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Three Favourites: Norah Lange, Sally Rooney, and Lauren Groff

people-at-the-roomPeople in the Room by Norah Lange
I purchased Argentinian author Norah Lange’s novella, People in the Room, after randomly coming across it during a weekly browse of the Kindle store.  Much to my dismay, I have read very little Argentinian fiction, and would like to remedy this.  Lange’s novel – which is, as far as I am aware, the only piece of her work currently available in English translation – sounded fascinating.

The introduction, written by Cesar Aira, is both insightful and interesting, despite the fact that it gave quite a lot of the story away.  I loved Lange’s writing style and its translation into English felt fluid.  I loved the way in which almost all of the characters remained unnamed, and the element of obsession was so well handled.

I found People in the Room to be unsettling and beguiling in equal measure. I’ve never read anything quite like it, and could feel the claustrophobia closing in as it went on.  The tension in the novel is almost palpable.  I’m not sure that I have ever read anything quite like People in the Room before, and it is certainly a book which will stay with me for a very long time.

 

Normal People by Sally Rooney 9780571334650
I was a little sceptical about picking up Sally Rooney’s second novel, Normal People, due to the sheer amount of hype which it has been getting since its publication. I have been disappointed before by novels which many others have raved about, and am therefore a little wary whenever I see the same cover splashed over blogs and BookTube. However, I need not have worried.  Normal People is wonderfully perceptive, and I got a feel for its two main characters, Connell and Marianne, immediately. There is a lot of dark content here, which becomes more prominent as the novel progresses, and I cared immensely for the protagonists.

The structure which Rooney has adopted here was effective, and kept me interested throughout. I admired the fact that she focuses in such detail upon relationships, and the ways in which they can shift. There are some very topical issues which have been tackled well here. Whilst I was a little disappointed by the ending, which I felt was a little too twee to match the tone of the rest of the book, Rooney’s writing is so pitch-perfect, and her characters so real, that I could not give this anything other than a five star rating.

Normal People is incredibly immersive; beware, and only pick it up if you have a whole afternoon free to spend in its company. I read this in two sittings, as I could barely put it down, and am now incredibly excited to get to her debut, Conversations with Friends.

 

91gogy5bsxlFlorida by Lauren Groff
Lauren Groff has been one of my favourite authors for years now.  I have always been astounded by how much atmosphere she creates, and yet how succinct her writing still is.  The stories in her newest collection, Florida, have the US state at their centre, ‘its landscape, climate, history and state of mind’ are what each character and each plot revolve around.  I love collections with a centralised heart like this, and loved being able to revisit Florida without having to take another eight-hour flight.

Showcasing eleven stories in all, and coming in at less than 300 pages, Florida is a truly masterful collection.  Groff demonstrates her insight and understanding of the diverse state in which she lives, and the sense of place which she creates is always highly evocative.  In ‘Ghosts and Empties’, for example, she writes: ‘The neighborhood goes dark as I walk, and a second neighborhood unrolls atop the daytime one.  We have few streetlights, and those I pass under make my shadow frolic; it lags behind me, gallops to my feet, gambols on ahead…  Feral cats dart underfoot, birds-of-paradise flowers poke out of the shadows, smells are exhaled into the air: oak dust, slime mold, camphor.’  In this story, we are walked through what was once a poor neighbourhood, but which is beginning to gentrify.

Groff showed me a Florida which I was largely unaware of in these stories, and which I haven’t seen with my own eyes.  Tales are set in Florida during the cool wintertime, as well as in areas which I haven’t visited – the Everglades, for instance.  The darker side of life nestles up against the bright vibrancy which tourists see.  Never is Groff’s version of the Sunshine State sugarcoated; she shows poverty, homelessness, abandonment, neglect, and death.  Throughout, she challenges perceptions, and she does this so well.

One never knows what will happen in one of Groff’s stories, and this collection shows just how strong a writer she is.  Each tale is perfectly formed, and together they provide a kaleidoscopic view of a state at once beautiful and wild.  As anyone familiar with her work will know, she uses magical realism to perfection.  Florida is a wonderful short story collection, and one which I cannot recommend enough.

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‘The Priory’ by Dorothy Whipple *****

I had been saving the fortieth Persephone publication, Dorothy Whipple’s The Priory, for a literal rainy day.  Take it from me – there is little better than a new Persephone to get stuck into when the rain is pouring down outside, and you’ve finished running all of your errands.  A chunky novel such as The Priory provides an even better treat.  I therefore settled down to read this on a gloomy September day.

