Tag Archives: Elizabeth Taylor

More praise for short stories

In November 2013 I wrote a post called In praise of short stories. It has maintained a modest readership ever since. Here is an updated version, with new recommendations.

Now is the time of the short story

Alice Munro

Short stories are flourishing. Both the winner of the 2013 Nobel Prize for Literature (Alice Munro) and the 2013 International Man Booker Prize Winner (Lydia Davis) were applauded for their outstanding achievements in short stories. Penguin tried out a new publishing format with: The Embassy of Cambodia by Zadie Smith in an electronic as well as small hardback. I am not aware of repeats or intentions to continue this experiment. On-line you can find many journals that publish short stories, and there are many on-line competitions throughout the year.

I love the form, writing them and reading them. They are not novels-lite, although the stories of Alice Munro are as rich as any novel, and the reader can have the experience of a novel in one story. William Boyd suggests that the form’s strength derives from its roots in our oral traditions (see his article in Prospect from 2006 called A Short History of the Short Story).

According to William Boyd:

The great modern short stories possess a quality of mystery and beguiling resonance about them – a complexity of afterthought – that cannot be pinned down or analysed. Bizarrely, in this situation, the whole is undeniably greater than the sum of its component parts.

Nadine Gordimer said that short stories should ‘burn a hole in the page’. That’s another way of putting it.

Reading short stories

I love reading short stories, especially in anthologies. They can introduce us to new writers; give us a great experience of creative writing in a nugget; provide us with insights into different writing in a digestible form. A friend introduced me to a collection called In a Fertile Desert: modern writing from the United Arab Emirates, translated and selected by Denys Johnson-Davies. For me, the stand-out story of the anthology was The Old Woman by Maryam Al Saedi, which provided a painful insight into the treatment and expectations of an older woman. One sentence burned a hole in the page for me.

Her children only became aware of her name when they had to obtain a death certificate.

It is not clear why large publishers don’t like to publish anthologies or collections of short stories, unless they are by established authors. But smaller and independent publishers are doing their bit (let’s hear it for them AGAIN! They do seem to listen to what the reading public say they want.)

Writing short stories

Short stories have provided a platform for writers not visible in other forms. This is especially true for novice writers, and for women: think of the numerous short story competitions by Fish Publishing International Short Story Award, the Bridport Prize, The Asham Award, Costa, to mention a few. I refer to my own modest success in 2016 in Exeter Short Story Prize, organized by Creative Writing Matters.

Most how-to-write-fiction books assume novels, but I recommend Short Circuit: A guide to the Art of the Short Story, edited by Vanessa Gebbie (published by Salt). Not only is the guidance relevant and helpful, but the writers all recommend further reading, further delights. [My apologies for misspelling in the earlier version of this post.]

My recommendations

My recommended short story writers (with some links):

And five collections to recommend:

Dorothy Whipple

Elizabeth Day’s top ten short stories, in the Guardian in 2014, draws attention to collections by well-known novelists: Julian Barnes, Jon McGregor, Chimamanda Ngozi Adiche, Jhumpa Lahiri, as well as some I have listed, who are better known for short stories.

When I originally wrote about short stories, readers recommended the following:

  • Tim Moss – Close to the Edge
  • Gabriel Garcia Marquez – Leaf Story
  • Alice Hoffman – The Red Garden
  • Katherine Mansfield
  • Margaret Drabble – A Day in the Life of a Smiling Woman

Over to you

Which stories and writers would you recommend? What have you enjoyed? Are you a writer of short stories?

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The top 5 posts about older women in fiction on Bookword in 2016

In the last 12 months the same reviews from the older women in fiction series have continued to be read, more or less. There has been a slight change in order for four of the top reads, and a replacement for the 5th: All Passion Spent by Vita Sackville-West, from August 2014, replaces Mrs Dalloway is Ageing.

The older women in fiction series now has 25 posts. My purpose in starting it was to counter the invisibility of older women in fiction, and to introduce some novels and sort stories in which readers can enter lives and other worlds that they might not otherwise understand. We need to see images, read books, watch plays and films about the less visible to understand their experiences.

The five most read posts on older women in fiction in 2016

Here they are, with links.

