Tag Archives: Caroline Blackwood

Some Monstrous Women in Books

Monstrous women appear in many novels, including those written by women. Some are redeemed, and some are defeated and one or two even triumph. A few are the main character. They all help the plot along in some way. I note that men can be monstrous too, but when they behave as these women do it appears insignificant. 

For this post I present some books that include monstrous women, with links to my reviews on Bookword.

Unredeemed

Angel by Elizabeth Taylor (1957)

Angel is monstrous; a writer of flamboyant and excessive fiction that is full of errors and anachronisms and other writerly solecisms (such as using real people’s names). The financial success of her novels came from the popularity of her overblown prose and the outrageousness of her style. Angel herself was certain that she should be spoken of in the same breath as Shakespeare and Goethe (whose name she could not pronounce). Her publisher says that she writes ‘with ignorance and imagination’. She has no sense of humour, no self-doubt and no judgement. Angel is arrogant, rude, selfish and opinionated, and what she doesn’t like she ignores (such as her aunt, the First World War, critics, poverty, people who challenge her).

Flora in The Soul of Kindness, also by Elizabeth Taylor, (1964) has a magnificent unawareness and entitlement that drives people to death, unsuitable marriage and misery. We all know someone like Flora, attractive, without insight or self-awareness, but yet she is everybody’s favourite. Perhaps we even want to be her friend, because some of her lustre might rub off on us. Elizabeth Taylor shows us the damage such creatures can create.

Great Granny Webster by Caroline Blackwood (1977)

The narrator is sent to stay with her great-grandmother and finds the experience horrific. The old lady had a toxic upbringing imbued with Victorian middleclass values. She imposes on her young relative the rigid formality, the meeting of the expectations of others, the refusal to express emotions, the belief in her own righteousness, all from that upbringing.

And these get their come-uppance

Pride and Prejudice by Jane Austen (1813)

We learn that Lady Catherine de Bourgh ‘was extremely indignant’ at the marriage of her nephew, Mr Darcy, to Miss Elizabeth Bennet, ‘and she gave way to all the genuine frankness of her character’. She had paid a warning visit to Elizabeth in which she told the young woman,

‘Miss Bennet, you ought to know that I am not to be trifled with. But however insincere you may choose to be, you will not find me so. My character has ever been celebrated for its sincerity and frankness, and in a cause of such moment as this, I shall certainly not depart from it.’ 

Her abusive language to her nephew severed relations for a while, eventually smoothed over by Elizabeth.

Rebecca by Daphne du Maurier (1938) 335

Few women live in the imagination as strongly as Mrs Danvers, in contrast to the meek second never-named wife of Max de Winter. The housekeeper resents the new wife and seems to own Manderley in the absence of the first Mrs de Winter. As a character she is a brilliant invention. But I wonder how the reader is so easily convinced of Max’s innocence, and how much that is a reaction to Mrs Danvers’s creepy and threatening presence.

Abbess of Crewe by Muriel Spark (1974) 

Mocking the great, is what Muriel Spark is about in this novel that is a parody of Richard Nixon’s downfall. Sister Alexandra, in white, corrupts and exploits the other sisters, in black. She records everything and is wittily exposed in this novel.

Beowulf

Grendel’s mother in the Anglo-Saxon poem Beowulf is portrayed as an ignorant hag-like creature, living in a pool of water-snakes, scarcely able to communicate with her son. Maddened by the death of her son at the hands of the first superhero, she is defeated in turn in her own cave. There is an alternative feminist version to this misogyny: The Mere Wife by Maria Dahvana Headley.

Jane Eyre by Charlotte Bronte (1847) 

Jane’s aunt, Mrs Sarah Reed, resents the necessity for her orphaned niece to join her household and treats her very badly and banishes her to Lowood Hall School.

They Were Sisters by Dorothy Whipple (1943)

Three sisters are contrasted in this novel. One of these is Vera who is so beautiful that every door is opened to her, all difficulty smoothed out of her way, all misdemeanours forgiven, until she becomes middle-aged. She treats her husband with flagrant unkindness, and when he leaves her, looks round for another admirer. Her nemesis is age, and she is forced to face her weaknesses when her niece replaces her in a young man’s attentions. Vera is too weak to give up the young man and they run away to a life of more unhappiness in South Africa.

