Bedbugs, by Clive Sinclair

BIOGRAPHY
There is another famous Clive Sinclair, the one who was an entrepreneur and an inventor. He’s known for having produced the first pocket calculator, and then, the home computer ZX Spectrum.
But our Clive Sinclair is the author.
He was born in London in 1948. He was of Jewish origin, and his surname was Smolensky. He studied at different universities: East Anglia, California and Exeter.
He defined himself as a short stories’ writer. Even his first novel, Bibliosexuality, was originally a collection of short stories linked one to another.
He won the Somerset Maugham Award in 1981 for his collection Hearts of Gold.
Asked about what he wrote, his answer was “Sex, death and Jews”, but he was also fascinated with cowboys and the Far West, and True Tales of the Wild West is a collection of stories in the Western style.
He also was compared to Kafka, Borges and Nabokov. In 1983 he was chosen as one of Granta’s Best of Young British Novelists alongside with Kazuo Ishiguro, Ian McEwan and Graham Swift.
He died aged 70 in London.
 
SUMMARY
Joshua, a university English teacher with a marriage in failure, is offered to give a summer course in Cambridge about First World War Poets to a group of German students, mostly girls. He accepts the offer because of the money and also because, as he is a Jew, can avenge his people and forefathers calling mentally his course “Rosenberg’s Revenge”, being Rosenberg one of the poets who was Jewish. But, although Cambridge is only thirty miles from his place, Bury St Edmund, he has to sleep in the college because he is also going to provide the students some entertainment, not only lessons. But the rooms the university has provided for him and his students are infested with bedbugs coming from a nearby building, recently demolished.
So he starts the lessons, where he finds some unfriendly students and some acolytes. One night, for the evening entertainment, they went to the theatre where they could see The Lesson, by Ionesco, a controversial play since it’s an allegory against the Nazis. After the play, Inge, his main devotee, goes with him to a pub where she proposes to produce a similar play. Then, at the college, Inge goes to Joshua’s room with the excuse of exterminating his bedbugs, but there she has an accident going down the modernist stairs, and they get laid.
On the last Saturday, Joshua takes his students on a visit to Bury St Edmund, where he lives and where Rosenberg trained before going to the front. Inge has a minor accident, and he decides to take her home to cure the small scratching; there they find his wife, and, as if his wife doesn’t show any suspicion about their affair, they had a nice dinner.
On Tuesday they have the show, but before the performance, Joshua has a strange vision: he sees, or dreams to see, his wife dead in their kitchen with a knife stuck in her belly. The play is a very singular one: it’s similar to Ionesco’s because there are only three characters, but in our case, Joshua is dressed up as a woman, Inge as his husband, and another student is a TV set. The story ends when Joshua disguised as a housewife shoots her husband six blanks, shouting madly “Daughter of Germany!”
 
QUESTIONS
-What do you know about…?
            bedbugs, lice, fleas, ticks, mange
            Rosenberg (Great War Poet)
            Bury St Edmund
            The Lesson, by Ionesco
            Baader-Meinhof
            Martin Buber
-Do you think Germans are still anti-Semites?
-Anti-Semitism is something you find in a lot of countries and in a lot of epochs? What can be the reason?
-“Women not interested in War? What nonsense! War involves everybody.” Debate: do you think women have to be involved in military conflicts? Or: if you want to stop a military conflict, you mustn’t take part in it?

VOCABULARY
congress, bantam, looms, concerns, rubbed the cow’s nose, routed, phony, counterfeit, lop off, rash, hives, louse, prowler, spunk, pardon my French, Aussie, hatch, sulks, loony, crannies, Spreadeagled, supine, agape, gibbering, cavorts, comes, props, blanks

Carmina Burana, by Several Poets

Carmina Burana, by Carl Orff

Carmina Burana (“Songs of Burana”) is a collection of medieval poetry. It’s the largest and most varied surviving anthology of medieval Latin poetry. The poems belong to the 11th, 12th and 13th centuries. They were written mostly in Latin, although some ones are in German because the manuscript was found in Bavaria, in a Benedictine monastery, Benedickbeuern, “Benedictoburanum” in Latin. The poems are about love, sex, gaming and drinking in taverns, and they are bawdy, anticlerical, satirical and irreverent.

