Tuesday, December 4, 2012

Three Men on the Bummel - Jerome K. Jerome

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Jerome K. Jerome has been on my radar recently, since Catherine at Victorian Secrets sent me a new biography of him - Below the Fairy City: A Life of Jerome K. Jerome by Carolyn W. de la L. Oulton - which I hope to read soon.  More on that from the publisher's website here.  But before I got Catherine's message, and subsequently the book, I was already thinking about Jerome - because I've recently finished Three Men on the Bummel, the sequel to his very well-known novel Three Men on a Boat, which I reviewed here.  It also takes the coveted 1900 place on my Century of Books.

George and Harris rejoin Jerome (our narrator) as they go off on the bummel.  What is a bummel, you ask?  Well, Jerome answers the question for us, but not until the final page.  I'm going to save you the mystery:
"A 'Bummel'," I explained, "I should describe as a journey, long or short, without an end; the only thing regulating it being the necessity of getting back within a given time to the point from which one started. Sometimes it is through busy streets, and sometimes through the fields and lanes; sometimes we can be spared for a few hours, and sometimes for a few days. But long or short, but here or there, our thoughts are ever on the running of the sand. We nod and smile to many as we pass; with some we stop and talk awhile; and with a few we walk a little way. We have been much interested, and often a little tired. But on the whole we have had a pleasant time, and are sorry when 'tis over."
Theirs takes the form of cycling through Germany, and commenting on the things that happen there.  Cycling holidays were rather the craze, and travel guides for Europe were equally popular, but the narrator is keen to correct the reader who might have picked up the book for the wrong reason:
I wish to be equally frank with the reader of this book.  I wish here conscientiously to let forth its shortcomings.  I wish no one to read this book under a misapprehension. 
There will be no useful information in this book. 
Anyone who should think that with the aid of this book he would be able to make a tour through Germany and the Black Forest would probably lose himself before he got to the Nore.  That, at all events, would be the best thing that could happen to him.  The farther away from home he got, the greater only would be his difficulties. 
I do not regard the conveyance of useful information as my forte.  This belief was not inborn with me; it has been driven home upon me by experience.
Well, he's not wrong there!  If you thought Three Men on a Boat went off on a lot of tangents, then you'd have to psyche yourself up to read this - there isn't really anything but tangents.  They'd cycle for a bit (well, it took some time to get even as far as the holiday itself) and something would remind the narrator of a past event, or he'd wander off on a pages-long anecdote about something that happened earlier in the week, etc. etc.  It was often difficult to work out what was past and what was present, so tenuous was any attempt at linear narrative.  But did that matter?  No, of course not.  Not in the slightest.  Jerome K. Jerome is a hilarious writer, and that is the point of Three Men on the Bummel.

The anecdotes interweave and overlap, and are so long, that it's difficult to give you a flavour of his writing - but I did find one excerpt which was short enough to type out and shows you how funny Jerome can be:
He handed me a small book bound in red cloth.  It was a travel guide to English conversation for the use of German travellers.  It commenced "On a Steamboat," and terminated "At the Doctor's"; its longest chapter being devoted to conversation in a railway carriage, among, apparently, a compartment load full of quarrelsome and ill-mannered lunatics: "Can you not get further away from me, sir?" - "It is impossible, madam; my neighbour, here, is very stout" - "Shall we not endeavour to arrange our legs?" - "Please have the goodness to keep your elbows down" - "Pray do not inconvenience yourself, madam, if my shoulder is of any accommodation to you," whether intended to be said sarcastically or not, there was nothing to indicate - "I really must request you to move a little, madam, I can hardly breathe," the author's idea being, presumably, that by this time the whole party was mixed up together on the floor.  The chapter concluded with the phrase, "Here we are at our destination, God be thanked!" (Gott sei dank!)" a pious exclamation, which under the circumstances must have taken the form of a chorus.
Quite a lot of the novel's humour comes from the stereotype that Germanic cultures are organised, regimented, and orderly.  Any humour depending on national archetypes is apt to make us feel a little uncomfortable, but hopefully that wouldn't ruin the book for you.  The narrator is, any how, greatly admiring of this trait - and if we were to ignore any British novel which cast Germany in a negative light, it would wipe out most of the first half of the 20th century.  I'm sure most of us are willing to accept a book as being from the time it was written.

Three Men on the Bummel was read while I was myself 'on the bummel' - through the Lake District - and I was able to smile wryly at the humorous misadventures the heroes experienced at the hands of transport and weather, and was only too grateful that I haven't ridden a bicycle since I was 14.  It's been so long since I read Three Men on a Boat that I'd be hard pressed to compare them minutely, or choose a favourite, but this certainly isn't a poor relation - it's very, very funny and one of the silliest books I've read in years.


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Monday, December 3, 2012

♥ International Commercial Arbitration- Two Volume Set

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Reviews International Commercial Arbitration- Two Volume Set


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A few little reviews...

