Sacred Country by Rose Tremain

Rose Tremain’s Sacred Country is a novel set in Swaithey, a small place in Suffolk in the rural east of England. It’s a long way to a big city – in British terms that is, an hour perhaps or two to London at most! Local industries are small and livelihoods have traditionally arisen largely from the land. In some ways Swaithey might represent nothing less than the countryside idyll, the epitome of the perfect place to be at one with nature and oneself, the kind of place where day trippers from the smoke might imagine a life with fewer complications.

But as we get to know Swaithey’s inhabitants one by one, we discover a village of strangely isolated individuals. They seem to be constantly searching for an identity their isolation denies them and, though they are forever conscious of their place in space and time, they seem to seek only internalised goals. And, of course, these goals keep changing and it seems that few involved would recognise what they were seeking even if they found it. Central to Sacred Country is the story of Mary Ward.

We meet her first in 1952, telling off her younger brother Timmy. She is already old enough to be convinced she is a boy. The last we hear of him is in 1980. He is called Martin and is living in America. Now almost everyone in Swaithey seems to be, in one way or another, hung up on sex. There’s plenty of births and general fecundity, but Mary, for instance, wants to deny her breasts. Her mother Estelle wakes up one morning having an orgasm, in which she rejoices. She can hardly remember the last one, and the feeling appears apparently without mechanical assistance. Meanwhile Timmy wants to become a vicar but can’t cope with Latin or Hebrew, shame him, and thus is the perfect partner for Pearl who just wants a child, nothing more. Walter needs dental treatment and, in seeking out the required probing, comes across Gilbert who fixes his mouth and then explores other avenues.

Mary, meanwhile, has left home and has gone to live with a family friend. She thus comes to know a local eccentric who caresses cricket bats and smells of linseed oil. But the point is he allows, even encourages Mary to find his identity as Martin. There is a confusion for Mary, but surely nothing greater than for most, who stumble into and over what life throws at them with copious second thoughts until old age finds them merely lonely. Thus Swaithey’s folk interact, assist and hinder, both harm and care for one another. By the time we have lived with them for 28 years, perhaps we might expect at least some of them to have come closer to realising the realisable. But no, none of us has that privilege. 

A day is a day is a new day. Change is perhaps an illusion, a product of imagination, but certainly there is no going back. We may, as one character does, develop a passion for Country music so strong that we not only wear the clothes but also migrate to Nashville, but we would be no nearer to locating a core of identity within the self that everyone in this book seems to seek. Mary-Martin, meanwhile, moves to London. The separation from his-her family seems permanent until a late suggestion of reconciliation. Shotguns have gone off in the meantime. Wars have been fought. He-she seeks out what she wants while doing bit jobs, and then a longer-term relationship with a poetry magazine offers stability. Cooperation is thin. She-he lies and is rejected. Other see through her reconstructions and withdraw cooperation. Eventually, he-she finds someone who asks fewer questions, but the internalised questions remain. They are no closer to answer than he or she.

As ever with Rose Tremain, the emotional landscape is rich, despite its East Anglian lack of feature. Interactions are many and varied, and families are depicted as organic, almost having their own unstoppable life generated from within their own existence. But in the end there is always a distance between people and themselves. It is as if they are strangers unto themselves, with each step along the path towards self-knowledge both painful and taken blind. Sacred Country is clearly worth reading several times.

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Masterpiece: On Chesil Beach by Ian McEwan

The fly cover of On Chesil Beach by Ian McEwan describes the book as “a short novel of remarkable depth by a writer at the height of his powers”. On Chesil Beach was recently short-listed for the Man Booker Prize, but lost out to Anne Enright’s The Gathering. I have read both books and, for me at least, what is so amazing is the mere fact that two such utterly different concepts could have been considered for the same prize. It is reassuringly astounding that the “genre” of literary fiction can be home to every style, every emotion, every approach, every outcome, everything imaginable and much that is real. 

Those who write book blurbs are often prone to hyperbole. The greatest, the best, the most, the biggest, the most superlative are terms of mundane commonplace. The term “best selling” is usually an empty platitude. “Real” often signifies “very”, but without the latter’s imagined meaning. 

So what can we make of “a short novel of remarkable depth by a writer at the height of his powers”? In the case of On Chesil Beach this blurb is an understatement, but it is essentially accurate and justified. If I were to write a blurb for this Ian McEwan novel, I would use a single word: masterpiece. I will offer only the merest summary of the plot to provide context, because the book effectively deals with just one event, a newlywed couple’s wedding night. What happens to them is the book’s crucial point, so to reveal it would render the reading less rewarding. 

Suffice it to say that Edward and Florence are newlyweds and they are in a Dorset hotel for their honeymoon. This is the early 1960s, an era when sexuality was not discussed or even approached in the manner of even half a decade later. Edward and Florence are products of their age and of their upbringing. Ian McEwan tells us much of these aspects of their characters in asides and cameos throughout the narrative. 

When I reviewed the same writer’s Saturday, I described the book as time turned inside out. In that book, across the span of a single day, an entire family is presented through its past, its aspirations, its identities. On Chesil Beach accomplishes a similar feat across a smaller canvas, but in a much more concentrated form, replete with comment, detail, analysis and observation. Florence is solidly middle class, Edward less so. She is a violinist from a musical family. He likes Chuck Berry. They are deeply in love and they marry, but they remain children of their age, and there is the rationale for the book, an examination of their private ideas on how to cope with adulthood, alongside an account of the practicalities. 

On Chesil Beach has limited objectives, lives mainly in the events of a single evening, but, like Saturday, turn its time inside out, so we have beautifully detailed pictures of both of the nuptials’ families. Coping, or not, is what characterised the age. On Chesil Beach is a masterpiece, beautifully conceived and executed. Do read it. 

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