They were written mostly by goliards, that is, clergy students that had abandoned the seminar and went travelling around Europe reciting their poems. The word “goliard” seems to come from Goliath, and so meant something bad, or the devil. Some sources say that they were Abelard students. Abelard was a philosopher, poet and theologian, famous for his romantic affair with the nun Heloïse. They had a child, although they supposed to be celibates, and the result of this conflict was that Abelard was castrated by her uncle. A good definition of “goliard” is “a drop-out and spoiled priest gone wild.”

So the goliards were a kind of entertaining travellers, and, contrasting with the troubadours, (who, by the way, wrote in a vernacular language), they praised the physical love.
These were the centuries when the first universities were being built, when reading silently for oneself and without moving the lips (an accomplishment of Saint Jerome which impressed his fourth century admirers) was a growing skill. Latin was an international language, and students used to travel not only to earn their living or to enjoy the life, but in search of teachers and their theories.
However, the Carmina Burana collection wasn’t found until 1803 and published in 1847.
It consists of songs of morals and mockery, love songs, songs of drinking and gaming and two spiritual theatre pieces.
Carl Orff created a musical composition based on some of these poems.
Only a few authors are known:
Hugh of Orléans (1093-1160). He spent his life roaming France. His nickname was Primas because they say he was a master of poetry.
Peter of Blois (1135-1212). He was the secretary of Henry II of England. He taught English in Paris and was Archdeacon of Bath.
Walter de Châtillon (1135-1204). He worked for Henry II and was secretary of the Archbishop of Rheims. He also worked as a teacher in Châtillon.
And a poet called the Archpoet, patronized as Poet Laureate by Rainard of Dassel (♰1165), Chancellor of Frederick I, aka Barbarossa. They say he was the coughing ghost because the word “cough” appears in some of his poems, and we don’t know anything else of him.
Abelard (1079-1142) wrote some poems in his youth, but we don’t know if some of the Carmina Burana poems are his.

Two poems translated from Latin into English by David Parlett

O Fortuna 

O how Fortune, 

inopportune, 

apes the moon's inconstancy: 

waxing, waning, 

losing, gaining, 

life treats us detestably: 

first oppressing 

then caressing 

shifts us like pawns in her play: 

destitution, 

restitution, 

mixes and melts them away. 

Fate, as vicious 

as capricious, 

whirling your merry-go-round: 

evil doings, 

worthless wooings, 

crumble away to the ground: 

darkly stealing, 

unrevealing, 

working against me you go: 

for your measure 

of foul pleasure 

I bare my back to your blow. 

Noble actions, 

true transactions, 

no longer fall to my lot: 

powers to make me 

then to break me 

all play their part in your plot: 

now seize your time — 

waste no more time, 

pluck these poor strings and let go: 

since the strongest 

fall the longest 

let the world share in my woe.

In taberna quando sumus 

In the tavern when we're drinking, 

though the ground be cold and stinking, 

down we go and join the action 

with the dice and gaming faction. 

What goes on inside the salon 

where it's strictly cash per gallon 

if you'd like to know, sir, well you 

shut your mouth and I shall tell you.

Some are drinking, some are playing, 

some their vulgar side displaying: 

most of those who like to gamble 

wind up naked in the scramble; 

some emerge attired in new things, 

some in bits and bobs and shoestrings: 

no one thinks he'll kick the bucket 

dicing for a beery ducat.

 

First to those who pay for wallowing, 

then we layabouts toast the following: 

next we drink to all held captive, 

thirdly drink to those still active, 

fourthly drink to the Christian-hearted, 

fifthly drink to the dear departed, 

sixthly to our free-and-easy sisters, 

seventhly to all out-of-work enlisters.

