Tag Archives: UK

The Shooting Party by Isabel Colegate

Set on an Oxfordshire country estate in the autumn of 1913, The Shooting Party presents a terrific insight into the dying days of the Edwardian era, the beginning of the end of a time-honoured way of life for the English upper classes.

The novel follows the final twenty-four hours of a three-day shoot, a landmark event in the social calendar of the Nettlebys and their immediate set. Our host is Sir Randolph Nettleby, a landowner and member of the old guard, one who values the long-established traditions of rural life and the gentlemanly spirit of the shoot. In this capacity Sir Randolph is ably assisted by his wife, Minnie, a slightly foolish but charming woman with a great appetite for socialising – she is the perfect hostess for the formal dinners and elaborate lunches which accompany the main attraction.

Present at the party are several esteemed guests, the rich and successful, the beautiful and decorative. All of these individuals appear to know one another quite well as they are all part of the same social set. There is Minnie’s bridge partner, Sir Reuben Hergesheimer, a well-travelled and wealthy financier who now views England as his adopted home; the rather pretentious and stuffy Bob Lilburn and his beautiful wife, Olivia, one of the most sensitive and sympathetic characters in the group; and Lionel Stephens, a very successful young barrister who has fallen for the lovely Olivia and all her charms. Also in attendance are the Nettlebys’ rather disapproving but practical daughter-in-law, Ida, and her four children, Cicely, Marcus, Osbert and Violet. (Ida’s husband, John, is abroad on business.) Nineteen-year-old Cicely, a romantic at heart, flirts openly with another of the guests, Tibor Rakassyi, the dashing Hungarian aristocrat who promises to invite her to see his homeland in the forthcoming months. Lastly (at least among the upper classes) we have two of the most interesting characters in the book, the rather conceited and ultra-competitive Lord Gilbert Hartlip, widely known one of the best shots in England, and his highly spirited wife, Aline, a knowing woman who has enjoyed several affairs in recent years. Her latest lover, the vacuous Charles Farquhar, has also been invited to participate in the shoot.

Aline was a fairly demanding guest and if the presence of the handsome but stupid (in Sir Randolph’s view) Charles Farquhar would keep her quiet so that her husband could concentrate on his shooting, Sir Randolph was perfectly happy to ask him. Gilbert Hartlip was one of the best shots in England, if not the best of all, and it was a pleasure to see him in action – sometimes a bit of an anxiety as well, for he had some of the star performer’s temperament and could be very difficult if he thought he was not being given his dues share of the best places. (p. 13)

In addition to the cream of society, we also meet the various servants and workers responsible for the smooth running of the event. Chief among these is Glass, the head gamekeeper who manages the finer details of the shoot, issuing instructions to his team of beaters on how best to raise the pheasants and woodcock on the right flight paths for each ‘drive’. A little like Sir Randolph, Glass is another traditionalist, a man wedded to the ways of the land. He would like nothing better than for his son, Dan, to follow in his footsteps to become assistant gamekeeper at the estate; but Dan is bright and intelligent with a natural aptitude for science and nature. As a consequence, he is torn between staying at Nettleby to support his father and going to college to further his education, an endeavour Sir Randolph has offered to fund.

Other members of the supporting classes include the thatcher and poacher, Tom Harker, whom Glass has enlisted (albeit somewhat reluctantly) as one of the beaters to man the event, and Cecily’s maid, Ellen, a friendly, kind-hearted girl who comes to the aid of young Osbert when his beloved pet duck goes missing on the final morning of the shoot. Also present are Albert and Percy, the young lads who load the guns for Gilbert Hartlip and Lionel Stephens during the periods of intense shooting which take place throughout the day.

As the novel unfolds, we learn more about the main characters, their distorted moral values and the rarefied world in which they circulate. What Colegate does so well here is to shine a light on the farcical nature of Edwardian society, the sheer pointlessness of the endless social whirl and the ridiculous codes that govern it. We see the elaborate preparations for lunch at the boat-house, an activity which requires the butler and footmen to transport a hot meal to its destination via hay boxes to keep it warm. There are the frequent changes of clothes throughout the day, with a need for each outfit to be perfectly suited to the particular occasion – not to mention the prospect of social embarrassment when one doesn’t have the ‘right’ kind of shirt studs to hand to wear at dinner. In this scene, Olivia Lilburn is making fun of her husband’s worries over that very matter; clearly these things are terribly important to Bob if not to his wife.

‘Oh, Society.’

‘Don’t dismiss it in that way, Olivia. Society is very important. I hate going into it inadequately equipped.’

‘It’s not a battle surely?’

‘In some ways it is not unlike a battle.’

‘In which he with the too-smart shirt studs bites the dust?’

‘Well…’ he began unwillingly to smile. ‘Sustains a setback maybe.’

Olivia laughed, putting her head with its thick crown of auburn hair back against the blue chaise-longue. ‘You are quite ridiculous.’

‘It’s all very well. You can dismiss these things if you like, but they are the structure of our lives and if we lose respect for them we lose respect for ourselves.’ (p. 38)

While Olivia Lilburn has come to the realisation that she is trapped in an empty and shallow world, there is little she can do to break away from it. For all her insight and sensitivity, Olivia is virtually powerless when faced with the well-established structures that govern her place in society. In this scene, Olivia has just been observing her husband, Bob, in conversation with Minnie Nettleby, rattling off the names of various people in attendance at some social function or other without showing the slightest interest in any of the individuals themselves. A sort of ritual ‘checking of the compass points’ as Olivia regards it.

The object of the thing appeared to be enumeration rather than enlightenment. Once she had said to him, ‘Supposing there are some other people somewhere, people we don’t know?’

He had looked at her seriously.

‘What sort of people?’

‘Perfectly charming people. Really delightful, intelligent, amusing, civilized…And we don’t know them, and nobody we know knows them. And they don’t know us and they don’t know anybody we know.’

Bob had thought for a moment and then he had said, ‘It’s impossible. But if it were not impossible, then I don’t think I should want to know such people. I don’t think I should find anything in common with them.’ (p. 120)

I love that quote; it seems to capture so much about these people and their abject disregard for others. While Colegate doesn’t overtly judge her characters, she does shine a light on their disreputable morals and skewed principles.

