Thursday, 23 October 2025

"Elizabeth Gaskell" by Jenny Uglow


A biography of the Victorian novelist and biographer whose work includes Mary Barton (1848), Cranford (1851 - 3), North and South (1853 - 4), and The Life of Charlotte Bronte (1857).

It's a hugely detailed biography. You learn a lot about her family (and it sometimes strays into side anecdotes about her connections) and an exhausting amount about the holidays she went on repeatedly (her husband's congregation "muttered that the minister’s wife took an uncommon number of holidays”; Ch 26) usually abroad with her kids but without her husband; he often went on solitary walking tours as soon as she returned). Each of the novels is also carefully described and the links between her life and the plot demonstrated. As a scholarly tome it is therefore a magnificent resource ... but I found it rather too detail-heavy to be an enjoyable read. Nevertheless, I shall hang onto it and as I read her novels I shall refer to it; I am sure that for this it shall prove useful.

Selected quotes:
  • One thing is pretty clear, Women, must give up living an artist’s life, if home duties are to be paramount. It is different with men, whose home duties are so small a part of their life.” (Ch 2)
  • Everyone has a multiple life to some degree and each self has its own story, the narratives flowing together, separate yet overlapping, like threads in a weave. Elizabeth Gaskell’s life and writing were such a woven cloth, the surface highly patterned and brightly coloured, but the web on the underside darker, subdued and tangled." (Ch 5)
  • From the beginning Gaskell’s stance was both radical and feminist, and she continued all her life to make use of these Gothic conventions to link the cruel repression of wives and daughters to the pressure of history and the patriarchal power of the aristocracy, in contrast to the tenderness of women” (Ch 6)
  • Gaskell believed that much of the harshness of society could be overcome if men would only free the feminine side of their nature.” (Ch 6)
  • Again and again she shows characters progressing from guilt, misery or self-obsession, through love (or sympathetic identification with another) to positive involvement with the whole community.” (Ch 7)
  • Within her fiction lies are a major cause of psychic crises. Often these untruths are not wilful inventions, but ‘white lies’ forced on people to cover up the truth” (Ch 12)
  • The early stages establish the milieu, the characters and their way of life until at some central point narrative itself takes over. From that point on ‘truth’ is displayed not in realism or analysis but in the symbolic workings of the plot.” (Ch 12)
  • Gaskell refuses to accept that the common is necessarily commonplace.” (Ch 24)
  • She could be stubborn, prejudiced, overwhelming and erratic, but people forgave her because she was so clearly involved.” (Ch 28)
October 2025
First published in 2010



This review was written by

the author of Bally and Bro, Motherdarling 

and The Kids of God

Tuesday, 14 October 2025

"Ruined City" by Nevil Shute


 A novel, set in 1930s England, about the redemptive power of enlightened capitalism.

Henry Warren, a merchant banker, is on a walking holiday when he becomes seriously ill. He is taken to a hospital and treated as a charity case. The hospital is in a town in the north-east of England which has been ruined following the closure of its shipyards. Confronted with the reality of the depression, the banker undergoes an epiphany and decides to buy the shipyard and source orders for ships. It isn't easy and involves sailing close to, and perhaps crossing, the line that demarcates legality.

You might not expect a bent banker to be the hero of a book about unemployment. There are a host of alternative perspectives. Shute might, for example, have depicted a penniless widow defrauded by Warren's machinations but instead takes a greedy vicar as his paradigmatic investor. He might have suggested, a la Marx, that all profit reaped by capitalism is money squeezed out by not paying workers the full value of their labour; instead he takes the modern view that entrepreneurs are job creators rather than exploiters: I believe that's the thing most worth doing in this modern world ... to create jobs that men can work at, and be proud of, and make money by their work. There's no dignity, no decency, or health today for men that haven't got a job. ... Without work men are utterly undone.” (Ch 10) You might promote Henry Georgism as in The Ragged-Trousered Philanthropists by Robert Tressell.

Shute sticks with telling a story and, perhaps as a consequence, it packs nothing like the punch of classics such as Love on the Dole by Walter Greenwood or The Jungle by Upton Sinclair. 

The book is recommended reading in Another England by Caroline Lucas

Trigger warning: Racist language and assumptions about blacks, Arabs, Jews and particularly Balkanites.

