Wednesday, 4 September 2019

"Clouds of Witness" by Dorothy L Sayers


The second murder mystery featuring aristocratic sleuth Lord Peter Wimsey; a sequel to Whose Body.

Wimsey returns from holidaying in Corsica to discover that his brother the Duke of Denver has been arrested on suspicion of murdering a house guest who had been engaged to Wimsey's sister Lady Mary. Wimsey is assisted in his investigation by Mr Parker from Scotland Yard who becomes increasingly infatuated with Lady Mary.

A classic murder mystery full of excitement (Wimsey gets shot at one stage ; the trial of the Duke is in the House of Lords).

It was written and set in 1926 and contains some delightful pointers to those far-off days:

  • Wimsey undertakes a dangerous flight across the Atlantic in chapter 15 only seven years after Alcock and Brown's first non-stop transatlantic flight and one year before Lindbergh's solo triumph
  • There is a radio forecast broadcast on '2LO' the earliest callsign of the BBC (C 15)
  • There is a reference to the "exhilarating properties" of "Indian hemp": cannabis was banned in the UK in 1928 (C 4)
  • The phrase "broad awake" is used; it is nowadays more normally 'wide awake' (C 1)


One of the difficulties with DLS is that she was so very clever and tended to expect knowledge in others:

  • One of the keys which helps Lord Peter solve the crime is that the victim had, amongst his bedroom reading, a copy of Manon Lescaut, a book I had not read at the time of reading this. 
  • There are lots of words in French, without translation, which regular readers of my blog know is one of my pet hates. The three page letter written in French is  translated, fortunately!
  • Even Mr Parker, educated at Barrow-in-Furness grammar school, knows theology. He tells Lord |Peter at one point: "There are many difficulties inherent in a teleological view of creation." (C 3)

Key moments:

  • The first chapter, which sets out the initiating murder, takes up the first 10% of the book. Jane Smiley in 13 ways of looking at a novel states that a novel's thesis must be set out in the first 10%.
  • Lord Peter is shot at almost exactly the 50% part; this is the key turning point of the book.
  • Another key moment, a key alibi, arrives almost exactly at the 75% mark. At this point we are left with no suspects. But in another few pages Lord Peter has solved the mystery.
  • Jane Smiley in 13 ways of looking at a novel says that the climax should come at the 90% mark. This is more or less the moment when the key piece of evidence is read out at Denver's trial.

Other good lines:
"When you flatly deny everything a person says it does sound like contradiction to the uninitiated." (C 9)

According to the Mystery Writers of America this is the 77th best crime story of all time.

September 2019; 299 pages



This review was written by

the author of Bally and Bro, Motherdarling 

and The Kids of God


I have set myself the task of reading all the Lord Peter Wimsey novels (mostly again) in order. The ones I have read and reviewed in this blog so far include:


There are also Wimsey books written since the death of DLS by Jill Paton Walsh. These include:

  • The Attenbury Emeralds in which Lord Peter, in 1951, recalls the circumstances of his first case, the Attenbury Emeralds, which have gone missing again.
  • The Late Scholar: in which Wimsey returns to Oxford


Monday, 2 September 2019

"Homegrown Hero" by Khurrum Rahman

This is a gritty thriller set principally in Hounslow, West London. Javid Qasim ('Jay') is the son of an Afghan terrorist leader in hiding who has become an MI5 agent and has foiled a terrorist plot to machine gun Oxford Street shoppers; as a result a fatwa has been issued against him. The fatwa is to be carried out by a 'sleeper' terrorist, Imran Siddiqi (Imy), who has fallen in love with white girl Stephanie and her young son Jack and so doesn't want to be reactivated; he and his new family are being threatened by the terrorist organisation is he does not kill Jay. Throw in a side plot involving young boys being recruited by a white supremacist organisation and including suicide by hanging, acid bombs and throat slitting (that's the hook in the prologue) and we have the ingredients for an action-packed thriller.

I enjoyed the humdrum setting of this story which involved double-decker buses, an IT call centre, community centres and a chase through Debenhams department store. I enjoyed the humorous start in which Imy is unable to extract information from Jack. I found the level of violence disturbing and even more disturbing was the bleak outlook: it seemed that everyone had to take sides in an endless vendetta of revenge attack provoking revenge attack.

Told in multiple voices, principally those of Jay and Imy but also that of Daniel, each chapter introduced with the name of the narrator.

Some good lines:
  • "'I've told you.' Jack glanced outside the window at the buses lit up within Hounslow Bus Garage. 'I'm not telling you'." (C 1) Cheerfully oxymoronic.
  • "I zombied in there five days a week and spent my time sitting on a chair that stopped twirling around the same time as Fred and Ginger." (C 2)
  • "Nobody goes to Slough; it makes Hounslow look like Venice." (C 20)
My wonderful wife bought me a subscription to Books and Beer; each month I receive a crime book and some cans of beer. The other titles I have received so far are:
  • Most Wanted by Robert Craik: a fast-paced thriller set in California
  • The Devil's Dice by Roz Watkins: a whodunnit set in the English Peak District
  • Only Killers and Thieves by Paul Howarth: a stunning tale of crime and revenge, of temptation and sin, of evil and redemption set in 1880s Queensland and as gritty as only the Australian Outback can get.
  • Snap by Belinda Bauer: a brilliant story about a young lad who, having become a burglar in order to survive, discovers his mother's killer.
  • Resurrection Bay by Emma Viskic: a murder mystery set in Australia in which the PI is deaf
  • The Mongolian Conspiracy by Rafael Bernal: classic Chandleresque Mexican noir
  • The Closer I Get, a thriller in which an author is stalked by an obsessive fan.