Eighthly drink to friars deconverted, 

ninthly, monks from monast'ries diverted, 

tenthly, sailors of the oceans, 

eleventhly, louts who cause commotions, 

twelfthly, those who wear the penitential, 

thirteenth, and whose journey is essential — 

to this fat pope, to that thin king — 

who the hell cares why they're drinking!

Drinking tinker, drinking tailor, 

drinking soldier, drinking sailor, 

drinking rich man, drinking poor man, 

drinking beggarman, thief and lawman, 

drinking servant, drinking master, 

drinking mistress, drinking pastor, 

drinking doctor, drinking layman, 

drinking drunkard, drinking drayman: 

Drinking rude man, drinking proper, 

drinking tiddler, drinking whopper, 

drinking scholar, drinking gypsy, 

drinking drunk or maudlin tipsy, 

drinking father, drinking mother, 

drinking sister, drinking brother, 

drinking husbands, wives and lovers

and a hundred thousand others — 

Half a million pounds would never 

pay for all we drink together: 

for we drink beyond all measure, 

purely for the sake of pleasure: 

thus you see us, poor and shoddy, 

criticized by everybody —  

God grant that they be confounded 

when at last the trump is sounded!

The Fishing-boat Picture, by Alan Sillitoe

BIOGRAPHY

Alan Sillitoe was born in Nottingham in 1928 to a working-class family. His father was an illiterate, couldn’t keep a job for long, and was usually violent. His mother worked in factories and, for a short time, as a prostitute. They had, besides Alan, four more children. They often moved house because they couldn’t pay the rent.
Alan left school at fourteen because he failed the entrance exam for the grammar school (the secondary school at the time). He worked in the factories of the county for four years, and then he joined the RAF, although he didn’t serve in the WWII because he was too young. But he did serve as a wireless operator in the war against the rebel communists in Malaya.
When he got back, he discovered he had TB. While in the hospital, he read a lot, but with no judgement nor model, and decided he wanted to be a writer.  He got together with the poet Ruth Fainlight (whom she married ten years later). Then, with a pension from the government, he travelled to France and Spain to try to get over his disease. When he lived in Majorca, he met Robert Graves, who helped him in his career as a writer. Thus, he started writing Saturday Night and Sunday Morning in 1958. The novel is about the Saturday night-life of a factory worker who gets involved in a booze competition and in a love affair with is mate’s wife, and then, the next morning, the hangover shows him the reality of life.
His other famous novel is The Loneliness of the Long-Distance Runner, published in 1959. It's about the life in a Borstal, a youth detention centre.
In 1968, he was invited to visit the USSR as a working-class writer, but there he denounced the human rights abuses in the communist system, surprising this way the soviet authorities. But, on the other hand, he always supported Israel in front of Palestinian movements.
He belongs, although he doesn’t like being classified like this, to the “angry young men” of the 50s in the UK, a group of artists and intellectual people who rejected the middle-class morals of the post-war Great Britain. He avoided all literary awards, although he accepted honorary doctorates from some universities.
He had two children from his wife.
Alan Sillitoe died in 2010 in London, of cancer. He was 82.
 