  1. Mrs Palfrey at the Claremont by Elizabeth Taylor explores some of the painful and amusing aspects of being older and neglected by family. A key word might be dignity. It was her last published novel appearing in 1971.
  2. The Stone Angel by Margaret Laurence, A Canadian novel, first published in 1964, telling the story of Hagar Shipley as she resists the consequences of her family’s attempts to do what they believe is best for her as she ages.
  3. Elizabeth is Missing by Emma Healey. I loved the respectful portrait of Maud who is becoming increasingly confused. There is much humour in this book, but not at her expense. It does reveal the confusion and debility of cognitive decline. And it raises important issues about family and intergenerational care for people with dementia. The only recent novel in this top 5 lists, it was published in 2014.
  4. A Passage to India by EM Forster. The portrait of Mrs Moore is one of the many attractions of this classic novel, first published in 1924. Mrs Moore infuses the action long after she departed.
  5. All Passion Spent by Vita Sackville-West. Lady Slane is the widow of a very great man and she surprises everyone by her choices in her final years: choices of place to live, friends, activities and interests. Her passion is not spent, even if her former husband’s was. This novel was first published in 1931.

    Lady with a Red Hat by William Strang.

Over to you

There is a list of over 70 titles, all relating to older women in fiction on the blog. It was compiled with the help of readers. You could add your suggestion to the list!

Does the most read list surprise you? Which book would recommend for the top five stories of women ageing? Is it included in the Bookword list?

Please add your comments and suggestions.

 

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The Dark Flood Rises by Margaret Drabble

I grew up with Margaret Drabble’s novels, keeping step as she pushed the boundaries with A Summer Bird Cage and The Millstone, looking at the lives of intelligent young women in the 60s. The Dark Flood Rises is her 20th novel and still she is asking questions that concern me, and people of my age. This novel is about growing older and facing death in the 21st Century.

The title is taken from DH Lawrence’s The Ship of Death.

Piecemeal the body dies, and the timid soul

Has her footing washed away, as the dark flood rises.

302-dark-flood-cover

This is the 24th in the series Older Women in Fiction on this blog. You can see the complete list of reviews and readers recommendations on the page About the Older Women in Fiction Series at the top of the blog.

‘What I do worry about is living’

Margaret Drabble wrote about death and approaching death in an article in the Guardian in October just before the publication of this novel. She referred to ‘the delusion of an afterlife’, no longer shared by many, if it ever was. But we still ‘struggle with the meaning of death’, she suggests. And she has this to add about increased longevity, faced by many of us.

Through our mortal ingenuity, we are reaching a biological phase when we are beginning to fear old age and longevity more than we fear death. We can no longer look forward to the possibility of a sudden, unexpected, merciful release, or falling asleep in bed reading a book (as my mother did), or ceasing on the midnight with no pain. Nor can we make plans to celebrate our departure as a grand culmination of our life’s endeavours, with gracious and grateful and possibly public farewell. That’s because we know that officious folk are going to strive to keep us alive for as long as they possibly can, until we can no longer enjoy anything. Just to prove that hey can. [Guardian 29th October 2016]

I disagree with much of this, believing we should celebrate increased longevity and take advantage of it in others as well as in ourselves. Indeed I have co-written about this and published a book on it this year. (The New Age of Ageing).

But increased longevity does mean paying more attention to that period we call old age. ‘What I do worry about is living,’ says Margaret Drabble. I agree with her. This is new territory, and as the author has said, (in the Paris Review in 1978) it is the function of fiction to explore it, and she has made an accessible approach with The Dark Flood Rises.

A summary

Fran and older people connected to her, and some younger ones, look at death. Fran is in her 70s but fit, caring for her bedbound ex-husband by preparing and delivering meals for him. Her son Christopher lost his partner suddenly in the Canaries. He returns there and is befriended by two gay men, Bennett Carpenter renown but sinking slowly into genteel disability, and Ivor increasingly acting as Bennett’s carer rather than his partner. They are trapped by European economics, and the failure to invest when they had capital. Fran’s daughter Poppet is concerned about the death of the earth. Two of Fran’s older female friends face and then undergo death.

Fran

It is Fran’s story with which the novel opens and to which we return at frequent intervals. She is doing ageing very well: she has a no-nonsense approach to it, keeps healthy and active, even undertaking paid work advising on meeting the housing needs of the elderly. This is a good device for some discrete observations about how these needs are widely neglected. Fran is determined not to become a burden on others, in fact to remain useful. She is, we can see, doing all the right things. This does not make her happy (see below for the opening paragraph).

