a gallimaufry

round-up: August 2024

This month I’m still not up to reading anything very challenging, but that doesn’t mean to say I haven’t read some excellent books.

Special Topics in Calamity Physics, by Marisha Pessl (reread)

Still seeking something to quench my The Secret History thirst, at the beginning of this month I turned to a novel with some similarities in its set-up. Blue Van Meer’s life with her professor father has been peripatetic, with never more than a term or two in any one town. But then they arrive in Stockton, NC, where Blue is to spend her final year of school preparing for Harvard. Lonely Blue is flattered to be invited to join the Bluebloods, a group of students favoured by the film studies teacher, Hannah Schneider, who hosts them at her house every week. And then on a camping trip in the forest, Blue finds Hannah hanged from a tree. I enjoyed this novel a great deal more than when I first read it and it was massively hyped: now I can see it more clearly. Blue’s narrative is precocious, snobbish and perceptive, and the story twists satisfyingly, though I could have done with a lot fewer of the mainly invented bibliographical references with which the text is increasingly unconvincingly and annoyingly peppered. Also features probably the most insufferable father figure in literature.

The Little Friend, by Donna Tartt

Finally had the chance to fill the void left by The Secret History when this arrived in the post. Lacking the narrative drive of TSH, The Little Friend is a very slow and immersive novel to read, but I alone perhaps of all readers everywhere think it’s a better book, stuffed with extraordinarily vivid writing. When she was a baby, Harriet’s brother was murdered and his killer never caught. This summer, twelve-year-old Harriet intends to avenge him, a journey that takes her to dark places and dangerous people. Tartt explores the effects of the original traumatic event on Robin’s family and friends, and the deeply unequal society in which they live. Awful and amazing.

The Edible Woman, by Margaret Atwoord (reread)

Marian is engaged to be married but her subconscious seems to have doubts. An entertaining look at the life prospects of a young female graduate in 1960s Toronto, it was Atwood’s first published novel and impresses with its wry, pragmatic humour. In some ways, life has improved so much for us since then. In some ways, it hasn’t changed at all.

Barbara Comyms: A Savage Innocence, by Avril Horner

I have been waiting for years for this, a life of one of my favourite writers, and this is a good solid biography. Comyns drew closely on her own life for some of her fiction, and that life was pretty colourful, which makes for an interesting biography: a childhood filled with animals and eccentric, neglectful parents; early artistic ambition blighted by extreme poverty and a useless husband; racketeering in World War II; marriage to a second husband who was suspected of being a spy; ex-patriot life in Spain. Even in the middle of the last century, publishing was fickle and it wasn’t until Virago championed Comyns’s works in the 1980s that her talent was properly recognised. Time to reread her novels again…

The Big Sleep, by Raymond Chandler (reread)

Read this first so long ago that I had forgotten most of it but odd whiffs came back to me, usually minor details. What a smart writer Chandler was, how ably he constructs his world, every word really works for its place. Not always convinced by his female characters, if I want to carp.

The Spy Who Came in from the Cold, by John le Carré

My first le Carré! Not what I was expecting, very cynical, very sordid, very good.

In the Forests of Serre, by Patricia McKillip

In every way, the diametric opposite of le Carré. McKillip’s fiction, especially her later works, are what I read when I am sad. They are magical, ambiguous, beautiful and hopeful. Even the villains are noble. It is quite hard to describe them, as they tend to have a chorus of characters rather than a central character, who must somehow achieve harmony together in order to resolve a problem which they may not even understand after it has been resolved. A big wallow in loveliness.

Cinderella is Dead, by Kalynn Byron, and A Study in Drowning, by Ava Reid

In Cinderella is Dead, a cruel king oversees a society where the legend of Cinderella is used to oppress women. In A Study in Drowning, a student of architecture is commissioned to design a house by the sea for the heir of her favourite writer. I’ve chosen to put these two YA novels together because I thought they both had lots going for them, considered theme both flawed, yet felt more forgiving of the flaws of one than of the other. And I have been wondering why that was, and yes it depends on the flaws. I suppose that it always comes down to a quality of the writing, that it does a bit more than just tell you a story but creates a mood or atmosphere, or conveys more than just what is on the surface. And secondly I suppose that if you have a mysterious dead author, Welsh mythic vibes, fairies and a vast, mouldering house, I am always going to cut you more slack.

Tidemagic: The Many Faces of Ista Flit, by Clare Harlow

There’s a lot of really good children’s fantasy being published at the moment and this is a prime example. In Shelwich, people have been being snatched by monstrous grilk, including Ista Flit’s father. And magic, which is fuller when the tide is high, is growing stronger. Can Ista and her friends find the missing people and discover the secrets hidden in the caverns under Shelwich before it’s too late? I think you know the answer, but it’s a fun adventure getting there.

October, October, by Katya Balen

Have been wanting to read this since it was first published and it was absolutely worth the wait. October lives an idyllic life in the woods with her father until he has an accident and she has to go and live in London with her mother, from whom she is estranged. Magical and astoundingly written in a child’s stream of consciousness, so hard to do well and this was just perfect.