SUMMARY

This is a working-class story: the characters are working people, simple, with poor entertainment and poor ambitions, and it typically ends sadly.
Our hero is Harry, a postman who takes his life easily and doesn’t get emotional for anything. His only hobby is reading, mostly books about geography. When he gets a steady position in the post office, he says yes to get married to Kathy, a girl four years older than he.
For six years, they live happily together, although with a lot of rows, sometimes a bit violent. Then, after these six years, they had a silly argument: Kathy throws his book to the fire, he hits her, and she goes away for good. But afterwards he discovers that she had been cheating on him, at least for a year, with a housepainter across the street.
He isn’t sad or angry with Kathy’s departure, and he gets used to living alone, and feels, if not happier, more comfortable. He goes on doing his rounds and reading his books without any of the usually ups and downs of the life.
After six years more, his wife appears again out of the blue. She says she was around there and thought it was worth paying him a visit. Nevertheless, neither of them is excited about this sudden meeting; perhaps they only feel a bit of nostalgia. They sit and have a chat, all the time keeping the distance, but without any resentment. Kathy shows some interest in a picture of a fishing boat hanging on the wall, the last of a collection of pictures her brother gave them as a wedding present, and Harry decides to give her the picture, although at the beginning she declines the offer. They used to say the picture was the last of the fleet.

Some days later, he sees the picture in a pawnshop window; a bit surprised, he buys it and hangs it at the same place, again with any kind of rancour.
Kathy keeps paying him short visits, and all the time their meetings are cold and distant. Initially, neither of them mentions again the picture. Now and then, the postman gives her money and cigarettes, although he only smokes a pipe.
Asked about the housepainter, Kathy tells him he died a long time ago of lead-poisoning. Now, she says, she lives alone in a small flat and has different jobs.
In the end, she asks again for the fishing-boat picture, and he gives it to her again. Afterwards, he finds it again in the window of the same pawnshop, but this time he doesn’t rebuy it.
One day, a lorry runs over her, killing her. The postman goes to the hospital, and there they give him her belongings, and with them there is the fishing-boat picture, broken and dirty with blood. In the cemetery, besides her relatives, there comes a stranger. Harry finds him again in her place, collecting his things: he had been living with Kathy all these six years.
At home again, he thinks he could have kept their pictures and also kept Kathy, and feels that his life had been a waste of time.
At the end, he wonders about the meaning of life, of his life: is it worth living one’s life?
 
QUESTIONS

-What is your advice for a dating couple in order to know each other better and help them to decide on living (or not) together?
-What is better for a couple: a lot of love, or a lot of peace?
-Why do you think the protagonist liked living alone after his wife ran away?
-According to your opinion, why the wife didn’t ask him money?
-What does the picture symbolize for the couple along the story?
-Do you think that, for some people, unhappiness is a kind of happiness?

VOCABULARY

mash-lad, cheeky-daft, ruffled, down payment, hire purchase, prising, rammel, duck, allus, daft, nowt, bleddy dead ‘ead, clocked, skipped off, confined, on the dole, knocking on, clubfoot, rounds, draughts, fag-end, aerials, scooting, in the clock of the walk way, sarky, rouge, wireless, bob, hit it off, in the lurch, dresser, fag, five-packet, dished, wry, triplet, out of pop, doddering skinflint, mildewed, feyther, chinning, measly, scuttle, nippy, got the sack, mystified, blackout, shrapnel, picture house, bloke, sexton, potty, booze, pitted, knight

Saturday Night and Sunday Morning (film)

The Loneliness of the Long Distance Runner (film)

Obituary in The Guardian

Mansfield Park, by Jane Austen

Jane Austen (1775-1817)

There’s no much information about Austen life, mostly because her sister Cassandra burnt or destroyed all her letters; she said Jane told so many personal things about their family and friends that it would be indecorous to know their content.

We do know she was born in the rural Hampshire (or Hants), a county in the south of England, that she was the sixth of seven children in a clergyman’s family with a big library, and that this library had a wide variety of books, even Tom Jones or Tristram Shandy, novels that in that period weren’t very appropriate for girls, and less for clergyman’s daughters.

She was educated mainly at home and only went to a boarding school for a year in Reading.

She started writing stories that she read for the family and plays that they perform at home.

When she was 26, they moved to Bath; then, five years later, they went to live in Southampton, and three years later to Chawton, also in the same county.

She never married, althought she had a relationship with a man who died young.

Her novels narrate “the rocky road to a young woman’s happy marriage”, and she said she needed only three or four families to develop their plot. So, what is there in her novels?

