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For when Chris rebuilt Baldry Court after his marriage, he handed it over to architects who had not so much the wild eye of the artist as the knowing wink of the manicurist, and between them they massaged the dear old place into matter for innumerable photos in the illustrated papers.But of late this universe unto itself cannot quite keep out an England altered by ambition and industry. Only a few miles away a "red suburban stain," Wealdstone, has somehow cropped up. And one day all is permanently altered--or, rather, revealed--when a Wealdstone resident comes bearing news of Captain Baldry. Mrs. William Gray is clearly not of Chris's wife Kitty and his cousin Jenny's class, as Kitty in particular makes her aware. "Again her gray eyes brimmed," Jenny observes. "People are rude to one, she visibly said, but surely not nice people like this." How is it, then, that this dreary, "dingy" woman knows Chris and knows that something has happened to him? And how is it that Jenny soon comes to see her as someone "whose personality was sounding through her squalor like a beautiful voice singing in a darkened room"?
In the remainder of this brief, perfect novel, a vanished (or repressed) past and its lost prospect of happiness comes to the fore. Rebecca West is best remembered for Black Lamb and Grey Falcon: A Journey Through Yugoslavia (1941), but she displays the same vision--and a similar degree of realism--in her charged 1916 novel. Many readers will passionately regret the book's last twist, even as they know it to be artistically as well as historically true. --Kerry Fried -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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The critical introduction, which should be read as an afterward so as not to rob you of the surprises in the novel, does a good job of reviewing the analogies between the tightly closed world of the country estate and the national experience. There is much more to be mined from this novel, including a window on the then new science of psychoanalysis and how it was understood. For me, the narration was a particular revelation. At first I thought the voice a bit melodramatic in a 19th century way, but it became clear that the tone was all part of the author's plan, and that it changed as the narrator's vision changed. The specter of spinsterhood hangs thick in the air, itself a comment on the social condition of the era. Here is the perfect selfless, lonely narrator who knows everything about the lives in her tiny circle. The woman who would be ignored becomes the ideal articulator of how England at home received the war.
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