Light Perpetual by Francis Spufford

I bought this novel for myself last fall, intending it as a a between-jobs treat, and then put it in the to-read pile next to my favorite chair where it stayed until recently. The only other book I’ve read by Francis Spufford is Unapologetic, a nonfiction book about his experience of Christian belief, a vacation read many summers ago. I loved that book. Spufford made his name as a writer of nonfiction, and Light Perpetual is his second novel. To have your second novel longlisted for the Booker, after winning a Costa prize for your first (which I’m eyeing for this year’s vacation reading) must be very affirming.

Light Perpetual is about five kids killed by a V-2 rocket that hits a Woolworths on a Saturday in 1944 in the fictional south London neighborhood of Bexford. They die in the opening pages of the book: sisters Jo and Valerie, and their classmates and neighbors Alec, Ben, and Vernon. Spufford describes in exquisitely observed detail the moment of the bombing with prose like this: “The moving thread of combustion, all combustion done, becomes a blast wave pushing on and out in the same directions, driven by the pressure of the livid gas behind. And what it touches, it breaks. A spasm of deformation, of dislocation, passes through every solid thing, shattering it to fragments that then accelerate outward themselves at the forefront of the wave.” That’s only a snippet of the carefully described moments that set off the story. You can see why Spufford’s nonfiction has won such praise.

Throughout the rest of the novel, Spufford imagines “all the futures they won’t get” and asks, “How can that loss be measured, how can that loss be known, except by laying this absence, now and onwards, against some other version of the reel of time, where might-be and could-be and would-be still may be?” The book goes on to image these might, could, and would be’s for each of the five children, through the decades. If this sounds sentimental, it’s far from it.

Each of their stories through the decades includes moments of happiness and grief. The only one who seems like he causes irreparable harm without much desire to atone is Vern. But each of the others to one extent or another also experiences or even causes some grief or another, mostly inadvertently. Ben may be my favorite. As a young man he’s haunted by fears he can’t explain, and (mis)treated for mental illness, but he ends up the most contented of any of them. And in the end, he has a vision of sorts:

“But if the different bits and pieces of his life, rising, lofted as if by a bubble of force from below, are arranged in a messy spiral of hours and years, then mightn’t there be a place, mightn’t there be an angle, from which you could see the whole accidental mass composing, just from that angle, into some momentary order you never could have noticed at the time? Mightn’t there be a line of sight, not ours, from which the seeming cloud of debris of our days, no more in order than (say) the shredded particles riding the wavefront of an explosion, prove to align? Into a clockface of transparencies. This whole mess a rose, a window.”

The book begins and ends with particles of life, shattering at the start from the bomb, coalescing in the end in the musings of an old man. It’s a lovely structure within which to hold these lives, and a gentle pulling together of the two ideas that drive the book: that the zillions of moments that together make up our millions of lives come together into a composite whole that looks different from different viewpoints, and that we only have so much time in this world to be what we are to each other. While he gives these children more time in the novel, Spufford reminds us in the end that they had none of it.

A lovely book that affords some empathy to even its darkest characters, Light Perpetual is a good read.

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Just Like You by Nick Hornby

I’ve enjoyed several of Nick Hornby‘s books over the years. Especially High Fidelity, How to Be Good and Funny Girl. So I knew I would probably enjoy his latest, Just Like You. And I did — I read it in two nights, unfortunately two very late nights because I didn’t start reading until way too late. It’s the story of Joseph, a black twenty two year old who works in a butcher’s, a gym, and a football club as a kids’ coach, and dreams of making electronic music and being a famous DJ. And Lucy, a forty-two year old white English teacher and single mom of two boys. As in many of Hornby’s books, these main characters fall in love and then struggle to figure out what to do, whether to work at being a couple of allow things to end, etc.

