The House in Paris by Elizabeth Bowen

First published in 1935, The House in Paris is probably one of Elizabeth Bowen’s most accomplished novels. It’s certainly the most atmospheric of the four I’ve read to date, an elegantly constructed story of deceptions, infidelity and identity, infused with a sense of secrecy that feels apparent from the start.

The novel is divided into three sections, the first and third of which (both titled ‘The Present’) take place on the same day – a fateful day in the lives of Bowen’s four main characters, as the narrative ultimately reveals. As the book opens, eleven-year-old Henrietta has just arrived in Paris, where she will spend the day with the Fishers before continuing her journey to Menton, where her grandmother is spending the winter. In short, the Fishers’ is a stopover point for Henrietta between trains – a visit arranged by the girl’s grandmother, Mrs Arbuthnot, and her friend, Miss Naomi Fisher.

Also waiting at the Fishers’ house in Paris in Leopold, a nine-year-old boy who is due to meet his mother, Karen, for the first time since his birth – a reunion that coincides with Henrietta’s visit purely by chance, much to Naomi’s concern. The circumstances surrounding Leopold’s parentage are clearly something of a mystery, with Bowen dropping clues here and there for the reader to piece together. For instance, when Henrietta arrives at the Fishers’ house, she is introduced to Naomi’s mother, Mme Fisher, a manipulative elderly lady in the dying days of her life. While Naomi is keen for Leopold to be treated sensitively, Mme Fisher is much less discreet, readily disclosing her daughter’s link to the boy’s father as she talks to Henrietta.

‘Oh,’ Henrietta said, ‘did you know his father too?’

‘Quite well,’ said Mme Fisher. ‘He broke Naomi’s heart.’

She mentioned this impatiently, as though it had been some annoying domestic mishap. Henrietta, glancing across the bed, saw Miss Fisher’s eyelids glued down with pain. Then, with the air of having known all along this would come, the helpless daughter rolled up her knitting quickly, as though to terminate something, perhaps the pretence of safety, jabbing her needles through it with violent calm. (p. 43)

Leopold, too, learns something of the mystery surrounding his birth during his time at the Paris house. While Henrietta is upstairs with Miss Fisher and her bedridden mother, Leopold finds some letters in Naomi’s handbag – one from his guardians, the Grant Moodys, outlining various sensitivities to Naomi, and another from Mrs Arbuthnot on the details of Henrietta’s trip. However, a third letter – a note from Leopold’s mother to Naomi – is missing, remaining unavailable to the reader and Leopold himself. Nevertheless, there are worrying references to his parents’ temperaments – ‘instability on the father’s side’ and a ‘lack of control on the mother’s’ – in the first letter that Leopold discovers. 

Slowly but surely, Bowen ratchets up the sense of tension as the two children circle one another in the Paris house. It’s a dark, claustrophobic place, heightened by the oppressive air in Mme Fisher’s sick room and the poisonous events of the past.

Round the curtained bedhead, Pompeian red walls drank objects into their shadow: picture-frames, armies of bottles, boxes, an ornate clock showed without glinting, as though not quite painted out by some dark transparent wash. Henrietta had never been in a room so full and still. (p. 36)

Bowen excels at portraying these children, skilfully capturing their growing awareness of the adult world while a fuller picture of its mysteries remains tantalisingly out of reach.

In the novel’s second section (‘The Past’), Bowen takes us back ten years to a time when Naomi was engaged to Max Ebhart, a Jewish banker of French-English heritage. Central to this section is Naomi’s friend, Karen Michaelis – herself engaged to Ray Forrestier, a respectable man from the ‘right’ background and social class – and it is by focusing on Karen’s story that we learn the origins of Leopold’s birth.

One of the things Bowen does so well here is to show us how the past shapes the present, how former indiscretions and secrets can bleed into the here and now in the most painful of ways. Consequently, there is an air of damage or trauma surrounding Leopold, a lack of motherly love and sense of identity that have left their marks on his character.

Bowen’s prose is beautiful, if a little tricky to get to grips with from time to time. Nevertheless, there is some lovely descriptive writing here, from the glimpses of Paris in the morning light to the sun-drenched cul-de-sacs of Boulogne during a secret assignation.

Today, the salt sunshine bought every shape nearer, as though distance has been parched out. Doorways, cobbles, arches and stone steps looked sentient and porous in the glare. Buildings basked like cats in the kind heat, having been gripped by cold mists, having ached in unkind nights, been buffeted in the winter. Hot wind tugged now and then at the flags down on the Casino, stretching the flags, then letting them drop again. Flashing, a window was thrown open uphill. What you saw, you felt. (p. 139)

The House in Paris is an elegantly constructed novel in which the past is firmly intertwined with the present – a structure that Tessa Hadley mirrors in her 2015 novel, The Past, with a clear nod to Bowen’s approach.

The House in Paris is published by Vintage Books; personal copy.

