First published in 1977, at the height of Pym’s well-documented renaissance, Quartet in Autumn is a quietly poignant novel of loneliness, ageing and the passing of time – how sometimes we can feel left behind as the world changes around us. Now that I’ve read it twice, I think it might be my favourite Pym – or at least one of her best and most memorable novels.
Central to the narrative are four colleagues – Letty, Marcia, Edwin and Norman – who work together in a London office, performing clerical duties of some sort (the exact name of the business or institution is never made clear). All four are in their sixties and fairly close to retirement. Letty and Marcia will leave first, the retirement age for women being lower than for men, with Edwin and Norman to follow in the fullness of time.
Letty – the most self-aware member of the group – is particularly conscious of how odd or antiquated they must seem to other people, especially the younger, more energetic office employees. While they don’t see or socialise with one another outside of work, each co-worker has their own individual habits and routines to fall back on. Letty enjoys reading and shopping, always making an effort with her clothes to maintain a neat appearance, even though she is a spinster. Edwin – a widower – has various church activities to keep him occupied, helping Father G. with his parish near Clapham Common. Norman – unmarried and living in a bedsit – seems fixated on getting angry with various things: the youth of today, people who drop litter, semi-nudity in public places, and cars, especially badly parked ones.
Finally, Marcia – the most troubled of the quartet – spends much of her time buying tinned food which she never seems to eat; collecting empty milk bottles, which she stores in the garden shed, ready for some unspecified emergency; and avoiding Janice Brabner, a rather persistent volunteer from Social Services. Marcia, who is still under the care of the local hospital following a mastectomy, resents Janice’s interference in her life and wishes she could be left alone. But instead, Janice persists in trying to encourage Marcia to get out more, preferably dropping in at the local Centre, much to the latter’s annoyance. Also of concern to Janice is her charge’s diet, which she considers lacking in fresh food, especially given Marcia’s reliance on tinned goods, cups of tea and biscuits. It’s an ongoing source of tension that builds steadily during the book.
As the novel unfolds, we learn a little more about these four individuals through various glimpses of their lives, especially away from work. With her middle-class upbringing and training in secretarial duties, Letty had expected to marry in her youth; but instead, she was left behind, trailing in the wake of her best friend, Marjorie, who proved more popular with men. Now Letty lives in a bedsit, owned by an elderly lady, who may also be on the cusp of retirement herself. Nevertheless, while Letty regrets not having married, she still believes that her life has value to it, albeit in a somewhat different, less complicated way than her peers.
Yet, she sometimes wondered, might not the experience of ‘not having’ be regarded as something with its own validity? (p. 21)
At one point in the past, Marcia had entertained vague thoughts of Norman as someone she might become attached to, but now she seems more interested in Mr Strong, the surgeon who performed her mastectomy. Naturally, Mr Strong is blissfully unaware of this, but it doesn’t stop Marcia from looking forward to her appointments with him.
Alongside its central themes of loneliness and ageing, the novel also illustrates how difficult it can be to adjust to change, especially when we are older and set in our ways. Edwin, for instance, laments the changes that have taken place in a nearby teashop, one of his regular lunchtime haunts.
He had had a light lunch, snack really, in the teashop whose decor had changed distressingly, though the food was the same. Edwin and the other regular patrons felt themselves out of place among so much trendy orange and olive green and imitation stripped pine. There were hanging lights and shades patterned with butterflies and over it all soft ‘muzak’, difficult to hear but insidious. (p. 20)
Change is also the cause of some distress to Letty, who finds life uncomfortable with her new landlord, a Nigerian man named Mr Olatunde. With their enthusiastic hymn-singing and penchant for spicy food, the Olatunde family prove too much for Letty to cope with, given her preference for peace and quiet. Once again, Letty reflects on her position as an unassuming spinster, left on the shelf having missed out on marriage – something that chimes with Pym’s portrayals of other self-effacing heroines, such as Mildred from Excellent Women and Belinda from Some Tame Gazelle.
It must surely be because she had not married. No man had taken her away and immured her in some comfortable suburb where hymn-singing was confined to Sundays and nobody was fired with enthusiasm. Why had this not happened? Because she had thought that love was a necessary ingredient for marriage? Now, having looked around her for forty years, she was not so sure. (p. 56)
There are elements of Pym herself in the character of Letty – and possibly a dash in Marcia too with her slide into neglectfulness. Perhaps Pym is showing us how things might have worked out for her too, had she not been rescued from obscurity by Philip Larkin and Lord David Cecil?
This feeling of obsolescence is also present in other aspects of the novel – for example, how quickly we can be made to feel forgotten or superfluous to requirements when we retire or times move on. Letty feels it when she visits Edwin and Norman at the office, noticing how things have changed since her retirement.
‘I see you’ve spread yourselves out a bit,’ she said, noticing that the men now seemed to occupy all the space but had once accommodated the four of them. Again she experienced the feeling of nothingness, when it was borne in on her so forcibly that she and Marcia had been phased out in this way, as if they had never existed. (p. 110)
While Quartet is a somewhat melancholy novel – certainly compared to Pym’s earlier work – there are some lovely moments of gentle humour to balance the darkness. In this scene, Letty is visiting her friend Marjorie – now engaged to David Lydell, a middle-aged vicar who seems to have caught the eye of more than one lady in Marjorie’s village.
‘This is one of Father Lydell’s favourite dishes,’ said Beth, bringing a covered casserole to the table. ‘Poulet niçoise – I hope you like it.’
‘Oh, yes,’ Letty murmured, remembering the times she had eaten poulet niçoise at Marjorie’s house. Had David Lydell gone all round the village sampling the cooking of the unattached women before deciding which one to settle with? Certainly the dish they were eating this evening was well up to standard. (p. 130)
As is often the case with Pym, it’s the small things that prove to be the most revealing, hinting at trouble brewing or secrets yet to be revealed. As the novel draws to a close, the group come together in a time of crisis, reaching out to one another in ways they have not managed to do before. For two of the quartet at least, there are decisions about their futures to be made, showing us that life still holds choices and new possibilities in the autumn of our years. This is a beautiful, perceptive, bittersweet novel, reminiscent of Mrs Palfrey at the Claremont (and possibly Memento Mori) in subject matter and style.