The age difference causes them some consternation. For example, Joseph figures out that Lucy and his mother are the same age. Their perspectives on Brexit are different, although Joseph sees both sides. And although Hornby takes pains to make clear that interracial relationships are not an issue in London, Lucy & Joseph experience some friction. For example, when Joseph plays a new song he’s working on and Lucy suggests it needs vocals and says he must know a lot of people who can sing, and he wonders whether she thinks all black people are musical. Or when her neighbor is suspicious of a young black man at her door at night. Or when a girl he took out gives him a bit of a hard time about the rumors that he’s dating a white woman, and when he takes Lucy out to a club with his friends and is afraid it will be awkward because he thinks she dances strangely (Hornby isn’t clear about why, and implies it’s a generational difference). And yet, Hornby’s enduring belief (at least in his books) in people’s underlying kindness prevails, because even when they stumble with each other (or others), Joseph and Lucy end up redeeming themselves.

Now, I have already noted I enjoyed the book. It was entertaining, and I can see it being adapted, as so many of Hornby’s books have been, into a film. There is an entire subplot about Brexit that is interesting (it gets into who is voting which way and what, if anything they know about each other’s perspectives). Hornby as always provides amusing social commentary with plenty of little details that bring the people and places to life. And as he often does, he looks at life through the eyes of people different from each other, with different backgrounds and experiences.

But, I couldn’t help but wonder about Hornby writing from a black man’s perspective — . Then I wondered, how do I feel about him writing from a woman’s perspective? And haven’t writers down the ages written from other genders and cultures than their own? Maybe because this book is well written, entirely fictional, and at its core, an entertaining love story, I feel better about this than I did when I recently reviewed a historical novel written by a white writer about a black man? And because Hornby makes both Lucy and Joseph, and their friends and families, complex people, and not “types,” who have to understand all kinds of differences about each other. Most of them are neither “good” or “bad” but whole humans who figure out what to do or say in the moment, like most of us. And Hornby also makes it clear that Lucy and Joseph share a lot: discomfort with their parents’ views, nervousness about whether their friends will be kind to their new partners, the desire to share each others’ interests, awareness of their own differences and a desire to bridge those, love for each other and for Lucy’s sons, generosity of spirit.

I kept hunting for stereotypes, and while Hornby has some fun with London liberals who think they’re so “good” (as he does in other books), I didn’t really find any. I don’t know his view on Brexit but he’s generous to both sides and makes clear that the “debate” in the public sphere wasn’t terribly helpful to actual publics, which is probably pretty accurate, if American “debates” are anything similar. I read a review that implied Joseph’s interests in football and DJing are “cultural” stereotypes, but I have a white son who at 22 was very into both. There are plenty of 22 year olds who are into some kind of sport and some kind of music, regardless of their “cultural” background. The same reviewer took issue with Hornby using urban slang. I wondered, again, if that isn’t more or less what writers have always done. And whether that is just his screenwriter’s ear for detail at work. I could see this being a good movie.

Anyway, this was a fun, humorous read, but with enough interesting materials to discuss (age differences in relationships, family dynamics, how the Brexit vote was presented to the public) to make it potentially interesting to book clubs that like love stories.

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Human Voices by Penelope Fitzgerald

Human Voices is a short novel by Penelope Fitzgerald, set during the blitz at BBC headquarters. Fitzgerald worked there herself at that time, when she was in her 20s.  She writes about one department where Sam Brooks is “RPD” (Recorded Programme Director) and he has a young staff of assistants who manage much of the work while he signs endless piles of letters prepared by the motherly Mrs. Milne and designs field equipment for the time in the not too distant future when he expects BBC teams will be sent into Europe to cover the war on the ground. His longtime friend Jeff Haggard is “DPP” (Director of Programme Planning), higher ranking and often in a position to defend the somewhat eccentric and self-absorbed RPD.

Against this backdrop of the men in charge, Fitzgerald also weaves in the stories of the young programme assistants who work for the RPD of the younger people, like Willie, who is constantly planning for a future ideal society; Vi, who comes from a large family and is waiting for her boyfriend in the merchant marines to come home; Lise, a half-French girl who only works a short time in the RPD’s office and has one of the most dramatic scenes in the book; and Annie, still a teen and recently orphaned, who stands up to the RPD in ways none of the others has.

