Love and Summer by William Trevor

I’ve been on a bit of William Trevor kick lately, starting with two of his early books, The Boarding-House and The Old Boys, and now his final novel, Love and Summer, first published in 2009. It’s interesting to see how Trevor’s style has evolved over the years, moving from those darkly comic early works to the delicately elegiac stories of his twilight years. What seems to unite much of this author’s fiction is a perceptive insight into human nature – the day-to-day dramas that shape our lives in the most poignant and wrenching of ways.

Love and Summer is a quiet, subtle novel set in the idyllic Irish countryside of the 1950s. The story focuses on Ellie, a shy young woman who is married to a kindly farmer, Dillahan, a decent man still haunted by the death of his first wife and child in an accident on the farm some years earlier. (Dillahan unjustly blames himself for a momentary loss of concentration that contributed to the tragedy – as such he now prefers to avoid interactions with the local community as much as possible for fear of speculation about his part in the incident.)  Ellie had initially been sent to the farm to keep house for Dillahan following the death of his wife and mother, but then the pair agreed to marry a few years later, formalising a relationship built on mutual respect and understanding as opposed to any sense of passion or love.

As the novel opens, Ellie is seen talking to a stranger in the nearby town of Rathmoye, a dark-haired young man called Florian Kilderry. Florian has come to the town to take pictures of the burnt-out cinema, photography being something of a hobby he is trying to cultivate. However, on his arrival in Rathmoye, Florian is distracted by a funeral that is taking place, that of old Mrs Connulty, a fierce tyrant who previously made her unmarried daughter’s life a misery with her unremitting bitterness and disdain.

While Florian is a stranger to the town, his home is only seven miles away, a crumbling old house by the name of Shelhanagh. Now that both his parents – once talented artists – have passed away, Florian can no longer afford to keep the house going in the face of mounting debts, so he plans to sell up and leave Ireland for good, taking his chance on a new life in Scandinavia.

Ellie lives a quiet life on Dillahan’s farm, tending to the chickens and delivering their eggs to various customers in the town. For Ellie, meeting Florian brings about something of an awakening, giving rise to emotions she has never previously experienced.

She wondered if she would be the same herself; if she was no longer – and would not be again – the person she was when she had gone to Mrs Connulty’s funeral and for all the time before that. When he had asked whose funeral it was it had been the beginning but she hadn’t known. When Miss Connulty had drawn her attention to him in the Square she had realized. When he’d smiled in the Cash and Carry she’d known it too. She had been different already when she stood with him in the sunshine, when he offered her the cigarette and she shook her head. Anyone could have seen them and she hadn’t cared. (p. 53)

Florian, for his part, is also attracted to Ellie, her innocence and simplicity sparking a sense of tenderness in his soul.

As the long, hot summer unfolds, the attraction between Ellie and Florian deepens. At first, Ellie tries to change her routine to avoid bumping into Florian in the town, but the need to go about her business means that encounters are virtually inevitable.

Unbeknownst to the couple, Miss Connulty (old Mrs Connulty’s spinster daughter) has been watching their encounters in Rathmoye. Miss Connulty is the town busybody, intent on poking her nose into other people’s business, much to the dismay of her bachelor brother, Joseph Paul. Now installed as head of the town’s boarding house following the death of her mother, Miss Connulty watches Florian and Ellie from her window, determined to protect Ellie from being swayed by the stranger’s presence in the town. As the story unfolds, we learn more of Miss Connulty’s backstory, a past that goes some way towards explaining her resentment towards Florian.

All too soon Florian and Ellie are meeting regularly in secret on the outskirts of Rathmoye, spending time in places that are not frequented by the locals. What starts as a summer dalliance for Florian represents something more profound for Ellie, opening up a world of possibilities beyond the narrowness of her life on the farm. As the summer draws to a close, Florian realises how far things have progressed for Ellie and how crushed she will be when he is gone.

