Doris Lessing came into the book a great deal. Jenny Diski had a very troubled adolescence, her mother and father seem to have been unable to parent her. After experiences in psychiatric wards and in care, she spent some time at St Christopher’s School, where Doris’s son Peter met her. Doris Lessing offered to take her into her home in London. It was a decisive change in her life, even if it was not altogether successful, not the end of Jenny Diski’s troubled youth.

I must admit that my admiration for Doris Lessing has somewhat reduced as a result of this account. But the gratitude of the title is in part for the generosity of the older woman. How it corresponds with the cancer diary aspect of this book is not clear to me. But it was fascinating. A unique story retold.

276 Doris Lessing

And …

Since I first read her articles a friend has also been diagnosed with, treated for and very recently died of cancer. I look back at the opening paragraph of In Gratitude. I too found the banality, embarrassment and weariness of cancer treatment and death. And everything that happened, everything that was felt, including the surprises, was lived again by another set of people.

In Gratitude by Jenny Diski (2016) published by Bloomsbury 250 pp.

Jenny Diski wrote many novels including:

Nothing Natural (1986)

Apology for the Woman Writing (2008)

… and non-fiction:

Skating to Antarctica (1997)

The Sixties (2009)

What I don’t know about Animals (2010)

 

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In a Summer Season by Elizabeth Taylor (again)

Restrictions in novels can produce interesting tensions and plot lines for the novelist to work with. Elizabeth Taylor took the restrictions of one English season, Summer, and showed us a number of characters, all in love, during that limited time. The restrictions of In a Summer Season, published in 1961, are not heavy handed or forced. It is the work of a writer coming into her own.

A version of this review was first published in November 2013 and has remained popular with visitors to this blog. This is a revised and reformatted version.

The themes

This is a novel about love of many kinds. It is also about love’s tendency to appear and disappear over time – indicated by the title. For all the characters in this novel, the summer season changes their experience of love and their path in life. Elizabeth Taylor knew what she was doing in this, her eighth novel. She manages a complex cast of characters and has the confidence to let her story unfold.

65 cover

The story

Kate Heron is the main character. She is around forty and has recently married for the second time after being widowed. As she is well off, her new husband Dermot is able to be unemployed for stretches of time, although he tries his hand at growing mushrooms and at entering a partnership in a travel company in London. Kate has a sixteen year-old daughter, Lou, back from boarding school for the holidays, and a son, Tom, who is working his way up in his grandfather’s business. At the start of the novel one feels that Kate and Dermot are doomed, but not for the traditional reasons which they separately suspect are harboured by Kate’s former friends: she married a younger man, and perhaps he married her for her money. Something more complex is implied to the reader.

The young girl and the chaplain

During the summer season Lou falls for the chaplain, a Father Blizzard. She hangs about places and undertakes parish chores, such as sorting shoes for the jumble sale, hoping to bump into him. One morning he asks her to help him buy a birthday present for his sister.

When they were sitting together in the bus, she felt completely happy, without knowing that to feel so is such a rare experience that it might never come to her again. The very knowledge would have made something else of it. This morning was something she recognised as having been waited for, but with wavering degrees of hope. As the miracle had come about she simply accepted it, but was taking it in little sips, blissfully restrained: for instance, she had not yet raised her eyes to look at his face. (56)

Elizabeth Taylor is able to capture such adolescent feelings without implying they are inferior to adult love. As autumn approaches Father Blizzard makes a decision to leave the village and join a Catholic monastery in France. Lou returns to school. I love the description of Waterloo station as mothers see off their children. I was catching trains to and from school at the same period (she was writing in the early ‘60s). She has captured the scene at the start of term.