As the shoot progresses, a competition starts up between Gilbert Hartlip and the normally relaxed Lionel Stephens, a rivalry which is just as keenly felt between their respective loaders, Albert and Percy. Lionel, impassioned by his love for Olivia, begins to fire on all cylinders, shooting his birds with great speed and accuracy. There is even some suggestion of him encroaching onto Gilbert Hartlip’s territory, a development the latter does not welcome, keen as he is to maintain his reputation as one of the country’s finest shots. Significant tensions ensue, much to the dismay of Sir Randolph, who detests any attempts by participants to keep a count of their individual kills. At one point, the action is enlivened by the appearance of an animal rights activist who ultimately appears to find some common ground with the host, much to the surprise of some of the guests.

What makes this book all the more fascinating for readers is the knowledge that a whole way of life for this generation is about to be swept away with the advent of the Great War. Sir Randolph clearly fears change as the political and industrial developments of the day are already threatening to destabilise the familiarity of his world. He bemoans the decline of the agricultural industry and the long-standing traditions of rural life.

‘…For generations we ran the country; it did not suffer from our rule. If the landlord class goes, everything goes. It will be the ruin of rural England. Ida tells me I am prejudiced. Show me the man with blood in his veins who is not.’ (p. 28)

All in all, this is a brilliant novel, poised and subtle in its depiction of the shallowness of the society at the time.

While checking the details for this post, I was surprised to discover that the book had been published as recently as 1980. In many ways it actually feels like a much older novel, one that could have been written in the 1920s or ‘30s, such is the authenticity of the world Colegate creates here. It’s a very impressive achievement. There’s a film too, directed by Alan Bridges (who also adapted L. P. Hartley’s The Hireling for the screen, another book I read this year). I’m looking forward to watching it.

The Shooting Party is published by Penguin Books; personal copy.

Hester Lilly by Elizabeth Taylor

Originally issued in 1954, Hester Lilly was Elizabeth Taylor’s first volume of stories. (It’s also my first experience of her short fiction.) There are some brilliant stories here, up there with some of the best scenes from her longer works. The titular piece, in particular, encapsulates many of this writer’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 in spite of their inherent flaws. I’ll come back to this story at the end of my review; but first, a few words about the collection itself.

Hester Lilly comprises seventeen stories of varying length, from brief sketches lasting a couple of pages to the novella-sized titular piece which opens the collection. As with other collections I’ve reviewed, I’m not going try to cover every story; instead, I’ll try to focus on a few favourites to give you a flavour of the volume as a whole.

In the aptly titled story Spry Old Character, a lively veteran horse-trader named Harry has no alternative but to move to a Home for the Blind following the death of his sister/carer. An odd-man-out among the genteel residents of the care home, Harry is left feeling lonely, grumpy and neglected, deflated as he is by the patronising ministrations of Matron and the anodyne environment she seems intent on encouraging.

“You’ll have the company of others like you,” his neighbours had told him. This was not so. He found himself in a society, whose existence he had never, in his old egotism, contemplated and whose ways soon lowered his vitality. He had nothing in common with these faded seamstresses; the prophet-like lay-preacher; an old piano-tuner who believed he was the reincarnation of Beethoven; elderly people who had lived more than half a dim life-time in dark drapers’ shops in country towns. Blind they might not have been; for they found their way about the house, its grounds, the village, with pride and confidence. Indoors, they bickered about the wireless; for the ladies liked a nice domestic play and thought some of the variety programmes ‘suggestive’. The racing results were always switched to something different, hastily, before they could contaminate the air. (pp. 84-85)

In time, Harry makes friends with the local bus drivers and conductors who ferry him around the district on a regular basis – if nothing else, it’s a brief respite from the atmosphere of the home. This is a bittersweet story; the central character is at once both comic and tragic.

Swan-Moving is a very different type of story, one that demonstrates an element of range in Taylor’s work. In this piece, a young swan settles in a dirty pond in a rather shabby, neglected village, much to the fascination of the local residents. Somewhat surprisingly, the swan’s presence seems to spark a sense of change in the locality. As the swan blossoms and grows more resplendent, so do the villagers – for the very first time, they come together to spruce up their village, decorating their houses in bright (albeit rather garish) colours in an effort to improve their environment. This is a lovely story with a slightly magical touch, a delightful addition to the collection.

Taylor’s ear for dialogue comes to the fore in Nods & Becks & Wreathed Smiles as a group of women meet up for a gossip at the local tea shop. Naturally, the subjects under discussion are wide-ranging, from the trials of childbirth to the shortage of fish in the local shops to views on Mrs Liddell’s new ring. This is a short sketch, beautifully observed.

Other stories cover a child’s observations of an elderly woman on holiday from the hustle and bustle of London (The Idea of Age); a woman’s memories of her just-deceased mother as she sits by her side in hospital (First Death of Her Life); and the desperate disappointment of schoolboy’s day out with his mother, their individual worlds seemingly poles apart (A Red-Letter Day). What unites these stories, and many others in this excellent collection, is their ability to capture a scene so effectively, thereby giving the reader access to the thoughts and feelings of the central characters.

Where this collection really excels though is in its depiction of domestic stories: the palpable tensions between semi-estranged partners; the unspoken agonies of lifeless marriages; the painful attempts of a mother to outdo her neighbour.

In Gravement Endommagé, one of my favourite stories in the collection, a married couple – Richard and Louise – drive through the war-ravaged countryside in France, the destruction of the buildings around them only serving to mirror the damaged nature of their relationship. They have come to the continent for a holiday, a trip designed to ‘set things to rights’ between them, their petty bickering with one another having descended into more direct animosity. The years of hardship and isolation during the war have brought about a significant change in Louise, making her fearful and edgy. Now that the grand conflict is over, she remains damaged – intolerant, complaining and overly reliant on drink.

Her doctor, advising the holiday, was only conventional in his optimism. If anyone were benefited by it, it would be the children, stopping at home with their grandmother—for a while, out of the arena. What Richard needed was a holiday away from Louise, and what Louise needed was a holiday from herself, from the very thing she must always take along, the dull carapace of her own dissatisfaction, her chronic unsunniness. (p. 114)

Shadows of the World also falls into this category; it offers a brief yet highly effective snapshot of a family, each individual member orbiting in their own semi-isolated world. This is another beautifully observed story, each thread coming together to form a broader whole.

The star of the show is undoubtedly Hester Lilly, the longest story in the collection at 78 pages. In this piece, a middle-aged woman, Muriel, is dismayed at the prospect of the arrival of her husband’s cousin, a young lady by the name of Hester Lilly. Having been married to Robert for some years, Muriel now feels uncertain of her position in the relationship, and so she imagines Hester, with her undoubted youth and potential beauty, to be a significant threat. However, on Hester’s arrival at the boarding school where Robert works, Muriel fears are initially laid to rest; Hester is gauche, nervous and poorly dressed, every garment appearing to be either too small or too big for her frame.