Selected quotes:

  • The weekly dole ... meant undernourishment. You did not die when you were drawing public assistance money, but you certainly did not remain alive.” (Ch 4)
  • He's something in the cinema industry, but I don't think he comes into the picture.” (Ch 6) Please tell me this pun was deliberate!

October 2025; 269 pages

First published by Cassell in 1938

My Vintage paperback was issued in 2009



This review was written by

the author of Bally and Bro, Motherdarling 

and The Kids of God






Thursday, 9 October 2025

"The Zebra and Lord Jones" by Anna Vaught

This is a work of magical realism. Two zebras escape London Zoo during the blitz of world war II. They meet an ineffective and rather pathetic man, son of an Earl, who takes them to his family's estate in Wales. Here he is met by the housekeeper who looks after the animals and teaches the nobleman to be a man.

I have a problem suspending disbelief with magical realism and fantasy. As a result the author has to work hard to bolster verisimilitude. Thus, she uses a real setting and a real time-frame and introduces real characters such as Haile Selassie, Emperor of Ethiopia, in exile. However, there are repeated disruptive injections of unreality. It's one thing to give zebras a voice and even to claim they can have conversations with humans but another to provide them with the ability to telepathically communicate with other zebras around the world. Footnotes are used which can enhance verisimilitude (Byron did this) but here they seem to be used ironically, in a version of Brechtian alienation. Furthermore, it is narrated in an iterative, looping way, with images and concepts and even phrases appearing and reappearing, as if part of a conversation, a little like the narrative style of The Good Soldier by Ford Madox Ford. Another technique used was to interrupt the narrative to address the reader directly and again this emphasised the artificiality of the story:

  • Oh, and one more thing. This might have been a book with all manner of talking beasts, but we've magic enough.” (Ch 11)
  • Oh, you do not believe in mermaids. Well now, what do you believe in?” (Ch 17)
  • Still, as we know, it is terribly hard to know which stories are true and which are apocryphal, and how we define true, anyway.” (Ch 25)

This mix of reality and fantasy (and mermaids) reminded me of Saltburn by Drew Gummerson though the stories in that collection are more exultant, crazier and in-your-face absurd. 

As perhaps suits a story about zebras, there was a lot of black and white. There were goodies and there were baddies and no character seemed to have moral complexity apart, perhaps, from Lord Jones. His character at least had a journey although it was less one of being forged by circumstance and more a discovery of his underlying self.

Anwen Llewellyn, was such a strong women character that she overshaded the others. Heightening the sense of unreality, she was a 'Mary Sue' character, a superwoman who appeared to have no faults or failings, like the lead protagonists in Lessons in Chemistry by Bonnie Garmus and Where the Crawdads Sing by Delia Owens. 

There was also a lot of shooting at easy targets:

  • We know that some of aristocrats were seduced by Nazism in the 1930s (as told in eg The Remains of the Day by Kazuo Ishiguro).
  • The English were mocked or vilified, eg "the English love to get off with fascists" (Ch 25). Ernest's fulfilment was enabled when he abandoned Deptford and embraced Wales. I became wearied at the repeated digs at the English.
  • Macho-manliness was symbolised by Mussolini as a shorthand for 'evil'. The ideal of masculinity was represented by Lord Jones, emotionally and physically crippled, in need of a woman (human or equine) to realise his potential. For a rather more positive image of a gentle man read Leonard and Hungry Paul by Ronan Hession.
  • The wickedness of mankind as opposed to the innocence and goodness of other animals was easy to illustrate by setting the story during a world war.

The story was packed with incidence, including espionage and the Ark of the Covenant. There were some very funny moments. I particularly enjoyed the cultural appropriation of Myfanwy who not only stole a line of Christopher Marlowe's but also claimed a Latin epigram as being from the Mabinogion.

If you like absurdist whimsy with a Welsh edge, this is the book for you.

Selected quotes:

She was in a column of astringent tweed and her mouth was pursed.” (Ch 7 and later)

October 2025; 298 pages

Published by Renard Press in 2023


Also written by Anna Vaught and reviewed in this blog:



This review was written by

the author of Bally and Bro, Motherdarling 

and The Kids of God



Sunday, 5 October 2025

"Tom Brown's Schooldays" by Thomas Hughes


 The classic bildungsroman of the English public school, written to adulate Dr Thomas Arnold, the famous reforming headteacher of Rugby School, the personification of muscular Christianity.

