Act Three

How would the story of “Pride and Prejudice” look through Mr. Darcy's eyes? In fiction we're always locked into the view that the narrator chooses. But Jane Gardam, God bless her, has broadened the vista. In “Old Filth” she gives us Edward Feathers - Raj orphan, QC and judge in Hong Kong, husband of Betty, sworn enemy of fellow QC Terry Veneering – looking back on his life from old age. In "The Man in the Wooden Hat" it's Betty's turn, and unsurprisingly much looks different from her perspective, and secrets unknown (or maybe not?) to Edward are revealed. Now the third leg of the triangle is put into place, as Gardem's tells Terry's story in Last Friends.

The novel begins with Old Filth's memorial service, but quickly jumps back to Veneering's humble beginnings in the fishing village Herringfleet, his improbable escape from death during the war, his later success in law, his lifelong passion for Betty. Unfortunately Gardam also spends time with some less interesting characters, but even then her lucid, flowing prose keeps things interesting.

If you've ever been annoyed that the last 50 pages of a novel seem flabby or uninteresting, fear not – Jane Gardam must share your annoyance. She manages to reveal powerful secrets near the end of each of these books, without in any way seeming gimmicky. These novels make great summertime books, since they are best read in quick succession, and they are almost impossible to put down.

Stages of Life

Late in Tessa Hadley's Clever Girl, main character Stella muses that “the highest test was not in what you chose, but in how you lived out what befell you”. She is certainly talking about herself. Each of the book's ten chapters describes what 'befell' Stella in a period of her life, from her childhood with a single mother in postwar Bristol England in the early 1960's, to her own single motherhood and commune life in the 70's, to her married middle age. (If you are a New Yorker reader you may recognize some of the early chapters, which appeared there as short stories). Although Stella can be clever, she is often the victim rather than the driver of her fate. She somehow manages to be impulsive and passive at the same time, and the result is a life that lurches forward with plenty of wrong turns.

I am often annoyed with passive characters (I had that problem with “The Flamethrowers”), but Stella is so clear-eyed and honest about her mistakes that I grew to admire her. Hadley's prose has a lot to do with that. It is crisp and concise, not at all showy, but sharply observant, and by the end incidents that seemed isolated and unconnected form a cohesive portrait.

Stella is not always clever, but she does have the good sense to read great literature to keep her sanity when her life is chaotic. You've got to like a girl for that.

A Year in the Life

Sometimes what leads me to a book is a straight line, sometimes it's a long twisted path, but this time it was somewhere in between. I loved David Mitchell's “Cloud Atlas', so I tried “The Thousand Autumns of Jacob de Zoet” but I just couldn't get into it. So much for David Mitchell, said I. But then I listened to the podcast of the Slate Audio Book Club where they discussed “Cloud Atlas”. (These podcasts are very entertaining, and I loved the latest one where they discussed “”Pride and Prejudice” on the occasion of its 200^th birthday). They enjoyed "Cloud Atlas", but all of them said that their favorite Mitchell book was Black Swan Green, so I decided to try it.

What! Another coming-of-age novel told in the voice of a thirteen-year-old boy? Why I am reading this? But I was hooked immediately. The chapters, each about a month apart, recount episodes in Jason Taylor's life in Worcestershire in 1982 . They don't initially seem to tie together, but they slowly reveal Jason's world and his view of it. He is a sharp observer, perhaps because his stammer makes him wary of talking too much, but also because he is acutely aware of the thin and shifting line that separates a thirteen-year-old from being part of the crowd to being the object of bullying. He has secret aspirations to write poetry, and some of his prose reflects his attachment to the lyric and mystical in nature. But he can also be snarkily funny, keenly observant of the odd characters that are part of small town life, and sharply critical of his parent's crumbling marriage.

If you've been put off by complicated, mannered style of Mitchell's previous works, I highly recommend that you spend a year with Jason Taylor.