On Monday 18th April, Karen and Simon will be kicking off the #1954Club, a week-long celebration of books first published in 1954. Their ‘Club’ weeks are always great fun, and I’m looking forward to seeing all the various tweets, reviews and recommendations flying around the web during the event.
Perhaps unsurprisingly, given my fondness for fiction from the 1940s and ‘50s, I’ve reviewed various 1954 books over the past few years. So if you’re thinking of taking part in the Club, here are some of my faves.
Who Was Changed and Who Was Dead by Barbara Comyns
There is something distinctly English about the world that Barbara Comyns portrays here, a surreal eccentricity that could only be found within the England of old. Set in 1911, three years before the advent of the First World War, Who Was Changed and Who Was Dead has all the hallmarks of a classic Comyns novel: enchanting, innocent children caught up in a dysfunctional family; memorable, vivid imagery, typically with an off-kilter edge; and a simple, matter-of-fact delivery that belies the horrors within. Another strikingly creative work from one of Britain’s most singular writers – a darkly humorous novel of great brilliance and originality with an allegorical nod to the First World War.
Bonjour Tristesse by Francois Sagan (tr. Heather Lloyd)
A quintessential summer read, Bonjour Tristesse is an irresistible story of love, frivolity and the games a young girl plays with others people’s emotions, all set against the background of the glamorous French Riviera. Seventeen-year-old Cécile is spending the summer on the Cote d’Azur with her father, Raymond, and his latest lover, Elsa. Everything is leisurely and glorious until another person arrives on the scene, the glamorous and sophisticated Anne, whose very presence threatens to disrupt Cécile’s idyllic life with her father. Sagan’s novella is an utterly compelling read with a dramatic denouement. My review is based on Heather Lloyd’s 2013 translation, but if you’re thinking of reading this one. I would strongly recommend Irene Ash’s 1955 version – it’s more vivacious than the Lloyd, a style that perfectly complements the story’s palpable atmosphere and mood.
The Blunderer by Patricia Highsmith
This very compelling noir sees Highsmith in familiar territory, exploring themes of guilt, obsession and the possibility that an ordinary, everyday man might resort to murder if pushed far enough. In this instance, Highsmith is particularly strong on exploring the point at which idle curiosity tips over into an unhealthy obsession, signalling the point of no return. The novel revolves around Walter Stackhouse, a frazzled, thirty-year-old lawyer whose life is being made a misery by his wife, Clara, a successful yet neurotic real estate agent. There is an inherent dichotomy in the central protagonist’s personality, which is both believable and fascinating to observe. Even though Walter knows his actions are truly reckless, he goes ahead with them anyway, irrespective of the tragic consequences. It’s an intriguing novel, ideal for lovers of dark, well-crafted fiction with a psychological edge.
Les Belles Amours by Louise de Vilmorin (tr. Francis Wyndham)
This charming novel revolves around the respective fortunes of three central characters: the handsome roué, Monsieur Zaraguirre; the young libertine Louis Duville; and the alluring woman who manages to capture both of their hearts. (Interestingly, we never learn the young woman’s name as her identity throughout the novel is characterised by her attachment to each of the men in turn.) While de Vilmorin’s story is set in the 1920s, there is a timeless quality to it, so much so that it would be easy to imagine it playing out in the late 19th century, complete with the relevant social mores of the day. In short, Les Belles Amours is a beautifully constructed story of intrigues, infidelity, and the complexities of the heart – by turns elegant, artful and poignant. I suspect it’s currently out of print, but secondhand copies of the Capuchin Classics edition are still available.
Under the Net by Iris Murdoch
Murdoch’s debut novel is a subtly clever blend of the picaresque and the philosophical, set within the bohemian milieu of London and Paris in the early 1950s. Our narrator is Jake Donaghue, an impoverished hack writer who scrapes a living by translating mediocre French novels into English when in need of some ready cash. When Jack must find a new place to live – ably accompanied by his accommodating assistant, Finn – the quest sets off a sequence of misadventures, chance encounters and close shaves, all of which shape Jack’s outlook on life in subtly different ways. Along the way, the action takes in various scuffles, the theft of a manuscript, a break-in, a kidnap, and a spontaneous night-time dip in the Thames. On one level, it’s all tremendous fun, but there’s a sense of depth to the story too. A witty, engaging story and a thoroughly enjoyable read – my first Murdoch, but hopefully not my last.
Vertigo by Boileau-Narcejac (tr. Geoffrey Sainsbury)
First published in France in 1954, Vertigo (originally titled D’entre les morts, meaning Among the Dead) is the source novel for Hitchcock’s 1958 film of the same name. Even if you’ve seen the movie, the book is well worth reading. It’s darker than Hitchcock’s adaptation – in particular, the characterisation feels stronger and more nuanced here. Lawyer and former police officer Roger Flavières is haunted by a traumatic incident from his past linked to a fear of heights. As the narrative unfolds, echoes of former experiences reverberate in the protagonist’s mind, trapping him in a kind of nightmare and feverish obsession. This highly compelling novella would suit readers who enjoy psychological mysteries, particularly those that blur the margins between reality and the imaginary.
Hester Lilly by Elizabeth Taylor
Taylor’s first collection of short fiction includes seventeen stories of varying length – ranging from brief sketches of two of three pages to the novella-sized titular tale that opens the collection. There are some brilliant stories here, up there with some of the best vignettes from Taylor’s longer works. The opening piece in particular encapsulates many of this author’s key trademarks: her ability to create nuanced characters with real emotional depth; her acute observations of the subtleties of human interactions; and her capacity to elicit the reader’s sympathy for difficult individuals despite their inherent flaws. Where this collection really excels is in its depiction of domestic stories: the palpable tensions between semi-estranged partners; the unspoken agonies of lifeless marriages; and the painful attempts of a mother to outdo her neighbour. An excellent collection of stories from one of my very favourite authors.
Do let me know your thoughts on these books if you’ve read any of them. Or maybe you have plans of your own for the week – if so, I’d be interested to hear.
Hopefully I’ll be posting a new ‘1954’ review for the Club to tie in with the event, other commitments permitting!