 

round-up: July 2024

This month I stuck with easy reads but ventured away from rereads to new books.
Babel or the Necessity of Violence, by R.F. Kuang

After finishing The Secret History I wanted to carry on reading more of it but of course, that isn’t possible. Reading Babel was my attempt to stay in that mood. I admit, I started it anxiously, the subtitle and Kuang’s reputation suggested that my squeamishness would take a battering. Fellow wimps: it is not too graphic. The story is set in an alternative nineteenth century and it has a brilliant concept, which Kuang uses to explore both the Industrial Revolution and Imperialism. The concept is this: if you inscribe in silver two words from different languages with approximately the same meaning, the gap in meaning becomes charged, magical. So you can use these silver bars to power everything. Had Kuang left it at that, it would have been terrific, but she couldn’t resist elaborating on the idea at length, which (a) became a clog on the story and (b) resulted in some contradictions. I am not usually that bothered about show vs tell but there was an awful lot of telling in this book and this held it back from greatness, though it was good.

Hell Bent, by Leigh Bardugo

Like Babel, this is a novel which I think needed a few more edits to refine. This is the sequel to Bardugo’s first novel for adults, Ninth House, and again it’s set in a version of Yale where there are secret societies practising magic. The whole Yale university scene is so weird I was astonished to find elements I assumed Bardugo had invented are in fact true. There are indeed secret societies and they are called things like Skull and Bones and they do have special houses they call tombs… Anyway, Ninth House was clever and fun but Hell Bent, while very readable, is messy. The central problem is too much plot, with insufficient foreshadowing so it feels as if things are being made up on the hoof just to enable another plot twist, and characters reduced to mere puppets of the narrative. Plenty to enjoy but it did feel like a missed opportunity.

Five Bad Deeds, by Caz Frear

Married with three children, up for a good teaching job and planning the extensive renovation of her dream house, Ellen has an enviable life with solid friendships. Unfortunately, someone sets out to destroy it. Also unfortunately, pretty much everyone in this novel – which is told from the viewpoints of several different characters – loathes Ellen, and she’s pretty unkind about them too. Although the constant sniping did get me down a bit, this well-plotted thriller bowls along at a neat pace and gave a few deft swipes at middle-England’s values.

The Harp of the Grey Rose, by Charles de Lint

Loved this. Very much in the mood of The Hobbit or the Prydain Chronicles, it’s a gentle fantasy about a harpist who falls in love with a young lady who is not all she seems to be and embarks on a quest to save her and overcome an evil that will destroy the world. The music, the delicately melancholic feeling, the talking bear and magical creatures – this is a fantasy world you would like to live in.

King Arthur and his Knights of the Round Table, by Roger Lancelyn Green

Although I’ve read Arthurian romances, lais and poems, I’ve never made it through a whole cycle and when I saw this in an Oxfam bookshop it just fell into my hand. A quick and easy read, as you’d expect. Surprises: Arthur doesn’t seem to be that great a king and just sends out his knights to sort out problems. It’s a relief when Nimue carts Merlin off, since as soon as anyone does anything, he bobs up and says, ‘Oh no you’re doomed now and Logres shall founder and the darkness will return,’ which has a damping effect one would imagine. Gearing up for Malory now.

Amari and the Night Brothers, by B. B. Alston

Amari joins the Bureau of Supernatural Affairs when her brother disappears, determined to find him. As a trainee, she’ll have to pass a series of competitive assessments. Since she is smart and possesses extraordinarily strong powers, this should be straightforward: unfortunately the sort of powers she has are reviled and make her an object of suspicion. Very Men in Black meets magical school story, this is funny and endearing.

High Rise Mystery, by Sharna Jackson

Meticulous Nik and her dramatic sister Norva are horrified to discover the body of their art teacher, Hugo Knightley-Webb, at the bottom of the rubbish chute in their block of flats. Knowing everyone in the Tri, they are ideally placed to solve the murder and make a perfect team. The story crackles along, and you will hear Nik and Norva in your head long after you’ve closed the book.

The Christmas Appeal, by Janice Hallett

Not sure why I felt like reading about Christmas in July, but I did. How did a skeleton end up inside the Fairway Players’ panto prop beanstalk? This short novel follows a similar structure to The Appeal, with our two plucky young lawyers Charlotte and Femi once again sifting through emails, text messages and other documents to ascertain the truth. The solution is pretty obvious but this isn’t important as the pleasure lies in the Players’ constant backstabbing and sniping, culminating in an unforgettable performance of ‘Jack and the Beanstalk’. Only proviso: read The Appeal first.

 

round-up: June 2024

This blog has been neglected too long!

I am busy wrestling with the children’s book I’m writing, and this takes up most of my spare headspace and time. The long book reviews I used to write here would take hours and hours. So! New plan. Every month I’ll write a round-up of what I’ve been reading – or a selection of it, anyway.

This month, for reasons I don’t intend to go into here, I haven’t been able to concentrate on anything demanding or complex, and I started a lot of books I was unable to finish. Now I’ve typed them up, I can also see that most of them were rereads. So, essentially, this is a comfort-read edit.

Black Maria, by Diana Wynne Jones (reread). Delightfully bonkers Wynne Jones novel, one of the ones where she throws about a dozen plates in the air, keeps them spinning beautifully and then resolves everything in time for tea (see also: Archer’s Goon).