Hidden Qualities

Some apparently horrendous women are revealed to have hidden qualities.

 

Olive Kitteridge by Elizabeth Strout (2008) 

In the first volume of short stories of Olive Kitteridge, the former schoolteacher is revealed as a very flawed individual. But in the second volume, Olive, Again (2010), she has become quite sympathetic, perhaps because we understand her more. Is this the Dirty Den syndrome, whereby the audience loves a baddie if they experience enough of them?

The Door by Magda Szabo (1987) 

Translated from the Hungarian by Len Rix

Emerence acts as housekeeper to a novelist, choses her clients and behaves in what appears to be a high-handed even predatory manner, intimidating her clients and her neighbours. She is not so much redeemed as explained in this magnificent Hungarian novel. 

The Enchanted April by Elizabeth von Arnim (1922)

Mrs Fisher is definitely saved in this much-loved novel about four ill-assorted women who spend a month together in an Italian castle. She is saved through Italian sunshine and the sunny disposition of Lotty.

The Girl with the Louding Voice by Abi Daré (2020)

And now, meet Big Madam as 14-year-old Adunni meets her in Lagos.

The cool air inside the car is escaping with a strong flower smell as somebody is climbing out. First thing I am seeing is feets. Yellow feets, black toes. There is different colour paint on all the toenails: red, green, purple, orange, gold. The smallest of the toes is having a gold ring on it. Her whole body is almost filling the whole compound as she is coming out. I am now understanding why they are calling her Big Madam. When she come out, she draw deep breath and her chest, wide like a blackboard, is climbing up and down, up and down. It is as if this woman is using her nostrils to be collecting all the heating from the outside and making us be catching cold. I am standing beside Mr Kola, and his body is shaking like my own. Even the trees in the compound, the yellow, pink, blue flowers in the long flower pot, all of them are shaking. (122)

Big Madam enslaves Adunni, to work in her house, and to live in a shack in the compound. Adunni is valued by many of the people she meets, who help her achieve her ambitions – to do with the ‘louding’ voice – and to which Big Madam must eventually accede. 

The Hottest Dishes of the Tartar Cuisine by Alina Bronsky (2010)

My Grandmother’s Braid by Alina Bronsky (2019)

Both novels were translated from the German by Tim Mohr

In both books there is a monstrous, interfering and overwhelming grandmother. Both behave in underhand and shocking ways, with lack of consideration for others. They are stories about unconditional love that is expressed in curious and sometimes hilarious ways.

Not yet categorised as monstrous

Guard your Daughters by Dorothy Tutton (1953)

The mother in this novel exerts control and limits her five daughter’s experiences to her own advantage. Is she monstrous?

Eva Trout by Elizabeth Bowen (1969)

The main character challenges many conventions about women, maternal feelings, obsession with appearance, desire to marry, and independent wealth. I am not sure I understand what the author was doing with this unlikely character, but I believe she is not monstrous.

You may have your own suggestions of monstrous female characters to add to this list?

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Filed under Books, Feminism, Older women in fiction, Reading, Reviews, Women in Translation, Women of Colour

Great Granny Webster by Caroline Blackwood

This short novel is a fearsome portrait of a fearsome old woman. Great Granny Webster lives in Hove, Sussex, in a dark house, spending her time sitting upright in a chair, doing nothing. This has been her way of life for decades. What makes her live in this way?

Great Granny Webster is the 34thin the series on older women in fiction. You can find a list of all those previous posts and readers’ recommendations on the page About The Older Women in Fiction Series.

Summary of Great Granny Webster

This short novel is narrated by the great grand daughter who was 14 years old when she spent three months with the old woman in Hove in order to recuperate after an illness by taking in the sea air. The poor girl has to live with her great-grandmother in a rigid routine, waited on by one maid who is also very old. The description of the routine in the house is chilling, and very strong.

