When
I posted my World War II Book List a while back, and included my own choices of
my five favorite books in each subdivision of the list, I hadn't yet taken Noel
Streatfeild's The Winter Is Past
(1940) off of my TBR shelf and actually read it. It was reprinted by Greyladies
at least a year ago, but for some reason I got sidetracked onto other things
and took forever to read it. Had I already read Streatfeild's lovely, funny,
but surprisingly gritty tale of a country house, its family and servants, and
the evacuees (literal) and other refugees (figurative) who find shelter there during the drab, anticlimactic days of the "phony war", then I can
guarantee that it would have made my top five for the "Approach and Early
Days" section.
For
me, what sets The Winter Is Past
apart from other portrayals of the earliest days of the war, is that while it
has all the hallmarks of a cozy, comforting bit of escapism (and indeed it is
very, very entertaining and addictive, so it could really be read as such),
Streatfeild's characters are undoubtedly real living breathing human beings,
not idealized figures with only minor problems easily resolved at the end.
Their flaws are shown and wrestled with, and reading about how they come to
terms with them and with one another, one must come to terms with their
failings too, and then forgive them and like them anyway.
This
edginess in Streatfeild was to be taken to a bit of a bleak extreme a couple of
years later in her Blitz novel I Ordered
a Table for Six (1942)—the Blitz was bound to make one a bit cranky, I
suppose. And although Saplings
(1945), which follows one family through the entire war, is another favorite of
mine (available from Persephone), it's certainly a bit darker than Winter as well. Perhaps Winter was simply as optimistic and
energetic as Streatfeild could bring herself to be outside of her children's
books or her Susan Scarlett romances. But it's the perfect balance for me.
Among
the residents of and visitors to the country house are young Sara Laurence, a
former actress, and her husband Bill (off doing war service during much of the
novel), from whom she has become alienated following a miscarriage and its
succeeding depression; her mother-in-law Lydia, who has left her London
apartment as a result of the war, and who is posh and unflappably domineering
in her polite and efficient way; the family servants Cook, Sims, Martin,
elderly Nannie (who cared for Lydia as a child), and poor Irene, whose
airheadedness is much commented on throughout; evacuee Mrs. Vidler and her
children Tommy, Rosie, and Herbert; Sara's sister-in-law Saffron and husband
Jim; G.N., an older playwright friend; Broom the gardener; and probably more
I'm forgetting about.
Lots
of things happen—the villagers gossip about Sara and G.N., Sara tries to find a
purpose in life following her miscarriage, Mrs. Vidler frequently expresses her
exaspertion with the ways of the upper classes—but the main plot consists of
these disparate characters coming to terms with one another, facing tragedy,
illness, hardship, and uncertainty about the future together, and even learning
from each other.
Greyladies back cover blurb |
One
thing that struck me here was that Streatfeild consistently dodges the
stereotypes about evacuees in her portrayals of Mrs. Vidler and her children.
They are clean and well-behaved, Mrs. Vidler acknowledges how difficult it must
be for the family to have strangers in their home, Tommy takes a surprising
interest in gardening, and Mrs. Vidler is determined to make herself useful
around the house. On the other hand, Lydia bemoans that Mrs. Vidler "never
seemed to understand that she was an inferior," and she is hilariously
allowed to vent her bewilderment about upper crust behavior:
Why
people give themselves all that space to brush and scrub when they needn't,
beats me. Not that, as she reminded herself, young Mrs. Laurence did anything
in the way of brushing or scrubbing, but how that Annie Martin and that Minnie Sims
had to get about! Annie Martin put her in mind of a cat with a tin tied to its
tail. Minnie Sims was slower, but she never seemed to have a minute to call her
own. Always saying she had to do her passages or turn down her beds or
something. Lying back studying the windows, Mrs. Vidler puzzled at the queer
ways of the rich, at the ideas they had of making work and wasting time. Turn down
the beds indeed! The bed would turn itself down as soon as any one got into it
and if that wasn't time enough, she didn't know what was. She looked up at the
window behind which she knew Bill was lying and sighed. How dull life was for
people like him and that young Mrs. Laurence. No wonder the poor little thing
looked all of a jump.
And
later, when her husband visits, she tells him about the trouble between Sara
and Bill:
"Why does 'e put up with
it?"
Mrs. Vidler puffed out an immense
breath as if blowing from her soul the repressions of the house.