August 2019; 390 pages

Friday, 30 August 2019

"Morvern Callar" by Alan Warner


One day, Morvern, a 21 year old girl in a Scottish port town, finds her boyfriend dead. Suicided, it would seem, wrist half hacked off by a meat cleaver, throat cut, note on the computer. She ought to report him dead but somehow instead she goes to work and then, it being Christmas Eve, to a wild party where she has sex with two boys and her best girl friend, and then ...

It is written in Scottish dialect (it took me a while to remember that 'greeting' means wailing). It is powerful and bleak. It reminded me of Eros Island by Tony Hanania in the wonderful use of language and the nihilistic and sybaritic lifestyle of the young people, although it is told in linear chronology and is therefore rather easier to understand.

It is one of those books that, as I read it, seemed to skim off me but I think that there will be aspects of Morvern's desperate seeking after pleasure in the face of brutal reality that I will remember time and time again. This is definitely a book to revisit.

Great lines included:

  • “The hidden fact of our world is that theres no point in having desire unless youve money. Every desire is transformed into sour dreams. You get told if you work hard you get money but most work hard and end up with nothing. ... Theres no freedom, no liberty; theres just money. That's the world we've made ... We live off each other's necessities and fancy names for bare faced robbery.” (Punctuation as in the book.)
  • "I'd forgot to get something for diluting the voddy and of course the fridge was bare so I opened this bottle of sweet wine and used that to dilute it.”
  • “There was a strip of this queer volcanic rock, small pools of water and roundish nodules of stone. It was like the coast had melted then gone hard again.”

August 2019; 229 pages

Written in 1995. Morvern also appears in These Demented Lands (1997) and The Sopranos (1998), also by Alan Warner.

This novel won a Somerset Maugham Award in 1996. It was made into a movie in 2002.



This review was written by

the author of Bally and Bro, Motherdarling 

and The Kids of God

Wednesday, 28 August 2019

"Religion for atheists" by Alain de Botton

This wonderful book ends with the statement that: “The wisdom of the faiths belongs to all of mankind, even the most rational among us, and deserves to be selectively reabsorbed by the supernatural’s greatest enemies. Religions are intermittently too useful, effective and intelligent to be abandoned to the religious alone.” (10.iii.3) It proposes that the secular world learns how religions pass on their message, which is, after all, a message intended to support the fragile human psyche through its many times of troubles, in order to enable such support without the use of the supernatural. He asserts that religions are fundamentally false (“No one intent on starting a new religion from scratch in the modern era would dream of proposing anything as hoary and improbable as the rituals and precepts bequeathed to us by our ancestors.”; 10.ii.1), that they were invented, but he then suggests that: “We invented religions to serve two central needs ... first, the need to live together in communities in harmony, despite our deeply rooted selfish and violent impulses. And second, the need to cope with terrifying degrees of pain which arise from our vulnerability to professional failure, to troubled relationships, to the death of loved ones and too our decay and demise.” (1.2) Given that these needs still exist, we need to develop secular systems which will promote social harmony and support vulnerable individuals without the mumbo-jumbo.

Then, in eloquent writing which sometimes reaches the heights of lyrical beauty, he proposes how this can be done.
Community
“One of the losses modern society feels most keenly is that of a sense of community. We tend to imagine that there once existed a degree of neighbourliness which has been replaced by ruthless anonymity.” (2.i.1) He recognises that this is partly due to overcrowding: “Whereas the Bedouin whose tent surveys a hundred kilometres of desolate sand has the psychological wherewithal to offer each stranger a warm welcome, his urban contemporaries, though at heart no less well meaning or generous, must - in order to preserve a modicum of inner serenity - give no sign of even noticing the millions of humans eating, sleeping, arguing, copulating and dying only centimetres away from them all sides.” (2.i.2)  But churches are places where strangers from all walks of life meet. Often they are beautiful places. People are instructed to move together: when to kneel, when to stand or sit, when to sing together, when to listen. Importantly, the weakest are welcomed as well as the strongest. And he points out that the Christian mass began as a meal: “Sitting down at a table with a group of strangers has the incomparable and off benefit of making it a little more difficult to hate them with impunity. Prejudice and ethnic strife feed off abstraction. However the proximity required by a meal ... disrupts our ability to cling to the belief that the outsiders who wear unusual clothes and speak in distinctive accents deserve to be sent home or assaulted.” (2.i.6) 

Apologies
AdB suggests that we institutionalize apologies, as with the Jewish Day of Atonement or the Catholic Confession. He suggests that we are all nasty in some ways to other people and this causes two lots of suffering:
  • “As victims of hurt, we frequently don't bring up what ails us, because so many wounds look absurd in the light of day. It appals our reason to face up to how much we suffer from the missing invitation or the unanswered letter, how many hours of torment we've given to the unkind remark.” (2.ii.2)
  • If we have offended we may “feel intolerably guilty” so that we “run away from our victims and act with strange rudeness towards them” so making them suffer twice. (2.ii.2)
One problem is that we don't like being told we are naughty by someone else. It provokes the 'who do you think you are' response and one of the flaws of religions is that often the priest is promoted as Mr Perfect Pants. “Among religions’ more unpalatable features is the tendency of their clergies to speak to people as if they, and they alone, were in possession of maturity and moral authority.” (3.i.7) AdB argues that the concept of Original Sin is that we are all flawed. “The doctrine of original sin encourages us to inch towards moral improvement by understanding the faults we despise in ourselves are inevitable features of the species. We can therefore admit to them candidly and attempt to rectify them in the light of day. The doctrine knows that shame is not a helpful emotion for us to be weighed down with as we work towards having a little less to be ashamed about.”. (3.i.7)

