Archive for Book Review

Pen Friends

In my quest for knowledge about the works and life of Elizabeth Goudge, my research has lead me to strange little odds and ends of information, which when put together add a piece to Elizabeth’s tapestry.

One of these was an ebay purchase I made a number of years ago. Another writer I admire is Rosemary Sutcliff and I noticed that a hard backed 1st edition of her Arthurian Trilogy was up for sale. I won the bid and waited for the books. When they came I was pleased to find that their condition was as described. When I opened them they were all three inscribed “Elizabeth with much love Rosemary” and from one of them fell a letter, which had been written by the author.

I have written about this find elsewhere, so lets just say that after a bit of detective work, I found out that Rosemary Sutcliff and Elizabeth had been friends, and both writers belonged to the same literary agent. Elizabeth wrote the forward to one of Rosemary’s over looked works “The Rider of the White Horse.” A quiet, descriptive novel set during England’s civil war.

“There is nothing nicer than being asked to write an introduction to a favourite book. ” Elizabeth writes, “But at the same time it is a difficult task. It is like being asked to describe the charm of a face you love. If you did not love the face so much, and even more the person behind the face, it would be easy.”

This book was published by Hodder & Stoughton in 1967, and chronicles the military career of Thomas Fairfax and the fate of his family during the civil war. A theme Elizabeth had already visited in The White Witch.

But a deeper connection to Elizabeth’s work is the significance that the herb of grace, or rue has for the Fairfax family.

Anne Fairfax is waiting to meet her husband on a brief visit from the fighting in a dark, disused chapel. She is anxious, grieving the death of her youngest child  and restless, knowing that her husband has never loved her as she has him. She takes comfort from the ancient preaching cross that is part of the chapel, its rugged strength and symbolism.

“Somebody else, she realised suddenly, had felt the warmth as she felt it. for on the chest of rough black oak that stood against the wall below it, an unknown hand had set a knot of blue flowers in an earthen cup. For Anne they rang a small silver note of memory. but it was a moment before she realised that the flower was rue. The Herb of Grace. The Herb of Grace springing from the ruins among which the wild white unicorn trampled with his proud shining hooves; Herb of Grace set here at the foot of the old preaching cross that was the living heart of the besieged church, as though for a statement of faith.”
(Rider of the White Horse Rosemary Sutcliff)

This book contains many of the themes we have come to recognise in Elizabeth’s books, dealing with unrequited love, faith and family in a way that is familiar to readers of her work.

That they read each others work and seemed to have been inspired and enlightened by them is obvious.  Elizabeth admires Rosemary’s ability to map battle scenes, a prospect she admits to finding difficult. Although she has no trouble in mapping out the intimate worlds her families inhabit. I’m sure Rosemary found the emotional depth Elizabeth gave to her characters something that commanded respect.

It is tempting to think that the symbolism of the blue flowered rue in Elizabeth’s book “The Herb of Grace” slipped into Rosemary’s unconscious to emerge years later as a valuable motif in her civil war novel.

Elizabeth also wrote promotional pieces for Rosemary’s excellent Arthurian epic “Sword at Sunset”, in which she praises Rosemary for so identifying with the characters that “the distant time, so difficult for many of us to realise, glows with present reality.”

At this time of fire light and lengthening evenings, find companionship, open a good book and reacquaint yourself with old friends or make some knew ones by exploring one of Elizabeth’s worlds.

 

 

 

 

 

Charms for lost Serenity

“Never have we longed for peace as we do now, when war has become an obscene horror worse than any imaginable storm, and noise and confusion so invade cities and homes that we are in danger of having our very minds and souls battered to a uniform pulp.”
( Book of Peace 1968)

So wrote Elizabeth Goudge in the preface to her collection of poetry “A Book of Peace.” published in 1968. They apply to the world we inhabit today. I had turned to my collection of Elizabeth’s anthologies, because of an email I had received about them.

There are books in any personal collection which speak to the owner and this is one of my great books. It is a 1st edition American copy, published by Coward McCann and signed by the author. The dedication is to Mary McMaster of the Community of St Luke dated February 1975. The cover is beautifully unstated, a blue background with a sunflower.

Inside was this slip offering a protection for the book on its journey from America to my bookshelf in England. It also contains a letter written to me by Sylvia Gower, the author of “The World of Elizabeth Goudge” and a photograph of Elizabeth sitting on Froinga’s well in her garden at Rose Cottage. It has thick creamy pages which appear to have been hand cut. All perfectly valid reasons for it being an important book to me. But the real and most compelling reasons are the poems it contains, the writers and poets she introduces me to and the voice of Elizabeth, gentle, lucid, speaking to me through her choices.

 

 

 

Castle on the Hill

My copy is a 1st edition printed in 1942, by Duckworth during the second world war, a time when paper like everything else was in short supply. Although a hard back, it has not stood the tests of time well, warping and stained along its outer leaves. The cover is slightly torn and missing a piece from the back, a “bombed” book reflecting the subject matter.

As a tale it is stark, verging in places in outright propaganda, one of the reasons it was probably published at all, as the paper shortage caused by the war was by this time acute. The metaphor is obvious, England, besieged, frightened, as embattled as the castle.

The themes of the story are huge; those of grief, loss, anger, pride, patriotism, courage. But under pinning them all is the perpetual theme of all of Elizabeth’s books, her central core, that good homes, secure homes, house families.

