Lives In Time - The Amateur Marriage by Anne Tyler

For me, The Amateur Marriage represents the sixth time I have read one of Anne Tyler’s novels. On the surface it’s the story of Michael and Pauline. They meet by chance in 1941 in Anton’s, the grocery store run by Michael’s family. 1941, perhaps incidentally, is the year Anne Tyler was born. There was a war to be fought, of course, a war that affected both of their lives. But there’s a marriage, and a child, a daughter named Lindy. Others follow, a boy and another girl.

For Michael and Pauline, life progresses, as does their marriage. But twists and turns take them to places they have never visited. As with other novels by Anne Tyler, there is an obvious and consistent linearity about its time.

A reviewer has to be careful with detail, because what happens to this novel’s characters is a large part of how it happens, and thus an integral part of the book’s rationale. To some extent, a listing of the plot, event by event, would render a reading unnecessary.

But after a handful of Anne Tyler’s books, I am now convinced there is much more going on in them than mere story-telling. In the past I have found her characters shallow, rather self-obsessed, selfish, perhaps. They are people who have lives outside the family, but people who seem pre-occupied with the familiar and seem rarely to confront ideas or experience outside its apparently defining, but only sometimes reassuring confines.

And perhaps that’s the point. It is an American dream, a libertarian ideal under a microscope. It is analysed, picked apart, sometimes reconstructed. The characters are affected by political, social, economic and cultural change. Their lives are materially transformed by the same forces that lay waste and occasionally reinvent their home town, Baltimore. But they, themselves, are mere recipients of these effects, appearing to play no part in their instigation or, it seems, their analysis. They live their lives. They are pushed around by experience, jostled by life, reflect little, internalise everything, only occasionally recognising life’s potential to reform. Time thus moves on. Inevitability looms unexpectedly.

It is not a criticism of Anne Tyler, her novel or its characters to proffer the opinion that everything seems to happen in an intellectual wasteland. People go to college, do law degrees, become involved with good causes, procreate, but moments of reflection seem to be confined to what breed of dog might not provoke allergy. Perhaps that’s the point. Such things are the stuff of life. Time goes on.

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Prisoners of ideology - Angels and Insects by A. S. Byatt

Angels and Insects is an intriguing pair of novellas. At one level it examines the complexities of human relationships, especially those incorporated within marriage and the family. It identifies tension, dissipates it, anticipates expectations and then seeks resolution of conflict when they are not realised.

In Morpho Eugenia, William, a suitor, pursues his beloved and she becomes his wife. They breed with regular success, but there is a darkness that separates them in their marriage, a darkness that becomes light when William comes home from the hunt unexpectedly.

In The Conjugal Angel we enter a spirit world. For the inhabitants of the world, the spirit reality is as tangible, as rational a universe as any other. It is a world with familiar landmarks that reveal themselves easily to the accepting mind. Powerfully and engagingly interpreted by an influential writer, their significance enters the participants´ assumptions, their existence never questioned.

Angels and Insects is set in the mid-nineteenth century and, as such, deals with concepts, both social and intellectual, which are quite foreign, quite removed from those of the contemporary reader. In Morpho Eugenia, we have a scientist exploring the revolutionary ideas of evolution and applying these not only to the natural world he researches, but also the private human world, both physical and emotional, that he inhabits. Needless to say, his radical ideas are not shared by many close to him. In The Conjugal Angel, we encounter a group of people motivated by a reality they all share. 

But, for the contemporary reader, it is a reality that is utterly foreign, its literature and its analysis both apparently bogus in today’s judgment. Thus, eventually Angels and Insects is a novel about ideology. It illustrates how ideological assumptions about the nature of existence can drive an individual´s and a society´s approach to life, and how it can convince people of the truth of illusion, or vice versa. And in considering the works of contemporary poets, Angels and Insects illustrate how the literature of an age can become suffused with its ideology and, indeed, how this can feed back into the substance of life to reinforce assumptions.

As ever, A S Byatt´s use of language is virtuosic, making the process of reading Angels and Insects a delight throughout. It is an ambitious project which almost achieves its design. The shortfall, however, becomes a frustration.

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Regeneration by Pat Barker

In Regeneration, Pat Barker fictionalises an encounter between H. R. Rivers and Siegfrid Sasson in a military psychological hospital. In Craiglockhart, near Edinburgh, there are numerous war wounded, whose experiences in the Flanders trenches of the First World War have left them psychologically, as well as sometimes physically scarred.

The symptoms are many and varied. In Sassoon´s case it is possible that the motivation might even be political, rather than psychological. Rivers attempts to analyse his patients and his own responses to them. He is of the modern school, unlikely to resort to the blunt-edged methods of some of his contemporaries. 

Descriptions of some of these established treatments read very much like torture. They were, after all, in the cases described, trying to make someone talk. How appropriate.