The DPP has another good friend, the American broadcaster Mac McVitie, who breezes in and out of London with gifts. There’s a scene where he’s given out oranges and the assistants in the Recorded Programme office are dividing them among themselves that makes clear how unusual McVitie’s presents are for the Londoners. When he’s there, he records at the BBC and goes out looking for a drink or a chance to meet ordinary people on the street with the DPP.

What’s most striking is that quirky as they are — one team sent into the countryside to preserve quintessential English sounds come back with hours of recordings of a church hall door opening, creaking louder when it’s opened wider — Fitzgerald portrays the entire enterprise as devoted to truthful broadcasting. And despite the tone, which is mainly breezy and focused on the younger people’s cares, which are much like young people’s cares anywhere, anytime, Fitzgerald shows very skillfully how the tension of the time creeps into every aspect of life. Relationships, work, leisure — everything is impacted by the struggle to overcome the daily strain of working in a war zone.

I enjoyed Fitzgerald’s The Bookshop, and this was just as enjoyable. I happened across it on Hoopla, when I was going through a list of books I’d hoped to find at the library at some point. Entertaining, but with enough humanity and pathos to keep me thinking about it long after I got to the end.

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A Glass of Blessings by Barbara Pym

I’ve had a couple different people suggest Barbara Pym as pandemic reading. I’d read Jane and Prudence, albeit quite some time ago. I was hunting all over for it, thinking I’d re-read it, and never found it. Tonight I realized, when I looked back at my review, that I took it to my grandmother!

Anyway, after a spate of more serious reading, I decided to take a look at whether any of Pym’s novels were available as an eBook through my libraries. I was able to find A Glass of Blessings and have enjoyed it. Pym’s work is not plot-heavy. Instead she explores the inner life of her main character, in this case Wilmet Forsyth, and the time they live in. Wilmet is a woman in her thirties, a former Wren, living in London in the late forties or early fifties.

Wilmet is married to her wartime beau, Rodney, and they live with his mother. Rodney works at an unnamed ministry. They have no children, and Wilmet is self-conscious about having little to occupy her time. She attends an Anglo-Catholic church, and has a few friends: Mary, a fellow parishioner who briefly explores a religious vocation; Rowena, her best friend from their Wren days, Rowena’s brother Piers. Wilmet, over the course of a year, entertains the idea of taking a lover, flirts with Rowena’s husband Harry, tries to flirt with Piers, and worries that she is “a horrid person.”

But she isn’t. She’s kind to her mother-in-law. She worries about Mr. Bason, who wasn’t any good at his ministry job and becomes the cook and housekeeper for the clergy at Wilmet’s church. She is concerned for Piers, who hasn’t settled into regular work and seems to be going through a low period. She befriends Pier’s flatmate Keith, even though he is a bore. She cares about Mary, who is grieving as well as determining what to do with her life. Wilmet simply can’t see all the ways she is helping people.

Pym captures Wilmet’s feelings, her thoughts, the way our minds work. In one scene, where she is visiting Mary, Wilmet can’t get to sleep. She thinks, “It seemed as if life had been going on around me without my knowing it, in the disconcerting way that it sometimes does, like the traffic swirling past when one is standing on an island in the middle of the road.” And a few sentences later, “I tried to remember our time in Italy, but all that came into my mind were curious irrelevant little pictures — ” The pictures get tangled up with her current life’s pictures as she drifts into sleep. That seemed to me one of the more accurate descriptions of lying awake fighting an active brain that I’ve ever read.

The other striking thing about the characters in A Glass of Blessings is that none of them seem likely to be people whose lives would garner enough attention to be recorded in fiction. A bored housewife. A young, religious woman unsure of her future. A man who doesn’t have the kind of job or apartment expected of someone like him. A widow living with her son and daughter-in-law, with an amateur interest in archeology. A man with a talent for cooking and a taste for “beautiful things.” But Pym makes this mosaic of ordinary people doing ordinary things — living — into a lovely, quiet, and reflective story about who we are to each other.