The Lives of Christopher Chant, by Diana Wynne Jones (reread). Wynne Jones was unlucky with many of her covers; this one is, to my mind, genius, passing beyond the merely bad to a new level of marvellousness. I am confident I would never have picked this up as a child, and first read it as an adult. Quintessential Wynne Jones: multiple worlds, magic, at the centre, enterprising and realistically portrayed children.

Cotillion, by Georgette Heyer (reread). When you are in the mood for a Georgette Heyer, nothing else quite hits the spot, and this is one of her good ones. It is the one where Kitty will inherit nothing unless she marries one of Mr Penicuik’s four nephews; fortunately, she is in love with one of them; unfortunately, he refuses to play along, so she devises a Cunning Strategem. Spirited heroine (part-French, of course!), ridiculous intrigue, enormous good humour, nice frocks and a happy ending – all present and correct and great fun too.

The Mysterious Affair at Styles, by Agatha Christie (reread). The first novel to feature Poirot, a Belgian refugee during the First World War to Styles St Mary, an Essex village, and narrated by a rather self-regarding Hastings. Who has poisoned the wealthy Mrs Inglethorpe, and how? A neat and excellent mystery which I failed to solve correctly (despite having read it in my teens) (that was a long time ago, in fairness) but which has a very satisfying ending.

The Secret History, by Donna Tartt (reread). Must have first read this shortly after it came out in paperback, when I was a student or recently graduated, and had forgotten all but the broadest lines. It still holds up! Richard’s enchantment with Henry, Francis and the twins is so convincingly rendered, the desperation and complicity, the slow unravelling.

Linnets and Valerians, by Elizabeth Goudge (reread). One of those books that just makes you feel happy. Old houses, beautiful countryside, animals, magic, humour and reconciliation. (I wrote more about it here.)

Shadowstitch, by Cari Thomas. This is the sequel to Threadneedle and evidently there is at least one more book to come. The world-building is as absorbing and imaginative as ever, but this instalment is a bit flabby, with the pacing too slow in the middle and too fast at the end. There are two main threads (ho ho). The first involves Anna and Effie’s investigation of their family curse, which drew out the best parts of the story and allows Thomas to explore her wonderful magical worlds. The second concerns the rise of an inquisitorial group; I found this thin and not really very believable. Still, I enjoyed it and I will be reading the next book.

 

Death and Mary Dazill, by Mary Fitt

How should I describe this short and compelling novel? It takes elements of the detective novel (although more The Moonstone than Agatha Christie), gothic fiction and Greek tragedy and blends them into a novel which feels like a ghost story by M.R. James (although there is nothing supernatural in it), but retold by Patricia Highsmith, and with a clever structure divided between around 1890 and around fifty years later. Now republished by Moonstone Press, it is astonishing that a novel of this quality has languished out of print for so long.

Dr Fitzbrown, Superintendent Mallett and Dr Jones are attending a funeral in Chode churchyard when they witness two old ladies drive up in an expensive car and walk to a tomb, where their chauffeur lays a wreath of hothouse flowers. Curious, they ask about them while taking tea with the local vicar. The vicar explains that they are the de Boulter sisters, Lindisfarne (Lindy) and Arran, the tomb is that of their father and brother, and that the sisters are responsible for the destruction of Mary Dazill, who occupies another grave on the far side of the churchyard. All three – Ralph and Leonard de Boulter, and Mary Dazill – died within year of each other. The vicar’s wife, Mrs Barratt, furnishes the story; her mother, Lucy Brown, was a close friend of Lindy’s and told her daughter the story.

In 1890 the de Boulters were living at Chetwynde Lodge, a grand house near Chode: Ralph had recently retired from service in Burma and withdrawn his teenaged daughters from boarding school to live with him. Frequent visitors were Leonard, his friend from Oxford, John, and Lucy Brown. Shocked at how poorly his daughters had been educated, Ralph engaged a companion-governess sort of person for them: Mary Dazill. Beautiful, self-possessed and passive, Mary’s very existence aroused great love and great fear in equal measures. Of course, it all ended very badly.

‘You don’t believe in the power of the dead, Doctor? You don’t believe that, whatever happens to their poor souls, their influence reaches out of the past – their loves, their hatreds, live on and touch the living? [...] Those two women you saw just now,’ she said, ‘Lindy and Arran de Boulter – they are living and walking monuments to the power of Mary Dazill.’

Ostensibly, most of the book consists of Mrs Barratt narrating the events of 1890ish to the pipe-smoking gentlemen in the dusty vicarage sitting-room; their reactions frame the story and provide its epilogue. In fact, Mary Fitt completely subverts this first by including the characters’ dialogue and feelings, which naturally Mrs Barratt via Lucy Brown would be unable to relate in any detail, and second by relaying scenes at which Lucy Brown was not even present and therefore could not have described to her daughter.