Riding on to Shelhanagh afterwards, he realized that his nostalgic reflections in the roadside bar had been an effort to brush away an uneasy day. It was no more than the truth that he had sought to prolong a friendship which summer had almost made an idyll of. But what he had failed to anticipate was the depth of disappointment its inevitable end would bring. He had allowed the simple to be complicated. He had loved being loved, and knew too late that tenderness in return was not enough. (p. 139)

Lover and Summer is a gentle, contemplative novel of lost love and missed chances. Trevor perfectly captures the rhythm of life in a small farming community, the sort of place where everyone knows everyone else’s business, where any deviation from the expected norm is noticed and judged. It is a world populated by lonely, damaged individuals, people who expect little from life save for a simple existence with few opportunities or openings.

Trevor’s prose is quietly beautiful – simple and unadorned, yet subtle enough to convey the depth of feeling at play. The characters too are very nicely judged – not only the main players but the minor characters also – most notably, the spiteful Miss Connulty and her placid, buttoned-up brother, Joseph Paul. There is also the latter’s assistant, Bernadette, a woman who silently worships her employer, making do with the comfort of their daily meetings in place of anything more fulfilling.

Bernadette spread out the papers she had brought, the cheques to be signed kept to one side. For a long time this had been a morning routine, the 7-Up, and watching while the top of her employer’s ballpoint was removed, his signature inscribed. This declaration of his identity was as meticulous and tidy as he was himself, a man who respected restraint, who never raised his voice or displayed anger, who lost nothing because he would not let himself lose things. Bernadette loved him. (p. 69)

The deluded Orpen Wren – a somewhat tragic man who lives in the past but sees everything in the present – is another significant presence in the novel, his rambling revelations causing something of crunch point in the rhythm of Ellie and Dillahan’s relationship.

This is a beautiful, poignant novel for fans of character-driven fiction, very highly recommended indeed.

Love and Summer is published by Penguin Books; personal copy.

The Old Boys by William Trevor

Last year I read and loved The Boarding-House by William Trevor, a wickedly funny tragi-comedy of the highest order, first published in 1965. Ten months on, I’m returning to this writer for another of his early novels, The Old Boys, which came out the previous year in 1964. Like its successor, The Old Boys is a sharply observed ensemble piece featuring a cast of rather idiosyncratic characters – this time, the members of an Old Boys Association for an English public school. In short, the novel explores the longstanding beliefs and rivalries that resurface amongst the men (all in their seventies) when the committee comes to elect a new President. It is a marvellous novel, shot through with a particularly savage streak of humour and some poignancy too. Needless to say, I enjoyed it hugely.

The novel centres on Mr Jaraby, who is eager for the role of President of the Association. On the whole, life for Jaraby has been shaped by his days in the public school system, an environment where bullying and intimidation of the younger, weaker individuals were part and parcel of life. Inspired by Mr Dowse, his mentor and Housemaster, Jaraby spent much of his time at school persecuting his fag, a somewhat awkward young boy named Nox – an experience that Nox, another Old Boy, still remembers to this day.

In Nox’s new life Jaraby was everywhere. It was not the mere fact of receiving a gamma for a piece of English prose that distressed Nox; it was what Jaraby would say to him when Jaraby got to know about it. For somehow Jaraby always did seem to get to know. He knew everything that went on in the House and everything that concerned the boys who belonged to it. What Nox did, on the games field or in class, was inevitably ‘not good enough’. (p. 15)

In spite of the passing of time, Nox remains deeply resentful of his treatment by Jaraby, a point that fuels his determination to block Jaraby’s succession to the presidency, even if this results in the election of a less competent man. In short, Nox wishes to discredit Jaraby (there is some suggestion that the latter frequents brothels), so he hires a private detective, the appropriately names Swingler, to gather evidence of an incriminating nature.

He could not admit to Swingler that he cared little himself for the Association, that if a less able man than Jaraby were chosen it would not matter to him as long as Jaraby was shamed in the process. Some devil within him had urged him to get himself on to the committee, so that he might, by some chance that had not then been apparent, cook Jaraby’s goose. Jaraby was an influence in his life, but he could only confess it to himself. Jaraby was a ghost he had grown sick and tired of, which he could lay only by triumphing in some pettiness. (p. 43)

This all gives rise to some very amusing scenes, particularly when Nox decides to force the issue by tempting Jaraby with a little bait. Much to his annoyance, Jaraby finds himself being stalked by a strange, presumptuous woman who insists on joining him for tea and cakes (‘Shall we gorge ourselves on meringues today?’), all played out through Trevor’s pitch-perfect prose.