But Rivers is unimpressed and he pursues his own line. Along the way, he also develops new, ground-breaking treatments of his own invention. Sassoon befriends a young man called Owen, whom he encourages to write. Another friend called Graves visits whenever he can. Together, Sassoon and Owen work on some of Owen´s writing.

The results, they both agree, are improvements. The power of Regeneration is the relation between its overall idea and its setting. It presents the creative process as a reflection on experience and sets this in an institution where formal reflection on experience is a treatment.

Eventually, it is not just the individual patient who benefits from the cathartic process of reflection, but also the analyst and, ultimately, all of us when the relief takes the form of great poetry.

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The Heart Of The Country by Fay Weldon

For two thirds of its length, The Heart Of The Country by Fay Weldon is a brilliant, surprising, humorous, bitchy study of adopted and original rural life. Rural industries, agriculture, and yokel identity rub shoulders with antique dealers, long-distance commuters, owners of computer stores and benefit claimants. Pretty normal stuff, I hear you say.

The book examines their interactions and relationships, especially how public virtue interacts with private vice. Natalie, who was born with attributes of beauty and desirability, has suffered the confusion of many with her birthright. With the world available to her, she chose Harris, whose business acumen eventually matched his other skills.

At the start of the book, he has just gone bust, but has not told his wife or family. He has also just run away with that bit of fluff he used to see when... So Natalie, bestowed Natalie, is left penniless, mortgaged up to the hilt, carrying her husband’s abandoned debt and still trying to provide for his children, whom, of course, he left behind. A pity, therefore, that the local nob she used to visit every Tuesday and Thursday afternoon for a bit of light relief did not entertain an emulation of her husband’s life change. There are limits to alliances, after all.

And then there’s Sonia. Sonia has seen it all. She is living off the state. She is on the take, depending on your perspective. She is on family credit, the dole, the social, whatever. Natalie happens to splash her one day as she drives past on what petrol is left in the tank of the car her husband used to fund, just before the credit people appear to repossess it. Sonia has analysis. She knows things. She can spot a person up to this, or doing that at a distance. Whether an antique dealer, a respected farmer, a man with a computer business, of even a man who drives an Audi with an eye for a floosie young thing flashing her thigh, she picks up the vibes, registers them, keeps them on file. She knows the ropes, and can spot where they have been tied. She feels she has been hung by each and every one of them several times. 

She’s on the social and knows how to cook from tins. She runs the kind of household where she would experience surprise if introduced to the contents of her refrigerator. She’s also a cynic, a closet psychopath with axes to grind. If The Heart Of The Country had continued to explore these local, colourful and humorous rivalries, then the book would have been ultimately stronger.

Unfortunately, Fay Weldon moves into other, broader, bigger issues, and has her local people voice their significance. She delves into agribusiness, diet and supermarkets. She examines economic and professional, rather than merely social integrity. She stops short of macrobiotic diets, but only just.

Eventually, the book becomes something of a mishmash of ideas it could easily and profitably ignored. Its original thrust of human beings being as complicated as human beings are in order to create, effect and endure consequences would have been much more powerful.

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Before The Knife by Carolyn Slaughter

In Before The Knife Carolyn Slaughter describes her childhood, a fraught, anxious prelude to an adulthood that continued to suffer from its heritage. She tells us early on in the book what caused this anguish, and what gave rise to its associated self-pity, self-abuse and anger. She was raped by her father at the age of six. But then the book unfolds almost without another mention of the trauma until its reality is finally recognized, long after the father, the self-tortured mother, and even the younger sister have gone to their graves.

Carolyn Slaughter’s life, though not fully acknowledged in the book, could only have been lived in a narrow window of history. The British Empire, always eager to install a white face in a position of colonial authority where people of race might not be trusted, elevated many lower middle class émigrés to effective aristocracy. It meant that they could only feel at home, that is, only attain the status they assumed, if they lived outside of the Sceptred Isle.

Carolyn’s mother had been born and brought up in India. She had grown used to a life with servants, where sewing, cooking and cleaning could be delegated to the competent. This created time for the important things in life, like deciding what to wear for dinner, what would go with what, and whether the lunch invitees would gel. Not that there were many expatriates to invite in the Kalahari Desert.

Carolyn Slaughter seems to have lived an itinerant’s life. More significantly she seems to have adopted an itinerant relationship with life. It happened as a result of denial, as a result of not accepting or acknowledging what happened to her. The father, a shop worker back home, was a District Commissioner in the Empire when his white face provided his main qualification. His wife, Carolyn’s mother, unable to accept what the daughter had told her or, indeed what evidence proved, slumped into a private depression that never left her. The author’s African childhood was almost wholly unhappy, even depressing. Her tantrums angered others, her self-abuse threatened her own life, and yet the father who was the source of the tragedy soldiered on, apparently stoically, delivering whatever duty the assumptions of Empire might demand. 