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It has come to my notice that it is December, and there are only 27 days left this year.  I have almost 20 reviews to write for A Century of Books... oops, didn't work this out very well, did I?  (Well, I still have 10 books to read - but I have 4 of them on the go already.)  So I'm going to rush through five of them today - books that, for one reason or another, I didn't want to write whole posts about.  But do still free to comment on them!


Daddy Long-Legs (1912) by Jean Webster
An orphaned girl is given a scholarship by a mysterious, anonymous man - she has only seen his back - and one of the conditions is that she must write updates to him, without getting any replies.  She nicknames him Daddy Long-Legs.  Can you guess what happens?  Well, I shan't give away the ending.  I was mostly surprised at how modern this children's book felt, despite being a hundred years old - a lot of it would have been at home in a Jacqueline Wilson story.  I enjoyed it, but did find it a little creepy, and rather repetitive, but these are probably signs of not having read it when I was the target age.

Metamorphosis (1915) by Franz Kafka
Gregor Samsa wakes up one morning to discover that he is an enormous bug.  Which is going to make his job as a salesman somewhat difficult.  The reason I'm not giving this novella/short story its own review is that I don't feel I have anything new to say about it.  Kafka is famed for his matter-of-fact approach to the surreality in this story, and rightly so.  What surprised me here was how middlebrow it all felt.  It is definitely comparable to David Garnett's Lady Into Fox - which actually seems to have greater pretensions to literariness.

Married Love (1918) by Marie Stopes
Another one which surprised me - I'd always heard that Marie Stopes started a sexual revolution in the UK, offering knowledge about sex to the everywoman for the first time.  Turns out she is much more conservative, and less revelatory, than a lot of the other guides written around the same time, and earlier.  I read these guides for my current DPhil chapter, by the way - my favourite so far being the person who argued that sexual intercourse and reproduction were acceptable as separate impulses, because protozoa separated them.  Sure, why not?  (I wonder if I've just made all sorts of inappropriate search terms for this blog now...)

Miss Hargreaves: the play (1952) by Frank Hargreaves
This is something of a cheat, since it was never published - but it was performed, with Margaret Rutherford in the lead role.  Tanya tipped me off that copies of all performed plays were in the Lord Chamberlain's archives in the British Library - so I had the great privilege and pleasure of reading the play, with Baker's own penned changes.  It's pretty similar to the novel, only with the action restricted to a few settings.  Such fun!

V. Sackville West (1973) by Michael Stevens
I'm a sucker for a short biography, and I hadn't read one of VSW before, so I gave this one a whirl.  It's a critical biography, so Stevens discusses and analyses the work while giving an outline of VSW's life.  About halfway through I thought, "this feels way too much like a doctoral dissertation."  Turns out it was a doctoral dissertation.  I think I'll be turning to a more charismatic writer for my next biography of Vita, as this one was rather prosaic and charmless, although very thoroughly researched.

Right, well that's five down!  How are the other Century of Bookers getting on?


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Sunday, December 2, 2012

> The GAMSAT Preparation Course 2013-2014 UK Ireland (Gold Standard Materials - Book)

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Elders and Betters - Ivy Compton-Burnett

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"Dear, dear, what clever talk it all is!"
"It sounds so," said Jenney, on a puzzled note.  "And yet it is all about nothing, isn't it?"
It's canny of Ivy Compton-Burnett to incorporate into Elders and Betters (1944) the main criticism aimed at her novels - it shows a self-awareness, but somehow also deflates the common argument (from those who have read her unadmiringly) that her work is all surface and no depth.  I'm going to do my best to defend her, but... I do have to concede that a lot of what I love about Ivy Compton-Burnett's exceptional writing is the surface wit.  A lot, but not all.  

Elders and Betters starts off on moving day for the Donne family.  Anna has chosen a house for them, and the various members of the family are moving in, in dribs and drabs.  Since we started off with only three, I thought that Ivy Compton-Burnett had been uncharacteristically frugal with her cast - but more and more arrived, and then we were introduced to a second family.  I'll save you some time, and rattle through them.  Skip the next paragraph if you want to - it's deathly dull, but needs must.  Here goes.

Father: Benjamin, children: Bernard, Esmond, Anna, Reuben (ages about 30 to 13, in that order). Benjamin's cousin Clara Bell 'known as Claribel to the family, and to as many people outside it as she could contrive'; housekeeper Maria Jennings (Jenney to all), Cook (nobody seems to know her name) and Ethel, the maid.  Benjamin's sister Jessica lives nearby, along with her husband Thomas, adult children Terence and Tullia, and young children Dora and Julius. Benjamin's other sister, Sukey, also lives there - and is dying of a vague heart condition, without any apparent time-limit on its fatal nature.  Finishing things off are Miss Lacy (the young children's teacher) and her niece Florence.

Phew!  At one point I did sketch out a family tree, but they actually all have quite distinct personalities and affinities, and it wasn't too tricky to keep them all sorted in my mind.  Back to the plot.  As I say, we start with visiting a new house - the sort of scene I always warm too, especially when one character is trying to convince others that it's a great choice, and they remain firmly unconvinced.
"The drawing-room and dining-room are what we should expect," said Anna, throwing open the doors.  "The kitchens are below them.  The staircase leads to those above."