He then proposes that in order to get the message across we need to institutionalize the secular church. He shows how institutions have vastly more wealth, and power, and influence than even the greatest individual thinker. He contrasts the cottage industry of wellness gurus with the brand recognition of the church. He suggests we advertise our secular beliefs by beautiful paintings, for example, and by beautiful architecture. (I take issue with his idea that beauty somehow equates with goodness: there is sufficient cult today of beautiful people and the downside of beauty = goodness is to suggest that the ugly should be shunned; besides, his two pictures contrasting a protestant chapel with a Roman Catholic chapel are presumably intended to suggested that the lush ornamentation of the RC ceiling is preferable whereas I personally prefer the elegance of the protestant building; beauty is even more individual perhaps than ethics.)

He considers the universities should have the duty to teach courses in eg How to have a successful marriage, and How to Die, and that these courses should be illustrated with extracts from great literature but he sees that the present universities have missed their way by considering literature as texts to be studied rather than improving moral works: “We are by no means lacking in material which we might call into service to replace the holy texts; we are simply treating that material in the wrong way. We are unwilling to consider secular culture ... as a source of guidance.” (4.i.4) “The redesigned universities of the future would draw upon the same rich catalogue of culture treated by their traditional counterparts ... but they would teach this material with a view to illuminating students lives ... Anna Karenina and Madame Bovary would that be assigned in a course on understanding the tensions of marriage ... Epicurus and Seneca would appear in a syllabus for a course about dying.” (4.i.7)

He also suggests that universities, by relying on a single method of transmission, the (often boring) lecture, have missed the goal. 
  • “Christianity pictures the mind as a sluggish and fickle organ ... the central issue for education is not so much how to counteract ignorance as how we can combat our reluctance to act upon ideas which we have already fully understood at a theoretical level. It follows the Greek sophists in insisting that all lessons should appeal to both reason (logos) and emotion (pathos)” (4.ii.1) 
  • “Ever since Plato attacked the Greek sophists for being more concerned with speaking well than thinking honestly, Western intellectuals have been intransigently suspicious of eloquence.” (4.ii.2)
  • “Secular education will never succeed in reaching its potential until humanities lecturers are sent to be trained by African-American Pentecostal preachers.” (4.ii.3)
Finally he proposes that we lack perspective, being insufficiently pessimistic about our powerlessness in the face of the cosmos. This is interesting given that others suggest that it was the Coperbnican revolution that displaced mankind and the earth from its position of centrality in the Universe. But de Botton states:
  •  “Our secular world ... surreptitiously invites us to think of the present moment as the summit of history” (7.2)
  • “Being put in our place by something larger, older, greater than ourselves is not a humiliation; it should be accepted as a relief from our insanely hopeful ambitions for our lives.” (7.3) 