Reading Ireland – My Favourite Books by Irish Women Writers

As some of you may know, March is Reading Ireland Month (#ReadingIreland22), co-hosted by Cathy at the 746Books blog and Niall/Raging Fluff. It’s a month-long celebration of Irish books and culture from both sides of the border – you can find out more about it here.

Over the past few years, I’ve reviewed quite a few books by Irish writers; and given that 8^th March is International Women’s Day, I thought I would share some of my favourites by women. (Hopefully these might give you some ideas on what to read if you’re thinking of participating.)

The Hotel by Elizabeth Bowen (1927)

Bowen’s striking debut novel is a story of unsuitable attachments – more specifically, the subtle power dynamics at play among the members of a very privileged set, cast against the backdrop of the Italian Riviera. In many respects, the novel revolves around Sydney Warren, a somewhat remote yet spirited young woman in her early twenties, and the individuals she meets during her break. In some instances, the characters are gravitating towards one another for convenience and perhaps a vague kind of protection or social acceptability, while in others, there are more underhand motives at play.

It all feels incredibly accomplished for a debut, full of little observations on human nature and the social codes that dictate people’s behaviour (there are some wonderful details on hotel etiquette here). If you like Edith Wharton’s ‘society’ novels, The Hotel could well be for you.

The Springs of Affection by Maeve Brennan (from the early 1950s to the early ‘70s)

A stunning collection of stories, all set in the same modest terraced house in the Ranelagh suburb of Dublin in the 20^th century. The collection opens with a series of seven short autobiographical pieces that offer brief glimpses of Brennan’s childhood, a broadly happy time despite the political turbulence of the early 1920s. Then we move on to a sequence of stories featuring Rose and Hubert Derdon, a middle-aged couple whose marriage is characterised by an intense emotional distance. Here we see two desperately unhappy individuals locked in a kind of stasis, unable or incapable of reaching out to one another and accepting their respective flaws. Lastly, the third and final section explores another couple with difficulties in their marriage, Martin and Delia Bagot. In contrast to the previous pieces, there is a little more hope here as the Bagots’ relationship is punctuated by occasional moments of brightness.

What sets this collection apart from many others is the cumulative sense of disconnection conveyed through the stories, the layers of insight and meaning that gradually reveal themselves with each additional piece.

Tea at Four O’Clock by Janet McNeill (1956)

A brilliant but desperately sad story of familial obligations, ulterior motives and long-held guilt, set within the middle-class Protestant community of Belfast in the 1950s. The novel’s protagonist is Laura Percival – a rather timid spinster in her forties – who we first meet on the afternoon of a family funeral. The deceased is Laura’s elder sister, Mildred, a woman whose presence still looms large over Marathon (the Percivals’ residence), despite her recent death. This is a novel that delves into the past as developments force Laura to confront a period of her life she has long since buried – more specifically, a series of circumstances that led her to stay at Marathon when the possibility of freedom was so tantalisingly within reach.

A powerful, character-driven novel that focuses on the psychology and underlying motives of different individuals tied together by familial or social bonds, however tenuous. Fans of Anita Brookner, Elizabeth Taylor and Elizabeth Bowen would likely appreciate this.

Academy Street by Mary Costello (2014)

This gorgeous, deeply-affecting novel focuses on the life of Tess Lohan, a girl born and raised on a farm in rural Ireland. The novel opens in the mid-1940s with the death of Tess’ mother – a loss that sets the tone for the decades which follow. Academy Street is a poignant book, the deeply-moving story of a quiet life that plays out firstly in 1950s Ireland and then in 1960s New York. The overall tone is achingly melancholy, but there are moments of intense beauty amidst the solitude and heartache.

One of the most impressive things about this novel is the intensity of feeling Costello brings to Tess’ story. The prose is spare and controlled, but the reader feels a sense of closeness to Tess, as if we have near-complete access to her thoughts and emotions. A beautifully written book from one of my favourite contemporary writers.

Small Things Like These by Claire Keegan (2021)

A superb novella set in New Ross, a town in the southeast of Ireland, in the raw-cold days of the run-up to Christmas 1985. Central to the story is Bill Furlong, a hardworking coal and timber merchant who tries to help his clients where he can – dropping off bags of logs to loyal customers, even when they can’t afford to pay. One day, while delivering coal to the local Convent, Furlong sees something genuinely alarming – a sign that proves hard for him to ignore, despite his wife’s reservations about speaking out.

It’s a beautiful, heartbreaking book about the importance of staying true to your values – of doing right by those around you, even if it puts your family’s security and aspirations at risk. Keegan’s prose is simple, pared-back and unadorned, a style that seems fitting given the nature of the story. Nothing feels superfluous here – every word has just the right weight and meaning.