Margaret Drabble is not afraid to enumerate the physical aspects of the ageing body. Or to refer to those things that are no longer problematic. There is a kind of tongue in cheek pleasure in the writing about these, for example the dream Fran has about Tampax. She has driven to a hotel the day before and in the morning she puts her reaction to the dream in order.

… she wonders whether it had sprung from the redness of the meal of the night before, or from her motorway thoughts about Macbeth, or from some new and about-to-be-apprehended aspect of time and the ageing experience.

For ageing is, says Fran to herself gamely as she presses the lift button to go down to her breakfast, a fascinating journey into the unknown. Or that’s one rather good way of looking at it. The thin flow was the blood of life, not of death, reminding her that she is still the same woman, she who once had been the bleeding girl. (20)

The writing

The novel is not divided into chapters, but into short segments. And it is written in the present tense. Here are the opening sentences of the novel, from Fran’s point of view.

She has often suspected that her last words to herself and in the world will prove to be ‘You bloody old fool’ or, perhaps, depending on the mood of the day or the time of the night, ‘you fucking idiot’. As the speeding car hits the tree, or the unserviced boiler explodes, or the smoke and flames fill the hallway, or the grip on the high guttering gives way, those will be her last words. She isn’t to know for sure that it will be so, but she suspects it. In her latter years, she’s become deeply interested in the phrase ‘Call no man happy until he is dead’. Or no woman come to that. ‘Call no woman happy until she is dead.’ (1)

The present tense narration brings a curious slow but immediate impact. It reminds us that these people live alongside us, are us. Time moves onwards, but we can linger in this time of life. The prose has a slightly superior tone, which may be intended to represent the mindset of this group of older people.

The novel does not stay with Fran, but roams among the other characters as they pass their days in the shadow of death’s approach. We see the preoccupations of Fran’s women friends, her ex-husband Claude, Bennett and Ivor trapped in the Canaries and attend a hospital bed and a funeral or two.

43 Wreath & Hide

There are many erudite references in The Dark Flood Rises. One I especially enjoyed was to Elizabeth Taylor, and her novel A Wreath of Roses. Margaret Drabble is very well read and her well-educated cast of characters have various interests which enable her to refer to many other writers and what they said about ageing and dying.

There is a great deal of humour, and pathos, in the doings of these characters. There is selflessness and selfishness, affluence and poverty, friendship and admiration. Some of these people have been very eminent in their professional lives in earlier times. Bennett Carpenter is a notable historian of Spain. Claude was a highly regarded surgeon. Some of the older people are immersing themselves in rather narrow interests. For example, Jo develops a researcher’s interest in novels about marriage to the DWS (deceased wife’s sister). Claude wants to listen to endless Maria Callas, while cuddling his carer. Many of these old people are lonely, have lost partners and are fearful of intruding upon their children’s lives.

And I want to mention that the story references population movements too, especially across the Mediterranean and especially the treacherous, desperate voyages that see the end of so many lives as people escape violence.

Rescue off the Canaries, November 15th 2006. Noborder Network via WikiCommons.

Rescue off the Canaries, November 15th 2006. Noborder Network via WikiCommons.

The Dark Flood Rises by Margaret Drabble, published by Canongate in 2016. 326 pp

Related posts

Margaret Drabble’s article in the Guardian, ‘I’m not afraid of death. I worry about living’ October 2016.

My review of Elizabeth Taylor’s A Wreath of Roses.

The previous post in the older woman in fiction series was A Year of Marvellous Ways by Sarah Winman.

 

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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

baum cover_compatible.indd

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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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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Top posts about women’s novels on Bookword

Here are the top 6 posts featuring novels by women from my blog in the last year. I notice that half of them refer to an Elizabeth. Half were written before the Second World War. The exceptions are Elizabeth is Missing, Mrs Palfrey at the Claremont and The Stone Angel. These three are also from the older women in fiction series:

  1. The Last September by Elizabeth Bowen
  2. Mrs Palfrey at the Claremont by Elizabeth Taylor
  3. The Stone Angel by Margaret Laurence
  4. Elizabeth is Missing by Emma Healey
  5. To the Lighthouse by Virginia Woolf
  6. The Land of Green Ginger by Winifred Holtby

Enjoy reading the posts again, or for the first time. Links are included.