Other important ideas
  • “In the past, we got to know others because we have no option but to ask them for help” because there were no social safety nets. “We are from a purely financial point of view greatly more generous than our ancestors ever were, surrendering up to half of that income for the common good” but this is through taxation which tends to leave us resentful imagining that “our money is being used to support unnecessary bureaucracies” rather than considering “those less fortunate members of the policy for whom our taxes also buy clean sheets, soup, shelter or a daily dose of insulin.” (2.i.2)
  • We get our ideas of strangers from the media so we think “that all strangers will be murderers, swindlers or paedophiles” although when disasters strike and we are actually vulnerable “we tend to marvel that our fellow citizens have shown surprisingly little interest in slicing us in half or molesting our children and may even be surprisingly good-natured and ready to help.” (2.i.2)
  • “The flaws whose exposure we so dread, the indiscretions we know we would be mocked for, the secrets that keep our conversations with our so-called friends superficial and inert - all of these emerge as simply part of the human condition.” (2.i.3)
  • “It is hard to attend most wedding parties without realising that these celebrations are at some level also marking a sorrow, the entombment of sexual liberty and individual curiosity for the sake of children and social stability, with compensation from the community being delivered through gifts and speeches.” (2.iii.3)
  • “Wine barrels burst if from time to time we do not open them and let in some air. All of us men are barrels poorly put together.” 
  • “Freedom has become our supreme political virtue ...the state should harbour no aspirations to tinker with the inner well-being or outward manners of its members.” (3.i.1)
  • “ Heady romantic longings are fragile materials with which to construct a relationship. We grow thoughtless and mendacious towards each other. We surprise ourselves with our rudeness. We become deceitful and vindictive.” (3.i.5)
  • “It seems clear that the origins of religious ethics lay in the pragmatic need of the earliest communities to control their members’ tendencies towards violence, and to foster in them contrary habits of harmony and forgiveness. Religious codes began as cautionary precepts, which were then projected into the sky and reflected back to earth in disembodied and majestic forms ... But if we can now own up to spiritualising our ethical laws, we have no cause to do away with the laws themselves. ... We no longer have to be brought into line by the threat of hell or the promise of paradise; we merely have to be reminded that it is we ourselves ... who want to live the sort of life which we want imagine supernatural beings demanded of us.” (3.i.6)
  • “We will never discover cast-iron rules of good conduct which will answer every question that might arise about how human beings can live peacefully and well together.” (3.1.8)
  • “We would be advised to focus our attention on relatively small scale, undramatic kinds of misconduct. ... Rudeness and emotional humiliation maybe just as corrosive to a well-functioning society as robbery and murder.” (3.1.8)
  • “Consider ... how belatedly and how bluntly the modern state enters into our lives ... It intervenes when it is already far too late, after we have picked up the gun.” (3.i.8)
  • “Literature, previously dismissed as being worthy of study only by adolescent girls and convalescents, was recognised as a serious subject ... The newfound prestige of novels and poems was based on the realization that these forms, much like the Gospels, could deliver complex moral messages embedded within emotionally charged narratives, and therefore prompt affective identification and self-examination.” (4.i.4)
  • “There is in truth no maturity without an adequate negotiation with the infantile and no such thing as a grown-up who does not regularly yearn to be comforted like a child.” (5.3)
  • “If there is a problem with Christianity’s approach, it is that ... the need for comfort has come to be overly identified with a need for Mary herself, instead of being seen for what it really is: an eternal appetite which began long before the Gospels, originating at the very moment when the first child was picked up by his or her mother and soothed amid the darkness and cold of the first underground cave.” (5.4)
  • “The signal danger of life in a godless society is that it lacks reminders of the transcendent and therefore leaves us unprepared for disappointment and eventual annihilation. When God is dead, human beings ... are at risk of taking psychological centre stage. They imagine themselves to be commanders of their own destinies, they trample upon nature, forget the rhythms of the earth, deny death and shy away from valuing and honouring all that slips through their grasp, until at last they must collide catastrophically with the sharp edges of reality.” (7.2)
  • “Tourists making their way around some of the world's great museums ... appear to want to be transformed by art, but the lightning bolts they are waiting for seem never to strike. They resemble the disappointed participants in a failed seance.” (8.2)
  • “Art ...is a medium to remind us about what matters. It exists to guide us to what we should worship and revile if we wish to be sane, good people in possession of well-ordered souls.” (8.3)
  • “The unsympathetic assessments we make of others are usually the result of nothing more sinister than our habit of looking at them in the wrong way, through lenses clouded by distraction, exhaustion and fear, which blind us to the fact that they are really, despite a thousand differences, just altered versions of ourselves: fellow fragile, uncertain, flawed beings likewise craving love and in urgent need of forgiveness.” (8.5)
  • “If our bodies were immune to pain or decay, we would be monsters.” (8.5)
  • “There are places which by virtue of their remoteness, solitude, beauty or cultural richness retain an ability to salve the wounded parts of us.” (9.3)
  • “Romanticism has taught us to mock the ponderousness and strictures of institutions, their tendencies to corruption and the tolerance of mediocrity. The ideal of the intellectual has been that of a free spirit living beyond the confines of any system, disdainful of money, and cut off from practical affairs.” (10.i.1)
  • “Why should only phones and shampoos benefit from coherent retail identities?” (10.i.3)
  • “Because we are embodied creatures - sensory animals as well as rational beings - we stand to be lastingly influenced by concepts only when they come at us through a variety of channels ... in what we wear, eat, sing, decorate our houses with and bathe in.” (10.i.4)

An incredibly thought-provoking (and timely) book. Beautifully written, both easy to read and lyrical, and with many illustrations who, together with their captions, add a considerable amount to the text,

Alain de Botton has also written How Proust can change your life

August 2019; 312




Sunday, 25 August 2019

"The Spinning Heart" by Donal Ryan

This book was longlisted for the Booker and the Guardian First Book Award in 2013; it won Book of the Year at the Irish Book Awards in 2012.

Eire following the financial crisis. One moment houses were being built all over the place, the next no one wants to buy them. Pokey Burke's building firm has gone bust, leaving a whole community full of unemployed men who hadn't realised Pokey wasn't paying their stamps or their tax and a ghost estate with just two inhabited houses.

This is a tale told by many different people. It starts with Bobby Mahon, Pokey's foreman and all round good guy except that he hates his father. It encompasses Pokey's father, who gave the building firm to his son when he retired, and Pokey's lesbian sister. It includes the town whore who sent her son to law school. It includes Realtin, the young girl living in one of the two houses with her son, Dylan, and Dylan's father, local lothario Seanie Shaper. It includes the corner and cost-cutting owner of the day care nursery which Dylan attends, and the male Montessori-qualified teacher who gets a job at the nursery, and his computer-game addicted friend. It ends with Bobby's wife.

Almost half way through Bobby's father is murdered and Dylan is kidnapped. Of course we want to know whodunnit, and is the kid OK? But these plot-chasing urges are secondary to the joy of listening to these tangled testimonies from a close-knit town whose ideas of what is right and what is wrong are being challenged by the shock of the recession.

Beautiful writing.