This is perhaps a borrowing from cinema and actually works really well. The framing device of a story told at second hand intensifies its creepiness and ambiguity, and the speculations of the listening men build in further uncertainty about how we should understand it. Is Mary Dazill (is it pronounced ‘dazzle’ or more devilishly ‘dee-el’?) a poor woman making the best of her chances, a threat to family cohesiveness (and wealth) – or something more malevolent? This double narrative creates a tension between the fictive ‘realness’ of the Victorian scenes, which we experience as if we are there, and their impossibility, because we are reminded that we could not have experienced them. As with many literary ghost stories which use a framing device, the novel’s pointing to the fact that it’s a story makes it easier for us to suspend our disbelief and accept it but at the same time doubt it.

I wrote about a later novel by Mary Fitt here, and there are similarities: an enigmatic dead woman, a sophisticated narrative structure, mysteries that are never completely resolved. Death and Mary Dazill is, I think, pacier and more succinct, stranger and more atmospheric. It is a classic and you should read it.

(Photograph of Mary Fitt, pseudonym of Kathleen Freeman, found here, where you can also read more about her)

Clues to Christabel, by Mary Fitt

I can’t remember now where I came across Clues to Christabel. Originally published in 1944 (and set in the 1930s), it and a handful of other novels by Mary Fitt have been recently re-issued by Moonstone Press, an independent publisher specialising in republishing vintage crime and detective fiction. (Fortunately, as second-hand copies of most of Fitt’s novels are pricey.) Here is what they have to say about her work:

Her intellectual background produced elegantly written crime fiction with a strong sense of the literary and the overtones of Greek tragedy – dealing with love, loss, pride, the abuse of power and fraught relationships. But it is her method of upending the traditional format of whodunits that was unusual (perhaps unique) among Golden Age mystery writers.  Fitt’s novels do not follow the traditional “crime-followed-by-resolution-through-deduction” pattern; although they start with a death, it might appear to be from natural causes or an accident or a suicide. Some are virtually devoid of any detection and have no detective to speak of — the mystery in Fitt’s books is not whodunit, but whether it was done, and if so, why it was done. How a character is formed by environment and connected chains of circumstances is the puzzle to be solved.

Mary Fitt was the pseudonym of Kathleen Freeman. Born in 1897 and daughter of a brewer’s traveller, despite her humble beginnings and her sex, Freeman taught herself Ancient Greek, studied Classics at the University College of South Wales and Monmouthshire where she was appointed a lecturer and later received her Doctor of Letters, wrote twenty-nine mystery novels, was elected to the Detection Club and co-habited with her partner, Liliane Clopet, for a good thirty years. So, an impressive woman and an unusual approach to crime fiction, a difficult combination to resist.

(Portrait of Kathleen Freeman found on Wikipedia)

Clues for Christabel certainly falls into that category described as a whether or why dunnit rather than a whodunnit. The central character, Christabel Strange, has died of undulant fever (nowadays more commonly called brucellosis) a year before the novel begins. Only thirty-two, she was a very successful novelist; so successful that she was able to buy her ancestral home out of mortgage and allow the rest of her family to live there. In her Will she leaves the house to the family with the proviso that her friend Marcia Wentworth is permitted the use of one wing. She also bequeaths her diaries to her family, but Marcia is to write her biography. Alas, the family loathes Marcia and refuses to let her see the diaries or interview them about Christabel.

Not one to give up easily, Marcia assembles a group of people who knew Christabel at the family pile. The group includes Dr George Cardew, a childhood friend of Christabel’s, and is split between the family, headed by the manipulative and possibly mad Granny Strange, and Christabel’s more ‘bohemian’ friends. Hostility bubbles away and ends of course in murder.

The name Christabel conjures up Samuel Taylor Coleridge’s narrative poem and while I wouldn’t say there is an overt connection between it and Clues to Christabel, it adds an atmospheric layer to the novel. The themes of a sort of vampirism or parasitism, and hatred returned for kindness, as well as something of Christabel’s character, do seem to be shared. Maybe there is also some repressed lesbianism?

If her depiction of her characters is pin-sharp, it’s Fitt’s structuring of her novel which distinguishes it from other crime novels of the time. Fitt shifts between omniscient, first-person and close third-person forms effortlessly, including entire sections narrated by one person and, near the end, Christabel’s stolen diary is reproduced. These shifts give us the sense of being presented with a range of ‘clues’ to the novel’s heart: the character of Christabel herself. What really happened to her, and why did she write a Will that frustrates everyone included within it? Eventually, the identity of the murderer is revealed but I don’t think it’s difficult to guess at all, because the real mystery is Christabel. You will have to draw your own conclusions from this clever but ultimately saddening novel.

(The other mystery is: what is a chippette box? The chemist shop issues Christabel’s pills in one. Even the OED can’t tell me what it is. Some sort of pulped wood? Cardboard?

The Pendragon Legend, by Antal Szerb; translated by Len Rix

For weeks Belgium has lain under a thick grey cloud, our lives occasionally enlivened by a few hours of rain, no sunshine, no snow, just greyness. At such a time, what could be better than The Pendragon Legend, the first novel of the Hungarian writer Antal Szerb, published in 1934. It is gothic, comic, romantic, mysterious and utterly charming. It would be satirical, if satire was too strong a word for its affectionate, gentle mockery: it loves what it laughs at. It includes a ghost, ancient books, the Rosicrucians, north Wales, a ruined castle, a disputed inheritance and sinister goings-on. I love it and re-reading it has cheered me up no end.