The Last September by Elizabeth Bowen

Last September

Do you keep a cache of chocolates after Christmas, so that you can savour again the pleasures of treating yourself? The novels of Elizabeth Bowen are like that. She is a novelist I am glad to have come across late in my reading career. I picked up a copy of The Last September recently in an Oxfam second-hand shop and in February 2013 it came to the top of my reading pile. Read more …

Mrs Palfrey at the Claremont by Elizabeth Taylor

Not a conventional heroine, Mrs Palfrey is a genteel widow, needing to live somewhere, not invited and not minded to share a home with her daughter in Scotland. She moves into the Claremont Hotel on the Cromwell Road in London, joining a small group of elderly residents. Upon this group Mrs Palfrey practices a deceit. Having fallen in the street, she is rescued by Ludo, a young writer. Her grandson Desmond has failed to visit her at the Claremont. Ludo, who is also lonely and attracted by the adventure of play-acting agrees to stand in as Mrs Palfrey’s grandson. Mrs Palfrey achieves a grandson and a visitor and establishes her status among the residents. One of the charms of the novel is how Mrs Palfrey and Ludo cope with the risks and difficulties that this deception gives rise to, including a visit by le vrai Desmond. Read more …

The Stone Angel by Margaret Laurence

25 Stone Angel

The Stone Angel is narrated by Hagar Shipley, intended to be current when it was published in 1964. Her story is framed by her situation: an old woman, cared for by her less favourite son and his wife, and becoming increasingly ill, forgetful and always a handful. ‘A holy terror’ is her son’s description. The reader must agree. It is the picture of her decline in old age that most shocks, even now. The dilemmas for Hagar, her son and daughter-in-law, the medical staff and others who come into contact with her, cannot not be resolved. It’s a powerful portrayal, not without humour affection or sharp pain. Read more …

Elizabeth is Missing by Emma Healey

Maud is old and becoming very forgetful, suffering from dementia. She is the narrator, which is an ambitious aspect of the novel: the ultimate unreliable narrator? At the start of the novel she lives on her own, cared for by her daughter Helen and a professional carer. Her forgetfulness is evident from the first chapter when she buys yet more tinned peaches to cover her memory lapse in the local shop. Her condition worsens as the novel progresses. She tries to find her friend Elizabeth and unravel the mystery of what happened to her sister 70 years before. Read more …

To the Lighthouse by Virginia Woolf

209 To_the_Lighthouse

Before the First World War the Ramsay family is holidaying on Skye. The youngest boy James (5) wants to go to the lighthouse the next day, but weather makes the expedition doubtful. The family and house guests, including the painter Lily Briscoe, go about their activities, walking on the beach, listening to the great Mr Ramsay and reading to James. Mrs Ramsay presides over a dinner party. Ten years go by, and the house is neglected. Mrs Ramsay and two of her children die, a marriage turns sour, everyone gets older and the Great War engulfs Europe. Many of the original house party return to Skye. Lily Briscoe sets about completing her painting and Mr Ramsay sails with his two youngest children to the lighthouse. It is not the story that carries the reader on but the impressions, responses, and insights of her characters. Read more …

The Land of Green Ginger by Winifred Holtby

The Land of Green Ginger is the name of a street in Hull, briefly glimpsed by Joanna when she was a child. Its intriguing name represents her ambitions for a life in a different place, for travel, excitement and exoticism. Joanna is an attractive heroine and a very flawed one. Her attraction comes from her otherworldliness, and her desire for more than life has offered her. And indeed this belief carries her through to the novel’s conclusion. Read more …

137 LofGG cover

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Filed under Books, Elizabeth Bowen, Elizabeth Taylor's novels, Older women in fiction, Reviews, Virginia Woolf

Friends and Relations by Elizabeth Bowen

I was browsing the shelves for anything as yet unread by Elizabeth Bowen and found not one but two old fashioned penguin copies of Friends and Relations. The novel was not known to me, but the writer is, and I have found her to be remarkable, whatever I have read of hers.

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The story

The novel opens with the wedding of Edward and Laurel. We are in the years after the Great War. This brilliant opening scene introduces the reader to all the characters, pegs them for their little foibles and faults. And it is entertaining and perceptive. Here is the bride and the father waiting for the ceremonies to begin.