Nevertheless, it is not long before Muriel realises that she must be on her guard against Hester. With this in mind, she decides upon a pre-emptive strike, casually dropping the following remark into a conversation with her charge: “Of course, you are in love with Robert.” Better to unnerve Hester by tackling the issue head-on before the girl gets a chance to develop any such notions of her own.

Muriel insinuated the idea into the girl’s head, thinking that such an idea would come sooner or later and came better from her, inseparable from the very beginning with shame and confusion. She struck, with that stunning remark, at the right time. For the first week or so Hester was tense with the desire to please, anxiety that she might not earn her keep. Robert would often find her bowed in misery over indecipherable shorthand, or would hear her rip pages out of the typewriter and begin again. The waste-paper basket was usually crammed-fill of spoilt stationary. Once, he discovered her in tears and, half-way across the room to comfort her, wariness overtook him. He walked instead to the window and spoke with his back to her, which seemed to him the only alternative to embracing her. (pp. 8-9)

A little later, Muriel tries to consolidate her position with the following comments, whereby she stresses the triviality of young love and its differentiation from a deeper, more lasting relationship.

“Robert? Oh, yes! Don’t fuss, dear girl. At your age on has to be in love with someone, and Robert does very well for the time being. Perhaps at every age one has to be in love with someone, but when one is young it is difficult to decide whom. Later one becomes more stable. I fell in love with all sorts of unsuitable people—very worrying for one’s mother. But by the time I met Robert I was old enough to be sure that that would last. And it has,” she added quietly; and she chose a strand of white silk and began work on the high-lights of a rose petal. (pp. 13-14)

I suspect some readers might find Muriel a rather cruel and pathetic woman, eaten up with jealousy over the more vulnerable Hester. While I recognise these flaws in Muriel’s character, I couldn’t help but feel a degree of sympathy for her too. She is desperately isolated in her marriage to Robert, a rather cold man who has long revealed himself to be a stranger to her. He no longer displays any tenderness or affection towards Muriel, a fact that is only exacerbated when she finds herself drawn into a compromising position with one of the schoolmasters at a local dance.

This is a terrific story that will test your responses to each of the individual characters. There is also another player in the mix, a desperately sad old woman, Mrs Despenser, who tries to befriend Hester when she goes out for a walk one night. Mrs D is a hangover from a bygone age, a lonely individual living in abject squalor in a dilapidated cottage with only her cat for company. She is desperate for Hester to stay a little while to alleviate her loneliness.

All in all, this is a fine collection of stories, an excellent introduction to Taylor’s short fiction. While a couple of the shorter pieces didn’t quite fly for me, they were never less than well observed. A fairly minor point considering the high quality of the other stories here.

Hester Lilly is published by Virago; personal copy.

Some Tame Gazelle by Barbara Pym

Barbara Pym began writing Some Tame Gazelle back in 1934 when she was just twenty-one, an impressive feat considering that the novel’s main protagonists – Belinda Bede and her sister Harriet – are both in their fifties. The characters are loosely based on Barbara herself and her elder sister, Hilary. In essence, she imagines what their lives might be like in another thirty years, both sisters unmarried and living together in a house in a quiet little village in the countryside. In this early novel, Pym begins to map out her territory, creating a world populated by unassuming gentlewomen, impressionable young curates, slightly fusty academics, and one or two more spiky characters – often women. This is a world where the most pressing concerns are what to serve the Archdeacon and other notable guests at supper and what to wear to the forthcoming church fete. Naturally, everything is beautifully observed in typical Pym fashion; she has a wonderful eye for social comedy, tempered with touches of poignancy here and there, qualities which give the reader much to enjoy.

The novel’s set-up is fairly straightforward yet rather delightful. Belinda and Harriet Bede are both spinsters in their fifties, living together in a quintessentially English village at some point in the 1930s or ‘40s. Their lives revolve around the day-to-day business of the community, most notably those activities connected with the church.

Belinda has been in love with the Archdeacon Hoccleve for the past thirty years, a man she first met and dated in college where they enjoyed a mutual appreciation of the English poets; but now that the Archdeacon is married to the formidable and efficient Agatha, Belinda must remain content with worshiping him from a safe distance, fantasising over whether he still retains some affection for her after all these years. On the other hand, Belinda’s sister Harriet is more preoccupied with the sequence of curates – all young, pale and undernourished – who pass through the parish on a regular basis. She lavishes her attention on them, inviting them for supper and afternoon tea whenever the opportunity arises – this in spite of the fact that she has received several proposals of marriage from the charming Count Bianco, a somewhat melancholy Italian gentleman who remains faithfully devoted to her in spite of a string of gentle refusals over the years.

In short, both sisters take comfort from having someone to cherish – which brings us to the novel’s title, a quote from a verse by the English poet Thomas Haynes Bayly.

Some tame gazelle, or some gentle dove:

Something to love, oh, something to love! (p. 11)

On the surface, very little appears to happen plot-wise in the first third of this novel, but as ever with Barbara Pym, the devil is in the detail. The characterisation is spot-on, often deeper and more subtle than it appears at first sight.

Belinda is the main focus here, and in some ways, she is almost a forerunner to Mildred, the central protagonist in Pym’s follow-on novel Excellent Women. Belinda is a hugely sympathetic but slightly meek woman who often puts the needs of others before her own desires. Guided by the social conventions of the day, she is forever conscious of doing and saying the ‘right’ thing, especially when in the company of others. Nevertheless, deep down, Belinda longs for a slightly more fulfilling life, one where she could share a few more moments with the Archdeacon, if only Agatha were not in the way. I love this next quote, one that conveys so much about Belinda as a character – and Pym as a writer, concerned as she is with the little details that reveal so much about the trials and tribulations of day-to-day life.

When we grow older we lack the fine courage of youth, and even an ordinary task like making a pullover for somebody we love or used to love seems too dangerous to be undertaken. Then Agatha might get to hear of it; that was something else to be considered. Her long, thin fingers might pick at it critically and detect a mistake in the ribbing at the Vee neck; there was often some difficultly there. Agatha was not much of a knitter herself, but she would have an unfailing eye for Belinda’s little mistakes. And then the pullover might be too small, or the neck opening too tight, so that he wouldn’t be able to get his heard through it. Belinda went hot and cold, imagining her humiliation. She would have to practice on Harriet, whose head was fully as big as the Archdeacon’s. And yet, in a way, it would be better if Harriet didn’t know about it, she might so easily blurt out something…Obviously the enterprise was too fraught with dangers to be attempted… (pp. 78-79)

By contrast, Harriet is much more flamboyant and outgoing than her sister, her personality coming through loud and clear in this next quote on her choice of outfit – Mr Donne, the new curate, has just arrived at the Bede’s for dinner.