Often I would be in the same room as Great Granny Webster for hours and she would say not a single word to me. She would just sit there bolt upright in one of the most horribly uncomfortable highbacked wooden Victorian gothic chairs I have ever seen. One felt that originally it had only ever been intended to stand like a decoration in some imposing baronial hall. (13)

By contrast the narrator’s Aunt Lavinia is a fun-loving socialite of the post-war period. She is also described in detail, and we understand that she is no happier than Great Granny Webster. She is described in this way:

Aunt Lavinia was then thirty-two and she was always described as “jolie laide.” A play-girl in the style of the twenties, she was famous for her beautiful legs and for the fact that she had been married briefly to three millionaires while taking at the same time a large selection of lovers, who were not only friends of her husbands’ but almost as well-endowed financially. Her attitude to life appeared so resolutely frivolous that perversely she could seem to have the seriousness of someone with a driving inner purpose. She believed in having “fun” as if it was a state of grace. (29)

The second chapter provides a dramatic contrast to Aunt Lavinia’s grandmother, but we soon see that they are both iron-willed in pursuit of their chosen path.

A third chapter explores Dunmartin Hall in Ulster. To this house Great Granny Webster’s daughter went when she married. She goes mad and her devoted husband is quite unable to keep up the fabric or the conventions of this vast aristocratic house because he is so keen to support her. The footmen and butler wear rubber boots to serve the meals – always pheasants – as a protest against the damp conditions. This is the home of the narrator’s father. He died in the war but he frequently went to visit his grandmother in Hove before his death, and the narrator tries to find out what he liked about his visits. Again, we have a contrast, this time of the chaotic household and the rigid one.

Finally, years later, the narrator is called to the funeral of the old lady. In a scene of bizarre and ludicrous awfulness, the old lady’s ashes are tipped into her grave with only the narrator and her ancient maid as mourners.

The old woman

Behind this fearsome portrait of a sad old woman and those who were influenced by her lies the question – why on earth did she behave as she did? As a child and young woman she was was exposed to and constrained by those Victorian values and expectations of what it meant to be a woman from the upper classes. The rigid formality, the meeting of the expectations of others, the refusal to express emotions, the belief in her own righteousness, all these come from that upbringing. No matter that there have been major changes in society, two world wars and the ‘60s; no matter that her daughter is incarcerated for life in a lunatic asylum; that her granddaughter commits suicide; and her son-in-law appeals to her for help; despite all this she holds on to her rigidity and independence.

We are left in no doubt that it was a toxic upbringing, and that it had profoundly terrible effects on subsequent generations. We are to understand that much of this novel was based on Caroline Blackwood’s own experiences.

My reactions

I may have given the impression that this is a tough book to read. But the descriptions are marvellous and some of the details quite hilarious. Perhaps to show affection, but in any case highly inappropriate, the old lady indicates to her great-granddaughter that she will leave her a four-poster bed. One of the ornamental pineapples is a little loose and the old lady is very concerned that when it is moved into storage the removal men may be careless.

“I want you to realise that there are no reliable furniture removal firms any more. Now-a-days they send just anybody. All you get is a couple of rough young men with no breeding at all, no sense of the way one is meant to handle beautiful possessions. I therefore want someone responsible to be there to supervise the movers when they come to take my things from my house.” (25-6)

She is speaking to a schoolgirl.

One of the charms of this book is the construction of the sentences, often long, often beginning with a subordinate clause, and all constructed with considerable rhythm. In the first example above she gives us no less than five adjectives to communicate the sense of that chair: one of the most horribly uncomfortable highbacked wooden Victorian gothic chairs I have ever seen. The quality of her writing adds to the pleasure of reading this book.

Caroline Blackwood

Girl in Bed (1952) by Lucien Freud

This writer was unknown to me before this novel was recommended for the older women in fiction series. Caroline Blackwood was born in 1931 and died in 1996. She lived vividly, married Lucien Freud (painter), Israel Citkowitz (composer) and Robert Lowell (poet). She came from the extremely wealthy Guinness family and lived in London, New York and Ireland. She wrote other books, including biographies of Princess Margaret and Lucien Freud. Her life was blighted by alcoholism. Great Granny Webster is probably her best-known and most admired work.

Great Granny Webster by Caroline Blackwoodfirst published in 1977. I used the edition published by New York Review Books Classic. 108pp

Thanks to Jennifer Cairns for suggesting this book for the series.

Picture credit: Girl in Bed (1952) by Lucien Freud, for which Caroline Blackwood was the model. Used under ‘fair use’ for information and education.

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Filed under Books, Older women in fiction, Reading, Reviews