The punctilious Jaraby is also experiencing difficulties at home, particularly in relation to his wife, the rather forthright Mrs J. The Jarabys bicker and snipe at each other on a constant basis, mostly over their forty-year-old son, Basil, another former pupil at the school, who has turned out to be a great disappointment to his father. Mrs Jaraby, on the other hand, would like Basil, a rather dubious bird fancier, to come and live at their house, a point she continues to press with her husband at every opportunity.

While Basil has already had a few brushes with the law, Mrs J believes the worst is behind him, and she hopes to welcome her son back into the fold. Mr Jaraby, however, is having none of it, believing his wife to be of unsound mind and in need of psychiatric care. Perversely, it is Mr Jaraby, with his petty prejudices and obsessions, who would probably benefit the most from specialist attention, although both of the Jarabys have their flaws and failings.

Another source of tension in the Jaraby household is their cat, Monmouth – a savage creature loved by Mr J and loathed by his wife. If only Monmouth were not there, then Basil could return home complete with his budgerigars…

Alongside the themes of power, revenge and the resentments we hold on to in life, the novel also explores the nature of ageing, mainly through the portraits of other Old Boys on the Committee. There are touches of humour and poignancy here, a sprinkling of dark comedy alongside the tragedy and sadness.

Mr Cridley and Mr Sole spend their days cutting out newspaper coupons for freebies and no-obligation estimates, many of which they have absolutely no use for, living as they do at the Rimini Hotel. With its cheerless atmosphere and permanent smell of boiling meat, the Rimini (a glorified boarding house catering for the elderly) is presided over by Miss Burdock, a formidable, money-grabbing woman with a penchant for grey clothing. When it transpires that Mr Cridley and Mr Sole have arranged for a central heating salesman to assess the premises, Miss Burdock is most definitely not amused…

‘It is scarcely a month,’ complained Miss Burdock, ‘since those frightful women came here with corsets. And now a man with central heating. You can guess what I am going to say to you, both of you: if there is further trouble I shall be obliged to ask you to leave the Rimini.’

‘A genuine misunderstanding, Miss Burdock, a genuine error.’

‘I could easily fill your rooms. There is a waiting list for the Rimini.’ (pp. 50-51)

The poignancy comes through in the portrait of Mr Turtle, a gentle, lonely Old Boy who is finding it difficult to remember things, particularly in the short-term. In some ways, Mr Turtle would prefer to return to the simplicity of his schooldays, complete with its regular routines and rituals – a point that becomes apparent during the annual school visit for Old Boys’ Day.

A woman in a white overall broke in on his thoughts, pressing a plate of wafer biscuits on him. He sighed and smiled and took one. How nice it would be to hear a bell and run to its summons, to join a queue for milk or cocoa, and later to do prep and wait for another bell that meant the rowdy security of the dormitory. How nice it would be to slip, tired and a little homesick, between the cold sheets. He heard his name called. Somebody gave him a fresh cup of tea and asked him a question he did not understand. (p. 101)

As the narrative plays out, there are one or two shocks for the main players, the Jarabys in particular; but I had better not say any more for fear of revealing spoilers.

The Old Boys is another excellent novel by William Trevor, sharing many similarities with The Boarding-House. Much of the book is written in dialogue, which gives the story a sense of immediacy, almost as if you are watching a play unfold before your eyes.

Although only touched on through memories, the realities of the public school environment are very well portrayed, complete with all their cruelties and insensitivities. It is a world where influence and power over others are all important, dictating the nature of life for the younger, less experienced boys. The only glimmer of hope for these individuals is to wait until they too gain senior status and all the authority this confers. It is clear that Nox was never able to acquire this kind of standing within the school, a point that has left him marked by Jaraby’s sadistic behaviour for most of his adult life.

As a novel, The Old Boys highlights the importance of our formative years, how the things we experience during this time continue to shape our lives well into adulthood. It can be hard to forget the injustices of our childhood, especially if they are never adequately redressed at the time. Trevor explores this theme through the novel with its striking blend of sharpness, dark humour and tragedy.