First published in 1939, and set in the late 1930s, The Priory was the third of Whipple’s novels to be republished by Persephone.  The novel takes place in Saunby Priory, a ‘large house somewhere in England which has seen better times’.  Like much of Whipple’s work, it follows a central family, as well as those connected, in various ways, to them.

At the heart of this novel are the Marwoods; the widowed Major father, and two adult daughters, Penelope and Christine, who still live at home.  The sisters are described by the publishers as being ‘more infantile than most’; they have been sheltered from the outside world throughout their lives, and have very little independence to speak of.
9781903155301

When the reader is introduced to the Priory, it is ‘… still dark.  To the stranger it would have appeared deserted…  [There was] a cold glitter of water beside it, a cold glitter of glass window when clouds moved in the sky.’  At this point in time, the young women are in the nursery, surrounded by a dressmaking pattern.  They have not moved from the nursery since they were born: ‘Their set of rooms was quite complete; a little world of its own shut off from the downstairs adult world by a stout oak door at the top of the stairs.’  This isolation, much of it self-imposed, has had a real effect on the sisters.  Whipple writes that it had ‘encouraged in them the family tendency to detachment.  They didn’t like to be asked to do anything, they didn’t like to be asked to do anything, they didn’t like fixed hours or fixed appointments, they didn’t like taking part in other people’s affairs at all.’

Penelope and Christine’s spinster aunt, Victoria, sits three storeys below them, ‘in the dark, her white stockings alone betraying her presence.’  The women, and the servants, are all waiting for the now impoverished Major Marwood to put the electricity on at the outset of the novel.  Whipple comments: ‘Since he was very economical in everything that did not directly affect his own comfort, the household had to wait for light until he wanted light himself.’

Major Marwood received the Priory as inheritance, but continually laments that he did not just stay in the army: ‘… Saunby was a mill-stone round his neck; a beautiful and honourable mill-stone, a mill-stone conferring great distinction, but a mill-stone.’  Very early in the novel, he decides to propose marriage to a woman named Anthea, some years his junior.

When her acceptance is revealed to the sisters, they are shocked: ‘To marry at forty and fifty.  It shouldn’t be done.  Such bad taste…  their own father…  What amazed them now was that he was going to be different, he was going to be connected with somebody else, with a wife?  It was incredible.  It was stupefying.’  They go out of their way to stay out of Anthea’s way, spending more time than ever in each other’s company.

I do not want to give anything away about the plot, as one of the real delights of The Priory is the changes of direction which it takes.  Whipple’s story, and her characters, are both splendidly drawn.  Whipple’s characters immediately feel so realistic.  They are concerned with real, understandable things, and their relationships with one another are multilayered and complex.  Whipple is so interested in how her creations are affected by circumstance, particularly when this suddenly or dramatically changes.  Few authors reveal quite as much as Whipple does about her characters.  I soon became absorbed into the world of the Marwoods.  Their development is steady and believable.  There is a quaintness to Whipple’s work, but her writing, as ever, holds what feels like a very modern quality.

I am thrilled that so much of Whipple’s work has been republished by the wonderful Persephone Books, and so pleased that I still have a few titles outstanding to read.  Reading The Priory was a delight from start to finish, and I absolutely adored it.

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‘Multitudes’ by Lucy Caldwell *****

I have wanted to read Lucy Caldwell’s work for such a long time, and decided to start with her short story collection entitled Multitudes.  It has been praised by reviewers and critics alike since its publication in 2016.  Eimear McBride comments that these tales are ‘beautifully crafted, and so finely balanced that she holds the reader right up against the tender humanity of her characters.’  The Scotsman remarks that the collection ‘feels like a truly unified work of art.’  Caldwell has won numerous awards, and was also shortlisted for the BBC International Short Story Award in 2012.

9780571313501The eleven stories in Multitudes largely take as their focus childhood and adolescence, and each one contains the concept of growth, rendered in different and interesting ways.  The lives which Caldwell captures here are described in the book’s blurb as ‘caught in transition between the in-crowd and the out, between love and loneliness, between the city and the country, between home and escape.’