Fortunately at this moment, for the conversational going was heavy, a firm step was heard on the stairs and Harriet came into the room, radiant in flowered voile. Tropical flowers rioted over her plump body. The background was the green of the jungle, the blossoms were crimson and mauve, of an unknown species. Harriet was still attractive in fat a Teutonic way. She did not wear her pince-nez when curates came to supper. (p. 6)

The Archdeacon too is another delight, a rather pompous man prone to quoting lines from obscure poems and works of literature in his sermons, much to the bemusement of most of his parishioners. A bit of a martyr at heart, the Archdeacon is forever complaining about the amount of work he has to do in his job, despite the assistance of his curate and the little coterie of diligent church helpers. Heaven knows what Belinda actually sees in him, but there must be something there – perhaps it’s a sense of comfort and familiarity, akin to the attachment to a favourite pair of slippers?

Pym is also very astute when it comes to observing the small slights in life, those casual little put-downs that can have an impact on a person’s feelings, especially someone as sensitive as Belinda. In this scene, Belinda is wo-manning the vegetable stall at the church garden party. With only newspapers at her disposal, she has chosen The Times as the most suitable wrapping for Lady Clara’s marrows, a decision which is soon overturned when Agatha Hoccleve appears on the scene.

‘What’s this?’ asked Agatha sharply, pointing to the Times-shrouded parcel which Belinda had put into a corner.

‘Oh, that’s Lady Clara’s marrows,’ Belinda explained.

‘Wrapped in newspaper?’ Agatha’s tone was expressive. ‘I’m afraid that won’t do at all.’ She produced some blue tissue paper from a secret hiding place and began to undo Belinda’s parcel.

‘Oh, dear. I’m so sorry, I didn’t know there was any other paper,’ said Belinda in confusion. ‘I saw them lying there and I thought perhaps they ought to be wrapped up and put aside in case anybody sold them by mistake.’

‘I don’t think anybody would be so stupid as to do that,’ said Agatha evenly. ‘They were the two finest marrows on the stall, I chose them myself.’

‘Oh well…’ Belinda gave a weak little laugh. All this fuss about two marrows. But it might go deeper than that, although it did not do to think so. (pp. 29-30)

Belinda dislikes Agatha but feels rather guilty and ashamed of herself for doing so. After all, everyone has their individual flaws and shortcomings, even Belinda herself.

Then, just as we think that nothing of any consequence will happen in this sleepy community, a sequence of events come together to unsettle the lives of the Bede sisters. Firstly, Agatha goes away on her own for as few weeks to enjoy the waters at a European spa, leaving the way clear for Belinda to see a little more of the Archdeacon on his own should she so wish. Then Nicholas Parnell, a University Librarian and old friend of Belinda’s, arrives in the village with his assistant, the dashing Mr Mold – a bit of a ladies’ man by all accounts – a development that puts Harriet in a bit of a spin. And finally, a Bishop from Africa, who turns out to be a former curate of the parish, comes to visit the Archdeacon, a trip that results in surprising developments for more than one lady in the village.

By the end of this charming, beautifully observed novel, a number of marriage proposals will have been issued, but how many (if any at all) will have been accepted? After all, as one of the Bede sisters reflects on her personal situation, ‘who would change a comfortable life of spinsterhood in a country parish, which always had its pale urate to be cherished, for the unknown trials of matrimony?’ Who indeed.

Some Tame Gazelle is published by Virago Books; personal copy.

Death in the Tunnel by Miles Burton

Like many other readers, I often find myself drawn to stories that take place on trains. There is something very appealing about this type of setting for a novel. Perhaps it’s the relatively intimate, self-contained nature of train compartments, an environment conducive to chance encounters and secret assignations. Maybe it’s the mix of people we brush up against during the journey, a disparate group of individuals, each with their own characteristics and idiosyncrasies. Or could it be the sense of continuous momentum involved, a feeling of journeying into the unknown whatever this may bring? In reality, I suspect it’s a combination of several factors – whatever it is, I find these stories hard to resist, especially if there’s a crime involved. All of which brings me to Miles Burton’s 1936 novel, Death in the Tunnel, a Golden Age mystery featuring a highly suspicious incident that takes place during a train journey.

As the novel opens, the 5 pm train from London’s Cannon Street is travelling to Stourford via its usual route. A little while after the train enters the Blackdown Tunnel, the train driver suddenly applies the breaks, causing the guard to commence a check of all the compartments to see if there has been an emergency on board. Shortly afterwards, the train begins to gather speed again, arousing the guard’s curiosity even further. As it turns out, the driver had seen a red light swinging in the middle of the tunnel, only for the light to change to green as the train slowed down and approached the source – a most peculiar occurrence, especially given the absence of any scheduled works on the line. Then, just as the train is pulling into Stourford, the guard discovers a passenger who seems to be in a bad way. On closer inspection at the station, it would appear that the man in question is in fact dead.

The station-master entered the compartment. “Hallo, it’s Sir Wilfred Saxonby from Helverden!” he exclaimed. “He went up by the 9.50 this morning, and his car is in the yard now to meet him. Whatever can be matter with him, I wonder?” As he spoke, the station-master unbuttoned the passenger’s overcoat, and opened it out. He started back in horror. On the breast of the dark grey suit beneath it was a patch of wet blood. (p. 11)

At first sight, Sir Wilfred’s death appears to be a cut-and-dried case of suicide. On his arrival at the platform at Cannon Street station, Sir Wilfred had paid the guard a pound to be seated alone in a locked first-class compartment where he wouldn’t be disturbed during the trip home. A small pistol engraved with his initials was found close to the body in a position that would fit with the presumption of suicide. Furthermore, it transpires that Sir Wilfred’s son and daughter were out of the country at the time of his death – both had gone abroad at their father’s suggestion, possibly to spare their feelings over the nature of his death. Nevertheless, clear cut or not, it is always best to be thorough in these matters, and Inspector Arnold of Scotland Yard is soon called in to take charge of enquiries.