Her clothes were all packed; she was buttoned into an old blazer of Janet’s and did not look like to-day’s bride. From half-past ten till noon she and Colonel Studdart, shut into the morning-room, played demon patience. Her life here was over, his at a standstill; there was nothing for them to do. (7)

This is typical of Elizabeth Bowen’s ability to present her characters through their actions.

Within weeks Janet (Laurel’s sister) marries Rodney. For a few days it seems as though the second wedding will not take place for there is an alarm. Edward’s mother, Lady Elfrida brought social opprobrium upon herself when she had an affair with Considine, and then did not marry him. Rodney is Considine’s nephew and heir. Edward refuses to meet the uncle. Although the marriage does go ahead, it is not before Janet quarrels with her brother-in-law, Edward.

‘But Edward, we really cannot quarrel. Please … Do think of what is convenient: we are relations for life. I mean, we shall stay with each other, shan’t we, at Christmas and everything? It would be impossible for Laurel and me to be divided. For as long as we live, I suppose about fifty years, we shall all always be meeting and talking over arrangements. At least, that is how we have been brought up. You must see what families are; it’s possible to be so ordinary; it’s possible not to say such a lot. …’ (46)

It seems that they are talking about his mother’s indiscretion, but this attitude of finding what is convenient, of being ordinary and not speaking of things is how they will live their lives, despite her love for him, and later his for her.

The second section describes a week in May, ten years later, when Edward and Laurel’s two children are staying with Janet and Rodney. There is a socially difficulty as Janet and Rodney live with Considine’s in his house. They decide to invite Lady Elfrida to join them, believing that after ten years Edward cannot still object and Lady Elfrida and Considine are now good friends. But Edward does object, and he arrives to remove the children. His action is the occasion for him and Janet to acknowledge their mutual love.

The third section is called Wednesday, and takes place the following week, when everything comes together. Janet admits to Edward that she engineered the meeting and marriage with Rodney to be more connected to him. Janet and Edward see the impossibility of being together more than as in-laws. They settle for being ordinary, for not saying such a lot. Briefly, others mistakenly think they have gone off together. As readers we see what the reaction would have been if the lovers had decided to be together in an unbearably difficult social situation.

The main theme

The question that dominates the novel is what to do about love that is passionate, but outside and a betrayal of marriage? Lady Elfrida became a social outcast through her affair with Considine, especially as she did not marry him. Elizabeth Bowen makes it clear that their love was genuine, but has now changed to affection. Her son Edward is considered sensitive as a result of his mother’s behaviour. But in adult life he realises that he loves his sister-in-law Janet. What should they do once they have acknowledged it? Elizabeth Bowen herself came to a different conclusion from Janet and Edward, in her own life. She drew on her affair in the novel The Heat of the Day.

264 F&R new cover

Theodora

Theodora is a great creation, a kind of wild child in the first section, and then a mould-breaking adult, one of the surplus women of the inter-war years. Like Elizabeth Taylor, Elizabeth Bowen was very good at children in her writing. The House in Paris revealed her expertise. Theodora is some kind of relation, and brazenly out of step with her parents.

The Thirdmans were shockingly out of it. They had brought their girl, Theodora, for whom at each introduction they joyously turned. But she was never beside them. (11)

Theodora meets the bridesmaids on the lawn playing clock golf.

Their four little pink satin shoes were green-stained. There would be trouble, Theodora noted with pleasure. She was fifteen and, except for the bridesmaids, the youngest present. Every allowance made for her unfortunate age, her appearance was not engaging. She was spectacled, large-boned and awkwardly anxious to make an impression. (11)

Theodora fails to make an impression on anyone at the wedding. Ten years later she lives with a school friend, frequently spends time at Considine’s house, and visits Laurel and Edward in London. She cannot fail to make an impression as an outspoken adult. She provides light relief in the novel, but also reveals what happens to those who don’t fit in society in the inter-war years.

Recommended

264 Elizabeth_BowenElizabeth Bowen is skilled at communicating a great deal in a short space. She is also able to show the drama of small events, moments in domestic time, which have resonances down the years.

Friends and Relations by Elizabeth Bowen, published in 1931. My copy was published on that cheap brown wartime paper by Penguin in 1946. Price one shilling. 151pp

Related posts

Books Snob’s blog review of Friends and Relations, in which she is pleased to have become acquainted with Elizabeth Bowen.