I was immediately struck by the way in which Caldwell captures things.  In the story ‘Thirteen’, she writes: ‘Susan and I have been best friends since nursery school – since before nursery school, we always say to each other, in actual fact since Mothers and Toddlers in the hall of the Methodist church on the corner where her street meets mine.  I don’t remember that far back, only vaguely – plastic cups of orange squash and dusty, frilled-edge biscuits, the smell of floor polish – but I can’t remember, let alone imagine, life without her.’

Caldwell has such a realistic perception of how spiteful adolescents can be, and how elements of our childhood become inescapable in adulthood.  The concerns of her characters, and their actions and reactions, are so human.  In ‘Poison’, the narrator sees, years later, a teacher who caused a scandal at her school; ‘Killing Time’ presents a sudden impulsive suicide attempt; the narrator of ‘Chasing’ moves back to their childhood home, and finds very early on that this course of action is ‘not the answer’; and a lesbian relationship is hidden from everyone around the protagonist of ‘Here We Are’.  There is much exploration in Multitudes of female friendships, and the small toxicities which they so often hold.  Love, lust, deception, desire, and guilt have all been chosen as major themes in Multitudes.

Caldwell perfectly controls the vividly rendered physical environments of her stories, and often juxtaposes out-of-place characters into them.  In ‘Poison’, for example, she writes: ‘She had too much make-up on: huge swipes of blusher, exaggerated cat-eyes.  She glanced around the bar, then she took out her phone again, clicked and tapped at it.  She wasn’t used to being alone in a bar like this.  It was an older crowd and she felt self-conscious, you could tell.’

Caldwell creates such empathy for her wholly memorable cast of characters, and deals with a host of very serious subjects along the way.   The author has such a knack for writing plausible characters, and I found myself repeatedly unable to guess where the stories would end up.  Multitudes is such an absorbing collection of short stories, and one which I savoured.  I found myself pulled into each one of the narratives from their very beginnings.  Thought-provoking and refreshing, this is a collection which I cannot recommend highly enough, and I am now on the hunt for the rest of Caldwell’s books so that I can become absorbed within her writing once more.

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‘Last Stories’ by William Trevor *****

William Trevor seems to be a much adored author in the blogosphere, and he has been on my radar of authors to try for a number of years.  Before picking up his posthumously published collection, Last Stories, I had only read a Penguin Mini entitled Matilda’s England.  I liked this well enough, but it did not push me to pick up any more of Trevor’s work, and I wish it had.

9780241337769Trevor is described on this particular book’s blurb as an author ‘widely regarded as the greatest writer of short stories in the English language’.  This high accolade is matched by John Banville, who calls him ‘at his best the equal of Chekhov’, and Yiyun Li credits him with her entire writing career.

I chose to begin what will hopefully be an exploration of Trevor’s entire oeuvre with his final collection of stories, simply because it was the only volume written by him which my local library had in stock.  It is comprised of ten stories, all written towards the end of his life.  The blurb of Last Stories declares that Trevor ‘illuminates the lives of ordinary people, and plumbs the depths of the human spirit.’

Largely, Trevor’s stories focus upon normal, everyday occurrences, which could, in theory, affect us all.  In ‘At the Caffè Daria’, two women who used to play together as children – ‘Anita round-faced and trusting, Claire beautiful already’ – meet by chance in a London café, and Trevor recollects their complex history.  Of single mother Rosanne in the story entitled ‘Taking Mr Ravenswood’, he writes: ‘Sometimes it wasn’t bad, being alone, especially when she was tired it wasn’t, no effort made, none necessary, and the silence when the television was turned off came like a balm.  But the silence could be a vacuum too, and often felt like that.’  The protagonist of ‘Giotto’s Angels’ is suffering from amnesia.

There is such a knowing quality to Trevor’s writing, and in consequence, one immediately gets a feel for each of his characters.  We are made aware of what is important to them, as well as things that have occurred in their lives which have some impact upon their present selves.  He displays such complex human emotion, and dignifies every single one of his characters in Last Stories with motives and realistic feelings.  In ‘The Piano Teacher’s Pupil’, for instance, Trevor writes: ‘All her life, she often thought, was in this room, where her father had cosseted her in infancy, where he had seen her through the storms of adolescence, to which every evening he had brought back for his kitchens another chocolate he had invented for her.  It was here that her lover had pressed himself upon her and whispered that she was beautiful, swearing he could not live without her.  And now, in this same room, a marvel had occurred.’