"A natural use for a staircase," murmured Claribel to Jenney, as she set foot upon it.  "I am glad we are to be allowed to put it to its purpose."
Oh, how I adore the witty pedantry which informs so much of Ivy Compton-Burnett's writing.  And the backtracks and change of tempo brought about by her authorial asides.  How can you not adore a writer who constructs so perfect a sentence as this? :
Ethel tried not to smile and entirely succeeded.
Round and round the conversations go, seemingly to lead nowhere, but actually forming brilliant portraits of family dynamics, and exposing the barbs and bitternesses behind people's facades - as well their occasional generosity or kindness.  For her characters so rarely have facades - they say what they think, or (more often) contradict what others think.  There is one utterly wonderful scene where nothing more complex happens than someone notices there are thirteen sitting down to dinner - and they deliberate who shall sit down first (or last; they cannot recall the superstition correctly.)  It is a scene which should be anthologised time and again.

But Elders and Betters is not a novel where nothing happens.  Ivy Compton-Burnett was always keen to stress that novels must have plots, and hated those which seemed not to.  In Elders and Betters, the pivotal point could be borrowed from any detective novelist, even if the treatment could not.  Aunt Sukey has written two wills - one inheriting her sister Jessica, one her niece Anna. She asks Anna to destroy the will which would benefit her; Anna destroys the other.  Sukey, of course, dies shortly afterwards of her heart condition.  And this propels the happenings, and (more importantly) the conversations, for the rest of the novel.

Recently, on my very positive review of Elizabeth Bowen's The House in Paris, Rachel commented "I'm sure you'll entice some more people to read Bowen - she's streets ahead of ICB!!!"  Those exclamation marks show me that she was teasing, but I do have to say - I still think Ivy Compton-Burnett is a better and more important writer than Elizabeth Bowen.  These author-vs.-author battles are probably rather silly, and will end up going in circles, but the reason I think ICB is more important is that Elizabeth Bowen does, very well, what a lot of other authors try to do; Ivy Compton-Burnett does brilliantly what nobody has really tried to imitate.
"It is a modest but pleasant house," said Reuben's voice, "and a home is where a family is gathered together."

"That is what makes family problems," said Bernard.

"We have none of those," said Benjamin, in a tone that defied contradiction.

"None," muttered Esmond. "Problems imply a solution."

"Jenney is proud of me for being able to talk like other people, though I cannot walk like them," said Reuben, rightly interpreting the expression on Jenney's face.
It is not true that Ivy Compton-Burnett's narrative voice is absent - although her novels are mostly dialogue, she very often gives speech this sting in the tail, offering a flash of insight into a character's mind, and darting away again just as quickly.  Hopefully I have given some examples of what makes her so special, so different, so important a novelist.

But, while musing about Ivy Compton-Burnett on the bus (for such is my glamorous life), I wondered why I believed her to be such a significant author, considering she seemed to inspire no one and take inspiration from no one.  There appears to be no distinct literary tradition that she adapted or futhered, besides the vague quantities of the domestic novel.  And then it struck me, the author she most reminded me of - which is, curiously perhaps, Shakespeare.

Characters who speak as no person would ever speak (for who ever spoke in blank verse?) but who perfectly represent how people feel and think.  Characters engaged in large-scale comedy and tragedy, but bound by the familial ties, and rarely missing the opportunity to philosophise in the midst of anguish or (more rarely) joy.  And of course, with all that dialogue, Ivy Compton-Burnett's books are as much plays as they are novels.  The deal was sealed when, in the final act (if you will) a flurry of unexpected engagements occurred.  Perhaps with these criteria I could compare Ivy Compton-Burnett to any playwright in a Shakespearean tradition, but it seemed to me that it was William S's particular mantle that Dame Ivy was seeking to inherit.  This only struck me towards the end - with my next venture in Ivy Compton-Burnett's novels, I shall keep it in mind from the outset, and see what it brings out of the text and reading experience.  Elders and Betters, to conclude, is not my favourite of the Ivy Compton-Burnett novels I've read (More Women Than Men retains that crown), nor is it in the top half, but she seems incapable of writing a novel that I will not thrive upon and relish - Elders and Betters is no exception.

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Saturday, December 1, 2012

=> A Dictionary of Twentieth Century Russian and Soviet Painters, 1900-80s

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Song for a Sunday

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Compare and contrast this week, ladies and gentlemen.  I was browsing through various nations' The Voice videos (as you do) and really enjoyed the winner of Australian The Voice - Karise Eden.  Unlike the winners of the US and UK series, she actually seems to have become a success after the show - and she has a really great voice.  Her first single was 'You Won't Let Me' - and I was delighted that they'd chosen a cover of an artist I love, Rachael Yamagata.  So here is Rachael Yamagata's version (first), and Karise Eden's version.  Which do you prefer?






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