There were times when I lost touch with the sense of depression and foreboding, periods in the book when I knew things were lighter and brighter than the reminiscences suggested. Occasionally, the weight being borne got too much. But then I had a happy childhood, without abuse, indeed with love, affection, and support throughout, so who am I to criticize this insight into a world I never knew?

So, towards the end of the account, when the horror of the abuse can be re-lived in later life and thus partially expunged, we can sense the destructive havoc it has wreaked through the family’s life. It’s a rather one-paced account, but the seriousness of its focus justifies its form.

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The South by Colm Toibin

The South by Colm Toibin is an intense, though fitful chronicle of a woman’s life, a life as yet incomplete. It presents a patchwork of detail amidst vast tracts of unknown, like a painting that has a suggestion of complete outline interspersed with patches of intricate detail. Thus, eventually, we know some amazing things about Katherine Proctor and we have shared much of her life. She remains, paradoxically, largely anonymous, however, as she probably does to herself.

The title carries an agenda for Katherine Proctor’s life, since aspects of the word provide setting and context for phases in her life. We meet her having just left her husband and her ten-year-old son. She was unhappily married to Tom. Richard was her spitting image. We never really get to know why she left, why she so definitively broke with a past that appeared both secure and fulfilled. A part of her motives may have sprung from her status as a Protestant in Enniscorthy, a small town near the sea in the south of Ireland, in the south-east. She thus inherited a status that bore its own history, a history of which she was aware, but minus its detail. But it could only have been part of an explanation, because it was her husband and her life, her private concerns, that she fled.

In the 1950s, she went south to Spain, settling in Barcelona. There she met Miguel, a man with his own history. He had fought with the anarchists in the Civil War. He still had friends, colleagues from the fight. Katherine falls for him. They move to a stone house in the Pyrenees. He paints. She paints. She bears him a child. Katherine meets Michael Graves, an Irishman, doubly coincidentally also from her home town. He is working in Barcelona. He seems to be an ailing, gently cynical character, who is clearly besotted with her. When things with Miguel turn unexpectedly sour, he offers solace and comfort.

This time, however, Katherine had nothing to do with the split, a separation that also took away her young daughter. She painted more, hibernated. And then there grew an urge to trace the son she had left behind many years before. He was still in their family house, the one she had deserted, where he lived with his wife and daughter. There are tensions. They are solved. Michael Graves is also back in Ireland. Katherine rediscovers the south, her homeland, through painting it. Though penniless, she gets by, sometimes appearing to live off her own resources of passion and commitment. Though perhaps not conscious of it herself, she is always striving for a fulfilment she believes she never attains. In fact, she has it all along. Though a victim of circumstance, she is ready to grasp any opportunity and live it. 

“Only a protestant would go into sea so cold,” Michael says to her. She gets wet. He doesn’t. And in the end, though we still hardly know her, we like Katherine proctor, and we respect her. The South alternates its narrative between first and third person in a subtle way tat allows the reader to sculpt its main character. She becomes wholly tangible, but rarely are we told anything about her. She lives. We meet her, and we react. Colm Toibin’s achievement in this, his first novel, is considerable.

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2030 The Lottery by Peter Moore

2030 The Lottery by Peter Moore is a pseudo-Orwellian poke into a possible British future. In contrast to Orwell, who placed his all-powerful state almost forty years into the future, Peter Moore sets his just twenty-three years hence. This suggests that the author believes that many of the changes in Britain’s social and political fabric that he depicts in his book have already taken place. Indeed there are references to a certain war that no-one wanted, changes to the country’s sovereignty status and well reported, now familiar questions concerning political integrity.

But still, the 2030 that the book depicts is considerably further removed from the present that its twenty-odd years of displacement might suggest. The position of the Royal Family has been undermined, parliament has lost all authority and, indeed, credibility, and the country’s interests and assets have been sold off to foreigners. Perhaps it’s not so far-fetched, some might argue. Britain is under the despotic rule of Cromwell. His political style is to brand anyone who is not wholly with him as being utterly against him. This is not a tolerant regime. And those who are against him are ruthlessly pursued.

Wat Tyler and his wife, Pandora (who has a box!) lead an opposition group. Wat is arrested and tortured, and though the authorities have perfected chemical tortures that leave the body apparently unharmed, Cromwell has his captive murdered and Pandora opens the box. A full scale revolt ensues, but only after it starts with a women’s protest. A leading opposition politician takes up the cause and there is a good deal of mayhem.

Throughout Peter Moore uses character names and settings to evoke previous wars, revolts and rebellions. Cromwell sanctions a civil war in response to Wat Tyler’s peasant revolt. But in 2030 The Lottery, it is Bradley tanks and fighter aircraft that engage in locations where pikes, swords and muskets were once employed. The book requires considerable suspension of belief- it is a novel, after all. It will appeal to readers who like to poke a finger of ridicule in the direction of public figures who have lost political trust. 

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