Many Are Disappointed, by V. S. Pritchett

BIOGRAPHY (from last year), by Rafel Martínez

Sir Victor Sawdon Pritchett, was born in Suffolk, on 16 December 1900, he was the first of four children of Walter Sawdon Pritchett and Beatrice Helena. His father, a London businessman, started several businesses, but, due to his insecurity and his tendency to credit and embezzlement, had to close the businesses and disappear, so the family was forced to change their address to different cities, such as Ipswich, Woodford, Essex or Derby, which forced the children to change schools frequently, all to circumvent the persecution of the numerous creditors of Walter, the father.

The family moved to East Dulwich and he attended Alleyn's School, but when his paternal grandparents came to live with them at age 16, he was forced to leave school to work as a clerk for a leather buyer in Bermondsey. The leather work lasted from 1916 until 1920 when he moved to Paris to work as a shop assistant. In 1923 he started writing for The Christian Science Monitor, which sent him to Ireland and Spain. Pritchett, along with his friend and writer Gerald Brenan, is one of the few Englishmen who, in the early 1930s, toured the Spanish territory. From that youthful experience, Pritchett wrote Marching Spain, which appeared in 1928. However, it was not until 1954 that, already a consecrated writer, he published The Spanish Temperament, an excellent travel chronicle about our country.

In 1936 he divorced his first wife and married Dorothy Rudge Roberts, by whom he had two children; the marriage lasted until Pritchett's death in 1997, although they both had other relationships.

During the Second World War Pritchett worked for the BBC and the Ministry of Information while continuing to write weekly essays for the New Statesman. After World War II he wrote extensively and embarked on various university teaching positions in the United States: Princeton (1953), the University of California (1962), Columbia University and Smith College. Fluent in French, German and Spanish, he published acclaimed biographies of Honoré de Balzac (1973), Ivan Turgenev (1977), and Anton Chekhov (1988).

Sir Pritchett was appointed a Knight Bachelor in 1975 for "services to literature" and a Companion of Honour in 1993, in addition to other multiple decorations and mentions throughout his life, which makes him the best English author of his time.

Sir V. S. Pritchett died of a stroke in London on 20 March 1997.

THE STORY

Four cyclists going on a ride expect to find a bar or a pub at the top of a hill, but they are disappointed because there is only a house with the old sign “Tavern”, that can mean an inn (that is no alcohol), so they won’t be able to have some beers. They have followed this road in the hope of sightseeing an antient Roman way: second disappointment. And thus, so on with some more. In the house there’s a small and frail woman with her daughter, also a little girl. The woman is happy to serve them some tea with some light food, although they would rather have had stronger food. At the end, they are happy with their tea, and they even start to have some feelings for the woman and her child. After tea, they went back again in search of a pub, and the woman feels very happy to have had them at home, and this not only for the money she got from their meal.

I think there are two very interesting features in this story. First, the characters: you don’t find the typical way of composing a story: the narrator begins introducing the characters with a full description, physical and psychological; instead, you have to unite the different pieces of the characters to form them, like in a puzzle. What did the author do this for? And second, the title. In the story, there are a lot of disappointments, and everyone has their own disappointment. But in the end, I think they are satisfied with what they had, at the end disappointment has been disappointed.

Many Are disappointed: Analisys

Many Are disappointed: Review

QUESTIONS

Look for and jot down information about the characters in order to describe them (surname, appearance, personality, age, likes and dislikes…)

Bert
Sid
Harry
Ted
The woman
The girl

What kind of bike are they riding? How do you know?

What different feelings does the woman have for the four different men?

Why does Sid think that he had seen the woman before? Does he want to flirt with her?

In which part of Great Britain is the story situated (look for the toponyms in a map)?

Why is there a confusion between Romans and Gypsies?

Describe the meal.

Why do you think the woman trusts a very confidential thing (she almost died) to Sid?

Do you think the house is really a “tea-house”? Why?

Explain all you know about the ring.

Are the really sportsmen? How do you know?

Why did or didn’t you like the story?


VOCABULARY

dunno, out-building, ruddy, skylark, stubborn, reed, meadows, hedge, wiry, whimper, frail, drab, moist, dumbfounded, sell, gasper, treacle (coloured), drizzle, dazed, dippy, cocksure, splice, flash, dawdle, drably, scabious, bin, boldly, wants, pout


The Demon Lover, by Elizabeth Bowen


(We had a previous entry about Bowen, so I have copied some paragraphs.)