She published Sense and Sensibility (1811), Pride and Prejudice (1813) and Mansfield Park (1814) anonymously. In 1817, after her death, Northanger Abbey and Persuasion were published with the name of the author.

Jane Austen official web

Becoming Jane

Lost in Austen

 

MANSFIELD PARK

 

This is the story of Fanny Price, the eldest daughter of a very poor and crowded family. But she is nine years old when she is adopted by her rich uncle sir Thomas Bertram, of a well-to-do family, and her living prospects change radically.

The narrative starts telling us about the three sisters Ward. The eldest and more beautiful, although very apathetic, indolent and trivial, marries Sir Thomas Bertram and gets a comfortable position in the world.

The second sister marries a clergyman, reverend Norris, who has a benefit in Sir Thomas parish, the vicarage being very near the country house.

The youngest sister, Frances, fared worse, because she married for love to the poor navy lieutenant Mr Price, and so got estranged from her sisters; and, to make matters worse, he is been licensed because of an injury and spends most of his time at home or with his friends, but not working. The family Price, besides of being poor, is numerous. But when Mrs Price is about having her ninth child, she asks for help to her sisters. Mrs Norris, a busybody bossy childless woman, suggests that Sir Thomas could adopt a Prince’s child. So Fanny got to live with sir Thomas, her wife and their children, Tom, Edmund, Maria and Julia, all of them older than Fanny.

These children, although they have an excellent academic education, are spoiled because of the indulgence of their parents and their aunt Mrs Norris. Fanny, who is very shy and honest, feels a bit uncomfortable in this house, because Sir Thomas is so serious, Mrs Norris so bossy, Mrs Bertram and her daughters so indifferent; but in the end she gets used to the Bertram’s family ways. The only person who shows some sympathy to Fanny is Edmund, who wants to be a clergyman, and whom she would fall secretly in love with.

Some years pass without any novelty. Then, Mr Norris dies, and reverend Mr Grant and his wife comes to live in the vicarage.

Mr Bertram has to go to Antigua to manage his plantations because there have been some problems. While he’s away, a friend of Tom visits the Bertrams, full of enthusiasm about reforms in the countryside. He’s a very rich man, but not very clever. He falls in love with Maria.

More or less at the same time, there are two more visitors: Mary Crawford and Henry Crawford, Mrs Grant’s step-sister and brother. There are some flirtations between Henry and Julia, Henry and Maria (although they know she’s engaged to Mr Rushworth) and Edmund and Mary.

After some days, another guest arrives. It’s Mr Yates, with his head full of acting. He infects the group with the craving of acting and theatre. And after some debate, they decide to prepare a play to perform for all the family. But when they are rehearsing for the last time, Sir Thomas arrives from Antigua and all is cancelled.

Now the novel changes its tone. Until this moment, there has been a lot of action; now, it moves to a more psychological ground. Sir Thomas has changed: he understands and loves better Fanny, he sees he has indulged too much his daughters and his son Tom, and that he has given too much power to Mrs Norris over his family.

Maria marries Mr Rushworth, and the couple and Julia go to London.

Henry Crawford tries to break Fanny’s heart, but in the end it seems that he’s fallen in love with her. He approaches her, but she rejects all his advances, even when he helps her brother in a promotion.

Edmund is indecisive about proposing to Mary Crawford, because perhaps he thinks she wouldn’t be an ideal wife for a pastor: she is trivial and wouldn’t like to be married to a clergyman.

After her refusing Henry Crawford, Fanny is sent for a couple of months to visit her family, and Tom fells very ill, almost to the point of dying.

Henry Crawford, after visiting Fanny in Portsmouth with her family and showing one more time his love, goes to London to visit the married couple. 

But we’re not going to give away any spoiler.

So some questions can be:

Is Fanny going to stay with her family forever? Is she going to get married to Henry Crawford? Is she going to go back to Mansfield? Is Edmund going to get married to Mary Crawford? Is Tom going to recover from his illness?