Relationships and loneliness are at the core of Last Stories.  In ‘The Unknown Girl’, a young woman is killed in a traffic accident, and one of her previous employers, Harriet, is asked if she can give any details about her, for ‘nothing appears to be known about the girl.  Little more than her name.’  In the same story, Trevor sets out, in a discerning manner, the relationship between Harriet and her son, Stephen: ‘… this evening, as on other evenings, an undemanding affection one for the other made their relationship more than it might have been.  Their closeness came naturally, neither through obligation nor for a reason that was not one of feeling; and it was never said, but only known, that different circumstances, coming naturally also, would change everything.  They lived in a time-being, and accepted that.’

Last Stories is an exquisite collection, by a thankfully prolific author.  The tales here are thoughtful and perceptive, and I felt pulled into each of them straight away.  The stories are all quiet ones, but they and their characters are still rendered highly memorable by the strength of Trevor’s prose, and his insight.  There is an element of unpredictability here, and some of the stories certainly surprise.

I feel so lucky that I have Trevor’s entire oeuvre to read my way through, and imagine that the stories which I find will be just as touching and memorable as those collected in Last Stories.  I can see him becoming one of my favourite authors, and cannot recommend this collection enough.

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‘Minnie’s Room: The Peacetime Stories’ by Mollie Panter-Downes *****

I have read, and very much enjoyed, many books published by Persephone over the years – as, indeed, have many of the bloggers and readers I follow.  I was thrilled when I came across a copy of Mollie Panter-Downes’ peacetime stories, Minnie’s Room, in my local library.  I loved both her War Notes, and Good Evening, Mrs Craven, a collection of short stories set on the Home Front during the Second World War.  I snatched up the copy (carefully, of course), and went home immediately to begin reading it.

Minnie’s Room is a companion of sorts to Good Evening, Mrs Craven.  Comprised of ten 9781903155240stories, all of which are set outside of the Second World War, the collection runs to just 125 pages.  Panter-Downes began to write these tales immediately after she finished her much respected novel, One Fine Day, which I have yet to pick up.  They are all dated throughout the collection, and were written largely between 1947 and 1954.  The final story, however, was penned in 1965.

In Minnie’s Room, Panter-Downes shows different aspects of British postwar life.  She focuses acutely upon the English middle class, who, as the publisher’s note explains, were ‘struggling to try and live in the same way that they had enjoyed before the war.’  This note goes on to say: ‘Many of the stories are about people who once had glorious lives, either because they were more affluent or because they were powerful in India or simply because they had once been young and were now old.  In every case they are images of a once-great past now brought low.’

The titular story of the collection is about a family who are astounded that their maid, Minnie, wants to leave their employ in order to live out her days in a room of her own.  Minnie’s goal in life is highly Woolfian, although rather than yearning for a space in which to work, she longs for a room in which she can rest.  Panter-Downes’ omniscient narrator notes: ‘If a woman got to a certain age without finding a husband and kids, Minnie’s philosophy stated, she ought to have something of her own, even if it were only one room that belonged to nobody else.’

Panter-Downes explores different kinds of relationships in Minnie’s Room, but seems particularly interested in the correlation between employer and employee.  She looks at the middle classes, and how they relied in this period upon hired staff – the maid in ‘Minnie’s Room’, the nurse caring for an elderly charge in ‘Beside the Still Waters’, and the nanny of a woman whose childhood memories are collected in the quite beautiful story ‘Intimations of Mortality’.

Familial relationships, too, and their often tumultuous nature, find a place in these stories.  In ‘Beside the Still Waters’, to use an example from above, Panter-Downes comments: ‘Her brothers and sister… greeted one another amiably but without enthusiasm.  Meeting seldom, they generally parted as speedily as possible, and with a certain amount of relief.  On such occasions, Cynthia found it difficult to think of herself and these three middle-aged adults as having at any time constituted a tight little unit known as a family, with a shared roof, habits, sentimental associations, and terms of reference.’

Panter-Downes’ observations are keen, and rather striking.  She describes physical interiors with such attention to detail that they seem to be built before the very eyes.  In the collection’s title story, for instance, she writes: ‘All the Sotherns were substantially built, and their house in Bayswater was veiled with muffling plush curtains and full of large, softly curved objects filled with down, covered with rosy glazed chintz, or padded with leather.  Even the china figures in the drawing-room cabinets contributed to the overstuffed effect, representing, as they did, bonny, plump shepherdesses and well-fed sheep.’