These Days by Lucy Caldwell (2022)

This deeply-moving novel takes as its focal point a series of attacks – the Dockside Raid, the Easter Raid and the Fireside Raids – that took place in Belfast during WW2. Using these devastating real-life events as a springboard, Caldwell has created a really beautiful novel here – an engrossing, evocative portrayal of the Belfast Blitz, seen through the eyes of the Bells, a fictional middle-class family. Caldwell excels in capturing so many aspects of the raids, both physical and emotional. From the fear as people wait for the bombings to start, to the panic of searching for the missing and those who may have perished, to depicting the crushing damage to homes in vivid, unflinching detail. Moreover, she makes us care about her characters, investing in their respective hopes and dreams, concerns and anxieties – and it’s the depth of this emotional investment that makes this portrayal of the Belfast Blitz so powerful and affecting.

In summary, this is a beautiful, lyrical novel – a deeply moving tribute to the resilience of the Belfast people who lost and endured so much during the dark days of the Blitz. 

Do let me know what you think of these books if you’ve read any of them. Hopefully, I’ll be able to fit in another couple of titles during March, including one by a woman. And if you have any favourites by Irish women writers, please feel free to mention them alongside other comments below – personal recommendations are always welcome.

The Shadowy Third by Julia Parry

When Julia Parry comes into possession of a box of letters between her maternal grandfather, the author and academic, Humphry House (HH), and the esteemed Anglo-Irish writer, Elizabeth Bowen (EB), it sparks an investigation into the correspondence between the two writers. Their relationship, it transpires, was an intimate one, ebbing and flowing over time, waxing and waning in intensity during the 1930s and ‘40s; this much is clear to Parry from her initial glimpses of the letters. She is also fortunate in having access to both sides of the conversation – letters from EB to HH and vice versa – preserved by Humphry’s wife, Madeline, Julia’s maternal grandmother. There are letters from Humphry to Madeline too, adding another dimension to this intriguing dynamic.

What follows is a quest on the part of Parry to piece together the story of Humphry’s relationship with Bowen – much of which is related in this illuminating and engagingly written book. Partly a collection of excerpts from the letters, partly the story of Julia’s travels to places of significance to the lovers, The Shadowy Third is a fascinating read, especially for anyone interested in Bowen’s writing.

The affair between Bowen and Humphry begins in Oxford in the early 1930s when Bowen is already a critically-acclaimed writer with a clutch of novels and short stories to her name. Moreover, she is ten years into her marriage to Alan Cameron, although their relationship, we learn, was never consummated. In effect, Alan has been adopting a kind of ‘parental’ role for Bowen, substituting for the losses she endured as a child, thereby providing security and respectability in the eyes of society.

Humphry, at this point, is also in a relationship, albeit a somewhat less formal one. He has been seeing Madeline Church – the same Madeline he goes on to marry in 1933, one year after his first meeting with Bowen at the Oxford dinner party. Following this initial connection, Bowen and Humphry write to one another regularly, and their letters reveal much about their respective personalities. Bowen – forthright and direct, particularly with emotions; Humphry – naïve, enthusiastic, and somewhat lacking in sensitivity. There are physical meetings between the pair too, and their relationship becomes sexual.

During the early years of the affair, Humphry emerges as rather foolish and insensitive in his treatment of both women: his lover, Bowen, and – more importantly – his wife, the exemplary Madeline. Not long before their wedding, Humphry makes it clear to Madeline that he may well indulge in ‘sensual acts’ with other women during their marriage, a practice that he acknowledges as ‘technically unfaithful’. Madeline is fully aware of Humphry’s feelings for Bowen at this point – this is clear from the letters she receives from HH. Nevertheless, in spite of these declarations, the marriage goes ahead.

Humphry often wandered through the rooms of his heart without shutting doors behind him. He thoughtlessly carried his relationship with one woman into the sphere of the second. He told each about his feelings for the other – unable, or unwilling, to imagine how this might just distress them. […] Humphry’s pattern of behaviour left both women in potentially vulnerable positions. Each was to devise strategies – very different ones – to deal with the man with the open-plan heart. (pp. 66–67)

There is a real lack of self-awareness on the part of Humphry here, compounded by a dismissal of Madeline’s intellectual capabilities. In the early years of the marriage, Madeline – who studied English at Royal Holloway – is never allowed to shine, firmly relegated to the positions of wife, mother and homemaker. Naturally, this is partly a function of societal attitudes at the time, frequently confining women to the domestic arena. Nevertheless, Humphry’s vanities and his lack of consideration of Madeline’s aspirations and feelings are also important factors here. At this stage in his life, Humphry is struggling to establish himself professionally, unable to secure a suitable position in the academic hierarchy, despite his ongoing research into the work of the poet Gerard Manley Hopkins.

This initial, rather clouded view of Madeline – one reading of the ‘Shadowy Third’ of the book’s title – is reinforced by the impression she makes on Bowen. Elizabeth is cutting about Madeline in her letters to the philosopher and historian Isaiah Berlin, describing her as perfectly nice, but rather dull and mediocre. A visit by Bowen to the Houses’ marital home in Devon in 1935 strengthens this perception for Bowen – so much so that she sends Madeline a tea service as a ‘thank you’ gift, reinforcing her status as largely domestic.