Elisabeth Bowen was an Irish-born author, but she did her literary activities within a cultural club in London called The Bloomsbury Group, which had its headquarters in the neighbourhood of the British Museum and whose most famous members were the writer Virginia Woolf and the economist John M. Keynes (whose main idea was that the government had to intervene in the economy to correct the bad effects of the capitalism).

She was born in Dublin in 1899 and spend her childhood in a big country house with a large park. Her family belonged to the Anglo-Irish class that had dominated Ireland for centuries. Her novel The Last September deals with the situation of her class during the Independence War and the Irish Civil War. When she was seven, she went to live in England, where she studied. When she was 24, she married and published her first book, a collection of short stories, Encounters, that was a great success and encouraged her to go on writing. From then on, she wrote a book every year and a lot of book reviews.

Her stories are usually about the upper class, and she writes in a sophisticated style.

But Bowen isn’t very well-known here: in Catalan you aren’t going to find any translation, and there are only some of these books in Spanish. If you want to find her works in the library, click here.

The Demon Lover

The short story that we’re reading has autobiographic details because during the World War II she worked in London for the War Ministry. In the title we find the word demon; this word has the meaning of "evil spirit", but is also a variant of daimon, that only means "spirit". So, we don't know exactly if the lover is bad or not. The story is about a (happily?) married woman during the Blitz. She had a boyfriend in the WWI, but he was reported missing or dead, and she forgot him. But now, after 25 years, she got a suspicious letter. Could it be from her old boyfriend saying that he wants to fulfil the promise of marrying her? This boyfriend, what kind of person/being was/is he?

The Demon Lover: audio

The Demon Lover Study Guide

The Demon Lover: summary, characters, analysis

Presentation (minutes 00-3.30)


The Demon Lover, (but a very free and enlarged adaptation, minutes 00-52)


QUESTIONS

Which are the first hints of the Blitz?

Why do you think the woman is prosaic?

Why is a “tenseness preceding the fall of the rain” before she read the letter?

Why did she look at the mirror after reading the letter?

Why did she look at it “stealthily”?

Describe the protagonist.

What was the effect of the raining when he opened the chest?

What did she remember best from their last meeting (a physical mark)?

Why did she wish him already gone when they were saying goodbye?

Describe the boy.

Describe their last meeting.

Was she really in love with him? How do you know?

Tell us about Mrs Drover’s life after discovering her fiancée was missing or dead.

Why was she “unable to be with her back exposed to an empty room” and preferred to “sit against the wall”?

A crisis is mentioned: what crisis is it?

Why did she decide to take the objects she had come to fetch and not to run away immediately?

“She tugged at the knot she had tied wrong”: what is its connotation?

What are her feelings now about her old fiancée?

When she is in the point of leaving the house, what reassures her? And in the street? And what scared her before leaving?

Why does the narrator use this expression: “a hinterland of deserted streets”?

What was the appointed time?

What details suggested us that her old fiancée was the taxi driver?

Some people say the story means that “we are always tied to the past”. What is your opinion?


VOCABULARY

boarded up, contemptuous, bedspring, flicker, foresworn (forsworn), plight your troth, (without) stint, score, desuetude, rally, fumbling, to be in a mood, tread, creek, pant, issue, perambulator (pram)

A Visit of Charity, by Eudora Welty

Eudora Welty at the Wikipedia

A Curtain of Green at the Wikipedia

A Visit of Charity, character analysis

A Visit of Charity, video







BIOGRAPHY

She was born in Jackson, Mississippi, in 1909, and died when she was 92.
Jackson is a city now with more 70 % of Afroamerican people, while in the 60s it was the other way round; so the city has experienced big changes in demography and, accordingly, in politics.
Eudora Welty lived all her life in Jackson, save when she studied at Columbia University, New York.
She had a calm life in Jackson, despite all the racial problems, so her stories contrast vividly with the stories by Faulkner or by Richard Wright.
As a child, she was an insatiable reader and she wrote her stories without any particular encouragement. She started writing for a Southern magazine and then, thanks to the persistence of a literary agent, for the Atlantic Monthly and for The New Yorker.
She won the Pulitzer Prize when she was 64 years old for her novel The Optimist Daughter
She wrote mainly short stories, but also novels and her autobiography. Besides, she was a photographer and published a book of photograhs about the Great Depression.