Inspector Arnold doesn’t waste any time in getting down to business on the case, interviewing associates of Sir Wilfred’s and examining all the available evidence in a structured, methodical manner. In this endeavour, he is ably assisted by his close friend, the amateur detective, Desmond Merrion. As the pair begin to delve more deeply into the circumstances surrounding Sir Wilfred’s death, a number of puzzling details start to emerge, some of which suggest the possibility of murder as opposed to suicide. For instance, why was there no train ticket amongst Sir Wilfred’s belongings when the train compartment was searched? Who was the man seen leaving one of the first-class compartments just before the train entered the tunnel and where did he go? And perhaps most perplexing of all, who was operating the red and green lights seen by the driver as he travelled through the tunnel? On pondering the latter, Merrion begins to develop a hypothesis, one that raises several questions that prove rather tricky to answer.

“…However, let’s admit the bare possibility of there having been a man in the tunnel, who deliberately slowed down the train so that he would be able to board it.

“Now we pass on to the next point. In order that he could effect his purpose, it would be necessary that Saxonby should be travelling in a compartment by himself, and that his assailant should know which compartment this was. How could he have obtained the knowledge on either of these points? He might, it is true, have guessed that, for some reason with which he was acquainted, Saxonby would want to secure a compartment to himself. But how can he have known that Saxonby had been successful? Or, if he gambled on the probability of this success, how did he know which compartment it was? He couldn’t have seen Saxonby through the window, for that would almost certainly be obscured by the fumes from the engine.” (pp. 50-51)

By the way, this theory of Merrion’s doesn’t turn out to be true, but it does get the ball rolling on the pattern of the book – particularly the continual emergence of mysterious details and the development of various hypotheses, all of which point towards the possible murder of Sir Wilfred. And besides, those individuals who knew Sir Wilfred well can think of no reason why he would have committed suicide – the man had no business or money worries to speak of, so why would he have killed himself? By contrast, Sir Wilfred’s rather stubborn manner and his occasional lack of mercy in passing judgements as a Magistrate meant that he might have made a number of enemies over the years. As such, murder would appear to be a distinct possibility.

Death in the Tunnel is a mystery where the focus is on ‘who’ and ‘how’ as opposed to ‘why’. Burton is not particularly interested in exploring the psychology behind the crime, the perpetrator’s reasons for his or her actions. What’s key here is solving the intricate puzzle of how the murder was committed and by whom. In this regard, Death in the Tunnel is a very effective little puzzler, packed full of clues and a sprinkling of red herrings along the way.

Inspector Arnold and Desmond Merrion work perfectly well together as a team, their skills complementing one another very effectively. While Arnold tries to focus on the evidence and known facts, Merrion uses his highly developed powers of imagination and lateral thinking to develop possible scenarios as to what might have happened on the day. The combination of these talents is the key to the pair’s success.

“…Now, don’t you admit that I’ve solved your problem for you?”

“Solved the problem!” Arnold exclaimed. “You’ve made out a very convincing theory, I’ll admit that. But you haven’t produced a particle of proof in support of it.”

“I know that,” replied Merrion quietly. “I warned you before I started that I had no proof. You’ve got to dig away and find that for yourself. And at least I’ve suggested a dozen likely directions in which to dig…” (p. 211)

The final solution to the puzzle is rather intricate if a little convoluted in the end. Nevertheless, this turned out to be a most enjoyable read, a gentle vintage mystery in keeping with the style of the British Library Crime Classics collection.

Guy has also reviewed this book – you can find his post here.

I Capture the Castle by Dodie Smith

In this utterly charming, quintessentially English novel, we follow the highs and lows of six months in the life of seventeen-year-old Cassandra Mortmain, one of the most delightful narrators you are ever likely to encounter in literature. As an aspiring writer, Cassandra shares her story by way of a series of highly detailed journal entries through which she hopes to figure out and capture her feelings – the strange mix of emotions she finds herself experiencing during this pivotal time in her life. In essence, the novel is a coming-of-age story, complete with plenty of agonising over various romantic entanglements along the way. For some reason, I thought I might struggle to engage with this book and its ‘consciously naïve’ narrator, but nothing could have been further from the truth. This turned out be a great read for me – unashamedly cosy and indulgent with some moments of poignancy along the way to counterbalance the sweetness.

The novel is set in the midst of the Suffolk countryside in the mid-1930s. Cassandra lives with her rather eccentric family in a dilapidated castle which they have leased from their nearby neighbour, the elderly Mr Cotton. The household is notionally headed up by Cassandra’s rather frustrating father, Mortmain, a once-promising writer who hasn’t produced any new work in the past ten years, a point that only serves to exacerbate the family’s woeful financial situation. These days, the reclusive Mortmain spends most of his time camped out in the castle’s gatehouse reading detective novels and trying to solve crossword puzzles. Then there is Cassandra’s ethereal stepmother, Topaz, a former artists’ model with a penchant for nudity and communing with nature. (Cassandra adores Topaz in spite of all her idiosyncrasies.) Finally, completing the family unit, we have Cassandra’s pretty older sister, Rose, her younger brother, Thomas, and their odd-job boy, Stephen, son of the Mortmains’ former maid, back in the days when they could afford one. Stephen is covertly in love with Cassandra – a fact that she is fully conscious of but doesn’t quite know how to handle without hurting his feelings.

In spite of their residing in such formerly grand surroundings, the Mortmains have virtually no money to speak of. For years they have been living off the ever-dwindling royalties from Mortmain’s only book, the proceeds from Topaz’s modelling days (no longer in evidence), and little bits of money they have managed to borrow here and there. The rent on the castle has not be paid for quite some time. Moreover, all the family’s good furniture has been sold and replaced by the bare essentials, mostly cheap items acquired from local thrift shops.

Our room is spacious and remarkably empty. With the exception of the four-poster, which is in very bad condition, all the good furniture has gradually been sold and replaced by minimum requirements bought in junk shops. Thus we have a wardrobe without a door and bamboo dressing-table which I take to be a rare piece. I keep my bedside candlestick on a battered tin trunk that cost one shilling; Rose has hers on a chest of drawers painted to imitate marble, but looking more like bacon. (p. 16)

There is little heating or food to speak of at the castle – on a good day, there might be an egg or two to accompany the usual tea of bread and margarine. As a consequence, the girls, Rose in particular, long for some kind of escape. There is a very amusing scene near the beginning of the book where Rose threatens, albeit somewhat petulantly, to go ‘on the streets’ to earn some money, only to be reminded by Cassandra that it would be impossible for anyone to do so in the depths of Suffolk; it’s simply not that sort of place! In reality, Rose believes her best chance of a brighter future would come from marrying a wealthy man, someone who could sweep her off her feet and take her away from the crumbling castle forever. The trouble is, the chances of meeting any eligible young men, irrespective of their looks and relative standing, are practically non-existent, especially given the castle’s isolated location and the Mortmains’ limited resources. Nevertheless, Rose is determined to find someone, even if it means marrying a man she does not love, just to pull herself out of a life of poverty.