Contrary to these perceptions, Madeline is very bright, a woman with strong moral and ethical values – her honesty, simplicity and goodness are clearly evident from the start. Nevertheless, I couldn’t help but feel frustrated that she agreed to marry Humphry in the knowledge of his ongoing infidelities – a reflection of the lack of realistic options for women in the 1930s, I suspect. Thank goodness the situation is very different today. More of Madeline later, but for now, I’d like to return to Bowen, whose energy and artistic temperament pulse through Parry’s book.

In some respects, the affair with Humphry enriches Bowen’s life with new experiences, a new level of emotional depth and intensity that she subsequently draws on for her fiction. (The House in Paris, which I’ve yet to read, seems particularly significant here.) Interestingly, Bowen can compartmentalise her affair with Humphry, keeping it separate from the relative stability of her home life with Alan – who seems, for his part, to be turning a blind eye to Elizabeth’s peccadillos. As such, Bowen expects Humphry to do the same, a demand that creates a notable degree of tension in their relationship.  

If you cannot emerge imaginatively from your daily life enough to meet me imaginatively and to keep up this imaginative communication between us, then you and I have no future. But the idea of you letting me go fills me with despair on your behalf as much as on my own. If you did let me go, if later your home life and your marriage ever ceased to satisfy the whole of your nature, then you would have nothing to fall back on but petty muddles and lusts – unless you had found meanwhile, as I should like you to find, another and better Elizabeth. (Letter from EB to HH, Nov 1934, pp. 141–142)

Humphry, it seems, is less able to do this than Elizabeth, and the opportunity of an academic post in India for three years soon takes him overseas, separating him from both Madeline and Elizabeth. It comes at a difficult point in the lovers’ relationship, with Elizabeth taking umbrage over Humphry’s passing attraction to ‘B’, the sister of Elizabeth’s agent, Spencer Curtis Brown. At first, Madeline (pregnant with her second child) stays behind in England, India being no place for a wife or mother. Nevertheless, following the baby’s birth, Madeline leaves the two children with her parents and joins Humphry in India for five months, a trip that results in a rekindling of their relationship. By the time Humphry returns to England in 1938, the affair with Elizabeth is all but over, although their friendship and professional collaboration continue for many years. Madeline too ultimately reconciles her feelings about Humphry’s connection to Bowen, no longer allowing the relationship ‘get’ to her as it did in the past. Consequently, she feels more secure in the marriage, a reflection of her intelligence and an underlying steeliness.

Sadly, Humphry dies suddenly of a heart condition at the age of 46, not long after he has finally gained recognition as a successful writer and an inspirational teacher. (His students in India and elsewhere are full of praise for his lectures, viewing him with a combination of professional respect and immense fondness.)

Somewhat perversely, the loss of Humphry presents Madeline with an opportunity to shine. Her role in cataloguing and editing a definitive collection of Dickens’ letters is widely recognised, bringing the professional appreciation she so richly deserves (ten years after Humphry’s death). It’s a very gratifying picture for Parry to hold on to, one that reflects the steely determination of ‘Linny’, the grandmother she knew and loved.  

Parry has written a beautiful, thoroughly absorbing book here, capturing her travels across the world to reconstruct the emotional landscape of her grandparents’ lives. It’s a journey that takes her to several locations – from the academic circles of Oxford to Bowen’s Court in Ireland to the Presidency College in Calcutta. Bohemian London in the 1930s is vividly evoked, as in the Irish country-house milieu of Bowen’s heritage – not only through the extracts from various letters but via Parry’s elegant commentary too. In summary, this is a fascinating account of a complex tangle of relationships, exquisitely conveyed with intelligence and sensitivity. A truly captivating read for Bowen fans and newbies alike.

The Shadowy Third is published by Duckworth; personal copy.

Wave Me Goodbye, Stories of the Second World War, Part 2 – Barbara Pym, Sylvia Townsend Warner, Olivia Manning and more

Earlier this week, I posted the first of two pieces on Wave Me Goodbye, a fascinating anthology of stories by women writers – most of whom were writing during the Second World War (or the years immediately following its end).

Viewed as a whole, this collection offers a rich tapestry depicting the different facets of women’s lives during this period. We see individuals waiting anxiously for the return of loved ones; women grieving for lives that have been lost, and marriages that have faded or turned sour. The mood and atmosphere on the home front are vividly conveyed through stories of nights in the air raid shelters and the emotional impact of the Blitz. Plus, there are glimpses of Europe too, from the ravages of war-torn France to the tension in Romania as the conflict edges ever closer.

In this second post, I’m going to cover some more highlights from the remainder of the anthology, particularly the more humorous stories and those conveying a strong sense of place. (If you missed my first post, you can catch up with it here.)

Several of the stories I covered on Tuesday were rather poignant or heartbreaking, with their explorations of loss, grief and mismatched expectations. However, there are some wonderful flashes of humour in this anthology too – pieces by Barbara Pym, Beryl Bainbridge and Margery Sharp where the comedy ranges from the dry to the mordant to the engaging and amusing.   