I have reviewed the following on Bookword blog:

The Last September

Two Elizabeths, two first novels (At Mrs Lippincote’s by Elizabeth Taylor, The Hotel by Elizabeth Bowen)

The Heat of the Day

The House in Paris

 

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Complete Short Stories by Elizabeth Taylor

I have commented on all Elizabeth Taylor’s novels on this blog. Just click on the category: Elizabeth Taylor’s Novels. She wrote twelve novels for adults and Mossy Trotter for children. She always did children really well.

Finally I have finished her collected short stories, a large volume of 626 pages, 4.5 cms, 65 stories. I’ve been reading these stories on and off for three or more years, usually if I wake in the night or when I am not ready to start a new book. Each story is a drop of Elizabeth Taylor’s art.

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The Collection

Elizabeth Taylor was writing these stories between 1944 and 1973, at the same time as her novels. Most of her short stories have been published, primarily in The New Yorker (especially between 1948 and 1965). Others appeared in Cornhill Magazine, McCall’s and Vogue.

The themes and settings will be familiar to readers of Elizabeth Taylor‘s novels. Many of the stories are set in the suburbs of London (men frequently travel up to town by train every day) and gardens are important. Some have children, marriages, or other relationships that have grit in the oyster. Some of the characters are very sad, lonely or deluded. One or two stories are located abroad, on holiday for example in France or in Tunisia. Here are some thoughts about four stories.

The Thames Spread Out (December 1959, published in The New Yorker)

This is the story of Rose, an isolated and not very happy young woman, ‘kept’ by a married man in a rented house on the Thames. Gilbert pays the rent and gives her some pocket money. He visits every Friday, and sometimes, when his wife goes to see her sister, spends a week with Rose.

The Thames floods and cuts Rose off from her usual routines. Letters are delivered by boat and boy scouts offer to get her shopping for her, but she forgets to ask for peroxide. Everything begins to look more and more strange as the water rises.

A swan had come in through the front door. Looking austere and suspicious, he turned his head about, circled aloofly, and returned to the garden. (334)

The disruption leads her to spend an evening drinking with two young men, her neighbours, who come and fetch her in their boat. In the morning, the waters receding, she realises how confined she is, and takes off.

I love the image of the swan circling near the staircase. Aloofly. What a great word! Many of Elizabeth Taylor’s plots include a slight change that shifts perspectives. The spreading out of the Thames helps Rose see the possibilities of her life differently and abandon the dreary Gilbert.

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Crepes Flambees

This is a tale about how Harry and Rose (not the same Rose) return to Tunisia to recapture the excitement of a previous holiday when they befriended the people in a local bar, above all the patron, Habib. Returning four years later they find that everything has changed. The bar has closed and Habib, when they find him, tells them he is now a respected chef in a local tourist hotel. The reader comes to see, long before Harry and Rose do, that Habib wants to present them with what they want to see, and the truth is less satisfactory. They blunder about in his life, his job, the hotel, his family, his friends. The differences between the lives of the tourists and the Tunisians are painfully revealed, even if Harry and Rose have good motives for befriending Habib. Elizabeth Taylor portrays both the pleasures of foreign holidays and the difficulties for any tourists who try to break down barriers with the locals.

Mice and Birds and Boy (February 1963, published in The New Yorker)

This is a sad story. A young boy visits an old and isolated lady. William himself is a bit of a loner, not much liked by other children. His curiosity about Mrs May’s early life develops into a nice friendship, but she becomes dependent upon him. He grows up and begins to move away from her. She is left more bereft than before. Elizabeth Taylor’s writing about children is always excellent. She knows what children think about, what takes their interest, and how they change.

Their estrangement grows.

The truth was that he could hardly remember how he had liked to go to see her. Then he had tired of her stories about her childhood, grew bored with her photographs, became embarrassed by her and realised, in an adult way, that the little house was filthy. One afternoon, on his way home from school, he had seen her coming out of the butcher’s shop ahead of him and slackened his pace, almost walked backwards not to overtake her. (419)

Hotel du Commerce (Winter 1965/6, published in the Cornhill Magazine)

This story is only 8 pages long, and follows a couple from their arrival during the evening in the small and disappointing French hotel on their honeymoon through to breakfast the next morning. The reader becomes aware that their marriage is doomed to unhappiness, revealed by their reactions to the rowing couple in the room next door.

