Miss Mole is an unlikely heroine, especially for the 1930s. She is not very young, pretty, innocent or socially well-place. She seems to delight in being less than straight forward in the early part of the novel, and we wonder what will become of her over the next 288 pages. But she quickly captivates us and we are charmed by her and by the novel.
The novel is set in Radstowe, modelled on Bristol. Although Miss Mole loves the city, she was brought up on a farm, and now must find her living among people who have tight rules about what is appropriate behaviour, especially for women.
We meet Miss Mole as she is about to be dismissed from her position as companion. She has more or less engineered the dismissal herself as she is both bored and unhappy to be reduced to living at the beck and call of an old woman with restricted interests. Miss Mole does not like to be demeaned.
Hannah has a cousin, Lilla Spenser-Smith who is anxious that her relationship with a mere domestic should not be known, and so finds Miss Mole a position as a housekeeper with a non-conformist widower, The Reverend Corder, and his children. The family would be called dysfunctional today. Miss Mole finds ways to gain the trust of the children and to help them through their difficulties. Her position as a housekeeper provides her with the cover to do good within the Corder household.
The reader gradually understands that Hannah hides a secret, unknown even to Lilla, that if revealed would mean she could not be employed as a domestic servant, and that she would be ostracised by the Radstowe community. The tension of the novel increases as the revelation of this secret creeps closer, threatening to undermine her work within the Corder family.
Even to begin with Hannah Mole’s strategy is hardly effective.
’Not the thing itself, but its shadow,’ she murmured, as she saw her own shadow going before her, and she nodded as though she had solved a problem. She judged herself by the shadow she chose to project for her own pleasure and it was her business in life – and one in which she usually failed – to make other people accept her creation. Yes, she failed, she failed! They would not look at the beautiful, the valuable Hannah Mole: they saw the substance and disapproved of it and she did not blame them: it was what she would have done herself and in one case when she had concentrated on the fine shadow presented to her, she had been mistaken. (9)
Hannah Mole is not quite 40, a single woman with great independence of spirit, not always apparent to people she meets. She is described in the first chapter in this way.
She stood on the pavement, a thin shabby figure, so insignificant in her old hat and coat, so forgetful of herself in the enjoyment of the scene, that she might have been wearing a cloak of invisibility … (10)
We are soon made aware of Hannah’s resourcefulness, playfulness and creativity. We discover that she is a woman of integrity. It is revealed that she has helped prevent a threatened suicide. She herself is quiet about her actions although they bring her into contact with people who appreciate her: Mrs Gibson who provides temporary lodgings and friendship, Mr Blenkinsop who is struck by her liveliness of spirit. Much of the pleasure of this novel derives from her approach to life, and especially her psychological insights into the Corder family. She is not without faults, getting locked into a battle with the Rev Corder, which she realises she has undertaken in order to score a point.
Like many women of her age, situation and time she has a struggle to survive and time is not on her side. As she walks at night towards her new position in the Corder household she is visited by a brief moment of fear.
What was to become of herself? Age was creeping on her all the time and she had saved nothing, she would soon be told that she was too old for this post or that, and, for a second, fear took hold of her with a cold hand and the whispering of the dead leaves warned her that, like them, she would soon be swept into the gutter and no one would ask where she had gone, and her fear changed into a craving that there would be at least one person to whom her disappearance would be a calamity. ‘No one!’ the leaves whispered maliciously, while a little gust of laughter came from the bushes, and at that, Hannah paused and looked disdainfully in their direction. She was not to be laughed at! She was not to be laughed at and she refused to be frightened. (51)
EH Young’s style in Miss Mole reflects Hannah’s lack of clarity at the beginning and her increasing sense of herself and her own integrity. Episodes, fragments of memories, scraps of information are given to us in small pieces. We do not quite understand that Hannah has saved a life between stepping out to buy a reel of cotton and meeting with her cousin Lilla in the first chapter.
This mode of telling the story reflects Hannah’s character. While she is resourceful and lively, she has to guard herself, and her past, to live a little like the mole she is named for. She is complex character and is developed through the novel so that by the final chapters we are aware of her true value.
The book deals with the nature of morality and the contrast between received morality, socially accepted behaviour and Miss Mole’s true morality. She does good to so many. She knows that they would reject her if they knew the truth about her, and so she is a challenge to the restrictive teachings of the church, the social attitudes of Lilla and her set.
EH Young herself had an unusual domestic arrangement – a ménage a trois. She kept this secret for 40 years. She knew something of the tensions between secrecy and truth, appearances and integrity.
Miss Mole was recommended for the older women in fiction series. I wonder what it was about Hannah Mole that mislead the memory of that reader: she is a spinster, independent, a little down on her luck? But the happy ever after ending is unlikely to have been given to a woman of 60+, especially in the 1930s.
Stuck in a Book blog reviewed this book with enthusiasm here.
I also recommend the introduction by Sally Beauman.
Miss Mole by EH Young (first published in 1930) republished in 1984 as Virago Modern Classic. 288pp
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