Goodbye Balkan Capital is quintessential Pym, a beautifully observed story of two spinster sisters sharing a house together, the protagonists reminiscent of the Bede sisters from this author’s early novel, Some Tame Gazelle. As Laura listens to news of the war on the radio, she is reminded of a night spent in the company of Crispin, a dashing young man who captivated her heart at a ball back in her youth. While Laura has not seen Crispin since that event, she has followed his successful career in the Diplomatic Service over the years, his most recent role having taken him to the Balkans.

As reports come in of the Germans’ advance across Europe, Laura envisages Crispin fleeing his office at the British Legation, possibly travelling to Russia and beyond via the Trans-Siberian Express. The excitement Laura experiences vicariously by way of these imaginings contrasts sharply with the mundane realities of her life in the village. Nevertheless, her role as a volunteer in the Air Raid Precautions (ARP) unit makes Laura feel useful and valued – much to the annoyance of her sister, Janet, always the more formidable of the two.

Janet ought really to have been the one to go out, thought Laura, but she had resigned from ARP after a disagreement with the Head of the Women’s Section. It had started with an argument about some oilcloth and had gone on from strength to strength, until they now cut each other in the street. And so it was Laura, always a little flustered on these occasions, who had to collect her things and hurry out to the First Aid Post. (pp. 99–100)

This is a bittersweet story of romantic dreams and unrequited love, in which the petty slights and disagreements between the two women are captured to perfection.

In Beryl Bainbridge’s Bread and Butter Smith, a couple are plagued by the appearance of an intrusive man named Smith, who clings onto them like a limpet, forever popping up when they least expect it. This is a very funny story, shot through with the author’s characteristically black sense of humour.

When we said we wouldn’t be available on Boxing Day, he even hinted that we might take him along to Belmont Road. I was almost tempted to take him up on it. Mr Brownlow was argumentative and had a weak bladder. Constance had picked him up outside the Co-op in 1931. It would have served Smith right to have had to sit for six hours in Constance’s front parlour, two lumps of coal in the grate, one glass of port and lemon to last the night, and nothing by the way of entertainment beyond escorting Mr Brownlow down the freezing backyard to the WC. (p. 310)

Margery Sharp’s Night Engagement is another delight. In this marvellous story, told in a wonderful gossipy style, we meet Doris, a respectable girl who is on the lookout for a nice young man amidst the swathes of Londoners taking cover in the air raid shelters. When Doris finds herself thrown together with Arthur following an explosion, romance begins to blossom – something their respective mothers are all too willing to encourage.  

Elsewhere, there are stories with a palpable sense of place. Pieces like Elizabeth Bowen’s Mysterious Kôr, in which a couple’s fantasies of an ideal land contrast sharply with the ghostly images of London at night.

The two sets of steps died in opposite directions, and, the birds subsiding, nothing was heard or seen until, a little way down the street, a trickle of people came out of the Underground, around the anti-panic brick wall. These all disappeared quickly, in an abashed way, or as though dissolved in the street by some white acid, but for a girl and a soldier who, by their way of walking, seemed to have no destination but each other and to be not quite certain even of that. (p. 167)

Finally, fans of Olivia Manning’s Balkan Trilogy will find much to admire in A Journey, her account of Mary Martin, a journalist who travels from Bucharest to Cluj to cover the Hungarian occupation of Transylvania.

The strange town was full of the movement of a break-up. There was a tenseness and suspicion in the atmosphere. The shop windows had their shutters up against riots. Some were shut, others had their doors half open on the chance of somebody at such a time giving thought to purchase of furniture, shoes and books. Women crowded round the grocery stores asking one another when life would be organized again and bread, milk and meet reappear for sale. Only the large café on the square that baked its own rolls, was open. A waiter stood at the door holding the handle and only opening for those whose faces he knew. Curiosity persuaded him to let Mary in. (pp. 80–81)

Like The Balkan Trilogy itself, A Journey feels inspired by some of Manning’s own personal experiences of the region. The story ends with a terrifying train journey, reminiscent of Yaki’s escape from Bucharest in The Spoilt City, as individuals try to latch onto the moving carriages in their desperation to get away.

In summary, Wave Me Goodbye offers a remarkable range of insights into women’s experiences of the Second World War, both on the Home Front and abroad. The diversity of perspectives is hugely impressive. Very highly recommended for readers with an interest in 20^th-century fiction about these aspects of our social history.

Wave Me Goodbye is published by Virago Press; personal copy.   

The Hotel by Elizabeth Bowen

Back in April 2016, I read Elizabeth Bowen’s The Death of the Heart, a brilliant book that made my end-of-year highlights – you can read my review here. First published in 1927, The Hotel was Bowen’s first novel. It’s a striking debut, a story of unsuitable attachments and the subtle dynamics at play among the members of a very privileged set, all cast against the backdrop of the Italian Riviera in the 1920s.

