The house was a sepulchre, our fear and suffering lay buried in the ruins. There would be no resurrection. When I thought of Manderly in my waking hours I would not be bitter. I should think of it as it might have been, could I have lived there without fear. I should remember the rose-garden in summer, and the birds that sang at dawn. Tea under the chestnut tree, and the murmur of the sea coming up to us from the lawns below. -From Rebecca, page 4- She was in the house still as Mrs. Danvers had said, she was in that room in the west wing, she was in the library, in the morning-room, in the gallery above the hall. Even in the little flower-room, where her mackintosh still hung. And in the garden, and in the woods, and down in the stone cottage on the beach. Her footsteps sounded in the corridors, her scent lingered on the stairs. The servants obeyed her orders still, the food we ate was the food she liked. Her favourite flowers filled the rooms. Her clothes were in the wardrobes in her room, her brushes were on the table, her shoes beneath the chair, her nightdress on her bed. Rebecca was still the mistress of Manderley. -From Rebecca, page 237-
Dapne du Maurier published her gothic novel Rebecca in 1938 to wide popularity. Set on the English coast of Cornwell sometime in the 1920s, the novel centers around the isolated estate of Manderley. A young woman meets and quickly marries Maxim de Winter, a recent widower who is apparently struggling to get over the unexpected drowning death of his first wife, Rebecca. The second Mrs. de Winter (who is never identified by her Christian name) narrates the story. When she arrives at Manderley she is confronted by the mystery surrounding Rebecca’s death. She meets Mrs. Danvers - the weird and frightening housekeeper of Manderley:
Something, in the expression of her face, gave me a feeling of unrest, and even when she had stepped back, and taken her place amongst the rest, I could see that black figure standing out alone, individual and apart, and for all her silence I knew her eye to be upon me. -From Rebecca, page 68-
As the novel progresses, the secrets of the house and its former mistress are uncovered. Moody, beautifully atmospheric and filled with tension, du Maurier’s magnificent writing immerses the reader in a dark tale of love and hatred. Rebecca’s ghost hides in the shadows and hovers in the minds of all the characters, entwined in the corridors of Manderley.
Rebecca is the definitive gothic novel where the house becomes just as much a character as Max de Winter, Mrs. Danvers, the shifty Favell, and the servants who populate its many rooms. Spooky and convincingly rendered, it is a book which enchants from beginning to end.
Harper Collins has re-published this classic novel in a 2006 volume which includes a note from the Author, an essay by du Maurier whereby she describes the real Manderley, and the original Rebecca Epilogue…all of which add insight and interest into the writing of the book.
Rebecca is one of those novels which everyone should read at some point in his or her life. Highly recommended, especially for readers who love Gothic Fiction and classic literature.
They call this Broken Bay, Blackwood said. River comes in yonder. He pointed ahead, where Thornhill could see only confusing stretches of water and thickly forested headlands. Best hidden river in the world, Blackwood said with satisfaction. Never find your way in nor you’d been shown like I’m showing you. Looking inland, where gusts of wind scraped at the water, Thornhill strained to find that secret river. -From The Secret River, page 100-
Kate Grenville’s novel The Secret River was short listed for the 2006 Man Booker Prize and won the 2006 Commonwealth Prize. Once you’ve read this harrowing and gorgeously constructed story, you will understand why.
Set in the early part of the nineteenth century, the novel tells the story of William Thornhill - a boy born into poverty along London’s Thames River who learns to steal early on to ensure his survival. Illiterate and quick to anger, William must learn to sustain himself in the face of hunger and cold. He finds his strength as a waterman, paddling hard against the unforgiving waters of the Thames, and turns away from towering spaces of Christ Church.
It was a place with no charity in its grey stones for a boy with the seat out of his britches.
He could not understand any of it, knew only that God was as foreign as a fish. -From The Secret River, page 10-
Then one day, Will gets caught stealing lumber. After a short trial, he is found guilty and sent to a penal colony (along with his young wife Sal and their infant son) in New South Wales. This new land is as beautiful as it is foreign.
For every one of the years of his life, this bay had been here, filling its shape in the land. He had laboured like a mole, head down, in the darkness and dirt of London, and all the time this tree shifting its leathery leaves above him had been quietly breathing, quietly growing. -From The Secret River, page 80-
For William, the vast and unsettled landscape of New South Wales becomes a place where he believes his dreams may grow.
A chaos opened up inside of him, a confusion of wanting. No one had ever spoken to him of how a man might fall in love with a piece of ground. No one had ever spoken of how there could be this teasing sparkle and dance of light among the trees, this calm clean space that invited feet to enter it. -From The Secret River, page 106-
As Will and his ever increasing family begin to scrape out a space of their own along the secret river, there seems to be only one thing standing between Will and his dreams: the native people.