Perhaps you too recognise the feeling that is described here? It is the moment when our narrator, János Bátky, first claps eyes on the precious Pendragon library:

I was filled with the tenderness I always feel – and which nothing can match – when I encounter so many books together. At moments like these I long to wallow, to bathe in them, to savour their wonderful, dusty, old-book odours, to inhale them through my very pores.

János Bátky is a Hungarian scholar with an interest in the esoteric. At a party he falls into conversation with the Earl of Gwynedd, a recluse who shares his enthusiasm for Robert Fludd, and is invited to stay with him at Llanvygan Castle and examine his library of priceless manuscripts. Reading up about the Pendragon family (who are the earls of Gwynedd), Bátky befriends an Irish adventurer and fantasist named Maloney who, coincidentally, is also bound for Llanvygan in the company of Osborne Pendragon, the Earl’s nephew. But before they leave, a mysterious telephone caller warns Bátky to stay away.

At Llanvygan Bátky accidentally offends the Earl and so does not see much of him. Most of the Earl’s time is devoted to experiments with some gigantic axolotls he has bred and through whom he hopes to find the secret of the resurrection of the body and eternal life. Bátky enjoys his days in the library, especially when accompanied by the beautiful Cynthia, Osborne’s sister, but his nights are considerably less enjoyable, interrupted by a midnight rider with a flaming torch charging around the castle. Someone is trying to murder the Earl, there is a crazed prophet in the village, and the ruins of Pendragon Castle on the hill above hold a secret that may shed light on the mysteries, if only Bátky, Osborne and Maloney can find it.

So, melodrama, mystery and eccentrics a-plenty, all spiced with lashings of humour. It’s a book that doesn’t take itself seriously, like its narrator. As the quote about his feelings for libraries suggests, Bátky is sensual as well as scholarly, easily distracted by a beautiful woman. He is clever and curious but weedy, given to experiencing life through books and ill-equipped to face the more physical dangers the situation in Llanvygan foments. The telephone call almost puts him off even starting for Wales, and it is only academic vanity that spurs him on. He struggles to climb a cliff during a nocturnal escapade with Maloney and Osborne, and at a crucial point gets lost on a Welsh mountain because he cannot tell the difference between beech, birch and oak trees. He is a frightful snob and romantic and it is these qualities that support him and drive him on rather than any nobler attributes. He is somewhat in love with the idea of the British aristocracy, to put it mildly.

Here he is, experiencing that mainstay of gothic fiction, an eerie noise at night in a castle:

Anyway, I switched the light on. The room was now at least two hundred years more historic than when I had gone to bed. I had seen rooms like it in London museums and French chateaux, but then there had been guides and written inscriptions to direct one as to what to imagine [..] But none of the elaborately carved wardrobes in this room carried any such source of enlightenment. Nothing tied the imagination to what was merely informative and comforting. For all I knew, some ancestor might have died in here, repenting his unspeakable crimes amid horrific visions ... And all the while, there came this unceasing sound: tap, tree-ee, and the terrible sigh. [...]
Of course, I realised it must be a window, or something of that kind, producing the noise. On many a windy night the same battle had been waged between an unsecured window and my fevered imagination.
I knew that, whether I wanted to or not, I would have to go and investigate. I knew my habits of mind: until I did that, I would have no rest.
I got out of bed, donned my dressing gown and quietly drew back the door.

There is a clever balance here between self-deprecating humour and true creepiness, no mean feat to achieve. For underneath the jolly japes, the endearing eccentrics and the madcap pace, we glimpse a darkness: besides the horror of banal, lucre-worshipping criminality there arises the horror of an evil less easy to comprehend, and one which speaks to ancient terrors. Where does legitimate pursuit of truth end, and obsession and madness begin? At what point does the past grip the present too tightly? Dreams, prophesies, stories, lies, all have their own truths. The novel plays delicately too on bodily and literary immortality; it concludes with a sense that there are indeed mysteries that can never fully be understood.

The Pushkin Press edition which I read was translated by Len Rix so beautifully that not only does it flow as easily as if it had been written in 1930s English, it also captures Bátky’s personality and dry wit perfectly. The whole book is an absolute joy.

(Portrait of Antal Szerb, from the Pushkin Press website; Szerb was a Hungarian Jew and so his literary career was destroyed and he was murdered in a forced labour camp in 1945)

 

Homegoing, by Yaa Gyasi, and The Passenger, by Ulrich Alexander Boschwitz

I read a lot of books which I never write about here. For one thing, it takes me aaages to write a post, I’d never keep up with my reading. For another, even if I enjoy a book, I don’t necessarily have anything to say about it – other than, ‘I think it’s really good’.

In the last few weeks I’ve read two novels which fall into this category. I don’t have anything to say about them, other than, ‘I think they’re really good’. And both have been widely reviewed, so you can easily find out more about them elsewhere. Why bother to even write this, then? Well, perhaps you’ve walked past one – or both – of them in a library or bookshop and almost picked them up – and after reading this post, you might decide next time to actually pick them up and have a look.