Mansfield Park film, 2007

Mansfield Park film, 1999

 

Mansfield Park. Volume One. Chapter XVIII

SUMMARY

 

We are at the last chapter of the first volume, and Jane Austen is going to offer us a very dramatic ending after a very dramatic climax, so this way the readers will be anxious to follow reading the second volume.

We have a group of people wanting to do the rehearsal of three of the five acts of Lovers’s Vows has, so all of them are very excited, or very nervous.

Tom, the eldest of the Bertrams, who had given up his preference for a comedy and accepted playing a drama instead, would perform any character, doesn’t mind which, and is very impatient for the rehearsal.

Mr Rushworth, Maria’s fiancé, isn’t able to learn by heart any of his speeches, and all the time needs a prompter, and, moreover, he is very worried about his dress.

Maria is going to have a very equivocal scene with Henry Crawford, a scene that allows them to flirt even more: in the play, these two characters (mother and son) embrace each other. Mr Rushworth starts being jealous. Henry Crawford is the best actor: he can play all the characters, giving them the exact theatrical tone.

Julia, the youngest of the Bertrams, is not playing because Henry Crawford has showed his preference for Maria for her part, although he previously had been courting her. Another role has been offered to her, but she has rejected them all out of spite.

Mrs Grant, the vicar’s wife, also has a minor part.

Mr Yates, a friend of Tom, is the man who has come to the Bertram’s home with his head full of acting, and has persuaded the rest to pass the time preparing a play. He has the main character, Baron Wildenhaim.

Edmund didn’t approve the idea of acting while their father was absent faraway and perhaps in danger, but, as Tom threatened to look for actors and actresses out of the family circle, he decided to act himself. He is going to play the part of a clergyman (in the real life, he himself is going to be ordained).

Miss Crawford plays Amelia, the Baron’s daughter, a young woman who is in love with Anhalt, the clergyman her tutor. She is who declares her love to Anhalt and persuades him to marry her; and so there is another couple in a compromising situation.

Mrs Norris is very busy with the curtains and the players’ clothes.

Lady Bertram is a bit anxious to see something of the play talked about so much and which causes so much bustle.

Fanny is required by everybody: Mrs Norris needs her help with the equipment, and the players need her to prompt them, and as sparring to try their speeches. Even Mary Crawford and Edmund need her as an interlocutor, a prompter and a critic.

All is now ready for the dress rehearsal of the first three acts, and all are very impatient, but, at the last moment, Mr Grant feels ill, and Mrs Grant has to stay at the parsonage to take care of him, and so she won’t be able to act.

In the face of this problem, they entreat Fanny —the only person who has always objected to the whole acting because she thinks inappropriate being Sir Thomas away, being some very embarrassing scenes, and being, although she doesn’t want to admit, jealous of Mary Crawford— to take the part of Mrs Grant, or at least to read it. Fanny refuses because she feels it isn’t right, but then the rest label her egoist, and stubborn; even Edmund begs her.

In the end, she yields, but, just before they start, Julia makes an astonishing announcement.

QUESTIONS

Why theatre can be viewed as something immoral, or at least as something not very appropriate in some circumstances?
What qualities must you have to be a good actor?
Henry Crawford is a very good actor. Why can this talent can be a flaw in his character, according to Fanny’s point of view?
Mr Rushworth says that Henry Crawford can’t be a good actor because is too short. How do cinema and art impose us the shape of our appearances?
Sir Thomas and Mrs Norris were thinking about the possibility that Tom, or Edmund, fall in love with her cousin Fanny. Marriage between relatives used to want permission from the religious authorities, and, in most of cultures, is a taboo. Do you think this proscription it’s something biological, or cultural?
Edmund and Mary have very different points of view about religion. According to you: can a marriage between two people of so different opinions work?
In which ways do you think plays are better than films? And films better than plays?
Why is it important (or not) for an adopted child to know their biological parents?