In many ways, the novel revolves around Sydney Warren, a somewhat remote yet spirited young woman in her early twenties. Sydney has come to the hotel to accompany her older cousin, Tessa Bellamy, who in turn is trying to deal with a gastric condition. Sydney’s family are delighted that she has travelled to Italy with Tessa, viewing it is an ‘inspired solution of the Sydney problem’, in their eyes something to counterbalance the girl’s leaning towards the neurotic and her tendency to be ‘so unfortunate in her choice of friends’. For her part, Sydney has developed a rather unhealthy attachment to another resident, Mrs Kerr, an intriguing, self-assured woman in her forties. While Mrs Kerr is a widow, she appears to act more like a divorcee; at least that’s the opinion of several of the other guests at the hotel who seem enjoy speculating about Mrs Kerr and the nature of her relationship with Sydney.

I love this next quote, a passage of dialogue so indicative of Bowen’s penetrating tone. In this scene, Tessa is in conversation with several other ladies in the hotel drawing-room.

Tessa continued: ‘Sydney is very affectionate.’

‘She is very much…absorbed, isn’t she, by Mrs Kerr?’

‘I have known other cases,’ said somebody else, looking about vaguely for her scissors, ‘of these very violent friendships. One didn’t feel those others were quite healthy.’

‘I should discourage any daughter of mine from a friendship with an older woman. It is never the best women who have these strong influences. I would far rather she lost her head about a man.’

‘Sydney hasn’t lost her head,’ said little Tessa with dignity.

‘Oh but, Mrs Bellamy – I was talking about other cases.’ (p. 62)

And so the discussion continues in a similar vein.

Other notable guests at the hotel include Mr and Mrs Lee-Mittison, the Ammerings and their son Victor, and the Lawrence girls, Veronica, Eileen and Joan. Mr Lee-Mittison is determined to surround himself with the beautiful, refined young people, and there are some classic scenes involving a picnic he attempts to orchestrate with mixed results. While the Lee-Mittisons are very happy for Sydney and the Lawrence sisters to attend, they are none too pleased when Victor Ammering shows up on the scene, much to Veronica Lawrence’s amusement when she goes off with the young man. For her part, Mrs L-M, a devoted wife, will do anything she can to ensure her husband’s social events are a success – and it’s all quite amusing to observe.

Also staying at the hotel are Miss Pym and Miss Fitzgerald, genteel elderly ladies very much of the type depicted in Fawlty Towers, and two sisters-in-law, the Honourable Mrs and Miss Pinkerton, who have paid extra to have exclusive use of the bathroom opposite their rooms. When James Milton (a middle-aged clergyman) arrives at the hotel following a long train journey across the continent, he is unaware of the bathroom arrangements and promptly goes for a long soak in the Pinkertons’ bath, much to the consternation of the ladies on his floor.

James Milton’s appearance on the scene shakes things up a little in more ways than one. In the hope of attracting Sydney, he rushes out a terribly ill-judged proposal of marriage to her during a walk in the countryside. (There is a sense that he is comfortable operating within his own relatively small circle of society, but much less so in this wider sphere.) Sydney declines, giving James the impression that there is no point in his holding out any hope of a change in heart; but then the situation changes once again with another arrival, that of Ronald, Mrs Kerr’s twenty-year-old son. Before long, Sydney realises that Mrs Kerr has given her the brush off in favour of Ronald, a fact that becomes painfully clear to her during a conversation with Veronica Lawrence. Once again, Bowen demonstrates great insight and precision in painting this scene; here’s a brief extract from the extended discussion between these two girls.

‘Well, she has so absolutely given you the go-by, hasn’t she?’ said Veronica, replacing the alabaster lid of the powder-bowl, then looking down to blow some powder off her dress. ‘It was “Sydney this” and “Sydney darling that” and “Where’s Sydney?” and “Sydney and I are going together,” and now he’s come she simply doesn’t see you.’

Sydney, after an interval, leant sideways to push the window farther open. She seemed to have forgotten Veronica, who energetically continued: Of course I’m sorry for you. Everybody’s sorry for you.’

‘Oh,’ said Sydney.

‘Do you mind the way she’s going on?” asked Veronica curiously.

‘It hadn’t occurred to me that there was anything to mind,’ said Sydney with a high-pitched little laugh and a sensation of pushing off something that was coming down on her like the ceiling in one of her dreams. It seemed incredible that the words Veronica had just made use of should ever have been spoken. (p. 117)

In a rebound response to being sidelined by Mrs Kerr, Sydney agrees to marry James Milton, a development also prompted, at least to a certain extent, by Veronica’s attitude towards marriage. In many ways, Veronica sees marriage to a man as an inevitable outcome for a woman in her position – so if she has to marry someone it may as well be Victor Ammering, to whom she has just become engaged.

It is from this point onwards that Mrs Kerr’s cruel, manipulative steak really starts to show itself. When James reveals his engagement to Sydney, Mrs Kerr carefully plants the seeds of doubt in his mind. To say any more might spoil the story, but it’s a brilliant scene, beautifully observed.