Selected quotes:
  • “My father still lives back the road past the weir in the cottage I was reared in. I go there every day to see is he dead. Every day he lets me down. He hasn't yet missed a day of letting me down. He smiles at me; that terrible smile. He knows I'm coming to check is he dead.” (Bobby)
  • “There are many ways, you know, to kill a man, especially an old, frail man, which wouldn't look like murder. It wouldn't be murder anyway, just putting the skids under nature.” (Bobby)
  • “They loved him, or loved the thought of him, what they thought he was: a man who could easily have had a good life who chose instead their life: spite and bitterness and age-fogged glasses of watery whiskey in dark, cobwebbed country bars, shit-smeared toilets, blood-streaked piss, and early death. He could have helped it but didn't. They couldn't help it and loved him for being worse than them. He was the king of the wasters. He bought drink for men he didn't like and listen to their yarns and their sodden stories.” (Bobby)
  • “Sober, he was a watcher, a horror of a man who missed nothing and commented on everything.” (Bobby)
  • "Here am I, like an orphaned child, bereft, filling up with the fear like a boat filling with water.” (Bobby)
  • “Isn't it a secret duty, to rear your children? I got that all turned around in my head, of course. I confused providing for them with rearing them. I got a fixation on work and having enough money that waxed and waned for my whole adult life, but was always there.” (Josie)
  • “Pokey ...had a ledger inside his head in which every single move I made was entered, and it never, ever balanced in his favour.” (Josie)
  • “She thought I couldn't understand. She was right and wrong: I didn't know the words, just their meaning.” (Vasya)
  • “The Irish men would look at me in mock astonishment and then look at each other and roar with laughter ... I would feel happy, and then remember to be ashamed of myself for being a clown to please other men.” (Vasya)
  • “It kills Daddy not to be able to talk to him about hurling and cars and machinery and whatever men do be fascinated by when they're not ruining women's lives.” (Realtin)
  • “We're all afraid of our lives of upsetting our parents. Why is it at all? Why have we to be bound by this fear of the feelings of others?” (Brian)
  • “Schizophrenia is splitting in two and then falling to pieces.” (Trevor)
  • “I know I shouldn't think these things over and over again but you may as well ask a bee to leave the flowers alone.” (Bridie)
  • “I still believe I did good work at the convent with those unfortunate young ladies. I made them feel good about themselves and showed them how to give a handjob without rupturing a man's helmet.That's a valuable lifeskill.” (Seanie)
  • “I'd say your man just wanted a job where he wouldn't have to be near manly men, spitting and farting talking about their balls and making each other feel like shit about themselves. Why do fellas do that? They’re always slagging each other and calling each other queer and trying to outdo each other like fools.” (Kate)
  • “Sweat is fine when it's fresh, on lovely hard muscle, but when it's dripping off a big flabby man-boob or dried into a filthy T-shirt it's a different thing altogether.” (Kate)
  • “What would Jesus have done? ... How would I know what Jesus would have done?That fella was a mass of contradictions as far as I can see. One minute he says to turn the other cheek, the next minute he's having a big strop and kicking over lads’ market stalls. He says blessed are the meek and he goes round shouting and roaring the odds to everyone. He rises from the dead and then shags off a few weeks later and leaves his buddies in the shit.” (Rory)
  • “Leaving the herd isn’t safe. You’re the loose gazelle that the lion will chase.” (Mags)
  • “There’s no man on this earth can even be assured he'll have a next day.” (Frank)
  • “He spent a whole day with his bony arse in the air as he chipped and hacked and sanded, an acute angle of unnatural adolescent concentration.” (Triona)
  • “Some people, like Bobby, take on the troubles of others and others can't see anything past their own.” (Triona)
  • "Jesus, the sweet scandal, it must have been almost too rich for their pill-thinned blood." (Triona)
August 2019; 156 pages

A sequel, heart, be at peace, has now been published.

Other fiction by Irish authors reviewed in this blog may be found here.



This review was written by

the author of Bally and Bro, Motherdarling 

and The Kids of God


Saturday, 24 August 2019

"Last Post" by Ford Madox Ford

This is the final part of the Parade’s End tetralogy, written, apparently, in response to fans who wanted FMF to wrap up some of the looser ends in the tangled mess of family relationships that had been explored previously in Some Do Not, No More Parades, and A Man Could Stand Up

This book, set in a single place and on a single afternoon, has all the surviving major players are gathered in one place. It is a country cottage owned by Christopher Tietjens; outside on this hill under a thatched roof lies his brother Mark, owner of Groby, who is speechless either through wilfulness or as a result of a stroke he may have suffered on Armistice Day. Around this sickbed are Gunning, a servant of the family and Marie Leonie, Mark’s long time mistress and more recently his wife. To disturb him two visitors arrive: an American woman who has leased the ancestral home, Groby, and who is ostensibly seeking permission to cut down the Great Tree of Groby which is supposedly the tallest cedar in England, and the heir to Groby, Christopher’s son (although he might be the son of another man) who calls himself Mark in the family tradition although his mother, Christopher’s estranged wife Sylvia, calls him Michael. The first part of this story is told through the inner monologues of these characters.

Events start to move in the second part when Sylvia arrives with General Campion who tells her that he will not marry her and make an honest woman of her (he can’t at the moment anyway since she has so far resolutely refused to divorce Christopher and he believes a man must never divorce a woman). Sylvia attempts to go into the house where she encounters Valentine, Christopher’s mistress.

It may sound convoluted but these tensions have built up over three previous books. But FMF doesn’t have make a meal of each character going over everything again. The only one who doesn’t get a say is Christopher himself, who is away from home and only returns right at the end.

So this is a highly formal book, set over an afternoon, full of interior monologue and a little dialogue, with very little action and endless rumination in which we see the convoluted family dynamics from nearly every point of view. It isn’t a page turned unless you have so bought in to these characters that you are desperate to know what will happen next. It is supposed to resolve the family saga which it does to the satisfaction of one of the characters but perhaps not in terms of any of the others.