This is my contribution to Cathy and Niall’s Reading Ireland event which started yesterday. You can find out more about it here. For another take on this novel, please see Kim’s review here.

The Old Boys is published by Penguin Books; personal copy.

My books of the year, 2018 – favourites from a year of reading

Regular readers of this blog will probably experience a strong sense of déjà vu when they scan through my list of favourites from 2018, such is the familiar nature of the selection. Several of the authors listed here have already appeared in some of my other best-of-the-year posts, writers like Elizabeth Taylor, Barbara Pym and Dorothy B. Hughes – it’s getting to the point where they’re virtually guaranteed their own dedicated slots! In other words when it comes to reading, I know what I like, and I like what I know.

Still, there are a few *new* names in this year’s line-up, writers like William Trevor, Dorothy Whipple and Brian Moore, all of whom I’d like to revisit in the future.

Anyway, without further ado, here are my favourites from 2018 in order of reading. These are the books I loved, the books that have stayed with me, the ones I’m most likely to recommend to others. I’ve summarised each one in this post, but you can read the full reviews by clicking on the appropriate links.

A View of the Harbour by Elizabeth Taylor

What better way to kick off the year than with this early novel by Elizabeth Taylor, a beautifully crafted story of the complications of life, love and family relationships, all set within a sleepy, down-at-heel harbour town a year or so after the end of WW2. It’s a wonderful ensemble piece, packed full of flawed and damaged characters who live in the kind of watchful environment where virtually everyone knows everyone else’s business. Probably my favourite book of the year – fans of Penelope Fitzgerald’s The Bookshop will likely enjoy this.

The Boarding-House by William Trevor

I loved this darkly comic novel set in a South London boarding house in the mid-1960s. Another excellent ensemble piece, this one focusing on the lives and concerns of a disparate group of lost souls, each with their own individual characteristics and personality traits. A wickedly funny tragi-comedy of the highest order, this claims the spot for my boarding-house novel of the year. (That said, I must mention Patrick Hamilton’s Craven House in this context – not a perfect novel by any means but a hugely enjoyable one nonetheless.)

The Expendable Man by Dorothy B. Hughes

A young doctor picks up a dishevelled teenage girl on a deserted highway while driving to a family wedding. What could possibly go wrong? Pretty much everything as it turns out in Hughes’ seriously gripping novel set in 1960s America. There’s a crucial ‘reveal’ at certain point in the story, something that may well cause you to question some of your assumptions and maybe expose a few subconscious prejudices too. A truly excellent book, beautifully written, this proved a big hit with my book group.

The Haunting of Hill House by Shirley Jackson

Last year Shirley Jackson made my ‘best-of’ list with her gothic masterpiece We Have Always Lived in the Castle. Now she’s back again, this time with The Haunting of Hill House a brilliantly unsettling book that relies more on the characters’ fears, imaginations and terrors than any explicit elements of horror or violence. Hill House itself, with its curious, labyrinthine design and off-kilter angles, is an imposing presence in the novel, a place marked by its complex and ill-fated history. Also central to the story is Eleanor Vance, a rather reclusive, childlike woman in her early thirties who travels to Hill House at the invitation of Dr Montague, an academic with an interest in the paranormal. The way that Jackson illustrates the gradual falling apart of Eleanor’s mind is very effective, encouraging the reader to come to their own conclusions about the young woman’s sanity. An unnerving exploration of a character’s psyche.

Jane and Prudence by Barbara Pym

Another sparkling addition to Pym’s oeuvre, Jane and Prudence is a charming story of unrequited love, the blossoming of unlikely relationships, and the day-to-day dramas of village life. Once again, Pym shows her keen eye for a humorous scenario and an interesting personality or two. Her trademark descriptions of food and clothing – hats in particular – are also in evidence. As the story plays out, there are some unexpected developments, one or two of which show that we can find solace and a form of love in the most unlikely of potential partners. Possibly my favourite Pym to date.