I also thought it felt quite contemporary in another striking way: Wilmet and Mary are regular churchgoers but the rest generally don’t go, even at Christmas. There are any number of interesting Anglican issues of the day alluded to — the Oxford Movement, the question of the Church of South India (which I had to look up), the question of priest celibacy. There is also a sense of unreality reading something set at a time when ordinary people could afford to live in London.  All of that made A Glass of Blessing an interesting diversion. Probably not to everyone’s taste, but a nice, calm antidote to today’s reality.

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Ordinary Thunderstorms by William Boyd

My grandmother used to find mysteries soothing. If the news was bad, or she was worried about something, she felt there was nothing like a good mystery. Arguably the news is perpetually bad, but I’m also worried and/or preoccupied by a good many things at work and home. A good friend of mine used to tell me that after work, all she wanted was a book with a body in it. With that advice, and my grandmother’s, in mind, I picked up Ordinary Thunderstorms by William Boyd, which I bought at a small used bookstore in Prescott, Arizona, last fall when I visited family after a conference.

I first found William Boyd’s work at the Five Colleges Book Sale. I picked up Armadillo in part because it was a Penguin Street Art edition and the cover caught my eye (to the Computer Scientist’s continuing amazement, I sometimes buy wine that way, because the label caught my eye). I’ve kept an eye out ever since for his novels when I’m at sales or used bookstores, because I loved Armadillo, which opens with a man coming across a dead body and unspools the impact this has.

Ordinary Thunderstorms starts in a similar fashion. A young man, Adam Kindred,  through sheer chance, chats with a stranger in a restaurant, realizes he left a file behind, tries to return it to him, and ends up interrupting the man’s murder. He tries to help the man, who dies, and even in his shock, realizes that he, Adam, will be taken for the murderer because his prints are now in the man’s apartment and even on the murder weapon.

Boyd imagines what it would take in a modern city, in this case London, to disappear. Those who don’t use services the rest us take for granted like credit cards, ATMs, phones, etc. become “invisible or at least transparent, your anonymity so secure you could move through the city — uncomfortably, yes, enviously, prudently, yes — like an urban ghost.” As Adam becomes a ghost and tries to understand the circumstances that led to his new life, we meet Rita, a police officer called to the murder scene; Mhouse, a prostitute who tries to both fleece and help Adam; Jonjo, former soldier turned assassin whose life is permanently changed by the interrupted murder; and Ingram, CEO of the small pharmaceutical firm that was developing a new asthma drug based on the murdered man’s research.

Boyd brings these disparate lives together as Adam works to return to a fully human life, if not nearly the life he once had. Most of Boyd’s characters are neither fully good nor fully bad. He manages to elicit occasional sympathy for Ingram, the privileged CEO, who is desperate to restore at least one relationship in his mostly shallow life; and occasional contempt for Adam, who can be ruthless even though he knows what it’s like to be utterly lost because of others’ ruthlessness. In my view the ending left room for a sequel, although I couldn’t find any evidence that Boyd plans to write one. Readers are left with Jonjo vowing to exact revenge and Adam unsure of whether to tell Rita his full story. among other loose ends.

Despite this untidy ending — which is probably truer to life than a neat ending would be — Ordinary Thunderstorms is a satisfying “book with a body in it.” It was a page turner but also made me think about lives quite different than my own (in different ways). It was an interesting book, with a lot of insight into contemporary London, the pharmaceutical industry, and human social structures. And, it took my mind off the many things preoccupying me. A good read.

 

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Mrs. Dalloway by Virginia Woolf

My bookclub read Mrs. Dalloway this month. I read it, and other work by Virginia Woolf, in college, but re-reading it was enjoyable. I remembered the book generally, but re-reading it I was struck once again by Woolf’s creativity and daring. She addressed things that we are still struggling to talk about today — gender roles in society, mental illness, post traumatic stress, income inequality and its impact on opportunity. And she did it in a beautiful, poetic book with some very memorable characters who are also reflecting on what they’ve done with their lives, and how they’ve fared in terms of love and family.