Tom Brown, the privileged son of landed gentry, grows up playing with the village children in the local countryside. Later, at Rugby School, he and his chums, especially Harry 'Scud' East, make a name for themselves standing up to the bully Flashman. He is regarded as the epitome of incipient manliness: Our hero... had nothing whatever remarkable about him except excess of boyishness; by which I mean animal life in its fullest measure, good nature and honest impulses, hatred of injustice and meanness, and thoughtlessness enough to sink a three-decker.” (Ch 1.7) But he has to be rescued from himself being expelled by being given the responsibility of mentoring sickly goody-two-shoes George Arthur. 

Tom reaches Rugby during the reign of William IV (1830 - 1837); In one scene, East reads an “early number of ‘Pickwick’” (Ch 1.8) He leaves school in the second year of the reign of Queen Victoria. So there is a decided whiff of regency rakes and morals during the schooling. The boys (gentlemen in training) are allowed to roam the countryside, skinny-dipping and catching fish in the river, climbing trees to steal eggs and hatchlings to be cooked by their servants. There are stage coach rides and a bare knuckle fight. It’s very reminiscent of the early works of Dickens such as the Pickwick Papers and Nicholas Nickleby

I wasn't impressed by the characterisations. George Arthur and Tom are no more than representations of their stereotypes: goodness and manliness respectively. If Tom does change from a scapegrace to a mentor it is because of his innate sense of moral justice which insists that a strong lad like him looks after the weaker. Flashman, although writ larger than life and consequently rather more fun, is a caricature of the cowardly bully. 'Scud' East is the only character with an interesting character arc. Tom's friend and mentor from the early days, he remains a rascally scamp when Tom finds responsibility which rather ruptures their relationship but enables him to act as the voice of worldly reason when Tom himself decides to become holier than thou. Harry East says of himself that he was like a prophet’s donkey, who was obliged to struggle on after the donkey-man who went after the prophet ... He had none of the pleasure of starting the new crotchets, and he didn't half understand them, but had to take the kicks and carry the luggage as if he had all the fun.” (Ch 2.7) 

Although the pacing of the plot begins to follow the classical four-part structure with Tom arriving at the school just after the 25% mark, and standing up to Flashman at the 50% turning point, from then on the major points are Tom beginning to mentor George Arthur (60%) and GA almost dying of a fever (83%). Furthermore, the story gets off to a slow start with the first three chapters more or less irrelevant to the main story. And somehow the memorable incidents, such as the fag strike, Tom's roasting and the death of Thompson, are slipped over while much more narrative time is given to the football match, the cricket match, and the long discussions about Christianity. 

An early critic suggested there was too much preaching. There is! The author rarely misses the chance to address the reader: this is not so much a novel as propaganda promoting the English gentleman whose duty it is to colonise the lands of savages and civilize them whether they need it (or want it) or not. The idea that the British Empire was built on an education that seemed to consist solely of the translation of Greek and Latin classics into English is farcical, and the spectacles through which the author views England and her colonies are tinted so heavily with rose that he is blind to the multiple abuses, both of the English working classes and the oppressed peoples abroad.

In the early parts there are one or two suggestions that Thomas Hughes recognised that there were tensions and divisions in society:

  • Class amusements [by which are meant amusements which attract only one class, as opposed to, for example, cricket, where everyone competes from gentleman to farm labourers], be they for dukes or plough-boys, always become nuisances and curses to a country.” (Ch 1.2)
  • Something to try the muscles of men's bodies, and the endurance of their hearts, and to make them rejoice in their strength. In all the new-fangled comprehensive plans which I see, this is all left out; and the consequence is, that your great Mechanics’ Institutes end in intellectual priggism, and your Christian Young Men's Societies in religious Pharisaism.” (Ch 1.2)
  • Lords’ hand and ears and feet are just as ugly as other folks’ when they are children ... Tight boots and gloves, and doing nothing with them, I allow make a difference by the time they are twenty.” (Ch 1.3)

But his solution is to maintain the status quo. For Tom there are two classes: “lout or gentleman”. (Ch 2.6). And when a farmer catches Tom and his friends poaching the matter is arbitrated by sixth-formers who high-handedly dismiss the evidence of the farmer and arrange monetary compensation. Nothing must be allowed to upset the social order, even though the sixth-former recognises the unfairness inherent in it: “There's nothing so mischievous as these school distinctions, which jumble up right and wrong and justify things in us for which poor boys would be sent to prison.” (Ch 2.4) This is a time when a peasant caught poaching on a gentleman’s estate might be transported.

