This was posted at Global Comment a couple of weeks ago. I’ve noticed that Starlight has been less widely reviewed than Westwood, the other recent Gibbons reissue. I’m not sure whether this is because it’s less well-known (perhaps the Lynne Truss connection gives Westwood the advantage?) or because it is simply so strange that no one knows quite what to do with it. To make things stranger, while Cold Comfort Farm was published in 1932 and Westwood in 1946, Starlight is from 1967 and is one of the last books Gibbons ever wrote. Characters in Starlight quote C.S. Lewis as if he were the sort of well-known author Gibbons could expect her readers to know. It’s a bit disorienting.
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Stella Gibbons is best known for 1932’s Cold Comfort Farm, a sublimely comic novel that satirised the grim, rural works of writers like Mary Webb and Sheila Kaye-Smith. Cold Comfort Farm is considered a classic, but its popularity has overshadowed Gibbons’ literary career. While she went on to write close to thirty novels, until recently most of these were unavailable and out of print.
Over the last year, however, Vintage have begun to publish Gibbons’ missing back catalogue. Westwood, Starlight, and Conference at Cold Comfort Farm have all been reissued, and there is the promise of more work by Gibbons to come. Of the three books republished thus far, Starlight is the latest (it was published in 1967) and in some ways shows the biggest divergence from the author’s most famous work.
A pair of joined cottages in a run-down part of London is bought by a new landlord. Most of the tenants move out, leaving only those who have nowhere else to go. These are the elderly Barnes sisters, Gladys and Annie, and Lancelot Fisher, the old man who lives in the attic and changes his name every month. But the new landlord is not the exploitative figure they have feared. Mr Pearson has bought Rose and Lily Cottages on the whim of his wife, who suffers from an unspecified illness. The flats are renovated and repainted, rents are not raised, and Mrs Pearson is installed in the newly pink-and-gold Lily Cottage.
For much of the book, Starlight is entirely domestic. A great deal of the novel is devoted to interactions between the residents of Rose Cottage and the local vicar and curate, the latter of whom is particularly bewildered by Gladys’ constant chatter. Gibbons’ insistence on showing class difference through accent is sometimes unfortunate, but these sections still provide humour of a sort that is directed as much at the public-school-educated curate as it is at the garroulous old woman.
The Pearsons seem entirely normal. He is the devoted but often crude husband; she is the fragile wife with a passing interest in the occult. Mrs Pearson’s greatest worry seems to be her distant relationship with her daughter, Peggy. Peggy works as a companion (and dog-sitter) to a rich woman, fending off the advances of the middle-aged son of the house on a regular basis. She has a secret sorrow but even that, when revealed, is found to be mundane.
“Mundane” is not a perjorative here. One of Gibbons’ great strengths is an ability to take the utterly ordinary concerns of normal people and find a gentle humour in them without ever trivialising them. And so we feel for the socially inept curate as we do for the awkward teenaged girl who is Mrs Pearson’s protégée. We understand Annie’s fears and Peggy’s doomed love affair is no less tragic for being ordinary.
It is with the introduction of Mrs Pearson that the reader gets the first sign that all is not entirely as it seems. From the first description of her there is something sinister about her illness.
The word death breathed chillingly from some cave in a mind so stuffed with cosy things that there was barely room for it. As she said afterwards to her sister, ‘That was what she put me in mind of – death. Poor soul, I thought.’ Yet – it was not only death.
As anyone who has read the back cover of the book will already know, Gladys and Annie soon begin to think that there is something sinister about Mrs Pearson. Yet everything about the kind of book that Starlight has signalled itself to be suggests that these fears will prove to have a rational (and possibly comical) solution. But there is a gradual unfolding of Mrs Pearson’s various oddities. Her hatred of the church bells ringing; her desire to “touch the pavements with my feet” (again and again the text draws our attention to the oddity of this phrasing). The book begins to refer to “the thing” behind Mrs Pearson’s eyes as a separate entity to the woman herself. Eventually the reader has no choice but to admit it; despite all evidence to the contrary, Starlight is a novel about demonic possession.
It’s even more bewildering that, having made this revelation, Gibbons feels no apparent need to dwell upon it. The book continues to pay as much attention to Peggy’s romantic life (and how is it that her mother’s being a tool of dark forces occupies her mind so little?) and to the oddities of Mr Fisher as it does to the supernatural drama taking place inside Lily Cottage. It’s hard to tell to what extent the sections dealing with the thing inside Mrs Pearson and its exorcism are meant to be scary – the juxtaposition with the pink and gold house and its inhabitants is sometimes effective, sometimes ludicrous.
After that great moment of genre-instability, though, nothing seems quite as safe. And suddenly it seems the text is throwing up all sorts of minor instances of weirdness as if to keep reminding us that we have no way of knowing what Gibbons is likely to do next. What, for example, are we to make of this short paragraph in which the universe of the novel seems to have shifted to that of A Clockwork Orange?
As she drew near to the cottages, midnight was striking from the steeple among the crowded television masts on the old roofs.
She ran the last hundred yards, keeping in the shadow of the ruinous doorways to avoid a group of boys that was attacking, almost silently, a man at the end of the Walk. She waited until they were all concentrated over his fallen body, kicking and smiting in hushed fury, then shot lightly past, on the other side of the street and gained her own front door.
We are never told why gangs of murderous boys are roaming the streets. None of the characters seems surprised when their actions lead to death.