There are some great lines:
  • “Thet cider was arder than a miser’s art or’n ole maid’s tongue. Body it ad. Strength it ad. Stans to reason. Ten year cider. Not a drop was drunk in Lordship’s ouse under ten years in cask.” (B1C1)
  • “Her mind, in fact, was like a cupboard, stuffed, packed with the most incongruous materials, tools, vessels and debris. Once the door was opened you never knew what would tumble out or be followed by what.” (B1C1)
  • "He was a man and it is the nature of men to treat women with treachery, lust and meanness.” (B1C1)
  • “When the Sovereign died what did the Heir, his concubines, courtiers and sycophants do to the Maintenon of the day? What precautions ought she not to be taking against that wrath to come?” (B1C2)
  • “The rich are noted for hardness of heart, and brother will prey upon brother’s widow sooner than on another.” (B1C2)
  • “English people of good class do not dress for dinner on Sundays. That is a politeness to God, because theoretically you attend evening service and you do not go to church in the country in evening dress. As a matter of fact you never go to evening service—but it is complimentary to suggest by your dress that you might be visited by the impulse.” (B1C2)
  • “Queer things the Gentry can do to you still if they notice you. It is all very well to say this is a land fit for whatever the word is that stands for simple folk. They have the police and the keepers in their hands and your cottages and livings.” (B1C3)
  • “He could not imagine why anyone should dislike Marie Antoinette. Yet very likely she was dislikeable. The French, who were sensible people, had cut her head off, so they presumably disliked her.” (B1C4)
  • “No doubt, twenty years of listening to the almost ceaseless but never disagreeable conversation of Marie Léonie had been a liberal education.” (B1C4)
  • “days so degenerate that even the young of tom-tits could not restrain their chirpings in face of their appetites." (B1C4)
  • “Christ was a sort of an Englishman, and Englishmen did not, as a rule, refuse to do their jobs.” (B1C5)
  • “Marriage, if you do not regard it as a sacrament—as, no doubt, it ought to be regarded—was nothing more than a token that a couple intended to stick to each other. Nowadays people—the right people—bothered precious little about anything but that. A constant change of partners was a social nuisance; you could not tell whether you could or couldn’t invite a couple together to a tea—fight. And society existed for social functions. That was why promiscuity was no good. For social functions you had to have an equal number of men and women, or someone got left out of conversations, and so you had to know who, officially in the social sense, went with whom.”(B1C5)
  • “Beauty and truth have a way of appearing to be akin” (B2C1)
  • “It was as if a man should have jumped out of a frying-pan into—a duckpond.” (B2C1)
  • “God is probably—and very rightly—on the side of the stuffy domesticities. Otherwise the world could not continue—the children would not be healthy. And certainly God desired the production of large crops of healthy children.” (B2C2)

August 2019

Ford Madox Ford also wrote The Good Soldier, a superb novel.

Friday, 23 August 2019

"Kipps" by H G Wells

The story of Arthur Kipps, draper's apprentice, was the book behind the musical Half A Sixpence, starring Tommy Steele. It was written by H G Wells, best known for his science fiction such as The Invisible Man, The War of the Worlds, and The Time Machine but also the author of The History of Mr Polly, Tono-Bungay and Love and Mr Lewisham. A decent biography of this remarkable man is H G Wells by Lovat Dickson.

Arthur Kipps is a "norphan" living with his aunt and uncle; he goes to school and is then sent away to be a draper's assistance in Folkestone. The misery of his servitude is chronicled until he is knocked down by a bicycle ridden by an actor with whom he gets drunk, stays out all night and is sacked from his job. It is at the depths of his misery that he is suddenly made rich and required to join posh society: his struggles to fit in and his social clangers form a great deal of the humour of this book. He becomes engaged to a posh lady but his heart still remains with the sister of his best friend when he was a boy. Veering between savage social commentary and farcical humour this delightful book chronicles the ups and downs of Kipps' life.

Kipps is explicitly a  three act drama:
The First Book (about 35% of the text) is entitled “The Making of Kipps” and charts his childhood, his education, and his apprenticeship in The Emporium. This is written quite angrily and there is some cutting social comment.

The Second Book (the next 47% of the text) shows how the Innocent (and possibly Holy) Fool Kipps is inducted into society. Other people clearly want to take advantage of his wealth. Kipps spends all his time making mistakes; he tries to fit in but every time it goes wrong. This section climaxes in an escape to London where there are scenes of farce as he tips everyone in the hotel and manages to cause an uproar with his food in the posh restaurant.

The Third Book (crammed into the last 18% of the text are some very swift turning points) follows Kipps after he and Anne have got married and how they adjust to a humbler life.