VOCABULARY

fret, trifling, rant, prompter, to her eye, tameness, was at little pains, deferred, catchword, forwarder, seams, trice, festoons, entreat, grate, obliged, in the aggregate, surmise, stand the brunt, had little credit with, yield

Chapter XVIII (Project Gutenberg)

Lovers' Vows

My Wife is a White Russian, by Rose Tremain

SOME WORDS ABOUT ROSE TREMAIN, by Elisa Sola

 

Rose Tremain was born on August 2nd, 1943. Nowadays, she is 81 years old. She was born as Rosemary Jane Thomson, but she married John Tremain in 1971, and they had a daughter. The marriage lasted about five years, and she remarried the theatre director Jonathan Dudley. This marriage lasted nine years. Since 1992 she is with Richard Holmes.

She was educated at Francis Holland School, Crofton Grange School, the Sorbonne (1961-1962) and the University of East Anglia (BA, English Literature), with which she has been very linked professionally, because she taught creative writing in this University from 1988 to 1995, and she became Chancellor in 2013. She has written three collections of short stories and nine novels, and she is best known as a historical novelist, who approaches her subjects “from unexpected angles, concentrating her attention on unglamorous outsiders”. When she was young, she experienced an epiphany: “I remember standing in the middle of a very beautiful hayfield with the sun going down and thinking that I didn’t want just to describe how beautiful I thought that place was, but I wanted to write down all my feelings about it, and then try to make some equation between that place and what I felt about it, and what hopes I had for my own life. I can remember the intensity of it…, and it seemed to me then that my life would be a life in which this process of describing and identifying feelings would play a part.” Although she knew that she was a writer very early, she didn’t publish any fictions until she was 33. In an interview about her work, she explains that she avoids the autobiographical fiction, because she is not interested in writing about herself, although there are aspects of her life in all of her novels. What she wants to show are the sensations, the emotions experienced by her protagonists. In this sense, she did many interviews with Polish workers in her neighbourhood, and not so much to steal the stories of their lives, but to understand what they have felt in the case of so many adversities. About the documentation for her historical novels, she says that she has to do it in such a way that it doesn’t seem like it, the data has to be digested and integrate into the novel naturally. Tremain has judged the Booker prize twice, in 1988 and 2000, and makes no secret of the fact that she would love to win it.

 

SOME LINKS:

An article:

https://www.theguardian.com/books/2003/may/10/featuresreviews.guardianreview5

An interview to Rose Tremain:

https://youtu.be/oXSXVc0DcGA

SUMMARY

 

During a business lunch, a wealthy financier, elderly and disabled, explains the relationship he has with his wife and express some reflections about the meaning of his life and about his behaviour. The anecdote takes place in a luxurious French restaurant in London, in a sunny morning in May, and the protagonists are two couples of two businessmen and their wives. This framework is the pretext that allows the protagonist to tell the story of his intimate life, always from his unique point of view. The literary device used is the description of the present meal and the mixing of the memories of the past. The protagonist, named Hubert (the only character in the story whose name we know and the only one who narrates, because the story is written in the first person), tells us that he is a rich financier who has many investments in precious metals, and we know that his work gives him great satisfaction - even physical. We can deduce that business has been the centre of his life (“I hope you’re happy in your work” is the advice he gives to the young financier, as if it were a testament). 

Throughout the narration we realize that the protagonist had a stroke that left him paralysed and that he has many mobility and speech problems, which gives more strength and authenticity to his reflections, because he makes them from pain and from the truth of his life, as if passing an account review. 

The character that is best described is that of his wife, as the title of the story announces. He tells us right away that his wife doesn’t love him and has always been with him for money. He tells us that they met in Paris, and that she was a very poor white Russian, and she agreed to be with him for money (“I’ll fuck for money”). The white Russian is addicted to luxury, jewels, wine, opera and ballet, and she is described as a superficial, selfish and domineering person. 