To me, the way that Woolf juxtaposes Clarissa Dalloway’s inner life with the other characters’, is brilliant. She compares the constricted life of Clarissa as a society hostess with the limits that restrict Septimus Smith, a shell-shocked WWI veteran whose promising future is strangled by mental illness; Miss Kilman, whose class, intellectual ability and fervor, and appearance place her firmly outside Clarissa’s and her daughter Elizabeth’s social orbit; and Peter Walsh, whose passions and probably bad luck seem to have limited his ability to achieve his full potential in life.

The minor characters are also wonderful — Septimus’s Italian wife Rezia, Clarissa’s husband Richard, Hugh Whitbread, Sally Seton, Lady Bruton. While the style of the book doesn’t call for full character development, I feel Woolf paints exquisite miniatures of each, and we get glimpses of their humanity, their longings, their minds, their limitations in the details she portrays — Peter with his pocket knife, Clarissa mending her dress, Richard bringing Clarissa flowers, Rezia making a hat, Lady Bruton holding court at lunch before consulting Richard and Hugh about her letter and then, snoring on her couch. Woolf creates these portraits with prose that is somewhat strange and quite lovely, a little like poetry, a little like a dream sequence in a film, such as this passage where Septimus is in a park waiting until it’s time to go on to Harley Street to see a new doctor:

“He had only to open his eyes; but a weight was on them; a fear. He strained; he pushed; he looked; he saw Regent’s Park before him. Long streamers of sunlight fawned at his feet. The trees waved, brandished. We welcome, the world seemed to say; we accept; we create. Beauty, the world seemed to say. And as if to prove it (scientifically) wherever he looked at the houses, at the railings, at the antelopes stretching over the palings, beauty sprang instantly. To watch a leaf quivering in the rush of air was an exquisite joy. Up in the sky swallows swooping, swerving, flinging themselves in and out, round and round, yet always with perfect control as if elastics held them; and the flies rising and falling; and the sun spotting now this leaf, now that, in mockery, dazzling it with soft gold in pure good temper; and now and again some chime (it might be a motor horn) tinkling divinely on the grass stalks — all of this, calm and reasonable as it was, made out of ordinary things as it was, was the truth now; beauty, that was the truth now. Beauty was everywhere.”

Mrs. Dalloway is a sad book, but that was the point — to help readers feel. As writer and scholar Maureen Howard wrote in her forward to the 1981 Harcourt paperback edition, “As readers of Mrs. Dalloway fifty years after its publication, we see that the novel endures. We admire the originality of concept, the brilliance of style, but it is the feelings in the book that remain so very fresh and we wonder that Virginia Woolf had to ask herself ‘How can one weigh and shape dialogue till each sentence tears the shingles in the bottom of the reader’s soul?'”

 

 

 

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Letter from Grosvenor Square by John Gilbert Winant

The subtitle of John Gilbert Winant’s memoir of his time as US Ambassador to Britain during WWII is “An account of a stewardship.” Several years ago I read Lynne Olson’s terrific history of this time, Citizens of London and I became a fan of the unassuming Winant. His view of ambassadorship as stewardship is one of the reasons why: he was a public servant, who took seriously his call to serve the greater good and not American interests alone.

Winant opens the book, addressed to Geoffrey Story Smith godfather of Winant’s son John, by explaining that he is writing from the flat in the embassy building in London, which he is moving out of, reflecting on the momentous years he’s lived there. “One of the deeper reasons for wanting to write to you is the growing disillusionment of today; which not only dims and obscures the present, but is trying to cloud the past.” He wants to set the record straight: men and women did selfless things, quietly heroic things, to defeat fascism.

What’s especially moving about that line  is that Winant committed suicide around the time Letter from Grosvenor Square was published. The book is so full of kind and admiring observations, even about people who don’t come across as well in other accounts, like Roosevelt. Winant seemed to see the better nature of people, and to principles of fairness and justice, including fair labor practices. After describing how women contributed to the British war effort, he notes, “The part women played is still a binding force in the light and life of human progress.”