Grenville shows the wide gap between English and Aboriginal cultures…and the tremendous misunderstanding fueled by an inability to adequately communicate. Her prose is magnificent as she describes the land of Australia and gradually builds the tension between the characters, before bringing the novel to its inevitable and devastating conclusion. I was completely absorbed by this historical piece of work which is evocative, poetic and pulsing with the life of a time far in the past. It is a novel which explores the moral wilderness of a man in parallel with the physical wilderness of a new country. It is a story about choices, dreams and sacrifice. A pioneer tale which translates well in today’s environment of cultural divides and racial differences, The Secret River is a must read.
Highly recommended.
Funny and poignant, this honest book about obsession, family and overdoing religious ritual made me both laugh and think.
A. A. Attanasio. Wyvern
These are stories. You could say that such stories pay more attention to the truth of a life than fiction usually does. But not enough to swear on. And the part of this book that might be called family history has expanded into fiction, but always within the outline of a true narrative. With these developments the two streams came close enough together that they seemed to me meant to flow in one channel, as they do in this book. -From The View From Castle Rock, Introduction- We can’t resist this rifling around in the past, sifting the untrustworthy evidence, linking stray names and questionable dates and anecdotes together, hanging on to threads, insisting on being joined to dead people and therefore to life. -From The View From Castle Rock, Epilogue-
The View From Castle Rock is an interesting combination of fiction and truth - Alice Munro delves into her family background, digging up her ancestors and her childhood to create a series of linked stories which explore family connections, poverty, adversity and understanding of ordinary lives as part of a bigger history.
The collection begins deep in the Ettrick Valley, just south of Edinburgh Scotland. Munro visits a cemetery on a cold, rainy day and locates the headstones of her relatives.
Also, among various Laidlaws, a stone bearing the name of Robert Laidlaw, who died at Hopehouse January 29th 1800 aged seventy-two years. Son of Will, brother of Margaret, uncle of James, who probably never knew that he would be remembered by his link to these others, any more than he would know the date of his own death. My great-great-great-great-grandfather. -From The View From Castle Rock, page 6-
In this first story, the reader is introduced posthumously to the characters who will make up future stories in the collection. Each new story moves the reader further into the present. In the title story: ‘The View From Castle Rock‘…Munro gives the reader a glimpse into what prompted the emmigration of her family from Scotland to Canada. A young boy follows his intoxicated father up the steep, uneven stone steps of an ancient castle and onto a roofless tower.
The sun was out now, shining on the stone heap of houses and streets below them, and the churches whose spires did not reach to this height, and some little trees and fields, then a wide silvery stretch of water. And beyond that a pale green and grayish-blue land, part in the sunlight and part in the shadow, a land as light as mist, sucked into the sky.
“So did I not tell you?” Andrew’s father said. “America. It is only a little bit of it, though, only the shore. There is where every man is sitting in the midst of his own properties, and even the beggars is riding around in carriages.” -From The View From Castle Rock, page 30-
Munro’s strength in these early stories is her ability to set place and time for the reader. She writes lush descriptions and peoples her prose with complex characters. When Walter, a young boy aboard a ship bound for America, writes in his journal ‘And this night in the year 1818 we lost sight of Scotland‘ the reader feels the anticipation as well as the sadness of saying good-bye to one’s homeland in search of a better life. Munro uses real documents (such as Walter’s journal) to help piece together the history of her family and there are times when it is difficult to ascertain what is fact and what is fiction.
And I am surely one of the liars the old man talks about, in what I have written about the voyage. Except for Walter’s journal, and the letters, the story is full of my invention.
The sighting of Fife from Castle Rock is related by Hogg, so it must be true. -From The View from Castle Rock, page 84-
Munro completes part I of her collection with the story ‘Working For A Living‘ which recollects of her father’s boyhood in the town of Blyth. Part II introduces Munro herself to the collection in the story ‘Fathers‘ - a painful look at the fine line between discipline and abuse and a girl’s relationship with her father.
‘Lying Under the Apple Tree‘ is about the coming of age of a young girl…the innocence of youth vanquished. The ideas of God, church values (morality) and sin weave themselves through this story. Munro also skillfully introduces nature into her theme of growing up and the recognition of one’s sexuality. Her use of dirt as a symbol is effective in introducing the concept of sex vs. a girl’s fantasies vs. the realities of love.
“Dirt,” my sister whispered to me when I got home. “Dirt on the back of your blouse.”
She watched me take it off in the bathroom, and scrub at it with a hard bar of soap. We didn’t have running hot water except in the winter, so she offered to get me some from the kettle. She didn’t ask me how the dirt had got there, she was only hoping to get rid of the evidence, keep me out of trouble. -From The View From Castle Rock, page 203-
In ‘Hired Girl‘ Munro continues to explore the idea of a young woman on the cusp of adulthood. In addition she builds on the idea of place - physical place vs. one’s place in society. This concept of there being barriers between classes, is one of the main themes of Munro’s collection and in ‘Hired Girl‘ she emphasizes this idea.
