While reading Muriel Spark’s Memento Mori last year, I was reminded of the delights of Barbara Pym’s novels, two of which I read in 2016: Excellent Women and No Fond Return of Love. They came as a set of three from The Book People, the third being Crampton Hodnet, which was published posthumously in 1985. In spite of its late publication date, Crampton was actually written in the late 1930s, just after the outbreak of WW2, an event which resulted in Pym’s attention being directed towards her work in the WRNS. When she returned to the novel in the mid-1940s, it seemed to her to be too dated to be publishable at the time, so it sat among her papers until her death in 1980. Viewed from a 21st-century perspective, Crampton doesn’t seem too dated at all. There is a timeless quality to many of the emotions and behaviours on display here, and they remain just as relevant today as they were back in Pym’s heyday.
Crampton Hodnet is a delightful comedy of manners set in North Oxford in the late 1930s, a familiar Pym world of charming curates, mildly ridiculous academics, romantic students and gossipy women. At the centre of this close community are the redoubtable Miss Doggett and her paid companion, the much younger Miss Morrow, ‘a thin, used-up-looking woman in her middle thirties’ who seems old before her time. In spite of being considered as somewhat ‘unworldly’, Miss Morrow is in fact rather more perceptive than other people realise. She is kind, level-headed and tolerant, especially when it comes to dealing with her demanding employer. Here is a wonderful introduction to the meddling Miss Doggett – some male undergraduates are about to arrive for afternoon tea.
‘Well, hurry up! The young men will be arriving soon,’ said Miss Doggett. She was a large, formidable woman of seventy with thick grey hair. She wore a purple woollen dress and many golden chains round her neck. Her chief work in life was interfering in other people’s business and imposing her strong personality upon those who were weaker than herself. She pushed past Miss Morrow, who was hovering in the doorway, and entered the drawing-room. (pp. 4-5)
Into this community comes a handsome new curate, the charming Stephen Latimer, who soon finds himself moving into Leamington Lodge, the home of Miss Doggett and her companion. One of the most interesting elements of this novel is the relationship that develops between Mr Latimer and Miss Morrow, an easy friendship at least in the first instance.
But Mr Latimer was glad when, by some movement of the crowd, he found himself next to Miss Morrow. If he had analysed his feelings he would have realised that he turned to her with relief, as one does to a person with whom one need not make conversation. But there was no personal quality in his feeling for her. He regarded her simply as a man might regard a comfortable chair by the fire, where he can sit with his slippers on and a pipe in his mouth.
Miss Morrow felt this, but it did not worry her. Inanimate objects were often so much nicer than people, she thought. (p. 38)
Not long after he moves in, Mr Latimer misses evensong after getting delayed during a mildly furtive walk in the country with Miss Morrow, an episode that gives rise to him telling a white lie in the hope of covering his tracks. Meeting the vicar’s wife on his return, Latimer claims he was helping a colleague at another parish in the Cotswolds – in the non-existent village of Crampton Hodnet, hence the novel’s unusual title. Of course the vicar’s wife suspects a budding romance may be developing between the new curate and Miss Doggett’s companion – and perhaps she could be on to something there, as it’s not long before Mr Latimer decides that ‘he might do worse’ than marry Miss Morrow. There are hints of some scandalous entanglements with women in Stephen Latimer’s past, so a sensible wife and helpmeet might just be the answer to the complications that can arise from potential admirers. What follows is a desperate attempt at a half-hearted marriage proposal on the part of Mr Latimer, one which leaves Miss Morrow in no doubt that she must turn it down. Miss Morrow is a bit of a romantic at heart, and it is love she is hoping for, not respect and admiration.
And then, how much more sensible it was to satisfy one’s springlike impulses by buying a new dress in an unaccustomed and thoroughly unsuitable colour than by embarking on a marriage without love. For, after all, respect and esteem were cold, lifeless things – dry bones picked clean of flesh. There was nothing springlike about dry bones, nothing warm and romantic about respect and esteem. (p. 118)
Alongside the Latimer-Morrow storyline, there is another romantic entanglement at play here as Francis Cleveland, a married University tutor in his fifties, loses his head over one of his students, the pretty and intelligent Barbara Bird. Francis, who also happens to be Miss Doggett’s nephew, is treading water in a staid but comfortable marriage to his wife of over twenty years, the efficient and level-headed Margaret. In essence, he feels somewhat marginalised and redundant in his own household. When Miss Doggett spots Francis taking Miss Bird to tea, she is convinced that something untoward is afoot. Even though she is desperate to meddle in her nephew’s affairs, Miss Doggett decides to keep a watching brief on the situation in the hope that it will develop into something even more scandalous in the future.
‘I do not think it is really our business,’ said Miss Doggett. ‘We will let the matter drop,’ she added, having no intention of doing anything of the kind. It was quite possible that there would be further incidents in the story. It would be much more interesting to wait. It was really not her duty to tell Margaret about last week, but it might very well be to confront her with a complete and convincing story of her husband’s unfaithfulness. (pp. 75-76)
This element of the story gives rises to several priceless scenes as Francis starts behaving like a love-struck teenager, declaring his passion for Barbara in the middle of the British Museum, an outburst that causes the young girl to pause and think again. In spite of her romantic tendencies, Barbara knows that her love is a wild, school-girl crush, not something deep and meaningful to be acted upon or taken seriously. If that were to be the case, who knows what might happen?
How could she explain to him what her love was like? That although it was a love stronger than death, it wasn’t the kind of love one did anything about? On the contrary, doing nothing about it was one of its chief characteristics, because if one did anything it would be different – it might even disappear altogether. (p.126)
Other calamities soon follow including a slightly unfortunate trip along the river and a romantic adventure that doesn’t quite go according to plan. There is also space in this novel for a third romance, the blossoming of young love between Francis and Margaret’s attractive young daughter, Anthea Cleveland, and the ambitious young undergrad, Simon Beddoes.
All in all, Crampton Hodnet is a thoroughly charming and engaging social comedy. In fact, I think it’s the funniest of the three Pyms I’ve read to date. While Crampton does not necessarily have as much depth as Excellent Women, it is an extremely enjoyable novel, all the more so for its pin-sharp characterisation and multitude of hilarious developments. In some ways, the book seems to be saying that wild, passionate, ‘romantic’ love is rather idealised and troublesome, whereas a love that is lasting and fulfilling is much harder to find. Irrespective of the central message, the scenes in this novel are so brilliantly observed, underscored as they are with Pym’s trademark insight and wit – even the little details are spot-on. I couldn’t resist this final quote about Mrs Doggett and her hat (Pym is marvellous when it comes to capturing a character through their dress or hat).
Miss Doggett and Miss Morrow were sitting side by side on the sofa. Miss Doggett was wearing a terrifying new hat trimmed with a whole covey of cyclamen-coloured birds, but Miss Morrow was her usual drably comforting self. (p. 248)
As the story draws to a close, there is a sense that life in North Oxford will continue as before from one academic year to the next; it is only some of the people who will change.
Crampton Hodnet is published by Virago Modern Classics; personal copy.