To look at Miss Georgina Carter you would never have suspected
that a woman of her age and character would have allowed herself to be so
wholeheartedly mixed up with an Ifrit. For Georgina Carter was nearing fifty
(she was forty-seven to be exact) and there was something about her long, plain
face, her long upper lip, her long, thin hands and feet that marked her very
nearly irrevocably as a spinster. That she wore her undistinguished clothes well,
had a warm, human smile, was fond of the theatre and had never occasioned
anyone a moment's trouble or worry, were minor virtues which had never got her
very far.
I
had a feeling, from this opening paragraph, that Miss Carter and the Ifrit might be just my cup of tea. A smart,
kind, middle-aged spinster whose humdrum existence needs a bit of shaking up, a
wartime setting (late in the war, complete with war fatigue and food yearnings),
and a bit of a fantasy element to complicate matters—what could be better? And
although Susan Alice Kerby's style of writing is quite different from Sylvia
Townsend Warner's, it couldn't help but bring back happy memories of my first
reading of Lolly Willowes.
In
fact, I'd been meaning to read this novel for several years, precisely because
it did seem a suitable supplement to my favorite novel. But with my recent
resurgence of interest in World War II fiction, I finally tracked it down and
read it and it was well worth the effort. It doesn't have all of Lolly Willowes deeper meanings or witty
commentary on the position of women, but it's a delightful little wartime
frolic.
That
Miss Carter is feeling a bit dispirited and resigned to her bland life is made
clear as the opening passage continues:
Georgina herself now accepted her state and age without
apparent hatred or remorse; in fact she assured herself she was rather glad to
be approaching fifty. It was, she felt, a comfortable age, an age past
expectation, hope or surprise. Nothing very shattering, nothing very
devastating could happen to one after that age. It was a placid, safe harbour.
One could indeed then spend the rest of one's life fairly comfortably with a
job in the Censorship for the duration, a smallish private income (which,
unfortunately, tended to get smaller) and a flat in an old-fashioned block in
St. John's Wood, untroubled and untormented by any violent emotion or gross physical
change.
But
then she buys some wood blocks from a blitzed roadway to burn in her fireplace,
one of which contains an imprisoned Ifrit (quite similar, it seems to me, to a
genie, but don't tell him I said so). The Ifrit—whose real name is Abu Shiháb
but whom Georgina nicknames Joe—is released from the wood by the fire, and
appears in a dramatic explosion (she at first thinks her apartment has been
bombed), offering to fulfill her every wish. And although it takes some
convincing for Joe to make her believe he's not a parachutist or housebreaker,
we begin to see that there's still an adventurous spirit under Miss Carter's
ordinary façade:
Well, perhaps this was all a dream. Perhaps she was insane. Perhaps
even she was dead and wandering in that strange limbo of those half-forgotten
things that one had always desired and never achieved. But—and she made up her
mind suddenly and firmly—but this present situation she would accept … and
enjoy it, as far as possible. That was perhaps not sensible, but sense be
hanged, it was at least interesting!
She
continues to worry about the reality of her situation, though back at work she
concludes that she couldn't possibly be dead "for even Hell itself
couldn't be as dismal as the Censorship."
As
one might expect, Georgina also has some initial difficulty in accepting Joe's
generosity, feeling guilty about the lavish food and travel he offers her
because "during the war, being in sole possession of an Ifrit was a little
too much like having a private black market at one's fingertips." But
nevertheless the excitement enlivens her and makes her begin to question the
life she has settled for. Her friend and co-worker Margaret Mackenzie suspects
that the pressures of wartime life have led her to become a secret boozer with
a live-in foreign refugee lover. A dizzying hurtle through the atmosphere takes
her to visit her beloved (and quite astonished) nephew in Canada.
And
then an old flame visits and Joe senses possibilities…
It's
all perfectly silly but great fun—a bit like Margery Sharp writing with a mild
fantastical bent. It's also very much a "late war" novel, with an
emphasis on the drab bleakness, dirt, hunger, and surliness of characters who
have already been at war for several years. And it's fun getting a glimpse or
two of Georgina's job censoring correspondence:
Georgina found it very difficult to keep her mind on her work next
day. As a matter of fact, the censoring of letters which had always before
seemed interesting and vaguely romantic (for one might really be the means of
uncovering a spy ring), now appeared extraordinarily flat and devoid of all meaning.
In fact she found herself wishing that a law would be enforced to compel people
to use either a typewriter or block capitals. No longer did the sight of a tortured
and indecipherable calligraphy fill her with the peculiar zest and delight
commonly known to crossword puzzle fiends. And how could so many people write
so much about so little!
There's
not a huge amount of information out there about Kerby, whose real name was
Alice Elizabeth Burton, married name Aitken, changed back to Burton after her
divorce. One online source had her dying in 1952, but the redoubtable
researcher John Herrington found she was born in Cairo in 1908, lived for a
number of years in Canada (in fact, it's possible she really belongs on a
Canadian iteration of my Overwhelming List!), where she married and divorced,
then lived in later life in Witney, Oxfordshire, until her death in 1990.
She
published six novels, of which Miss
Carter is the third. The sixth, Mr
Kronion (1949), is apparently about "a Greek god defending English
village life," by which I now find myself quite intrigued. Regarding her
other novels—Cling to Her, Waiting
(1939), Fortnight in Frascati (1940),
Many Strange Birds (1947, aka Fortune's Gift), and Gone to Grass (1948, aka The Roaring Dove), I know nothing but
titles. After Mr Kronion, she seems
to have abandoned fiction, but in the 1950s-1970s she published several works
of popular history, including The
Elizabethans at Home (1958), The
Jacobeans at Home (1962), The Early
Victorians at Home (1972), and The
Early Tudors at Home (1976). The histories seem to have been published as
Elizabeth Burton, but it's difficult to determine for certain which of her
novels appeared under which name, as libraries seem to classify her in multiple
ways.
Certainly
an author to earmark for further investigation, and it happens, rather
strangely, that Miss Carter and the Ifrit
was reprinted in the 1970s as part of a "lost race and adult fantasy" series (many of its
readers must have been disappointed, if they were seeking anything like a
traditional sci-fi/fantasy story), so it's not impossible to track down, should you be
so inclined! But what about her other fiction? Hmmm…