Because this is a first person account and not a history, it’s incomplete — Winant tells the things he felt were memorable or notable about his work, and the work of those around him. He explains some details of U.S. farm policy that made it possible to supply England with more food, but he doesn’t talk about his son being shot down and taken prisoner by the Germans, except briefly in the opening chapter addressed to Smith. And he tells a number of stories about Churchill and other British leaders but speaks particularly admiringly of ordinary British people who carried on with their lives regardless of the relentless German bombing.

If you want the full story of Winant’s time as ambassador, don’t miss Citizens of London, and if you want a glimpse into the generous spirit of the man who spent his entire adult life in the service of others, read Letter from Grosvenor Square.

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A Summer Bird-Cage by Margaret Drabble

If you’ve followed this blog for any time you know I’m a Margaret Drabble fan. At some point in the last year I came across the 1967 paperback edition of her 1963 debut novel, A Summer Bird-Cage. I read it over the past few days. It’s marvelous, and shows that she was already a powerful, insightful, beautiful, feminist writer at age twenty-four. It makes me both very glad she became a writer and very irritated with my own twenty-four year old self. I was still pretty silly at that age. And had certainly not come into my own thinking by then.

A Summer Bird-Cage is about two sisters. Louise, the elder of the two, who has been “down from” Oxford for a couple of years, and Sarah, who has just come down and then spent some time in Paris. She gets a letter summoning her home to be a bridesmaid for Louise’s wedding — a surprise, since she had no idea Louise was engaged. The rest of the book is comprised of Sarah’s reflections on that time and the months that followed, and what it’s like to be young, well educated, and female at a time when society’s expectations of women are still pretty limited.

At one point one of Louise’s friends asks Sarah what she’d like to do with her life, and she answers immediately, “Beyond anything I’d like to write a funny book. I’d like to write a book like Kingsley Amis . . . .” But she goes on just a few lines later, after the friend calls her “a little egghead,” arguing the term but owning the sentiment and then protesting, “But if you think that implies that my right place is sitting in some library, you couldn’t be more wrong . . . .” But she immediately misses the library. All this after a page or two earlier she told her sister she couldn’t teach at a college because “You can’t be a sexy don.” Sarah is seriously conflicted, in other words. She and Louise talk about wanting it all — love, freedom, intellectual challenge, satisfying work, etc.

In addition to being a novel of social commentary, it’s also, as all of Drabble’s work seems to be, a gorgeous examination of relationships. There are Louise and Sarah, sisters who haven’t been close but come together as they begin to understand each other as adults in a way they didn’t when they were younger. And there is Sarah and her fiancee, absent the entire book, a fellow scholar who’s studying at Harvard. And Sarah and her close friend Gill, who she tries living with in London after Gill’s marriage of equals turns out to be drudgery and falls apart. And Sarah and her cousins, the boring and unattractive Daphne and her brother, the far more attractive Michael.

Drabble is so insightful about human nature. Take this passage, after Sarah and Gill have had a routine roommates’ quarrel about washing the dishes:

Sarah begins, “But I really wanted to tell you about Louise.” And Gill replies, “So you did . . . . You came in full of Louise, and I shut you up like a clam, and here I’ve been going on about you not telling me things. Isn’t it strange how in this kind of thing everything seems to be its own opposite? You know what I mean?”

Sarah thinks, “Again, I did know what she meant, and the joy of having had so many intelligible things said to me during one morning sustained me for the rest of the day. Odd, that one doesn’t mind being called insensitive, selfish, and so on, provided that one can entirely understand the grounds for the accusation. It should be the other way round; one should not mind only when one knows that one is innocent. But it isn’t like that. Perhaps the rare and simple pleasure of being seen for what one is compensates for the misery of being it.”

Think of that, the next time you get into a spat with your roommate.

A delightful read, short but just lovely. The final page has one of those Drabble specialities, an anecdote one character shares and the other thinks something insightful about. I loved every word.