All over Waterloo Station groups of schoolgirls flocked together – their cries, their movements birdlike, as was their way of keeping to their own kind. Other uniforms drew only glances of scorn. Schoolboys, returning too, were less gregarious. They stood alone at the bookstalls or thoughtfully put pennies into slot-machines, unimpressed by so much feminine gaiety. (206)

A young man’s first love

Tom is used to having girls at his beck and call, has become practised in letting them down gently as he moves on to the next one. But he is smitten with Araminta, when she returns with her father to the village. She is ruthless but cool with ambitions to become a model, vividly attractive and sexy, but able to control Tom through her unresponsiveness. The reader feels for him in his unsuccessful pursuit. She is a prototype for the anorexic size 0 models of our time.

65 Winifred cover

Love for an older woman

Dermot loves Kate, but he can’t quite live up to his own intentions for himself, preferring to allow the truth to be obscured so that he doesn’t appear smaller in her eyes and those of her friends. This leads him into a series of lies. He feels his inferiority; it is moral, educational, cultural and he resents it. This resentment is the catalyst for the tragic climax of the story.

One of the delights of Elizabeth Taylor’s novels is the references to other novels, in this case The Spoils of Poynton by Henry James, which Dermot does not recognise. I admit to not having yet read this book, which is about possessions and a widow’s battle to retain her spoils – antique furniture. As Susannah Clapp points out in her introduction, ‘piles of discarded, unused and unlovely objects are strewn throughout In a Summer Season. … They carry some force as reminders of the inhibitions and consolations of memory and habit’. The Spoils of Poynton was Kate’s first husband’s favourite novel, and links Kate to him and to her previous life in a way that Dermot resents. It’s a clever, quiet device that also shows up Dermot’s ignorance (and mine!).

Kate Heron

260 Elizabeth_Taylor_(novelist)Kate is more aware of each person, including herself, than any of the other characters and because she is central to the plot we often see people mediated through her sensitivities. She learns to manage her relationship to Dermot. Elizabeth Taylor lets us know, in this early scene, that Kate understands Dermot very well.

On the way home they quarrelled – or, rather, she listened to Dermot quarrelling with an imaginary Kate, who supplied him with imaginary retorts, against which he was able to build up his indignation. Then, when they were nearly home, he began to punish himself, and Kate realised that the more he basked in blame, the more it would turn out to be all hers; her friends, for close friends of hers they would become, would seem to have lined up to aggravate him, and her silence would be held to account for his lack of it. (34)

As readers we are encouraged to have some hope for the couple for the evening ends thus:

He ran his knuckles down her spine. ‘You taste of rain,’ he said, kissing her. ‘People say I married her for her money,’ he thought contentedly, and for the moment was full of the self-respect that loving her had given him. (40)

This is pure Elizabeth Taylor: the temporary relaxation of the tension, and the quiet revelation of Dermot’s character.

As summer ends …

It is Dermot’s lack of fibre (as they would say) that pushes the story to its conclusion. While there is tragedy, sudden and brutal, all does not end badly for Kate in a conclusion that does not satisfy all readers. We are unsure what kind of future Kate will have, but the final short chapter allows us to see where love leaves her and the other characters, a year on from that summer season.

As always in her novels there are some great comic moments (preparing for the jumble sale, watching tv, Dermot’s mother). Great tenderness is shown towards Lou’s ‘calf ’love and Tom’s hopeless infatuation with Araminta.

But the uncertainties of love are also revealed with tenderness: Kate’s dream about Charles, Dermot’s desire to do better by Kate leads him to lie and deceive; Lou’s growing up so that the departure of Father Blizzard is not such a blow; Lou crying about her mother and Dermot after he has accused Kate of being ‘bloody smug’; Charles’s comfort; Tom’s inability to recover from Araminta’s death.

275 In a Summer Season new cover

In a Summer Season by Elizabeth Taylor. First published in 1961 Republished by Virago Modern Classics. Quotations in this post are taken from 1983 edition 221pp

Related posts

Some other blog reviews of In a Summer Season:

Dovegreyreader

Of Books and Bicycles

All Elizabeth Taylor’s novels and her short stories have been reviewed on this blog. You can find them by clicking on the category button or on Elizabeth Taylor in the tag cloud.

 

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