"Why? Always act genteel. My
Gawd, must be awful to be a lady or gentleman. Never speak your mind; never act
natural; never 'ave a good laugh, nor a good cry, nor a good row. Just on and
on, all the days the same, all they get out of it is enough to eat. When this
rationing gets goin' they won't 'ave even that, they won't 'ave anythin'."
Streatfeild
obviously poured some of her own anxieties about the looming war—and what it
would bring with it—into the novel. Lydia formulates her ideas of the role in
women in wartime, while G.N. roundly condemns those writers and artists who
chose to go abroad (mostly to the U.S.) when the war approached. And then
there's Cook's memorable anxieties about the future of domestic work:
I remember the last
war, I was in the W.A.A.C.'s then, that's the same as the A.T.S. now, and I
didn't see anything much of what was going on. We always had plenty of
everything in the W.A.A.C.'s, and were kept and paid, so I never saw how things
were shaping. But I knew all right when I came out. Why, in my first place,
there were twenty-three of us in the servants' hall, and I was third kitchen-maid.
What food we had! The entertaining there was, you wouldn't believe. But after
the war you couldn't get that kind of place, or at least I couldn't. I went
where there were four in the kitchen, very
nice it was, titled people and all that, but they had to squeeze to make ends
meet, and they were no strangers to the tradesman standing on the doorstep
asking when he was going to be paid. And things haven't been getting any
better. Now this war, you read what it's costing. You read the taxes, and they'll
be worse yet. Well, what's going to happen to people like this," she jerked her thumb at the roof, to represent all
in the dining-room, "and if anything happens to them and their sort,
what's going to happen to us?"
All
of which is interesting and entertaining, but above all, what makes The Winter Is Past a favorite for me is
its heart. Even Lydia, as conservative and domineering as she can be, is given
her moments to shine, as in this touching scene with old Nannie:
Lydia smiled, for years she had been
an exquisite needlewoman, but it was governesses who had taught her to be so,
and Nannie had never forgotten a sticky fingered small girl attempting to
embroider "God is Love" on a pin-cushion, and how she had lost
patience and tried to cover the big letters more quickly and how each time she
had done this the work had been taken from her and the "bogglers"
unpicked. Now Nannie's stitches were becoming
bogglers, all her life she had been neat with her needle and her failing
eyesight hid from her work that she would never have passed a few years ago.
Sara would have been startled if she could have seen the expression on Lydia's
face as she examined the hem, and heard the warmth and love in her voice as she
said:
"You
mustn't expect us all to sew like you do. All the same I would rather you let
me have these small things, I know it won't be as well done as if you did it,
but you must take care of your eyes. I'll bring you up some of my knitting for
Mr. Edward's men. I shall be glad to be rid of it for a time. Navy is a tiring
colour."
If
you're a fan of home front novels, or character-based comedy-dramas, or Noel
Streatfeild, or just wonderfully entertaining reads, be sure to grab this one
from Greyladies while you can! And next time, we move about six years into the
future for a similarly amazing (if not quite so flawlessly characterized) look
at the days immediately after the war's end.
These sound wonderful reads.
ReplyDeleteI'm a big Streatfield fan - have been since my childhood where The Bell Family was a favorite.
I have read Saplings and found it enjoyable -much darker in mood than I expected.It reminded me a little of Margarita Laski's To Bed with Fine Music - people NOT behaving like Mrs. Miniver - and much more realistic. Will let you know when I have read them!
I think Winter is definitely a bit lighter than Saplings, but with a bit more of an edge than Mrs. Miniver. Hope you enjoy it, Elizabeth!
DeleteOh, I am so glad you reviewed this title, Scott. I bought a copy from Laura (or both the Thirkell and Stevenson lists) recently, and just fell in love with it.
ReplyDeleteIt may be my favorite Streatfeild book ever! My only issue with it is - alas, the end. No spoilers here, but my heart ached for the Vidler child.
Of couorse, that is a tribute to Streatfeild, as it means she fully engaged me with her writing. I do like WWII home-front stories, adn this is right up thee at the top! Thanks for discussing it!
Tom
Glad you like this, Tom. It's a favorite of mine too!
DeleteWow. This is a whole side of Streatfeild I had no idea existed.
ReplyDeleteShe was indeed a pretty varied author! If you're a fan of her children's fiction, you might enjoy sampling her work for adults.
DeleteI've been a fan of Noel Streatfeild's children's books since childhood, but only recently became aware of her adult novels. (That's what life was like before the Internet.) I began reading Amazon's sample of The Winter is Past this morning and was delighted to discover this new facet of Streatfeild's work. I enjoyed your blogpost very much.
ReplyDelete