The first one is Homegoing, by Yaa Gyasi. Gyasi was born in Ghana and brought up in the US, and this is her first novel – or short-story collection, since each chapter concerns a different member of the same family and builds on what has come before but is also entirely self-contained. The novel opens in the late eighteenth century with Effia, born during a fire in Fanteland (in present-day Ghana). Effia’s mother, Baaba, seems to hate her and ruins her chances of marriage to the young chief Abeeku. Instead, Effia marries James Collins, a white Englishman, and is taken to the Cape Coast Castle. In the dungeons of the Castle languish slaves, awaiting transport to the plantations in the most horrific conditions. One of these slaves, we discover in the next chapter, ‘Esi’, is a young woman who is Effia’s half-sister.

In alternating chapters we follow each generations of these two branches of the family. One, Effia’s, remains in west Africa; Esi’s endures slavery and finally freedom in the United States. On the one side, Quey becomes a slave trader and his son flees that life; on the other, H works the mines in Pratt City and Willie longs for a career as a singer. Through their stories of hardship, hope and grief, the history of the slave trade and its consequences right up to the present day are traced. Much of it is very sad but also fascinating, as each character struggles to carve a life and a destiny from what they have inherited. They are fiction, but they stand in for real people and this makes their suffering more appalling.

The other book is probably the most stressful novel I have ever read: The Passenger by Ulrich Alexander Boschwitz, translated by Philip Boehm (the German title is Der Reisende). It’s Kristallnacht and Otto Silbermann, a wealthy Jewish businessman, belatedly realises he needs to flee Germany. Forced to escape from his apartment as Nazi storm-troopers bang on the door, he makes for the railway station. Can he escape?

The novel is amazingly tense. We are kept close to Silbermann, we feel his emotions and follow his trains of thought as if they are ours. Every encounter could lead to Silbermann’s arrest. ‘Don’t trust him!’ you are muttering as he engages someone in conversation. ‘Keep hold of your suitcase!’ Apart from keeping you on the edge of your seat, the great strength of this novel is that it shows how everyone, including Silbermann and we readers, becomes implicated in the horrors of Nazism. Silbermann does not ‘look like a Jew’. He resents how his non-Jewish friend Becker is embarrassed – afraid even – to be seen with him, and we resent this too. ‘Help him!’ But then, when Silbermann meets more ‘obviously’ Jewish people, he is anxious and we are anxious too – and then, Silbermann tries to distance himself just as Becker tries to distance himself, and we accept that too because we fear for him. And everything is all the more stressful because we ‘know’ what will happen to most of the Jewish characters, and even though they are fictional, they represent real people who really died. Just as in Homegoing. And the tension of The Passenger is maintained right up until the very end.

Broomsticks over Flaxborough, by Colin Watson

I was reading one of Calmgrove’s reliably excellent posts, this one on Walpurgisnacht, when FictionFan quoted in the comments the opening line of Broomsticks over Flaxborough, by Colin Watson:

Naked as on the day she was born, save for a double-looped string of amber beads and a pair of harlequin-framed spectacles, Mrs Flora Pentatuke, of 33 Partney Avenue, Flaxborough, leaped nimbly over the embers of the fire.

How could I resist? Moreover, a novel that combined witchcraft with detection? It is still (expensively) in print with Faber Finds, but second-hand copies are available and naturally I paid extra for one with a pretty cover because I am a Fool.

Shortly after Mrs Flora Pentatuke skips over the fire on Walpurgisnacht, at ‘the quarterly “Revel” of the Flaxborough, Chalmsbury and Brocklestone Folklore Society’, the car of one of its members is found abandoned in a wood. Where is Edna Hillyard? And then the parish church is desecrated. While the manufacturers of Lucillite washing-powder direct a marketing campaign at Flaxborough, the police wrestle with the possibility that the town has been gripped by Satanism. Is this merely an outlet for the bored occupants of suburbia? Or is something more sinister going on (perhaps even a covert Russian plan to subvert the Christian world)? Soon a corpse has turned up, dead animals are being nailed to people’s doors and Miss Lucilla Teatime of the Edith Cavell Psychical Research Foundation has been called in...

‘You cannot put handcuffs on Satan, my friend.’

Watson has a great comic touch (yes yes, a tad sexist but this is 1972) and a sharp eye for the telling detail, while the mystery of Edna Hillyard’s disappearance is enjoyable too. As well as Miss Teatime and Mrs Pentatuke, we meet Inspector Purbright, so laid back he is practically horizontal; his chief constable, Chubb, who cannot believe that members of the Conservative Club could be anything other than pillars of virtue; bloodthirsty Sister Gooding, baker of dread biscuits and owner of the vicious black dog ‘Meffie’; pedantic Warlock Parkin; Mrs Gloss OBE, chatelaine of Aleister Lodge; and Mrs Framlington, the whimsical vegetarian Coven chairman who worries about the effects of black magic on the carpet.