She lay on her side, well away from him on the very edge of the bed, facing the horrible patterned curtains, her mouth so stiff, her eyes full of tears. He made an attempt to draw her close, but she became rigid, her limbs were iron. (547)

In her stories human failings are not catastrophic, but they do cause hurt, sadness or regret. Many have very poignant characters who do not thrive in life. Others seize their chances. Always there is a little nugget of truth of perceptiveness in each story.

260 Elizabeth_Taylor_(novelist)Complete Short Stories by Elizabeth Taylor, published by Virago in 2012. 626pp

 

Related posts

Two Elizabeths, two First Novels. This post comments on At Mrs Lippincote’s by Elizabeth Taylor, alongside The Hotel by Elizabeth Bowen.

Mrs Palfrey at the Claremont by Elizabeth Taylor. This was the first in the older women in fiction series. It is one of the most read posts on Bookword blog.

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Mossy Trotter by Elizabeth Taylor: her children’s book.

The Other Elizabeth Taylor, looking at Elizabeth Taylor’s biography by Nicola Beauman.

 

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Filed under Books, Books for children, Elizabeth Taylor's novels, short stories

The Green Road by Anne Enright

Anne Enright was awarded the Man Booker Prize for Fiction in 2007 for The Gathering. She has since been regarded as one of the foremost Irish writers of our time. The Forgotten Waltz was shortlisted for the Orange Prize for Women’s Fiction (as it was called in 2012). The Green Road was published last year. It did well – Longlisted for the Man Booker Prize, Irish Novel of the Year, Costa Novel Award short list and choice of the year for several people. It has also gained a few blog endorsements. I read one review, however, which dismissed the novel as clichéd. While some of the situations may be very familiar in Irish history (and life), Anne Enright’s treatment is anything but a cliché. Here’s why.

231 Gr Rd cover

The story and structure of the novel

Rosaleen Madigan lives in County Clare. By 2005 her four children have grown up and away: Hanna is an alcoholic failed actress with post-natal depression; Constance stayed, married a local man who makes a good living in the Irish building boom of the early 2000s; Emmet works for NGOs to save lives in the developing world; Dan went to be a priest and decided he was gay and lives in Toronto.

In part one we see the family members in a number of different episodes, distant from each other and from their parents: Hanna as a child in 1980; Dan in New York at the height of the HIV/AIDs epidemic in 1991; Constance having a cancer check in 1997; Emmet in Mali breaking up with yet another lover in 2002. Their separate lives make their connections to each other tenuous. By the end of the first section the reader knows much more about the lives of the four Madigan children than their family members ever will.

In the second part, narrated in one timeframe, 2005, they are together in County Clare. Rosaleen, now widowed, has summoned her children to a Christmas reunion. None of the four bring partners or children except Constance who lives locally and does much of the fetching and carrying and organising. Their separation is emphasised by the festivities. Rosaleen adds to the discomfort when she goes missing for a while on a walk in the darkness, and the dramas continue even after they find her. No much is resolved by the conclusion.

Themes

The novel is concerned with connections and absence of connections within families; the pull of the past, relatives, place, personal histories and myths; how individuals and families face challenges; compassion for the difficulties of others; the change of parental role from providing care to neediness. ‘It’s about the gaps in the human heart and how we learn to fill them.’ (LRB video see below)

View from Mount Vernon across the Flaggy Shore and the inlet by Keith Salvesen May 2006 via WikiCommons

View from Mount Vernon across the Flaggy Shore and the inlet by Keith Salvesen May 2006 via WikiCommons

Rosaleen’s disappearance highlights how she and the landscape are the only connections between the family members, and they are not that strong. Her decision to sell the family home, Ardeevin, creates tensions. She has reminded her children that they have little invested in their past. They are shocked by the prospect of Rosaleen moving, but then realise that it makes no difference, except for Constance with whom she threatens to move in.

The writing

Anne Enright in 2008 by Hpschaefer via WikiCommons

Anne Enright in 2008 by Hpschaefer via WikiCommons

Anne Enright is a compelling writer. She has referred to ‘the pleasure of the sentence’. I found the section on New York and the gay community unbearably sad.

The story is small, undramatic, although individual episodes in the first part have plenty of action. As Emmet observes, they live ‘small lives’. Not much happens to the family except that Rosaleen goes missing. But within the small spaces a great deal is revealed about families and relationships. Here are some examples.

Emmet prepares for the reunion in his house in Dublin. He says goodbye to his Dutch girlfriend and then waits for Hanna to arrive for their journey to Ardeevin.