The Hotel feels incredibly accomplished for a debut novel, full of little observations on human nature and the dynamics at play. In some ways, it could be seen as a cold book as there is very little warmth or affection in most of the relationships depicted here. That said, I certainly don’t mean this as a major criticism – it seems to be a function of the characters and the society in which they find themselves. These people are gravitating towards one another for convenience and perhaps a vague kind of protection or social acceptability. Veronica seems to be making do with Victor; while happy enough, she doesn’t appear to be in love with him, although that might come in time. James is on the lookout for a wife, and Sydney seems to fit the bill. As for Sydney herself, I feel for her even though she behaves rather foolishly, especially towards James. She is young and inexperienced, and the worldly Mrs Kerr has clearly toyed with her affections. By the end of the story, Sydney sees her sophisticated friend for what she really is: a rather spoilt, insensitive woman.

This is a novel to be read slowly. At times, Bowen’s prose can appear rather dense and intricate, but it does rewards the investment in time and concentration. As one might expect, Bowen is excellent when it comes to capturing the atmosphere of this elite world, complete with its tennis matches, picnics and tiresome excursions to places of interest. She is particularly good on hotel etiquette. I’ll finish with a passage on the social codes at lunch, so typical of this author’s keen eye for detail.

Beyond, down the long perspective to the foot of the stairs, one could see visitors take form with blank faces, then compose and poise themselves for an entrance. Some who thought punctuality rather suburban would gaze into the unfilled immensity of the room for a moment, then vanish repelled. Others would advance swimmingly and talk from table to table across the emptiness, familiarly, like a party of pioneers. Men came in without their wives and did not always look up when these entered. Women appearing before their husbands remained alert, gazed into an opposite space resentfully, and ate with an air of temporizing off the tips of their forks. When the husbands did come in it seemed a long time before there was something to say. It seemed odder than ever to Sydney, eyeing these couples, that men and women should be expected to pair off for life. (pp. 23-24)

I read this book with Dorian (of the excellent Eiger, Mönch & Jungfrau blog). You can find his terrific analysis here.

The Hotel is published by Vintage Books; personal copy.

The Death of the Heart by Elizabeth Bowen

I have long wanted to read the critically-acclaimed Anglo-Irish writer Elizabeth Bowen; her 1938 novel, The Death of the Heart, has been calling me for quite a while. By rights I should have read it earlier, in preparation for Karen and Simon’s 1938 Club (which took place last week), but time got the better of me in the end. Nevertheless, I’m hoping this review might count as a late entrant.

When both her parents die in fairly quick succession, sixteen-year-old Portia Quayne is sent to live with her half-brother, Thomas, and his wife, Anna, in their large house near Regent’s Park in London. It was her late father’s wish that Portia should live with Thomas for a year, after which time she might move on to stay with an aunt. In truth, neither Thomas nor Anna is particularly keen to have Portia, although Thomas, for his part, does feel some sense of duty towards the girl.

Portia, it seems, was born out an affair between Thomas’ father and the woman who became his second wife, Irene. After their marriage, the couple spent their lives in the south of France, moving from one hotel to another with Portia in tow, effectively in a sort of exile from Thomas’ mother and the family. With Portia now living in London, her presence in the house cannot help but remind Thomas of the shame and embarrassment he experienced over the affair, emotions that always came to the fore whenever he visited his father and Irene in France.

In those sunless hotel rooms, those chilly flats, his father’s disintegration, his laugh so anxious or sheepish, his uneasiness with Irene in Thomas’s presence, had filled Thomas with an obscure shame – on behalf of his father, himself, and society. From the grotesqueries of that marriage he had felt a revulsion. (pg. 39)

There is no real warmth or affection in the Quayne household, with very little sense of anyone taking any form of pleasure from their activities. All in all, it’s a rather strange and unwelcoming place for a young girl who has recently lost her parents. At thirt-six, Thomas is much older than Portia; and with no children of their own, Thomas and Anna have no real experience of dealing with adolescents, nor any real appreciation of how to incorporate Portia into their lives. Anna, in particular, is a rather cold, unsympathetic creature, more concerned with taking tea with her own friends than with trying to forge any kind of connection with Portia. She finds Portia somewhat unnerving, convinced as she is that the girl is stealing furtive glances at her and Thomas from a distance — although in truth, Portia is simply curious and somewhat unsure of herself in their company. As a consequence of all this, Portia is pretty much left to her own devices for most of the time, her closest ally in the house being Matchett, the family’s longstanding maid.

Bowen is brilliant at capturing the sheer awkwardness and uncertainty of adolescence. Portia has very little understanding of how to behave around Anna, Thomas and their friends, no real sense of the workings of the adult mind. And why should she? After all, her upbringing was somewhat unconventional and very different from the upper-class world in which she finds herself now. In this scene, Portia is present while Anna takes tea with her friend, St Quentin – I think it’s an excellent illustration of Portia’s situation at the Quanyes’.