The world Watson creates is an ersatz world, a fallen world, stuffed with cheap imitations and petty strifes. People hide their televisions in ‘Jacobean’ sideboards. They eat KreemiKrunch Kookies, ‘a country-style combination of dehydrated milk solids, soya rusk, sodium monostearate and saccharin’, and wear ‘dinky nylon nightie[s]’. The advertising campaign is of course fake and manipulative. The coven is a painful modern approximation of Satanism, compelled to make do with black polythene, novelty mugs and home-made ‘pumpkin champagne laced with rum’ for their orgies. Good manners disguise hostility:

Pook brought out this piece of reasoning with the air of having forced some wily miscreant into a corner.
Mrs Gloss made no comment. She poured more coffee for Miss Parkin, refilled her own cup, and moved the remaining biscuits to the side of the table farthest from Detective-Constable Pook.

The novel seems redolent to me of those 1970s sitcoms, presided over by Penelope Keith. I see that there is a whole series of Flaxborough Chronicles, concerning the exploits of Inspector Purbright, and now I am wholeheartedly looking forward to reading them all.

(The photograph of Colin Watson is from the Curtis Brown website.)

The end of the holidays (warning! a long post!)

(Boats at Pin Mill, Suffolk)

With the beginning of September, Belgian teachers and students return to school like swallows to the south. Last week I squeezed into the tiny study, nearly breaking my neck on assorted heaps of books, to start preparing for the new school year. Quite how it will pan out, of course I do not know, although early signs indicate that a great deal more cleaning than usual will be involved.

So here I am at the computer again after a lovely summer. Despite lurking Covid-19, the horror of the explosion in Beirut and the absolutely disgusting re-emergence of immigrant hatred expressed by British politicians and public, I have enjoyed myself. I have even been travelling! And what is peculiar is that I have travelled more than usual (well, I did in July; since I came home I’ve barely left the house...).

First, we visited some friends in France, in the mountains near Chamonix. It was astonishingly beautiful! My daughter, who has never been in mountains before, went slightly crazy – it was a mighty contrast to the flat Flemish countryside.

Then, we took advantage of what turned out to be a relatively brief period of time when one could travel to the UK without quarantining, and visited my family for the first time since the world turned topsy-turvy. This was a strange but also happy experience.

(This is the house in Essex designed by Grayson Perry, which we peered at through the hedge.)

Back here in Belgium I have started going for a run a few times a week in a feeble effort to become fitter – and I do mean feeble: dog walkers overtake me as I wheeze along. Surely at some point I will (a) improve and stop looking such a wally and (b) actually start to enjoy the experience, aren’t there supposed to be endorphins involved somewhere?

I am also – roll of drums – taking driving lessons. After I passed my theory test a hundred years ago my husband said he would teach me to drive. Readers, this will surprise you, but our lessons were not a success. So now I am taking lessons from a proper instructor, who specialises in teaching weedy people who are scared of everything and don’t really want to learn to drive anyway. (That is me.) So far no one has died, although my heart did almost give out when we had to drive on the motorway last week. So. Much. Terror. And my instructor shouting, ‘You must drive faster Helen!’ when I swear my molars were flying out the back of my head there was so much g-force.

Naturally I have been reading... and here are a few books I read.

I am working my way verrrry slowly, for it is BIG, through Fiona McCarthy’s biography of William Morris. Morris attended the boys’ public school Marlborough College not long after it had been founded. It turns out that there was a massive riot there in 1851, ‘the Rebellion’, in revenge for disciplinary measures taken against boys for bullying peasants and dancing by moonlight; the boys went berserk and threw fireworks at the masters, trashed the school and marched on the local town. For weeks on end! They even burnt the headmaster’s manuscript copy of his translation of Sophocles! School life has become considerably duller since the mid-nineteenth century, perhaps for the best.

I am also working my way, less slowly, through She Merchants, Buccaneers and Gentlewomen: British Women in India by Katie Hickman. This is a fascinating book and if the beginning of term doesn’t kill me dead I plan to write about it here.

Some months ago I read an article by Samantha Shannon recommending Under a Pendulum Sun, a novel by Jeanette Ng. With such a splendid title I was reaching for my purse even before I saw that it is about Victorian missionaries in Fairyland, with strong Brontë overtones. The Revd Laon Helstone has travelled to Arcadia, land of the Fae, to convert the inhabitants to Christianity. When his letters to his sister Cathy cease, she goes in search of him but no sooner arrives in Arcadia than is pent up in the creepy house of Gethsemane. Cathy’s problem is as much ‘reading’ the land and its people as it is finding Laon and surviving her encounter with Queen Mab and her fairy court. Ng’s Arcadia is properly weird and her Brontë references add depth (her version of Jane Eyre’s first encounter with Rochester is particularly cleverly done). Either I or the book ran out of steam a bit at the end – me, probably – but I do recommend this anyway.

Back in the day Ruth Rendall was pitched as P.D. James’s rival to queen of crime writers. But for me, Rendall has always been superior: James is good at place but Rendall’s characters are acutely (dispassionately!) observed and even her monsters have a credible psychological depth to a degree that James never achieves. The House of Stairs is one of her Barbara Vine novels, and is narrated by Lizzie who, by chance, encounters Bell, a woman she had known in the 1960s who has just been released from prison. Feeling compelled to write down the experiences that led to that long-ago murder, Lizzie allows herself to be drawn back into Bell’s life due to a sense of complicity in what happened and with possibly yet further terrible consequences. You may consider it as a warning against reading too much Henry James...