Hughes also recognises that in a poorly-run boys' school, as his own novel shows that Rugby was even for a time under the rule of Dr Arnold, there is the potential for wickedness to flourish. 

  • It is the leading boys for the time being who give the tone to all the rest, and make the School either a noble institution for the training of Christian Englishmen, or a place where a young boy will get more evil than he would if he were turned out to make his way in London streets.” (Ch 1.8)
  • The youth ... was one of the miserable little pretty white-handed curly-headed boys, pitted and pampered by some of the big fellows, who wrote their verses for them, taught them to drink and use bad language, and did all they could do to spoil the everything in this world and the next.” (Ch 2.2) This passage attracts a footnote suggesting that although the author has attracted criticism because "there were many noble friendships between big and little boys” he won’t strike the passage and “many boys will know why it is left in”. One presumes he’s hinting at homosexuality.
Save for its very domestic setting, this reads like many other uplifting boys' adventure stories of the empire, tales of manly derring-do such as King Solomon's Mines by Rider Haggard, Beau Geste by P C Wren and The Coral Island by R M Ballantyne. They're entertaining reads with clearly established goodies and baddies but they are rarely complex or challenging. It would be nice to think that Lord of the Flies (deliberately written by William Golding as an antidote to The Coral Island) would have finally ended the genre; certainly its exploration of what would happen if a bunch of boys were left to their own devices has a very different ending to that experienced by Tom Brown. But there are still innumerable best-selling novels whose goodies are too good to be true and whose villains are too bad to be believable. 

There were a number of  references which I didn’t know and had to look up:
  • In chapter 1.1, the author refers to the present generation having a lack of “sacer vates”, Latin for ‘sacred poets’ who would sing paeans of praise.
  • In chapter 1.8, a boy is mocked for translating “triste lupus” as “the sorrowful wolf”. Embarrassingly, Google Translate offers ‘sad wolf’. In fact the line comes from one of the Eclogues of Vergil; the full line is “Triste lupus stabulis, maturis frugibus imbres, arboribus venti, nobis Amaryllidos irae”. The word ‘triste’ is used as a noun rather than an adjective, to mean ‘a grief’ rather than ‘sorrowful’. So the translation should be something more like: "Grief {is caused by} the wolf to the {sheep}fold, the rain to the ripe crop, the gales to the trees, and the anger of Amaryllis to us.
  • A “cornopean” (Ch 2.8) is a now obsolete lage valved trumpet.
  • In chapter 1.1, the author describes the White Horse carved on Uffington Hill as having been made under King Alfred’s orders, following his victory at the Battle of Ashdown. But he then says the white horse has been overlooking its Vale for “these thousand years”. But the book was written in 1857 and the Battle of Ashdown was in 871 so the thousand years lacks fourteen. The fault, given that Hughes suffered the same education as Tom Brown, seemingly without mathematics, is excusable.
  • In his fever, George ‘Geordy’ Arthur has a vision which he later compares to “the living creatures and the wheels in Ezekiel” (Ch 2.6), a strange passage in the Old Testament which some Ufologists believe is an early report of an encounter with a flying saucer.
Selected quotes:
  • The last ghost, who had frightened the old women, male and female, of the parish out of their senses ... turned out to be the blacksmith's apprentice, disguised in drink and a white sheet.” (Ch 1.2)
  • Though there was a good deal of drinking and low vice in the booths of an evening, it was pretty well confined to those who would have been doing the like, ‘veast or no veast’.” (Ch 1.2)
  • Life ... was no fool’s or sluggard’s paradise into which he had wandered by chance, but a battle-field ordained from of old, where there are no spectators, but the youngest must take his side, and the stakes are life and death.” (Ch 1.7)
  • What would life be without fighting? ... From the cradle to the grave, fighting, rightly understood, is the business, the real, highest, honest business of every son of.” (Ch 2.5)
  • On the Saturday Thompson died, in the bright afternoon, while the cricket-match was going on as usual on the big-side ground.” (Ch 2.6)