A VISIT OF CHARITY
It is a short story from her book A Curtain of Green, published when she was 32. The book includes her first published story, Death of a Travelling Salesman.
The story tells us about a Campfire Girl who pays a visit a to an Old Ladies Home, as a part or her duties as a member of the youth organization, a visit which is going to get her some points in her score. But what people live and how the live in a Home comes as a surprise for her.

QUESTIONS

Why does she compare the Home to a block of ice?
Campfire Girl: have you belonged to an organization when you were young? What do you know / think of the Boy Scouts, for example?
What do you think about the contrast between the nurse’s cold appearance and her “sea-wave” air?
Why does the Campfire Girl have to pay a visit to some (any) old lady?
Gestures: What are their meaning? For instance, the girl pushing her hair behind her ear; the nurse looking at her watch...
The “waves” appear again: “she was walking on waves”. Is there any relationship between the wave on the nurse’s head and the waves on the linoleum?
"The hall smelt like the interior of a clock": what does this image suggest to you?
There’s an identification between old ladies and sheep, but also they are compared to harpies. Why?
What is the effect of the nurse saying “there are two”?
What is the feeling created by the room’s description?
The two ladies don’t agree about the flowers: why? Did the girl know about the flowers?
What expression suggests a clog in the throat?
How does the narrator show the girl’s anxiety?
What can be the meaning of the cameo pin?
What was the matter with Addie? Why was she so angry today?
It was the first time such a thing had happened to Marian: what was this thing?
What is the meaning of “That’s Addie for you”?
What kind of magazine was Field & Stream?
Do you think the nurse’s invitation to Marian to have lunch there is for real? Why?
Why did she hide an apple before going in the Home? And why did she make a big bite out of it at the end of the story?

VOCABULARY

Home (in context), whitewashed, mittens, awry, propelled (propeller), counterpane, square smile, my (in context), multiflora cineraria, ailing, comfort shoes, rigmarole, tan (gum), crow (in context), nickel


"You can't learn a nigger to argue"

I never see such a nigger. If he got a notion in his head once, there warn't no getting it out again. He was the most down on Solomon of any nigger I ever see. So I went to talking about other kings, and let Solomon slide. I told about Louis XVI that got his head cut off in France long time ago; and about his little boy the dolphin, that would 'a' been a king, but they took and shut him up in jail, and some say he died there.
"Po' little chap."

"But some says he got out and got away, and come to America."

"Dat's good! But he'll be pooty lonesome—dey ain' no kings here, is dey, Huck?"

"No."

"Den he cain't git no situation. What he gwyne to do?"

"Well, I don't know. Some of them gets on the police, and some of them learns people how to talk French."

"Why, Huck, doan' de French people talk de same way we does?"

"No, Jim; you couldn't understand a word they said—not a single word."

"Well, now, I be ding-busted! How do dat come?"

"I don't know; but it's so. I got some of their jabber out of a book. S'pose a man was to come to you and say Polly-voo-franzy—what would you think?"

"I wouldn' think nuffn; I'd take en bust him over de head—dat is, if he warn't white. I wouldn't 'low no nigger to call me dat."

"Shucks, it ain't calling you anything. It's only saying, do you know how to talk French?"

"Well, den, why couldn't he say it?"

"Why, he is a-saying it. That's a Frenchman's way of saying it."

"Well, it's a blame ridicklous way, en I doan' want to hear no mo' 'bout it. Dey ain' no sense in it."

"Looky here, Jim; does a cat talk like we do?"

"No, a cat don't."

"Well, does a cow?"

"No, a cow don't, nuther."

"Does a cat talk like a cow, or a cow talk like a cat?"

"No, dey don't."

"It's natural and right for 'em to talk different from each other, ain't it?"

"Course."

"And ain't it natural and right for a cat and a cow to talk different from us?"

"Why, mos' sholy it is."

"Well, then, why ain't it natural and right for a Frenchman to talk different from us? You answer me that."

"Is a cat a man, Huck?"

"No."

"Well, den, dey ain't no sense in a cat talkin' like a man. Is a cow a man?—er is a cow a cat?"

"No, she ain't either of them."

"Well, den, she ain't got no business to talk like either one er the yuther of 'em. Is a Frenchman a man?"

"Yes."

"Well, den! Dad blame it, why doan' he talk like a man? You answer me dat!"
I see it warn't no use wasting words—you can't learn a nigger to argue. So I quit.

                        A bit of dialogue between Jim and Huck (from Huckleberry Finn, by Mark Twain)