It makes no sense that this book should exist, thus suspended between comedy and melodrama, horror and domesticity and theological fiction. But it does, somehow, and it is utterly weird, and it is bewilderingly good.
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Diana Wynne Jones, The Islands of Chaldea
Posted at Global Comment a few weeks ago.
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Three Diana Wynne Jones books have been published since the author’s death in 2011, and I have bought each and mourned a little anew. There’s something particularly final, though, about The Islands of Chaldea, the author’s unfinished last book which has now been completed by her younger sister.
In most ways, this is a classic quest novel. A band of companions, subjects of prophecy, travel through often-hostile terrain and face great danger, meet new companions on the way, eventually save the world. One of the best things about Diana Wynne Jones, though, has always been the use she makes of the reader’s knowledge of the genre. It’s more in evidence in her books for older readers but even here it works to transform what is often a generic plot to something that feels fresh. This is in large part due to Aileen’s voice, which treats the sublime and the ridiculous with the same matter-of-fact resignation. “Porridge is my Aunt Beck’s answer to everything,” she begins her story, and as ever it’s the simplest lines that are the most effective. “The next day, when we stopped for lunch, we were mobbed by donkeys”.
Aileen’s own romance is treated with the same prosaic quality. We know from the beginning that the young man she has set her sights on (“Although he doesn’t know it yet, I have chosen him to be my husband when the time comes and, until then, I feel free to admire him greatly in secret.”) is unworthy, and we are aware throughout of his deviation from the pattern of romantic hero.
It’s classically Diana Wynne Jones in other ways as well. Family is a source of both strength and pain in Jones’ books; family members are often genuinely villainous, sometimes (merely!) cruelly neglectful, and their failures to look after our child protagonists are treated as a matter of course. The Islands of Chaldea signals at least one of its villainous relatives disappointingly clearly, and it’s tempting to think that had Jones been able to complete her book she would have tempered things with less figurative moustache-twirling. Yet we’re also presented, in passing, with the grandmother who raised Aileen’s mother and aunt and forbade them dancing and music; with Aileen’s own mother, whose romantic tastes are both suspect and inconvenient for her child, and who is never reproached by the book or its characters for being a grown woman with priorities of her own.
And family, and community, and friendship, can provide strength and succour as well; the long line of Wise (and irascible, though that’s not in the title) Women of which Aileen is the youngest, generations of knowledge and tradition behind her. The Queen of the fairy-folk who instantly recognises Aileen for what she is, suggesting a world full of strong women who know and respect each other, even if that respect does not necessarily translate into liking. On her father’s side of the family Aileen finds a whole community of cousins and extended family. Aileen’s own quest is at least partly for her father, and if her feelings for him are rarely expressed, we’re never in any doubt that they’re there. And there’s the Lone Cat, which can turn invisible at will and is both powerful and comically ugly—it attaches itself to the party, and frequently we see Aileen reaching out to it for comfort that is given.
It’s tempting to treat this book as a sort of puzzle, and to try and work out which parts of it are Ursula and which Diana. In her afterword, Ursula Jones explains that her sister did not leave notes or discuss her work in progress, and that she tended to write stories in a linear fashion; the implication is that there is a single moment in the narrative before which everything is Diana’s and after which everything is Ursula trying to channel Diana. She also claims that no one has yet been able to spot the exact moment unprompted. It almost reads like a challenge, and if it is it’s a brave one to throw out to fans of her sister’s work. My own instinct is to attribute everything I like about the book to Diana Wynne Jones, turn a great author into an infallible one. It’s probably untrue and unfair to her sister. Yet to me the later sections of the book are among its weakest. Somewhere in the island of Bernica things begin to get a little slack, and the Logra sequences are oddly paced. Things fall into place in ways that are more predictable than one might like, and everyone is happy and important and of sufficiently noble birth.
But then we come to the final paragraphs of the story, which must be Ursula Jones’ work. We are introduced to an older Aileen, looking back at past events and pondering the changes which they brought. The book ends with an image of the adult Aileen occasionally sailing to visit the Lone Cat on his island. “I hear his cry from above me, and the Lone Cat, the ugliest cat I ever beheld, bounds gladly from pillar to pillar towards me. We stay a while with each other, then part.” It’s not entirely structurally sound—this older, wiser narrator has never been hinted at earlier in the book—but she knows as we do that things can’t always stay the same, that sometimes there are unavoidable reasons to be separated from the people we love, that life goes on.
Ursula Jones’ afterword to the book is beautiful, reminiscing about bedtime stories that were made up in parts, night by night, and read out up to the point where a young Diana had stopped writing. “It always duly turned up the next night, which is where the present day diverged so unhappily from our childhood past. This time, the next section couldn’t turn up. Her book had ended without an ending.” It’s rather a horrifying image, the unfinished story like an open wound.
When I heard of Diana Wynne Jones’ death in 2011 I immediately reached for one of her knottiest books, the flawed and brilliant Fire and Hemlock, and stayed up all night to read it in tribute. There’s nothing particularly knotty (or particularly brilliant) about The Islands of Chaldea. But whether it emanates from the author, her sister, or is something I’ve brought to the book myself, the whole thing seems to me to be infused with love and generosity. It begins with porridge and ends with bittersweet parting, and if it’s not the best thing either of its authors has written it is exactly what I needed it to be.
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