Set largely in the seedy bars and boarding houses of London’s Earl’s Court, Patrick Hamilton’s 1941 novel Hangover Square centres on the tortured existence of George Harvey Bone, a thirty-four-year-old man who is obsessed with a beautiful yet vindictive young woman named Netta Longdon. It is an utterly brilliant portrait of a man on the edge, perfectly capturing the sudden changes in mood and mindset of a lonely and tormented soul, driven to distraction by the heartless woman he so deeply desires.
Somehow or other, Bone – a large, heavyset man, a little slow on the uptake but fundamentally a decent person at heart – has got himself mixed up with a thoroughly rotten crowd. More specifically, he has fallen under the spell of the magnetic Netta, a half-hearted wannabe actress whose only redeeming quality appears to be her striking beauty.
He dropped his voice as he greeted Netta, and caught her eye shyly, and looked away again. When meeting her after a parting of any length he never dared to look at her fully, to take her in, all at once. He was too afraid of her loveliness – of being made to feel miserable by some new weapon from the arsenal of her beauty – something she wore, some fresh look, or attitude, or way of doing her hair, some tone in her voice or light in her eye – some fresh ‘horror’ in fact. (p. 36)
Bone idolises Netta, creating an illusion in his mind of the type of relationship he wishes to have with her – a quiet, idyllic life in the countryside, complete with a little farm or cottage to match. In reality, Bone knows this is unattainable; nevertheless, he longs to spend time alone with Netta, hoping to prise her away from her vile friends, the fascist bully, Peter, and other associated hangers-on. Netta, for her part, largely rejects Bone’s advances, treating him with scorn and contempt; but she is also sharp enough to draw on his resources whenever it suits her. At heart, Netta is a cruel, manipulative woman, a schemer who knows exactly how to play Bone to perfection, taking advantage of his unbridled generosity and intense feelings towards her without a second thought for his well-being. In the following scene, Netta has agreed that Bone can take her out for the evening as long as their destination is Perrier’s, a well-to-do restaurant in the heart of the West End. At first, Bone is delighted at the prospect of a quiet, intimate dinner with Netta, if only for a few hours; but then it dawns on him that she may well have an ulterior motive for wanting to go there and that he is simply being used as a convenient vehicle to facilitate this trip.
But he was not happy because she was not paying the slightest attention to him; and he was not even now participating in her life. He noticed how every now and again she glanced at herself surreptitiously in the glass. She did not often look into the glass at herself like that, and it told him everything. It told him that this evening she had given him was for a definite purpose, and that purpose was, for some extraordinary reason, Perrier’s. He was of no more importance, had no more significance, than the taxi which would take them there. (p. 69)
By the end of the dinner, Bone’s fears are confirmed, a realisation that leaves him feeling more lonely and miserable than ever.
There was a pause in which he looked at her. He had a sudden feeling of tiredness – a feeling that the evening was at an end. Her loveliness and inaccessibility came over him in a fresh wave of misery. He had been a fool to take her out. He had had too much to drink: he would feel awful in the morning: he had again beaten his head against the brick wall of her imperturbability. He had exhausted his nervous system, and it would take him days to get over it. (p. 78)
Running through the novel are Bone’s ‘dead moods’, periodic episodes when something goes ‘click’ inside his head and he slips into a different mode, one where another, more sinister side to his personality comes to the fore. It is as if the familiar ‘regular’ world has suddenly fallen away, only to be replaced by a muffled and mysterious one.
It was as though a shutter had fallen. It had fallen noiselessly, but the thing had been so quick that he could only think of it as a crack or a snap. […] It was as though he had been watching a talking film, and all at once the sound-track had failed. The figures on the screen continued to move, to behave more or less logically; but they were figures in a new, silent, indescribably eerie world. Life, in fact, which had been for him a moment ago a ‘talkie’, had all at once become a silent film. And there was no music. (p. 15)
Quite soon after falling into one of his dead moods, Bone remembers that he has a job to do: he must kill Netta Longdon and go to Maidenhead where he will be happy, and everything will be all right. This business with Netta has been going on long enough, so he must put a stop to it once and for all – and he must plan everything carefully to avoid getting caught. (This isn’t a spoiler, by the way, as the novel opens with one of these episodes during which Bone’s homicidal tendencies are made abundantly clear right from the start. Moreover, Bone associates Maidenhead with a brighter, more peaceful time in his life – a splendid fortnight he spent there with his sister, Ellen, some years earlier when she was still alive – hence his fixation with returning to the town to recapture these elusive feelings.) Fuelled by his heavy drinking and the emotional strain of dealing with Netta, Bone begins to experience these dead periods on a more frequent, more intense basis. In spite of this, Bone has absolutely no recollection of what he has been doing or thinking during these episodes – they can last from a few hours to a day or more – once he returns to ‘normal’ mode. This makes the storyline all the more gripping as we follow Bone and his shifting mindset from one day to the next.
Hamilton uses repetition to great effect in this novel, both in the depiction of Bone’s dead periods and in the portrayal of his feelings towards Netta. For the most part, Bone is besotted with Netta, even though he knows she remains largely out of his reach. Nevertheless, there are times when he comes close to waking up to the fact that she is simply playing him for a fool. In this scene, Netta has agreed to come away with Bone to Brighton for the night, if he will pay her way and give her fifteen pounds to clear her outstanding rent and other bills.
What in God’s name did it all mean? Was this a change? Had her feelings somehow changed, had his persistence somehow prevailed, so that in future she was going to be kinder to him, so that in future he might, even, have a chance with her?
And if there was a change – why? Had she just changed because she had changed, or had she some motive? Was she just getting something out of him? Yes, fifteen pounds. But Netta, the shrewd, cruel Netta who scorned him, could never resort to so vulgar and obvious a ruse as that – she would be too proud. Or would she not be too proud? Was she, perhaps, just a common little schemer playing him up just to get some money out of him? (p. 139)
Hangover Square is an utterly compelling character study of a lonely, desolate man driven to distraction by a terrible femme fatale. Hamilton perfectly captures the inner solitude and isolation of Bone’s existence as he slopes from one bar to the next, waiting for an opportunity to call or visit Netta for a few moments each day. There is great attention to detail here, particularly in the depiction of the pubs in Earl’s Court: the thick smoke; the infernal noise; the damp, claustrophobic atmosphere inside, especially during winter. In other words, the book excels in its depiction of the nightmarish world of the habitual drinker and the hopelessness of his solitary existence.
The time period in which the story is set feels very significant too. The year is 1939, with Britain poised on the cusp of WWII. Fascism is on the rise, a development which is echoed through Hamilton’s portrayal of Netta’s friend, Peter, and his equally nasty acquaintances. Without wishing to give away too much about the ending, there is a growing sense unease in more ways than one as the story moves towards its somewhat inevitable conclusion.
All in all, this is a really tremendous book, one that is sure to make my reading highlights at the end of the year. In many ways, it feels like the ideal companion piece to Hamilton’s later novel, The Slaves of Solitude, which I also adored – you can read my review of it here.
Hangover Square is published by Penguin Modern Classics; personal copy.