But the turning points (spoiler alert for this section) don't necessarily match these book boundaries.
  • The ‘half a sixpence’ lover’s token with Anne; this incidence ends his childhood and K goes to become an apprentice: 6%
  • Kipps starts the wood-carving class with Miss Walsingham: 14%
  • Chitterlow the actor runs into Kipps: 19%
  • Kipps gets the sack: 25%
  • Kipps comes into money: 29%
  • Kipps becomes engaged: 47%
  • Kipps meets Anne again ... and doesn’t tell her that he is engaged: 59%
  • Kipps runs away to London: 65%; he meets the socialist
  • The farcical scene in the restaurant of The Grand Hotel: 71%
  • Kipps encounters Ann at the Anagram Tea ... and runs away again: 74%; This follows almost immediately on from the farce.
  • Kipps is reconciled with Anne and proposes: 79%
  • Kipps and Anne row about the Callers: 92%
  • Kipps loses all his money: 93%
  • Their child is born: 97%
  • Their fortunes are restored by Chitterlow: 98%
The key character is Kipps. He is the only one who is rounded, the only one to develop, the only one to have anything like a character arc. The others are mostly Dickensian-style caricatures:
  • The Aunt and Uncle with their limited horizons and their stereotypical concerns: “His aunt and uncle were already high on the hill of life when first he came to them. They had married for comfort in the evening or, at any rate, in the late afternoon of their days.”
  • The evil boss Mr Shalford
  • The flamboyant actor Mr Chitterlow
  • The cool love interest Helen Walsingham
  • The childhood sweetheart Anne
  • The best mate Sid

There is some lovely foreshadowing:
  • “‘There's lots of young noblemen'll be glad to 'eng on to you,’ said old Kipps. ‘You mark my words. And borry your money. And then good-day to ye.’ ‘I got to be precious careful,’ said Kipps. ‘Mr Bean said that.’ ‘And you got to be precious careful of this old Bean,’ said old Kipps. ‘We may be out of the world in Noo Romney, but I've ’eard a bit about solicitors for all that. You keep your eye on old Bean me b'y. ‘’Ow do we know what 'e's up to, with your money, even now?’ said old Kipps, pursuing this uncomfortable topic. ‘’ E looked very respectable,’ said Kipps.”
One of the techniques is to describe settings by listing details as here, for example:
  • “The memories Kipps carried from that school into after-life were set in an atmosphere of stuffiness and mental muddle, and included countless pictures of sitting on creaking forms bored and idle; of blot licking and the taste of ink; of torn books with covers that set one's teeth on edge; of the slimy surface of the laboured slates; of furtive marble-playing, whispered storytelling, and of pinches, blows, and a thousand such petty annoyances being perpetually ‘passed on’ according to the custom of the place; of standing up in class and being hit suddenly and unreasonably for imaginary misbehaviour; of Mr Woodrow's raving days, when a scarcely sane injustice prevailed; of the cold vacuity of the hour of preparation before the bread-and-butter breakfast; and of horrible headaches and queer, unprecedented internal feelings, resulting from Mrs Woodrow's motherly rather than intelligent cookery.”
Wells also understands about word order in sentences: “Once, just once, there was a chemistry lesson – a lesson of indescribable excitement – glass things of the strangest shape, a smell like bad eggs, something bubbling in something, a smash and stench, and Mr Woodrow saying quite distinctly – they threshed it out in the dormitory afterwards – ‘Damn!’” This last sentence is an authorial masterpiece drawing attention not just to the word order with the key word being placed at the very end of the sentence but also using that interrupt to delay the single word climax.

There were laugh out loud moments. The scene in which Kipps, alone in London, causes havoc in the restaurant of the Grand Hotel is a scene of classic farce.

Wells is scornful of the school to which Kipps goes:
  • “In a glass cupboard in the passage were several shillingsworth of test-tubes and chemicals, a tripod, a glass retort, and a damaged Bunsen burner, manifesting that the ‘Scientific laboratory’ mentioned in the prospectus was no idle boast.
  • “there was much furtive foul language”
  • “‘Sundays are our happiest days,’ was one of Woodrow's formulae with the inquiring parent, but Kipps was not called in evidence. They were to him terrible gaps of inanity, no work, no play – a drear expanse of time with the mystery of church twice and plum-duff 18 once in the middle. The afternoon was given up to furtive relaxations, among which ‘Torture Chamber’ games with the less agreeable weaker boys figured. ... It was from the difference between this day and common days that Kipps derived his first definite conceptions of the nature of God and heaven. His instinct was to evade any closer acquaintance as long as he could.”

There is some very anti-capitalist rhetoric. This is placed into the mouths of two characters, one a fellow apprentice with Kipps and one a consumptive old man living with Sid. This second, which is extensive, is immediately followed by the farcical scene in the Grand Hotel which itself is immediately followed by the crisis in Kipps' love life. So although Wells allows himself some pages to rant he is aware that he must return pretty swiftly to his story.
  • “‘When you get too old to work they chuck you away ... we're in a blessed drain-pipe, and we've got to crawl along it till we die.’”
  • “This was to be his life until his days should end. No adventures, no glory, no change, no freedom. Neither – though force of that came home to him later–might he dream of effectual love and marriage.”
  • “Night after night he would resolve to enlist, to run away to sea, to set fire to the warehouse or drown himself, and morning after morning he rose up and hurried downstairs in fear of a sixpenny fine.”
  • “money, like everything else – is a deception and a disappointment.”
  • “people think there is a class or order somewhere just above them or just below them, or a country or place somewhere that is really safe and happy… . The fact is, Society is one body, and it is either well or ill.”
  • “we're going to have a pretty acute attack of universal confusion. Universal confusion. Like one of those crushes when men are killed and maimed for no reason at all, going into a meeting or crowding for a train. Commercial and Industrial Stresses. Political Exploitation. Tariff Wars. Revolutions. All the bloodshed that will come of some fools calling half the white world yellow. These things alter the attitude of everybody to everybody. Everybody's going to feel 'em. Every fool in the world panting and shoving. We're all going to be as happy and comfortable as a household during a removal.”
  • “To-day ... the world is ruled by rich men; they may do almost anything they like with the world. And what are they doing? Laying it waste!”
  • “They grudge us our schools, they grudge us a gleam of light and air, they cheat us, and then seek to forget us.”
  • “Our multitudes of poverty increase, and this crew of rulers makes no provision, foresees nothing, anticipates nothing!”
  • “I found myself at thirteen being forced into a factory like a rabbit into a chloroformed box. Thirteen! – when their children are babies. But even a child of that age could see what it meant, that Hell of a factory! Monotony and toil and contempt and dishonour! And then death.”