I particularly enjoyed the way in which Panter-Downes fleshes out her characters.  In ‘The Old People’, a family, complete with grandparents, have gone on holiday.  Panter-Downes describes the working father in the following manner: ‘Lance had appeared at breakfast that morning in shorts and an open-necked blue shirt, but the holiday garb sat on him strangely, with the look of a carefully planned fancy dress that would win its wearer a prize at a dance on board ship.  His short legs, unveiled once a year, had a curious air of still being covered by a species of spiritual tweed.’  In this manner, which continues throughout the book, Panter-Downes unfailingly strikes the perfect balance between seriousness and amusement.

However commonplace these stories and characters may seem at first, each tale offers up an element of surprise.  These range from something merely glimpsed, to a revelation to the protagonist in question.  Each has been placed perfectly into the narrative, and each made me consider something within the story.  The tales here are brief, running to around 12 pages each on average, but in every single one, realistic characters and scenarios are presented.

I have admired Panter-Downes’ work for years, and am disappointed that it took me so long to pick up a copy of Minnie’s Room.  The collection was fascinating to read, and it further cemented for me just how incredibly perceptive its author was.  Time and again, she evokes an England which is utterly recognisable, but which is largely gone.

The stories in Minnie’s Room are largely quiet ones, but they deal with large and important topics – illness, relocation, sadness, poverty, and death, to name but three.  Panter-Downes’ sharply rendered insights into her characters have a kind of empathy to them at times.  I found Minnie’s Room a real treat to read, and look forward to the day when I can finally get my hands on a copy of One Fine Day.

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One From the Archive: ‘The Emperor’s Children’ by Claire Messud *****

First published in 2019.

After adoring Claire Messud’s The Woman Upstairs, and very much enjoying her latest novel, The Burning Girl, which I read in Florida last year, I was keen to pick up another of her books.  I chose a gorgeous Picador Classics edition of The Emperor’s Children, which was longlisted for the Man Booker Prize.  The novel is set in New York in 2001, when ‘the whole world shifts’.  In it, Messud explores ‘how utterly we are defined by the times in which we live.’

The Independent on Sunday calls Messud’s 2006 novel ‘a masterpiece’, and The Times deems it ‘thrillingly real, alive and utterly convincing… [an] intensely pleasurable reminder of the possibilities of the English language’.  The New York Times concurs, writing that ‘Messud does a nimble, quicksilver job of portraying her central characters from within and without – showing us their pretensions, frailties and self-delusions, even as she delineates their secret yearnings and fears.’  It is, promises its blurb, a novel which ‘brings us face to face with the enduring gap between who we are and who we long to be.’

9781447289418The Emperor’s Children focuses on four characters, three of whom – Danielle Minkoff, Marina Thwaite, and Julius Clarke – became firm friends whilst studying at Brown University during the 1990s.  They are ‘young, bright New Yorkers living at America’s beating heart in the early years of the twenty-first century’, and are joined.  The fourth character is Marina’s socially awkward cousin, Frederick Tubb, who is known as Bootie.  He is ‘fresh from the provinces and keen to make his mark’ on the world.  His arrival causes the three other protagonists to ‘confront their desires and leaves them dangerously exposed.’  Also examined in part are the parents of Danielle, Marina, and Bootie.

Danielle is working as a television producer, Julius makes his living by taking temporary secretarial job, and moneyed Marina has been procrastinating by halfheartedly working on a book for several years.  In his introduction to the volume, Neel Mukherjee describes Marina as the ‘aimless daughter of the Thwaites, casting about for something to do and using her ongoing project of writing a book about Americans dress their children… as a kind of displacement activity’.  He calls Julius a ‘gay, sharp, bitchy, and… self-invented man’.  Danielle is perhaps, in this way, the only one of the three friends who is making a success of her life, but her story is fraught with problems too.  Bootie has been used as ‘one of the oldest tropes in storytelling’, as ‘a stranger who turns everyone’s life upside down’.

Messud’s character descriptions are wonderful.  When introducing Bootie’s mother, for instance, she writes: ‘she felt she walked into the light: the two large windows cast a shadowless opalescence onto the sprigged wallpaper, the family photos on top of the bureau.  Even her discarded stockings, still carrying from yesterday the shape of her solid limbs, appeared outlined in light, luminous.  Her hands and her hair, a grayed cloud, had carried up from the kitchen the smell of coffee, and the vents at her ankles pushed a warm wind around the floor.  In spite of Bootie, in spite, in spite, in this moment at least, she felt happy: she was not too old to love even the snow.’