So how was your summer?

the detective novels of Joan Smith

The most unexpected way in which the past few months have affected my reading is that it is completely dominated by whim and obsession. There’s no discipline any more and no urge to read anything even remotely demanding. If I want to read something, I REALLY want to read it and I want to read it right now and then I want to read EVERYTHING like it. I have completely eschewed the literary equivalent of a wholesome balanced diet in favour of stuffing my face with chocolates. I owe two reviews and Sylvia Townsend Warner Reading Week looms and I am sticking my fingers in my ears and singing.

(June will be the Month of Responsibility.)

(Felix Vallotton, A Woman Reading, 1922; oil on canvas, private collection; found here)

So, first there was the Frances Hardinge obsession. Then the Diana Wynne Jones. Then the Dorothy L. Sayers. (Actually, that is continuing, I just ran out of her work and so am awaiting three more at the point of whose arrival the obsession will resume.) And then I saw my copy of Joan Smith’s A Masculine Ending, which I bought about twenty years ago in a charity shop and quite liked. Suddenly, it was the ONLY book in the house I wanted to read. And then I wanted to read ALL the rest of the books in the series, so I ordered them and read them in less than two days.

Joan Smith is a respected British journalist and in the late 1980s and early 1990s she published a series of five ‘detective’ novels featuring a lecturer in English literature at London University, Loretta Lawson. I’ll list them all, not least because the titles are so good:

• A Masculine Ending (1987)
• Why Aren’t They Screaming? (1988)
• Don’t Leave Me This Way (1990)
• What Men Say (1993)
• Full Stop (1995)

I freely admit that for me much of their appeal is nostalgia. They cover the years of my late teens and early twenties, and during that time I studied English literature at university and went on to live in London for a while (as Loretta does). Detective novels are often concerned with the minutiae of everyday life, what people were doing and when, and so are full of reminders of things we did and technology we used. Smith’s novels focus very intensely on a few days and there is plenty of minutiae to please. Loretta sends faxes and uses answerphones, word processors and floppy disks – upgrading to a laptop in the last novel. There are a few fashion moments – a shocking pink handbag, a tube skirt, harem pants. There’s fresh pasta from the deli and Habitat sofas. There’s a sobering reminder of the casual sexism that still abounded at the time. And there’s plenty of politics: Why Aren’t They Screaming? is set around a women’s protest at a US air base similar though smaller to Greenham Common, the academics in What Men Say scoff about the government’s cutbacks to education and insistence on courses’ ‘relevance’.

But politics is not just a surface issue to the novels. As a series, they examine the often brutal nature of the power imbalance between men and women. Most significantly, they demonstrate how men’s potential for violence impacts women’s behaviour (and, in some cases, ability to live) while women’s concerns are easily dismissed as hysterical or unimportant. Against the macho world of the police forces she has to deal with and the rarefied sexism of some academics, Loretta strives to live a feminist life. She remains on good terms with her ex-husband, John (conveniently for many of the plots, he is a journalist), although he is convinced that their marriage was destroyed by Loretta’s joining a women’s group. She is loyal to her friends, most notably Bridget, a lecturer at Oxford University whose own late marriage and high-risk pregnancy are the focus of What Men Say. In A Masculine Ending and Don’t Leave Me This Way it’s her over-developed sense of guilt – a very female trait, Smith implicitly suggests – which spur her on to investigate.

The final and probably the best novel, Full Stop, finds Loretta staying in a friend’s apartment in an oppressively humid New York. She starts receiving obscene telephone calls. Gradually, her judgement is undermined. Is she being followed? Can she trust the police? Was the man in the theatre just being friendly or did he have another motive? She even starts to distrust her ex-husband. How can you navigate the world in this state of constant suspicion and alertness – and yet, how can you not? The discombobulation of being in a slightly alien culture adds to the sense of menace.

Smith is pretty meta in her approach and plays around a bit with the conventions of detective novels. Her heroine is not a detective (although this is nothing new in the genre) and not always very good at detecting. Still, the identity of the murderer is usually pretty clear and Smith isn’t interested in sudden twists – outwitting the reader is not her aim here. Every novel denies the reader a comfortable ending. The guilty often profit from their crimes; sometimes, the innocent are imprisoned.

Crime fiction is not really perceived as ‘women’s fiction’ and yet some of its greatest practitioners have been women. Perhaps, Loretta suggests, that is why it is looked down upon. In Don’t Leave Me This Way one of her lovers, Robert, sneers when she tells him she’s going to set up a course on female crime writers: he doesn’t believe that Agatha Christie is a fit subject for academic study (now that dates the novel! Things have moved on a lot since then). Later, she discusses the writers she’ll include on the course with a colleague:

‘[...] If it’s Americans you’re after, how about Sara Paretsky?’
‘I’ve got her. She’s wonderful.’
‘Amanda Cross?’
‘Oh, maybe.’ The conversation was having a calming effect on Loretta, and she elaborated. ‘I’m not so sure about academic mysteries. I tried one by Joan Smith the other day and she got all the details wrong...’

Guffaw. These novels aren’t great forgotten masterpieces, though I miss the characters, but I can only say that they hit the spot for me and if you see them, try them.