There is a lot of stuff about behaving in polite society ... and the perils of failure:
  • “It was clear his only chance of concealing his bottomless baseness was to hold his tongue”
  • “It had not yet come to Kipps to acknowledge any man as his better in his heart of hearts. When one does that the game is played, and one grows old indeed.”
  • “The rug, the fender, the mantel and mirror, conspired with great success to make him look a trivial and intrusive little creature amidst their commonplace hauteur, and his own shadow on the opposite wall seemed to think everything a great lark, and mocked and made tremendous fun of him…”
  • “Kipps was unprepared for the unpleasant truth – that the path of social advancement is, and must be, strewn with broken friendships.”
  • “Outwardly calm, or at most a little flushed and ruffled, inwardly Kipps was a horrible, tormented battleground of scruples, doubts, shames, and self-assertions”
  • “At his departure Kipps, with a hot face, convulsive gestures, and an embittered heart, tipped everyone who did not promptly and actively resist, including an absent-minded South African diamond merchant who was waiting in the hall for his wife.”
  • “‘You ain't comfortable, my gel, in this world, not if you don't live up to your position,’”
Some great lines:
  • “At meals ... one had to say one's ‘grace,’ hold one's spoon and fork in mad, unnatural ways called ‘properly,’ and refrain from eating even nice sweet things ‘too fast.’”
  • “Once his aunt gave him a trumpet if he would promise faithfully not to blow it, and afterwards took it away again.”
  • “Rye and Winchelsea perched like dream-cities on their little hills.”
  • “They had not kissed, but all the guilt of kissing was between them.”
  • “By the nature of his training he was indistinct in his speech, confused in his mind, and retreating in his manners.”
  • “His conception of a satisfactory municipal life was to ‘keep down the rates.’”
  • “He had developed a sort of idea that going to church had a tendency to alleviate life.”
  • “Certain things remained quite clearly, and as it is a matter of common knowledge that intoxicated people forget what happens to them, it follows that he was not intoxicated.”
  • “He felt that telling was the thing to make this business real.”
  • “Everybody walked about backward at court he knew, when not actually on their knees.”
  • “Turning over the pages of the Physiology again, he came upon a striking plate, in which a youth of agreeable profile displayed his interior in an unstinted manner to the startled eye. It was a new view of humanity altogether for Kipps, and it arrested his mind. ‘Chubes,’ he whispered. ‘Chubes!’”
  • “Whenever he thought of any extensive change in a play he was writing, he always took a day off. In the end it saved time to do so. It prevented his starting rashly upon work that might have to be re-written. There was no good in doing work when you might have to do it over again, none whatever.”
  • “No doubt this was seeing life, but had he particularly wanted to see life that day?”
  • “‘You'd hardly believe,’ Coote said, ‘how much you can get out of books. Provided you avoid trashy reading, that is. You ought to make a rule, Kipps, and read one Serious Book a week. Of course we can Learn even from Novels, Nace Novels that is, but it isn't the same thing as serious reading. I made a rule, One Serious Book and One Novel – no more.”
  • “Kipps descended to tea in that state of nervous apprehension at the difficulties of eating and drinking that his Aunt's knuckle rappings had implanted in him for ever.”
  • “Room to swing a cat, it seemed, was absolutely essential. It was an infrequent but indispensable operation.”
  • “He loved Helen, he revered Helen. He was also beginning to hate her with some intensity.”
  • “He knew that wherever you were, so soon as you were thoroughly lost, you said ‘Hi!’ to a cab, and then ‘Royal Grend Hotel.’ Day and night these trusty conveyances are returning the strayed Londoner back to his point of departure, and were it not for their activity, in a little while the whole population, so vast and incomprehensible is the intricate complexity of this great city, would be hopelessly lost for ever.”
  • “His soul looked out upon life in general as a very small nestling might peep out of its nest. What an extraordinary thing life was to be sure, and what a remarkable variety of people there were in it!”
  • “He found that a fork in his inexperienced hand was an instrument of chase rather than capture.”
  • “They meditated upon replicas of classical statuary without excessive comment. Kipps said, at large, it must have been a queer world then; but Ann very properly doubted if they really went about like that.”
  • “‘I wonder 'ow all these old antediluvium animals got extinct,’ he asked. ‘No one couldn't possibly 'ave killed 'em.’ ‘Why, I know that!’ said Ann. ‘They was overtook by the Flood… .’ Kipps meditated for a while. ‘But I thought they had to take two of everything there was—’ ‘Within reason they 'ad,'”
  • “‘Why do I never get anything right?’ Kipps asked of a bright implacable universe.”

This is a story with some moments of anger, some very funny sections, and some parts where you feel so sorry for poor old Arthur Kipps, the Holy Fool. It is also a story with a lot of ups and downs and full of incident.

August 2019

Other novels by H G Wells reviewed in this blog include:

Biographies of H G Wells reviewed in this blog:



This review was written by

the author of Bally and Bro, Motherdarling 

and The Kids of God