Getting up from the stool carefully, Portia returned her cup and plate to the tray. Then, holding herself so erect that she quivered, taking long soft steps on the balls of her feet, and at the same time with an orphaned unostentation, she started making towards the door. She moved crabwise, as though the others were royalty, never quite turning her back on them – and they, waiting for her to be quite gone, watched. She wore a dark wool dress, in Anna’s excellent taste, buttoned from throat to hem and belted with heavy leather. The belt slid down her thin hips, and she nervously gripped at it, pulling it up. Short sleeves showed her very thin arms and big delicate elbow joints. Her body was all concave and jerkily fluid lines; it moved with sensitive looseness, loosely threaded together: each movement had a touch of exaggeration, as though some secret power kept springing out. At the same time she looked cautious, aware of the world in which she had to live. She was sixteen, losing her childish majesty. (pgs. 26-27)

With very little support or affection coming from her half-brother and his wife, Portia falls in with Eddie, an acquaintance of Anna’s who also happens to work in Thomas’ office. Eddie is a rather selfish, uncaring young man with no real sense of integrity or responsibility. Portia, in her childlike innocence, is unable to see this, and so she falls in love with Eddie, believing everything he tells her without question.

Things take a different turn for Portia when Thomas and Anna decide to go to Capri for a month. Instead of taking the girl with them, the Quanyes pack her off to the Kentish coast to stay with Anna’s old governess, Mrs Heccomb, and her stepchildren, Daphne and Dickie, both of whom are in their twenties. The Heccomb household – the house is called Waikiki – represents a marked change of pace for Portia. It is welcoming, lively and somewhat chaotic, full of the sounds of doors banging, plates clattering and music playing away in the background. Quite soon after her arrival, Portia find herself drawn into the Heccombs’ friendly social set and their world of dances, cafés, and walks along the coastline. In some ways, it all starts to feel like a new beginning for the young girl.

However, there is trouble in the air when Portia invites Eddie to stay at Waikiki. From the moment she sets eyes on him, Mrs Heccomb detects something fishy about Eddie and is visibly distracted by his presence. Her view of Anna is rather idealised, and there is something about Eddie’s manner which seems quite at odds with this. In this scene, Eddie has just sat down to tea following his arrival at the Heccombs’.

He could not be expected to know that his appearance, and that the something around him that might be called his aura, struck into her heart its first misgiving for years – a misgiving not about Portia but about Anna. […] A conviction (dating from her last year at Richmond) that no man with bounce could be up to any good set up an unhappy twitch in one fold of her left cheek. Apprehensions that someone might be common were the worst she had had to combat since she ruled at Waikiki. No doubt it must be in order, this young man being Portia’s friend, since Porta said that he was a friend of Anna’s. But what was he doing being a friend of Anna’s? … Portia, watching the cheek twitch, wondered what could be up. (pg 209)

The weekend continues on a note of confusion for Portia as she struggles to understand Eddie’s behaviour around Daphne, especially when the two of them end up sitting next to one another at the cinema. It is a defining moment in the story as Portia finds herself in a world where people don’t necessarily say what they mean or mean what they say — a situation that only worsens on her return to London. Back in Regent’s Park, Portia discovers the true extent of the betrayals by those around her — not just by Eddie, but by those a little closer to home.

The Death of the Heart is a brilliant, psychologically astute novel — an exquisite exploration of the pain and confusion of adolescence, of how easy it is for someone to toy with the emotions of a teenager, especially someone as vulnerable and as trusting as Portia. Eddie is a cruel, insensitive young man who takes advantage of Portia’s naivety and desire for affection, crushing her hopes and dreams in the process. In turn, Anna and Thomas are little better than Eddie, failing to offer Portia the support and protection she so desperately needs.

In some ways, Heart reminds me very strongly of some of Elizabeth Taylor’s novels, particularly A Game of Hide and Seek and At Mrs Lippincote’s (review to come). Both Bowen and Taylor pay close attention to character development, creating complex but realistic individuals who experience conflicting emotions. Like Taylor, Bowen is an acute observer of the social interactions between people, and this novel is full of beautifully rendered scenes, rich with detail and latent emotions. The secondary characters deserve a mention too, particularly Major Brutt, an acquaintance of the Quanyes who finds himself ridiculed by the couple – Anna in particular.

I’ll finish with a final quote that illustrates the novel’s brittle London setting. Bowen’s description of this cold afternoon in January reflects something of the atmosphere in the Quanyes’ house, a cold, brittle, shallow place with little warmth inside.

The circle of traffic tightens at this hour round Regent’s Park; cars hummed past without a break; it was just before lighting-up time – quite soon the All Out whistles would sound. At the far side of the road, dusk set the Regency buildings back at a false distance: against the sky they were colourless silhouettes, insipidly ornate, brittle, and cold. The blackness of windows not yet lit or curtained made the houses look hollow inside. (pg. 9)

Karen, Ali and Harriet have also reviewed this novel.

The Death of the Heart is published by Vintage Books; personal copy