October 2025; 307 pages

First published in 1857

My Penguin Popular Classics paperback edition was issued in 1994



This review was written by

the author of Bally and Bro, Motherdarling 

and The Kids of God

On a personal note

Some of the practices in this public school of the 1830s were still extant during my public school education of the 1970s. In my first two years, I was a fag (which meant I acted as servant for the senior boys, making their bed in the morning and lighting their fire, perhaps making them tea or toast or tidying their room) and the practice of shouting ‘fag’ (although the cry in my school was ‘boy-up’) in a corridor and giving the task for the last one only started to be phased out in my last year, after the boarding houses were connected by telephone. Sport was also prominent: I was required to take some form of physical exercise such as playing in a football or cricket match, or doing a cross-country run, or playing fives (but the rather more sophisticated Eton version of the game) six days out of seven. Chapel was compulsory, at first every day and later on Sundays. We too did ‘construe’. Fortunately, we did learn rather more than just Latin and manliness.

The photo at the top shows me at one of the notable buildings at my alma mater.

Thursday, 2 October 2025

"Rabbit is Rich" by John Updike

 


The third novel in the Rabbit tetralogy. Awarded the 1982 Pulitzer Prize for fiction.

It's written using the interior monologue of Harry 'Rabbit' Angstrom, the American Leopold Bloom. He thinks of sex (he can scarcely see any woman without undressing her in this mind), the people he knows who have died, and money, even to paragraphs in which he calculates profits and margins. His conversation is of the outlook for business (the oil crisis of the mid-1970s is hitting America hard) and the shortcomings of others. I presume he represents the soulless Everyman of the USA.

The narrative sometimes slides into the thoughts of Nelson, the son whose life journey is too similar to his father's for their relationship to be anything but antagonistic. The young lion is trying to supplant the head of the pride who is using every trick in a social animal's to stay dominant.

The lives of the characters are documented with unblinking honesty to produce a bleak portrait of suburban America of that time. Is it so different today?

Trigger warning: racist words are used by racist characters.

The first two books are:

Selected quotes:
  • The great thing about the dead, they make space.” (Ch 1)
  • He and the kid years ago went through something for which Rabbit has forgiven himself but which he knows the kid never has. A girl called Jill died ... But the years have piled on, the survivors have patched things up, and so many more have joined the dead, undone by diseases for which only God is to blame, that it no longer seems so bad, it seems more as if Jill just moved to another town, where the population is growing. ... Think of all the blame God has to shoulder.” (Ch 1)
  • They say you should encourage reading, but they never say why.” (Ch 2)
  • What a threadbare thing we make of life!” (Ch 2)
  • His sentences seem to keep travelling around the corner after they are pronounced.” (Ch 2)
  • If a meaning of life was to show up you'd think it would have by now.” (Ch 3)
  • The thing about those Rotarians, if you knew them as kids you can't stop seeing the kid in them, dressed up in fat and baldness and money like a cardboard tuxedo in a play for high school assembly.” (Ch 3)
  • That's why we love disaster ... it puts us back in touch with guilt and sends us crawling back to God. Without a sense of being in the wrong with no better than animals.” (Ch 4)
In the final chapter Rabbit muses about "some professor at Princeton's theory that bin ancient times the gods spoke to people directly through the left or was it the right half of their brains, they were like robots with radios in their heads telling them everything to do, and then somehow around the time of the ancient Greeks or Assyrians the system broke up ..." I presume this is the theory advanced in 1976 by Julian Jaynes in his book The origin of consciousness in the breakdown of the bicameral mind. Given that this book follows Rabbit's stream of consciousness, this theory has substantial implications for the narrative.

October 2025; 285 small print pages
First published in the USA  in 1981
My 'Rabbit Omnibus' edition was issued in the UK by Penguin in 1991.

Also by Updike and reviewed in this blog:


This review was written by

the author of Bally and Bro, Motherdarling 

and The Kids of God