Then he faced back into the horrors of the Madigans – their small hearts (his own was not entirely huge) and the small lives they put themselves through. Emmet closed his eyes and tilted his face up, and there she was: his mother, down in the kitchen in Ardeevin. Her shadow moving through him. He had to shake her out of himself like a wet dog.

Mother.

His stupid sister late, as ever. (210)

Emmet’s awareness does not help him in his relationships with women. His compassion is reserved for those in the countries he works in.

Knockvorneen from the Flaggy Shore by A McCarron June 2008 via WikiCommons

Knockvorneen from the Flaggy Shore by A McCarron June 2008 via WikiCommons

Constance, of course Constance, meets Dan at Shannon Airport and as they drive to Ardeevin he looks out of the window of her Lexus.

As they travelled towards home, the landscape accumulated in Dan like a silt of meaning that was disturbed by the line of the hedgerow or the sight of winter trees along a ridge. All at once it was familiar. He knew this place. It was a secret he carried inside himself; a map of things he had known and lost, these half glimpsed houses and stone walls, the fields of solid green. (203)

The image of the ‘silt of meaning’ carried around from childhood is a powerful one. Many of the aspects of childhood in this family are silted up. The landscape runs through the novel, surfacing every now and again – Constance’s first trip to the clinic, Rosaleen’s walk in darkness, and Dan’s experience on arrival. The town in which Rosaleen lives is never named ‘to give a sense of elsewhere’ to the landscape. The Green Road that gives the novel its title is exists.

The description of Constance’s pre-Christmas shopping trip is terrifying. The excess of buying, the volume of stuff, the return for yet more, all conveyed in calm prose, a huge list – it is powerful a statement of Constance’s life and values.

Anne Enright seems to be saying that life is hard; relationships, especially those you are born into, but others you take on, they are difficult however you choose to live your life.

That mean-spirited blog review which suggested The Green Road is clichéd and Anne Enright over-rated made me look more closely at her skill. While the outline of the characters may be clichéd her skill is to capture, a bit like Elizabeth Taylor, the silences and shifts between people.

The Green Road by Anne Enright, published in 2015 by Vintage 310 pp

Related

The books that I loved in 2015 by James Wood in the New Yorker, 4th January 2016.

LRB video 9 minutes, from which Anne Enright’s quotations are taken.

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The top 5 posts about older women in fiction on Bookword

There are people who are less visible in our world, less visible than white, middle-aged males or beautiful young people. We need to see images, read books, watch plays and films about the less visible to understand their experiences. Fiction allows us to enter other lives and other worlds that we might not otherwise understand.

The Bookword series focusing on older women in fiction began after I attended a course about growing older and examples of older women in fiction seemed hard to bring to mind. I began to seek out and review fiction about older women. To date there have been 18 reviews and 3 associated posts. I have been able to see which posts attract most readers since I changed some things on my blog.

The five most read posts on older women in fiction

These are the five most read posts, with links.

Mrs Palfrey grey

  1. Mrs Palfrey at the Claremont by Elizabeth Taylor explores some of the painful and amusing aspects of being older and neglected by family. A key word might be dignity.
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2. Elizabeth is Missing by Emma Healey. I loved the respectful portrait of Maud who is becoming increasingly confused. There is much humour in this book, but not at her expense. It does reveal the confusion and debility of cognitive decline. And it raises important issues about family and intergenerational care for people with dementia.

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3. The Stone Angel by Margaret Laurence, A Canadian novel, telling the story of Hagar Shipley resisting the consequences of her family’s attempts to do what they believe is best for her as she ages

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4. Mrs Dalloway is Ageing. This post focused on a rereading of Mrs Dalloway, exploring the theme of ageing in Virginia Woolf’s novel. There is, of course, so much more to find there.

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5. A Passage to India by EM Forster. The portrait of Mrs Moore is one of the many attractions of this classic novel. Mrs Moore infuses the action long after she departed.

Over to you

There is a fine list of nearly 50 titles of fiction relating to older women compiled with the help of readers. Add to the list!

Does the most read list surprise you? Which book would recommend for the top five stories of women ageing? Is it included in the Bookword list?

Please add your comments.

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Filed under Books, Elizabeth Taylor's novels, Older women in fiction, Reading, Reviews, Virginia Woolf