Then, just when the Mortmains appear to be at their lowest ebb, into their lives sweep two dashing young Americans: Simon Cotton, the wealthy new owner of nearby Scoatney Hall, and his younger brother, Neil. (In effect, Simon is the Mortmains’ new landlord, old Mr Cotton having just passed away.) Naturally, all this happens in typical fairy-tale fashion as the Cottons arrive at the castle just in time to see the Mortmain family at their most eccentric: Topaz has already been spotted on the nearby mound communing with nature; young Cassandra is taking a bath in the kitchen surrounded by a makeshift screen of clothes horses; and to top it all off, Rose appears at the top of the stairs dressed in a freshly-dyed tea dress, just as her recently returned stepmother starts playing the lute. It all makes for the most bizarre scene, but luckily the Cottons find the whole thing rather fascinating.

Perhaps unsurprisingly, Rose immediately sets her cap at Simon, seeing him as a potential future husband – this in spite of his beard which both girls find rather off-putting.

It is a pity that Simon is the heir, because Rose thinks the beard is disgusting; but perhaps we can get it off. Am I really admitting that my sister is determined to marry a man she has only seen once and doesn’t much like the look of? Is it half real and half pretence – and I have an idea that it is a game most girls play when they meet any eligible young men. They just…wonder. And if any family ever had need of wondering, it is ours. But only as regards Rose. I have asked myself if I am doing any personal wondering and in my deepest heart I am not. I would rather die than marry either of those quite nice men. (p. 66)

At first, the brothers consider Rose somewhat too forward and obvious, viewing her manner as more affected than alluring. Nevertheless, both Cassandra and Topaz are determined to aid Rose in her quest to get close to Simon. After one or two false starts, an invitation to dine at Scoatney is finally extended, an opportunity which Rose is determined to seize. In this scene, Cassandra is discussing Rose’s chances with Topaz.

I closed the kitchen door and said: ‘What did you think of her manner today?’

‘At least it was quieter, though she was still making eyes. But, anyway, it doesn’t matter now.’

I looked at her in astonishment and she went on:

‘Simon Cotton’s attracted – really attracted – couldn’t you see? Once that happens, a girl can be as silly as she likes – the man’ll probably think the silliness is fetching.’

‘Is Neil attracted, too?’

‘I doubt it,’ said Topaz. ‘I’ve an idea that Neil sees through her – I saw him give her a very shrewd look. Oh, how are we going to dress her, Cassandra? There’s a chance for her with Simon, really there is – I know the signs.’ (p. 122)

All too quickly Simon finds himself falling in love with Rose, and when he proposes marriage she naturally accepts. Cassandra, Topaz and Mortmain are all delighted at the news; Neil, however, is furious, a fact he reveals only to Cassandra, urging her to keep his outburst private. It would appear that Neil sees Rose as a gold-digger, someone who seems intent on marrying his brother for the money alone, irrespective of any genuine feelings of love.

As preparations for Rose’s wedding get underway – she is promptly whisked off to London by Simon’s erudite mother who insists on buying her a glamorous wardrobe and trousseau – Cassandra continues to chart the various developments in her journal. She is decidedly more grounded, more perceptive than her rather materialistic and foolish sister, a fact that becomes increasingly apparent as the narrative progresses.

Alongside Rose’s romance with Simon, Cassandra’s own feelings have also been thrown up in the air – not only by Stephen, who declares his love for her, but by Neil and Simon too. As far as Cassandra sees things, Neil is the more approachable of the Cotton brothers, more easy-going and open; and yet there is also something very attractive about Simon, especially once he dispenses with his beard. Much to her initial surprise, Cassandra also finds herself falling in love. Once again, the journal entries help Cassandra to make sense of her feelings. In effect, they provide an outlet for the experience of first love, marked as it so often is by that blend of exquisite pleasure and undeniable pain.

After that I talked easily enough, making him laugh quite a bit – I could see he was liking me again. But it wasn’t my present self talking at all; I was giving an imitation of myself as I used to be. I was very ‘consciously naïve’. Never, never was I that with him before; however I may have sounded, I always felt perfectly natural. But I knew, as I sat there amusing him while the band played ‘Lover’, that many things which had felt natural to me before I first heard it would never feel natural again. It wasn’t only the black dress that had made me grow up. (p. 323)

I don’t want to reveal too much more about the way in which the story finally plays out, save to say that there are one or two twists along the way (especially toward the end). Dodie Smith wrote the book while she was living in America, homesick as she was for her native England. As a consequence, the story is shot through with a touching sense of nostalgia, a reverence for the eccentricities of the nation she loved.

This is a captivating, slightly bittersweet novel, one that appears frothy on the surface but is actually deeper and more insightful than its initial levity suggests – I have barely scratched the surface of it here.

I Capture the Castle is published by Vintage Books; personal copy.

Improper Stories by Saki

What a wonderful collection of stories this turned out to be – sharp, pithy and uproariously witty. I first heard about Saki’s Improper Stories via Max’s excellent review from 2014 – you can read it here. Saki (or, to give him his full name, Hector Hugh Munro) began his career as a journalist and political satirist and then went on to write a number of short stories and sketches, a selection of which are included in this volume. Several of his pieces were concerned with the absurdities of Edwardian society, particularly the ludicrous social conventions of the English upper classes. Here are the surface niceties of lavish garden parties, formal dinners and hunting events, all of which fall under Saki’s satirical gaze.

Improper Stories comprises eighteen stories first published in the years leading up to the start of the First World Word. As with other collections I’ve reviewed, I’m not going try to cover every story; my aims instead are to focus on a few favourites and to give a flavour of the volume as a whole.

Several of Saki’s stories feature mischievous children rebelling against disagreeable, strait-laced guardians. In The Lumber Room, one of my favourites in the collection, Nicholas must stay behind while the rest of the children are treated to a day out at Jagborough sands. It is his punishment for an earlier misdemeanour at the breakfast table, one involving a frog and a basin of ‘wholesome bread-and-milk’. At an early stage in the story, Saki paints a revealing portrait of Nicholas’s rather draconian aunt, the woman in charge of the household – in reality, however, she is only the boy’s ‘aunt-by-assertion’.