Messud is so involved with her characters and their quirks of personality throughout, that one comes to know them intimately.  Throughout the novel, she places very in depth portrayals and explorations of self.  Of Marina, she writes: ‘She sometimes felt as though she were a changeling, as hough someone completely new had taken on the identity of Marina Thwaite  – or rather, as if someone who was seen from the outside to be completely new had done so, while beneath the surface she remained unchanged.’  When discussing Julius, Messud notes: ‘He was aware that at thirty he stretched the limits of the charming wastrel, that some actual sustained endeavor might be in order were he not to fade, wisplike, away: from charming wastrel to needy, boring failure was but a few, too few, short steps.’  Her characters are not entirely likeable, and some are almost odious in their privilege and behaviour. In consequence, I found all of Messud’s protagonists, and indeed the secondary figures who orbit around them, wholly believable.

A masterful quality in the novel is the way in which Messud focuses upon the nuances and tiny shifts in relationships, which still have the power to alter them irrevocably.  The Emperor’s Children is not overly plot heavy; whilst things happen, particularly toward the final third of the novel, Messud is more interested in the reactions which her characters have to sudden, or brooding, changes in their situations.

There is, as anyone familiar with Messud’s writing might expect, an awful lot about morality and politics woven into The Emperor’s Children.  Of this, Mukherjee writes: ‘Messud’s novel is political in the most inclusive, most intelligent understanding of that notion – it looks at the private sphere, at how individuals live in the world, how they conduct their lives, what their moral codes are, to give an indication of the bigger, wider world and the matrix of history in which these private lives are necessarily situated, the private and the public at once shaping and being shaped by each other.’  He goes on to say: ‘The questions it poses are enormous and profound.  What is a person’s true, authentic self?  Does a life need to be lived in continuous connection with that?  What if the truest idea we have of our true selves is a false one, or one held in bad faith?  Are our notions of authenticity confected, too?’  Whilst Mukherjee’s introduction is insightful, and certainly complements the novel, I would recommend that one reads it after finishing the novel, as it is rather revealing, and contains a lot of detailed commentary upon Messud’s characters and plot points.

Before beginning The Emperor’s Children, I was surprised to see so many negative reviews of it smattered on its Goodreads page.  I am so pleased that I ignored these and read it regardless, as I ended up absolutely loving it, and found something to admire on every page.  Messud’s writing provides a breath of fresh air, and gives one the ability to see characters and events, such as 9/11, from different angles.  She is a unique author in many ways, but her prose style at times reminded me of Donna Tartt and Zoe Heller, merely due to the weight which it holds within its words.  I can see why some might think that Messud’s prose is overwritten, but I found it both rich and sumptuous, as well as entirely absorbing.  There is so much which can be unpicked within its pages, and I am sure that I will be thinking about it for months to come.

The Emperor’s Children is a phenomenal, searching novel, filled with profound meditations on life.  Everything within it has been wonderfully handled, and it provokes thought at every turn.  She also writes with poignant and moving language of the 9/11 attacks on the Twin Towers, which profoundly affect every character.  As with her other books, I was absolutely blown away with this novel.  Messud is an interesting, original writer, and I very much look forward to exploring the rest of her oeuvre in the near future.

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One From the Archive: ‘Young Anne’ by Dorothy Whipple *****

First published in 2018.

Young Anne by Persephone favourite Dorothy Whipple is one of the publishing house’s new titles for Spring 2018.  First published in 1927, Young Anne is Whipple’s debut novel, and the final book of hers which Persephone will be printing, bringing as they have done all of her wonderful novels back into print.

Young Anne, which includes a lovely preface by Lucy Mangan, is a ‘quasi-9781910263174autobiographical novel about a young girl’s journey to womanhood.’  Mangan addresses the double-edged sword which comes with the publication of the final Whipple novel; whilst thrilled that all of her fiction is now readily available for scores of new fans to discover, she writes that ‘to be reaching the end of her work entire feels positively injurious to health.’  Mangan explores the ways in which protagonist Anne’s life echoes that of Whipple’s, and the way in which, even as a debut novel, this has many of the qualities which can be found and admired in her later work: ‘… naturally her unmistakeable voice is already there.’  She goes on to write: ‘Whipple, from the off, keeps her ego and her insecurities in check.  As in all her later, more experienced works, she is not a showman but a patient, disciplined archaeologist at a dig, gently but ceaselessly sweeping away layers of human conventionality and self-deception, and on down to deeper pretences to get at the stubborn, jagged, enduring truths about us all beneath.’