We deduce that they have a toxic relationship of dependence on each other: he is emotionally and physically dependent on her (physically: “he married her because he began to need her body” / emotionally: “he, obediently, moved out to the child’s room”). On the other hand, she is financially dependent on him, but also dependent on his contempt for him. She seems to enjoy ignoring him (“without looking at me, she puts my glass down in front of me”, “I exist only in the corner of her eye”), not letting anyone help him “don’t help him!”... 

The story is built on oppositions, which are loaded with meaning and which help to emphasize the message: the young couple and the old couple, the white Russian (his wife) and the wife of the young financier, Toomin Valley before (fertile and rainy) and Toomin Valley now (immense desert), as a metaphor for his own life, the young woman’s freckles and his old man’s spots on his skin (“his blotched hand with oddly and repulsive stains”), the dark mouth of his wife (“why are your lips this terrible colour these days?”, “the colour of claret”) and the frank smile of the young woman (“freshly peeled teeth and a laugh”) ... 

There are also very powerful images that act as symbols of the sexual relationship: the oysters they eat (“she sucks an oyster into her dark mouth”), the scallops “saffron yellow and orange”, warm colours that lead us to female sex, and the author goes on into this metaphor explaining that the flesh of the scallop is firm and soft “like a woman’s thigh when it is young”. During the banquet, he’s reliving moments of his sexual relationship, having in front of him the voracity of his wife (“She is drinking quite fast”) and the tenderness of the young couple. Above all, the difference between the two women stands out: “She is drinking quite fast” (his wife) in front of the tenderness of the young Australian wife. The comparison highlights the difference between the two women.

The protagonist approaches the relationship with his wife as just another business. He marries her to decorate his life: “her body, the white and the gold of her (the importance of colours to define people!), I thought, will ornament my life”, but we see that he is completely hooked in this relationship, a relationship that he lives in silence; “I wanted to brush her gold hair and hold it against my face, but I didn’t ask her if I could do this because I was afraid she would say: ‘you can do it for money’”. And silence or lack of communication is the essential element at the end of the story. In the last paragraph, the narration takes an unexpected turn. From decrepitude, but with lucidity, he stops looking for reasons for his heartbreak outside, and does an exercise in self-criticism. The protagonist seems to realize that what would have given meaning to his life is love, symbolized by the pair of young Australians, “with their fingers touching...”, “into the private moments together is crammed all that we ask for life”. And he laments that she never loved him, asking the big question, “Why did she never love me?” And he finds the answer in his silence and in the hardness of his words, a twist of script that we might not have expected, but which is very instructive. How many times should we stop complaining about the behaviour of others to start looking inside ourselves? This mea culpa has surprised us.

We have missed the point of view of his wife, who looks for the meaning of life in art, in opera and classical ballet, and she does not find it. How would the story be told by his wife?

 

QUESTIONS

-The financier thinks: “If she loved me, she probably wouldn’t mind wiping my arse.” What is your opinion about this?

-Do you think theirs is a toxic relationship? Why?

-How do you react when some invalid / stammerer / … needs some help? What is it the best behaviour towards them?

-Have you seen the film Indecent Proposal? Do you think everybody has a price?

-Have you written your last orders? Do you think everyone has to do it?

-What can do a wife to stop being only a wife?

-How do you know when somebody is a snob? Is his wife a snob? How do you know?

-According to your mind, why does she like Don Giovanni so much?

-Do you think marriages between sex workers and their costumers are good matches?

-What does the last sentence (“the answer comes from deep underground: it’s the hardness of my words”) mean for you?

Why does the narrator use the adjective “white” to describe his Russian wife?

 

 

VOCABULARY

assets, dabbing, prancing, riff-raffy, bean pole, pavement, scallops, cooped up, scorching, gritty, escarpment, still-life, trundled

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