Good Evening, Mrs Craven: The Wartime Stories of Mollie Panter-Downes

A wonderful collection of stories featuring ordinary British people – mostly women – trying to cope with the day-to-day realities of life on the Home Front during WW2. We see women trying to accommodate evacuees from the city, making pyjamas for soldiers overseas, or doing their best to maintain some degree of normality around the home in the face of constrained resources. Panter-Downes’ style – understated, perceptive and minutely observed – makes for a subtly powerful effect. She is particularly adept at capturing the range of emotions experienced by her characters, from loneliness and longing to fear and self-pity. Probably my favourite collection of short stories this year, although Maeve Brennan’s The Springs of Affection comes a very close second.

The Cry of the Owl by Patricia Highsmith

A book powered by Highsmith’s trademark interest in decency and morality, The Cry of the Owl appears to start off in traditional psychological thriller territory only to shift towards something a little more existential by the end. The story centres on Robert, a deeply lonely man who finds some comfort from naively observing a girl through her kitchen window as she goes about her domestic routine. What really makes this novel such a compelling read is the seemingly unstoppable chain of events that Robert’s relatively innocent search for solace kicks off. We are left with the sense of how powerless a man can feel when he his actions are judged and misinterpreted by the supposedly upstanding citizens around him, especially when fate intervenes. Highly recommended for lovers of dark and twisted fiction.

The Spy Who Came in from the Cold by John Le Carré

What can I say about this classic spy novel that hasn’t been said before? Probably not a lot, other than to reiterate that it’s a masterclass in how to tell a complex, gripping story without having to rely on lots on clunky exposition along the way. While the plot may appear somewhat confusing at first, Le Carré trusts in the intelligence of his readers, knowing their perseverance will be rewarded in the end. The tense and gritty atmosphere of Berlin is beautifully conveyed, perfectly capturing the political distrust and uncertainty that prevailed during the Cold War of the early ‘60s. A thoroughly engrossing book from start to finish.

Someone at a Distance by Dorothy Whipple

My first experience of Whipple’s work but hopefully not my last. The central story is a timeless one, focussing as it does on the systematic destruction of a loving marriage, brought about by a venomous serpent in the Garden of Eden. Whipple captures everything with such skill and attention to detail that it feels so compelling, pushing the reader forward to discover how the narrative will end. In writing Someone at a Distance, she has created a really excellent novel about the fragile nature of love and the lives we build for ourselves. Possibly one for fans of Elizabeth Taylor and Elizabeth Jane Howard.

After Midnight by Imrgard Keun (tr. Anthea Bell)

Deceptively straightforward and engaging on the surface, After Midnight is in fact a very subtle and insightful critique of the Nazi regime, written by an author who experienced the challenges of navigating the system first-hand. A little like The Artificial Silk Girl (also by Keun), the novel is narrated by a seemingly naïve and engaging young woman, Sanna, who turns out to be somewhat sharper than she appears at first sight. A fascinating book, one that provides a real insight into how easily a society can shift such that the unimaginable becomes a reality as a new world order is established. My favourite read in translation this year, although The Burning of The World, a remarkable WW1 memoir by the Hungarian writer Béla Zombory-Moldován, also deserves a mention.

If Beale Street Could Talk by James Baldwin

This is a really remarkable piece of writing, so powerful, passionate and lyrical that it’s hard to do it any kind of justice in a few sentences. The novel is narrated by Tish, a nineteen-year-old black girl who lives with her family in Harlem in the early 1970s. Tish is deeply in love with Fonny, just a regular young black guy except for the fact that he happens to be in jail, accused of a crime he clearly did not commit. It’s a novel shot through with a powerful sense of loss, of missed chances and opportunities, of familial love and familial tensions. The forthcoming film adaptation by Barry Jenkins is pretty wonderful too.

The Lonely Passion of Judith Hearne by Brian Moore

This is an achingly sad novel, a tragic tale of grief, delusion and eternal loneliness set amidst the shabby surroundings of a tawdry boarding house in 1950s Belfast. Its focus is Judith Hearne, a plain, unmarried woman in her early forties who finds herself shuttling from one dismal bedsit to another in an effort to find a suitable place to live. When Judith’s dreams of a hopeful future start to unravel, the true nature of her troubled inner life is revealed, characterised as it is by a shameful secret. The humiliation that follows is swift, unambiguous and utterly devastating, but to say any more would spoil the story. This is an outstanding novel, easily in my top three for the year. It’s also beautifully written, a heartbreaking paean to a solitary life without love.