I did not yet understand that maids didn’t have to find their way anywhere. They stayed put, where the work was. It was the people who made the work who could come and go. -From The View From Castle Rock, page 231-
The final stories of Munro’s collection are dedicated to her early marriage (’The Ticket‘), and her maturation into a woman who is capable of looking at her history and life in the harsh light of reality (’Home‘ and ‘What Do You Want to Know For?‘). Munro’s recollections of her father in his later years and the home where she grew up being modernized, are touching exposes on what it means to finally be an adult and no longer be protected by the innocence of childhood. Munro writes:
The past needs to be approached from a distance. -From The View From Castle Rock, page 332-
The View From Castle Rock does that - in exploring her roots, Munro has succeeded in creating a unique blend of stories which look at one family’s history in the context of a bigger picture of what it means to live on the edge of poverty, connect to family, and create a life with meaning and understanding.
Recommended.
Eleanor Mathews. Ambassador to the Penguins: A Naturalist's Year Aboard a Yankee Whaleship
For a few moments, the sun disappeared behind a cloud, and in the shadow, nothing of it was visible, only the shingly mud and the herringbone imprints of the ducks’ feet. But Joseph knew that he’d seen something. He stood without moving, waiting for the sun to come out again. It returned and sparkled on the water, dazzling him. He had to close his eyes for a second, and when he opened them again, he’d forgotten the precise spot where the colour had revealed itself. Then he saw it once more, a minute patch of shining yellow dust. -From The Colour, page 57-In 1864, a newly married couple - Joseph and Harriet Blackstone - travel with Joseph’s mother Lilian from England to New Zealand to begin their lives together. For Harriet, it is the beginning of a future, a dream about her own home in the beautiful wilderness of New Zealand, a chance to have a garden and animals and to create something out of her life. For Lilian, the move represents failure and loneliness where she must give up her comfortable existence in England, be forced to piece back together the shattered remains of her china, and live on dirt floors in a cob house which leaks. For Joseph, the move to New Zealand is an escape from his past - a past he has buried and hidden from everyone - and a chance to heal his guilt and make his mother (finally) be proud of him.
Joseph Blackstone longed to do something that would please his mother. Something definitive. Something which would undo all that he’d done wrongly or inadequately in the past. He thought that if he could achieve this, then he would rest. -From The Colour, page 55-
The inhospitable and breathtaking land of New Zealand seems pitted against these people almost from the very first when Joseph mistakenly builds his home on an exposed hill instead of the protected flats. Then one day Joseph discovers gold dust in the creek near his home and keeps it a secret from both Harriet and Lilian. It becomes an obsession which promises his redemption and one which will finally drive him to the other side of the Southern Alps where a Gold Rush is underway.
Rose Tremain writes extraordinary prose which thrusts her reader into the midst of a stark and unforgiving environment. She develops her characters flawlessly - uncovering Joseph’s motivations, desires and finally his devastating secret as he struggles to find gold among desperate men. Joseph’s loss of love and morality is heartbreaking.
He felt that contentment was present in every other creature and every other thing - in the waterbirds which drank from the river, in the rats which scurried around his claim, looking for food, and in the songs the Glaswegian miners sang in the evenings. He alone lacked it. -From The Colour, page 223-
Harriet Blackstone is a raw character who grows before the reader’s eyes from an uncertain individual to a woman of courage and fortitude. In Tremain’s hands, Harriet is fully realized.
Better that we never know (she wrote to her father) what lies beyond the next hill. For the answer might come back “nothing.” And I confess that, having travelled across the world, I do not feel I would be content with that “nothing.” My habit of looking at the mountains has not gone away. They are so fine. I wish that I could paint a picture of them for you. And they Contain a mystery: that is what I feel. And I ask myself: Is the mystery they contain the mystery of my life? -From The Colour, page 168-
Lilian, too, grows from a difficult woman into one the reader comes to respect. Faced with the loss of everything she knows, she eventually puts aside the broken pieces of her life and strives to make something of what she has been given.
Thematically The Colour revolves around the power of nature, love and desire, materialism vs. inner contentment, and the connection between cultures. Tremain introduces a Chinese man who has left his family in China to join the Rush - not as a seeker of gold, but as a gardener providing sustenance for the miners. There is also Pare - a Maori woman who develops a mystical relationship with a small boy whom she once cared for. Despite the wide scope of theme and character in this novel, it never feels scattered. Tremain connects all the threads for her readers, giving them a book which is illuminating and satisfying. Tremain is a gifted storyteller, and in The Colour she combines all her talents and creates a novel which resonates with the reader.
Highly recommended.
She wore her black slingbacks and a white cotton dress with blue flowers that matched the paint that framed the door. Alentejo blue. here she was, in a picture, in a moment, setting out for the rest of her life. -From Alentejo Blue, page 131-