In Young Anne, Anne Pritchard, the youngest of three children and the only girl, is first introduced when she is a small child.  Whipple’s description of her feels fresh and perceptive, and one is immediately captivated: ‘Anne at five was indescribably endearing.  A small, sweet, wild-rose thing.  Her hair came diffidently out in tendrils of gold, curling outwards and inwards, this way and that, trying to make a softer thing of the stern sailor cap that proclaimed itself “Indomitable” above her childish brow.  Her folded mouth had, for the moment, the gravity of the very young.’  At this point in time, Anne is scolded rather regularly for small misdemeanours, such as for her ‘favourite occupation’ of sinking her teeth into the wood of the pews at church.  Her only confidant comes in the form of the Pritchards’ housekeeper, Emily, whose tasks are many; they consist of ‘running the house, of keeping Gerald in his place, Anne out of scrapes, Philip from overeating, of coping with her mistress’s indifference, her master’s indigestion and his righteousness.’

From the outset, Anne feels so realistic, filled as she is with childish whims and ideas.  Whipple pays so much attention to her sense of humour and imagination, which are always getting her into trouble with her father.  In one memorable instance, Whipple recounts something which leads young Anne into disgrace: ‘Henry Pritchard was outraged.  He was dumbfounded.  The impertinence of the child to come in and laugh at his singing!  To laugh at him!’  Anne’s response to this is as follows: ‘She knew what fathers were, and God and Henry Pritchard had much in common.  They were everywhere at once, and all-powerful.’  The other characters portrayed in Anne’s world are, even when secondary figures, described with such vivacity and depth.  Of Mildred, a spoilt playmate of Anne’s, Whipple writes that ‘she was a very correct young person.  She even ate jelly with a fork at tea.’  Anne’s formidable Aunt Orchard is described as follows: she ‘did not hold for higher education for women, but she liked to destroy people’s pet hopes, or at least scratch them a little in passing.’

Whipple’s writing, as ever, is gloriously detailed.  When, early in the book, Anne leaves home early in the morning to catch a silver fish at the local park, the following is described: ‘No one about.  She had the world to herself, and the pink-and-white hawthorn blossom was thick on the trees and the laburnum dangled tassels of gold.  Here was quiet pool under a tree.  Just the place where a silver fish might be!  She lay down on the grass and peered into the water.  The ends of her hair slid into the pool, her breath ruffled its surface.  What a strange was there under the water, green moss, spread in waving patterns, silver bubbles coming up from nowhere, and under the roots of the tree, dim caves…’.

Time passes rather quickly in Young Anne; our protagonist skips from young child to teen, and then to young adult, at the beginning of successive chapters.  She is soon sent to a convent school, which allows her some semblance of freedom.  After her first day, as she is walking home, ‘she had an exciting sense of having started a new life away from the paternal eye at last.’  The advent of the First World War then ensues, and both of Anne’s brothers are sent to the Front.  When she goes to the local station near their Lancashire home to say goodbye, Whipple observes: ‘Anne waved them away, her difficult control terribly shaken by the wet faces of the women round her; mothers, sisters, sweethearts, who, like animals, would have hidden themselves when they were hurt, but were compelled to stand out on the crude, cruel railway station and expose their inmost souls.’

Young Anne is an accomplished debut, and as Mangan points out, Whipple’s wonderful writing and ‘unmistakeable voice’ are already prominent throughout.  Young Anne is a heartfelt, searching, and introspective character study.  Anne comes up against many hurdles in her life, and Whipple seems concerned, above all, with how she deals with, or overcomes, them.  As all of Whipple’s later novels can contest, Young Anne is poignant and thoughtful, shrewd and intelligent.  I became absorbed within the story immediately, and found the character arc which Whipple has so deftly crafted eminently believable.  The human condition is centre stage here, and rightly so; Whipple has much to say about the difficulties of growing up, and so much compassion for its consequences.

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