The Girl on the Via Flaminia by Alfred Hayes

This jewel-like novel, my third by Hayes, focuses on Robert, a desperately lonely American soldier who finds himself stationed in Rome in 1944. Robert is hoping to make a simple arrangement with a local girl, Lisa – namely some warmth and company at night in exchange for a few sought-after provisions. But nothing in wartime is ever easy, and in times of unrest and uncertainty even the most straightforward of arrangements can run into complications. Another brilliant, bleak yet beautifully written book, shot through with an aching sense of pain and sadness.

So there we are, another pretty satisfying year of reading for me. I really have read some excellent books in 2018.

All that remains is for me to wish you a very Merry Christmas and all the best for the year ahead – may it be filled with plenty of bookish delights!

The Boarding-House by William Trevor

I have written before about my love of the great British boarding house as a setting for fiction – more specifically, novels like The Slaves of Solitude by Patrick Hamilton, Of Love and Hunger by Julian Maclaren-Ross, and The Girls of Slender Means by Muriel Spark. There is something about this type of environment that really appeals to me. Maybe it’s the seediness of these places or the strange mix of people we often encounter there – whatever it is, I never seem to tire of reading about these establishments. All of which brings me to the very aptly named The Boarding-House, an absolute gem of an early novel by the Irish writer, William Trevor – a very worthy addition to my list.

Set in a South London suburb in 1964, the novel is an ensemble piece, focusing on the lives and concerns of the residents of Mr Bird’s boarding house, the sort of traditional establishment that is fast going out of fashion due to the rise in bedsits and flat-shares. At first, Mr Bird’s tenants appear to be a disparate bunch, each person possessing their own individual characteristics and personality traits. However, it soon becomes clear that they are all solitary figures, mostly flawed or inadequate in some way, at risk of being seen as misfits or outcasts from the realms of ‘normal’ society.

There is Major Eele, an old-school eccentric with a penchant for strip clubs; Mr Obd, a lonely Nigerian man who longs to deepen his relationship with an English girl he first met some twelve years earlier (sadly, she will have nothing to do with him any more); Mr Scribbin, a railway enthusiast who spends his nights listening to gramophone records of steam trains; and Mr Venables, a nervous office worker who has been the subject of petty bullying for most of his life. Then there are the female residents, Miss Clerricot, a somewhat plain secretary who is puzzled by the fact that her married boss seems to be taking a particular interest in her, and Rose Cave, a gentle, middle-aged woman who remains haunted by the memory of her dead mother. There are a couple of other notable residents too, Nurse Clock and Mr Studdy – more about those two a little later on.

All of these characters are drawn by Trevor with great precision and clarity, and in such a way that clearly elicits the reader’s sympathy. The pen portraits of Miss Clerricot and Rose Cave are particularly touching. There is a sense of tragedy surrounding the lives of both of these women, a feeling of missed opportunities and unfulfilled potential as time passes them by.

At first, Miss Clerricot is buoyed by the attention of her boss, Mr Sellwood, who takes her to lunch and then on a business trip to Leeds. However, her illusions are shattered when she realises that her companion is merely looking for someone who will listen to him, a captive audience for his interminably dull discourses on the banking and insurance industries. Not that Miss Clerricot wants to have an affair with Mr Sellwood, but it would be nice to feel wanted and desired in some way, at least for once in her life.

Rose Cave’s backstory is sadder still. Having been born out of wedlock, she never knew anything of her father apart from the fact that he had been hired by her grandparents to hang some wallpaper in their house. There was a closeness between Rose and her mother in those early years; the scandal over the affair and the snobbery it created in the family drew them together, cementing their reliance on one another until death intervened.

Rose Cave lived a selfless life until her forty-first year, until the day her mother died. And then, when she moved closer in to London, closer to the work she did, she found it hard to feel that she was not alone. She joined clubs and societies to give herself something to do, but one night when she glanced around it seemed to her that she was just a little older than the other people present, and it seemed that the fact was noticeable. (p.48)

Also residing at the boarding house are the kitchen staff, the pragmatic Mrs Slape and her young helper Gallelty – the latter a very recent addition to the household, having been scooped up by Mr Bird in the most unlikely of circumstances.