 

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The Radiant Way by Margaret Drabble

I started The Radiant Way by Margaret Drabble in Maine last Saturday, and then came back to the last minute cleaning, cooking, etc. and the Christmas Eve and Christmas festivities, and went back to work on Boxing Day, so it took me several days to finish. This is actually part of a trilogy about the same group of characters, centered around three women who meet at Cambridge in the 1950s. When the book opens, one of them, Liz Headleand, a London psychiatrist, is preparing to host a huge New Year’s bash on the last day of 1979. It ends in June 1985, on her friend Esther Breuer’s fiftieth birthday. Which they spend together, along with their third university friend, Alix Bowen.

In the nearly 400 pages between, Drabble spins the story of these women’s adult lives, occasionally dipping into their childhoods, describing the society they live in (mainly well educated but not posh London, and the north of England, where Alix and Liz are from), the disciplines they devote themselves to (psychiatric medicine for Liz, art history and especially the Italian Renaissance painter Crivelli for Esther, literature and teaching it to under-served people, like women prisoners, for Alix), the men they love, and the children they bear.

As I’ve written here before, I love the way Drabble writes about people as they relate to each other — friends, relatives, lovers — and the way those relationships knit together create society. She works into the story politics and culture, literature and art, anthropology and history and myth, but always returns to the relationships. And these not only populate society but also Drabble’s fictional world. Kate Armstrong, the main character of The Middle Ground appears on the edges of The Radiant Way, for example. As in other Drabble books the women here are serious, thinking people no matter how they spend their days, and she captures the way they manage their own needs, goals, ambitions, work with the care of others in a way that really resonates with me.

I’ve read some criticism of Drabble — she gets too caught up in description and explanation, she injects too much (read too liberal) political commentary into her fiction, she writes about privileged people, her novels are uninteresting for all of the above reasons. But I love her lens, I love vicariously living in her England for a few days, and I love her writing, and I’ve started the second book in the trilogy, A Natural Curiosity.

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The Flight of the Maidens by Jane Gardam

My experiment with reading only (or at least mainly) Europa Editions books til the end of the year might continue — after the last book I wasn’t so sure — because The Flight of the Maidens was the kind of terrific read I hoped for. Of course, I cheated because I knew if Jane Gardam wrote it, I’d love it. This is another book Gardam published quite some time ago but reissued. It’s set in 1946 and tells the story of the summer before three young women head to college — all having won scholarships, all set to leave their small Yorkshire town for a world they know little about, mainly because of the war.

Una Vane is the daughter of a widow who opened a hair salon in the house when she had to manage on her own. Una is off to Cambridge to study physics, but she wants to spend her summer trying to understand her relationship with Ray, who grew up in a poorer part of town and is now a railroad man dabbling in socialist politics. Hetty Fallows is off to a guesthouse in the Lakes District to try to read everything she thinks she hasn’t read before she goes off to college in London. Her father, a gentleman before WWI left him shocked, is a gravedigger and her mother is overbearing and flirts with both the vicar and Hetty’s first boyfriend. And Liselotte Klein, who grew up the foster child of Quakers, spends the summer before she starts at Cambridge piecing together her identity. She can’t recall much about Hamburg, and she knows nothing of how her Jewish family fared and whether any of the rest of them got out. She lands with a mysterious elderly couple in London and then with a distant aunt on the California coast, trying to understand her past so she can decide on her future.

The three friends — Una and Hetty since childhood, Liselotte since they all began to apply themselves to getting into college — go through the pangs of leaving school and starting adult life, along with the challenges of adapting to the postwar world.They have very different experiences but are all in flight, as Gardam imagines. As they struggle to reconcile what they know with what’s in the world and with the hopes they have for themselves and others have for them, the three girls teeter on the edge of womanhood with all the people they know rallying around them to one extent or another. The presence of these people, both dear to them and maddening, provides insights into all kinds of detail about England in the 1940s.

Gardam’s ability to bring people so fully to life, in such vivid detail, never fails to delight. Such vivid people and dialogue — more than many of her books, I could imagine this as a film. I hope it becomes one. Anyway, a terrific read about the end of childhood, the beginning of growing up, the challenge of recovering from war for those in it and near it, the carrying on so many people do when their lives aren’t full of great achievements but they hope their children’s will be. I’m sad that I seem to be all caught up on Gardam’s reissues now.

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