It was her habit, whenever one of the children fell from grace, to improvise something of a festival nature from which the offender would be rigorously debarred; if all the children sinned collectively they were suddenly informed of a circus in a neighbouring town, a circus of unrivalled merit and uncounted elephants, to which, but for their depravity, they would have been taken that very day. (p. 30)

Convinced that young Nicholas will try to sneak off to the prized gooseberry garden while his cousins and brother are away on the trip, the aunt maintains a close watch on the entrances to the patch in an effort to spoil his fun. However, unbeknownst to the aunt, Nicholas has other plans for the day – he wishes to gain entry to the mysterious lumber room, a place normally kept under strict lock and key, only to be accessed by the more privileged members of the household. This is a very effective story in which the knowing child enjoys a moment of triumph over his authoritarian guardian.

In a similar vein, although somewhat darker, is Sredni Vashtar in which a different boy, Conradin, takes his revenge on an aunt by way of his polecat ferret, the pet he has kept hidden in a secret hutch in the garden shed. This is a macabre little story, very much in the style of a classic fairy tale.

Another cunning child plays a central role in Hyacinth, one of the sharpest stories in the collection. The story begins with a conversation between Hyacinth’s mother and her friend, Mrs Panstreppon. Hyacinth’s father is standing for election, and the boy’s mother is convinced that young Hyacinth would be an asset to the campaign. The trouble is, as Mrs P is just about to point out, while Hyacinth might look the part, he cannot necessarily be counted on to behave appropriately. I love the following quote which seems to capture something of Saki’s ridicule of the upper classes and the foolishness of their preoccupations.

‘Not take Hyacinth!’ exclaimed his mother; ‘but why not? Jutterly is bringing his three children, and they are going to drive a pair of Nubian donkeys about the town, to emphasise the fact that their father has been appointed Colonial Secretary. We are making the demand for a strong Navy a special feature in our campaign, and it will be particularly appropriate to have Hyacinth dressed in his sailor suit. He’ll look heavenly.’ (p. 37)

So, Hyacinth is allowed to attend the festivities, and at first he conducts himself impeccably, presenting the young Jutterlys with a gift of butterscotch. But then, while everyone else is busy watching the closing stages of the poll, the children disappear. It soon transpires that Hyacinth has locked the Jutterlys in a pigsty along with a litter of agitated piglets, much to the fury of the piglets’ mother who is now pacing up and down on the other side of the sty door. In effect, Hyacinth is holding the Jutterlys to ransom. If their father wins the election, he will open the door for the sow, allowing her to take wreak havoc on the children; but if his own father triumphs, he will be kind enough to lower a ladder into the sty, thereby enabling the Jutterlys to escape without harm. To discover how the end of the story plays out, you will have to read it for yourself.

Other highlights featuring precious or knowing children include The Boar-Pig, the marvellous tale of a socially-conscious woman who tries to sneak into a garden party unnoticed when in fact she hasn’t actually been invited, and The Story-Teller in which a group of young children take delight in being treated to a dark story with a sting in its tail, much to the dismay of their disapproving guardian.

The Boar-Pig is covered in detail in Max’s review, so I won’t elaborate on it any further here, save to say that it points to another of Saki’s recurring themes: mischievous or playful animals. Perhaps the best example of this can be seen in the final story of the collection, the fittingly titled Tobermory who turns out to be a most unusual cat. When the rather bland Cornelius Appin – a man with an apparent reputation for cleverness – is invited to Lady Blemley’s house party, he surprises the coterie of guests by announcing that he has been able to teach an animal to talk. The animal in question is, of course, the Blemleys’ cat, Tobermory. Unsurprisingly, everyone present is eager for a demonstration of Mr Appin’s skill, so Tobermory is rounded up and allowed to take centre stage. What follows is a hilarious sequence of revelations; not only does Tobermory speak as eloquently as anyone else at the party, but he also persists in telling the unfiltered truth, thereby revealing various secrets and private conversations much to the embarrassment of everyone present. Here is a brief extract from his pronouncements – Major Barfield is the first to speak.

Major Barfield plunged in heavily to effect a diversion.

‘How about your carryings-on with the tortoise-shell puss up at the stables, eh?’

The moment he had said it everyone realised the blunder.

‘One does not usually discuss these matters in public,’ said Tobermory frigidly. ‘From a slight observation of your ways since you’ve been in this house I should imagine you’d find it inconvenient if I were to shift the conversation on to your own little affairs.’

The panic which ensued was not confined to the Major. (p. 125)

This is a deliciously impish story with a rather poignant coda, not only for Mr Appin and his fanciful pursuits, but for poor Tobermory too.

Several of the stories included here feature a recurring character, Clovis, who appears to be the embodiment of Saki at his most cutting. When he hears that a baby has gone missing in The Quest, Clovis responds with the following rather hilarious interjection. (Well, hilarious if you are reading the story; maybe not if you’re the parent of the baby in question.)

‘Perhaps an eagle or a wild beast has carried him off,’ suggested Clovis.

‘There aren’t eagles and wild beasts in Surrey’ said Mrs Momeby, but a tone of horror had crept into her voice. (p. 68)

This is a typical Clovis rejoinder – sharp, satirical and wickedly acerbic.

While the majority of these stories are witty and humorous, two or three are somewhat different in tone. Stories like The House of Fate, the rather poignant tale of a desolate wanderer who is mistaken for the master of a farm, a young man who disappeared some years earlier under a cloud of ill feeling; The Open Window, an eerie story which harks back to the tragic disappearance of a group of men precisely three years ago to the day; and The Music on the Hill, a rather macabre story which Max explores in his review. In many ways, they add variety to the collection, demonstrating Saki’s emotional range – he is a clearly writer with more than one string to his bow.

All in all, this is a first-rate collection of stories, one I’m delighted to have discovered.

Improper Stories is published by Daunt Books; personal copy.

The Hireling by L. P. Hartley

The British writer L. P. Hartley is perhaps best known for his novel The Go-Between (1953), a beautifully written story of a young boy’s loss of innocence set against the backdrop of a blistering English summer. It is a book of many contrasts; perhaps most notably, the divisions between the classes, the barriers and conventions that can stand in the way of relationships between people from markedly different social backgrounds. Hartley explores this theme again in The Hireling as an emotionally repressed chauffeur finds himself developing a somewhat inappropriate relationship with one of his regular customers, the lonely but very wealthy Lady Franklin.