It’s not long before we get the sense that Mr Bird has deliberately ‘collected’ these various unfortunates over the years, seeking them out for his own pleasure – not as acts of kindness but for some sort of perverse mischief, the nature of which becomes a little clearer as the story moves forward.

He in his time had sought these people out, selecting them and rejecting others. He sought them, he said, that they in each other might catch some telling reflection of themselves, and that he might see that happen and make what he wished of it. (p. 16)

Even though Mr Bird dies right at the beginning of the novel, his presence is felt throughout by way of extracts from his ‘Notes on Residents’ and accompanying flashbacks from the past. Plus, there is the sense that his spirit remains in the house following his death, exerting its influence over the various events which subsequently play out.

In a move seemingly designed to put the cat among the pigeons following his death, Mr Bird has bequeathed the boarding house to the two most diametrically opposed residents – namely, the rather brusque and interfering Nurse Clock and the feckless petty criminal and blackmailer, Mr Studdy.

Constantly on the lookout for any moneymaking opportunities, Studdy – a rather amiable chancer – uses the residents’ collection for Mr Bird’s funeral to acquire a couple of cut-price wreaths, pocketing the spare cash in the process. A nice little earner when added to the eight pounds eight he hopes to save in unpaid rent – money previously owed to Mr Bird that he now plans to keep for himself (well, as long as Nurse Clock doesn’t get wind of it).

Nurse Clock and he did not hit it off. He wondered if she knew about the eight pounds eight. It was not impossible, he imagined, that Mr Bird had released that information on his death-bed. She had looked at him oddly when he had displayed the wreaths, when he said that he had added an extra sixpence of his own. She had pitched up her head, snorting like a horse, blowing through her nostrils. You could not trust, thought Studdy, a woman who looked like that and who spoke so sharply. Whenever he saw her in her big blue skirt he wanted to stick a pin in her. He fingered the point of his lapel and felt the pin there, the pin her carried for that purpose: to stick, one day, into one or other of Nurse Clock’s knees. (pp. 14-15)

The other residents and kitchen staff fear Mr Bird’s death will signal the end of the boarding house. However, the conditions included in Bird’s will and testament provide them with a certain degree of reassurance. Nurse Clock and Studdy are to inherit the establishment provided it remains in its current form with no changes to the residents or staff – well, until someone dies or leaves the boarding house of their own accord. There is much fun to be had in observing the dynamics between the domineering Nurse Clock and the rather sly Mr Studdy as they vie for position in the house, their conversations with one another are a real treat.

In time, however, Nurse Clock realises that Mr Studdy might prove to be of some use. With Studdy’s assistance, she plans to turn the house into a home for the elderly – an altogether more agreeable endeavour than a boarding house, and potentially more profitable to boot. Studdy, for his part, sees this development as a positive move, viewing it as an opportunity to extort money and valuables from vulnerable elderly residents in their twilight years of their lives.

The hatred was still there between them, but it no longer raged; it was no longer on the brink of violence, because something stronger, something like self-interest or greed or small ambition, had put it into its proper place. (p. 120)

As the story plays out, it builds to a near-inevitable denouement. One gets the feeling that the spectral Mr Bird is playing God with the lives of the various residents, pitting them against one another in a bid to destabilise the environment he once created.

While the lives of many of these characters are marked by a deep sense of sadness or loneliness – Mr Obd’s situation is particularly heartbreaking – they are partly balanced by touches of dark humour every now and again. Major Eele takes centre stage in some priceless scenes, most notably those involving a certain Mrs le Tor, the unfortunate recipient of one of Mr Studdy’s rather tawdry blackmail letters.

The attempted disposal of Mr Bird’s clothes to a charity for refugees gives rise to more moments of hilarity. In an underhand move on the part of Mr Studdy, the deceased’s suits and shirts get mixed up with items belonging to Mr Scribbin and Mr Venables, much to the embarrassment of the normally uber-efficient Nurse Clock. It is a truly marvellous scene, one that could have come straight out of a classic comedy of manners by Barbara Pym.

All in all, The Boarding-House is a superb novel, a wonderful study of human nature, a tragi-comedy of the finest quality. Highly recommended.

The Boarding-House is published by Penguin Books; personal copy.