The novel centres on Leadbitter, a hard-bitten ex-Army man who is struggling somewhat to find his way in civilian life – the story is set in the period following the First Word War. Part of Leadbitter’s problem stems from his inherent tendency towards bitterness and self-protection. His life is governed by a certain moral code, one that values loyalty, punctuality and discipline, while keeping any softer emotions or feelings firmly under wraps.

Feelings with Leadbitter were something to keep hidden, something of which, if people knew, they would take advantage, and the deeper the feeling, the more closely he guarded it. (p.179)

Having tired of working in the Fire Service, Leadbitter has now sunk his war gratuity into the down payment on a car, setting himself up as a driver for hire for the well-to-do people of London. On the surface, he is unfailingly polite, reliable and discreet, qualities his customers value in spades. Nevertheless, there are times, especially when he is off duty, when Leadbitter struggles to keep his feelings of hostility under control. To him, life is a battle, a conflict of sorts during which his patience is frequently tested. In short, his deep-rooted cynicism is a defence mechanism against the outside world. Here is a passage from one of Leadbitter’s many musings on the nature of his customers. No one ever seems to recognise that he might have needs of his own or other commitments to attend to, especially not the women. Women have never done Leadbitter any good in his life; for starters, they never seem to know what they really want…

Such a being as the perfect customer did not exist, though some had more faults than others. Unpunctuality was one of the worst, and of this the women were particularly guilty. They would make a point of his being there on time and then keeping him waiting for an hour; they would expect him to pick up their friends and drop them again in distant places; they would challenge his choice of the route; they would want him to wait in streets where waiting was prohibited; they would ask him to turn round and go back; they would want to keep him long after he was due on another job. They did not or would not understand that time, which was as elastic to them as an accordion-pleated skirt, was a strait-jacket to him. (p. 50-51)

Then one day Leadbitter is called to collect a new customer, a young widow by the name of Lady Franklin, who hires him to take her on a pilgrimage to a country cathedral. As it turns out, Lady Franklin is still grieving the loss of her husband – she blames herself for not telling him she loved him and for not being by his side at the time of his death some two years earlier. Part of her reason for hiring the car is to pour out her troubles to a complete stranger – namely Leadbitter – in the hope that by doing so she can get over her loss and find a way back to reality. Moreover, Lady Franklin has been advised to take more of an interest in other people’s stories in the belief that this will aid her recovery. So, to this end, she asks Leadbitter to tell her about his own life, which he does by inventing an imaginary wife and family – in the heat of the moment, he thinks this might secure him a decent tip.

One cathedral trip leads to another, each outing following a familiar pattern, one that begins with Lady Franklin and her ‘obsession’ for unburdening herself and then ends with Leadbitter spinning tall tales of his make-believe home life. In essence, Lady Franklin is living vicariously through Leadbitter and his family, to the extent that she helps him out financially when he fabricates a story about the imminent repossession of his car.

Their conversations usually followed the same pattern: beginning with Lady Franklin and her obsession, they ended with Leadbitter and his fictitious home-life. Ask me no questions and I’ll tell you no lies; but Lady Franklin asked a great many questions and Leadbitter told her a great many lies. He had no scruples in doing this because it was his principle to give his customers what they wanted. In practice the customer was often wrong, in theory the customer was always right, and theory dictated Leadbitter’s behaviour. Except when ‘they’ annoyed him beyond bearing he himself did not come into it. (pp. 54-55)

Leadbitter, who for years has had no emotional life to speak of, takes a perverse sort of pleasure in inventing an imaginary one for the benefit of his employer. In some ways, he is living out a personal fantasy, one in which Lady Franklin herself comes to play an increasingly important role.

Instalment by instalment, as if composing it for the wireless, he built up a serial story of himself and his wife and their children, the story of an ideally happy family. Not that the Leadbitters were always happy; they had their ups and downs, of temper, health, and spirits, and they were chronically hard up. But whatever befell them […], it took place in an idyllic atmosphere, an atmosphere of gold and pink, with a never-empty box of chocolates on the table. For the whole fantasy owed its imaginative impulse to his dream – that dream in which someone rather like Lady Franklin was his wife. (pp. 55-56)

Much to his surprise, Leadbitter finds himself getting emotionally attached to Lady Franklin to the point where he makes a pass at her during one of their trips. Moreover, he also comes clean about his fictitious wife and family by declaring that they don’t exist. Perhaps unsurprisingly, Lady Franklin is rather shocked by her driver’s actions, so she rebuffs him and asks to be let out of the car some ten miles from home. While Lady Franklin is very grateful to Leadbitter for the help he has given her in overcoming her grief – his actions have in fact prompted a kind of reawakening in her – she cannot begin to think of him as a potential lover. For a start, they belong to very different social spheres; and besides, as far as Lady Franklin has been concerned – at least up to this point – Leadbitter was a married man with a family to support. How could she possibly get involved with an adulterer or a liar when she is just getting over her own guilt at the loss of her husband?

At first, Leadbitter’s pride is severely wounded; as far as he sees it, Lady Franklin has led him up the garden path and then rejected him because of his class. But then his feelings towards her start to soften, especially once he discovers that she has fallen for a clot of an artist named Hughie who also happens to call on his services as a driver. Hughie doesn’t love Lady F; rather he is attracted to her money, the glamorous lifestyle such a bounty can support. In a rather fateful turn of events, Leadbitter discovers that Hughie plans to continue seeing his longstanding lover, Constance, after his fothcoming marriage to Lady Franklin. So, Leadbitter is faced with a dilemma: should he destroy Lady Franklin’s new-found happiness by revealing the true nature of Hughie’s intentions, or should he keep quiet and let the erroneous marriage go ahead?

I’ll leave it there with the plot; to reveal any more might spoil the story, although it’s fair to say that what happens next is pretty dramatic.

While I didn’t love this book quite as much as The Go-Between, I really did enjoy it a great deal. The central characterisation is excellent, very convincing and compelling. Hartley takes a lot of care and attention in setting up the nature of Leadbitter’s character in the novel’s opening chapters, an investment which proves very valuable as the narrative develops. Deep down, Leadbitter seems to have Lady Franklin’s best interests at heart, even if he struggles to reconcile and contain his conflicting emotions – at a critical point in the story, he almost blurts out his true feelings for her but is cut off before he can finish his declaration. He knows his place in the British class system but longs to break away from it.

All in all, this is a very good novel with much to commend it. There’s a film version too, summarised here in this typically insightful piece by The Guardian’s Peter Bradshaw. It sounds somewhat different from the book, especially in the closing stages; nevertheless, I’m looking forward to watching it very soon.

The Hireling is published by John Murray; personal copy