Elizabeth had thought and prayed a great deal about the war. She was dedicated in her research and depth of reading. She understood the political and economic situations better than most people, certainly most people in her strata of society. She empathised with the plight of refugees, the disposed, a personification of which are found in the characters of Miss Brown and Mr Isaacson.

You can still visit the castle, Berry Pomeroy in Devon, high on its crag in the woods. It is reputedly one of the most haunted places in England. Elizabeth loved it so much she moved to write one of her rare poems about the place after visiting it often.

The Castle

Hid deep in the heart of the woods, haunted and old,
The shell of a Castle stills stands, a story told,
Built high on a rock in the woods, frozen and cold.

Deep are the night-dark shadows under the wall,
Breathlessly whispering downwards the snowflakes fall,
Shrouding the desolate towers in a stainless pall.

Fearful within me my own heart, failing, has died,
I too in the woods am frozen, bereaved, sore tried.
Alone here…… There in the shadows, who was it sighed?

There, in the bastioned walls where the gateway stands,
Are there shadows within its shadows, weaving the strands
Back through the loom of past sorrow with pain worn hands?

Shadows weeping a world grown cold and stark with pain,
Mourning once more the lights put out, put out again,
The loveliness broken and lost, the young men slain.

Has sorrow alone lived here for a hundred years?
Is only hatred immortsl, men’s craven fears?
Only the weeping of women, their uesless tears?

Not winter only reigns here in this haunted place,
As the cold clouds part, defeated, the sunbeams lace
The dark trees with their diamond light, touch the worn face

Of the frozen stone with colour, with azure fire
Of spring-times long past,yet alive, the hot desire
Of summers never forgotten, hopes that aspire

For ever, courage unbeaten, valour aflame,
The unshaken victory of the men who name
Holy things to their strength…….Nor fear, nor hate nor shame

Is theirs…. I see the flashing of arms on the wall,
Hear the deep roar of the conflict, the thrilling call,
Of the silver trumpet sounding high on the tall

Towers of God’s immortal fortress, that he made
Against the evil out of the love of men laid
At his feet, their sweat, their blood to the last drop paid.

For this is the rock that for all time man defends,
The rock of his soul against which all evil spends
Its fury in vain in the warfare that never ends.

And these the embattled walls that the heroes trod,
Swift winged with flame, their feet with the gospel shod,
For this is the house of all life, the house of God.

Lift up, lift up ypur constant hearts, the trumpet cries,
Lift them up to the shining walls, the sun drenched skies,
For beyond the night for ever the sun will rise.

Elizabeth Goudge

 

 

Smokey House

If this had been the book that I first picked up and read by Elizabeth Goudge, I doubt I would have looked for another. Which would have been a pity, as it would have deprived me of a lifelong friend and the pleasure of all the other books she wrote.

Don’t get me wrong, it’s a pleasant enough read. It has plenty of vivid descriptions of the west country she so loved, evocative in the way that only Elizabeth manages to accomplish.

“A network of lovely lanes wound about the village and in and out of the round green hills. They were very beautiful. Their steep banks were cool with shining ferns and bright and fragrant with flowers; primroses and white violets, periwinkles and pink campion, foxgloves, roses and honeysuckle, with in autumn the scarlet berries of parson-in-the-pulpit and the silver froth of traveller’s joy. Nut trees arched overhead, giving grateful shade in summer weather and down the side of each lane ran a twinkling silver stream…” (Smokey House p 15)

It is a book dedicated to “Nannie” that stalwart of the Edwardian era.

“The door which shut off the nursery wing from the rest of the house made a very real dividing line between the life of the child and the adult.” (page 22 from the introduction of A Child’s Garden of Verses)

However, if you part the fronds of her words you will find hidden as the flowers in the hedgerows, glimpses of her thoughts and life.
“Because music never forgets anything. It is the voice of eternity speaking in time and it gathers the past and the present and the future all together, making past happiness eternal and pulling future happiness into the here and now.” (Smokey House p 231)

Music played an important part in Elizabeth’s life, from concerts she attended with her father to church services and carols. I would have loved to have known her Desert Island Discs.

The book is full of songs and verses, written by Elizabeth, though she never considered herself a poet, but did publish a slim volume of Songs and Verses, some of which appear in this book.

But the biggest revelation for me comes when Spot the dog goes underground to escape from the red coats.

Don’t know if Elizabeth read the Apocrypha, with her love of myth and legend, I would be surprised if she hadn’t, but

“Gentlemen, said the Squire, “The Unknown!”

if she had she would have remembered that dogs are our guardians and guides on our journey to heaven. Not scratting outside the door of paradise like the loyal little dog of Sir Murgatroyd in City of Bells, but as a helpmate, and protector.

Spots journey, (p 255 – 256) gives Elizabeth the chance to explain to us how she interpreted the worlds. It is a rare insight into the fundamentals of her belief, the creed she lived her life by. Perhaps she felt safer exposing these to non-judgemental children, more comfortable with their questions than the scepticism of her contemporaries.

It lifts a pleasant, often predictable children’s story into the realms of the esoteric, effortlessly.

Editors Letter March 2017

The heavenly beauty of the spring day sent her mercurial spirits soaring upwards, and she sang softly as she walked along the street, swinging her basket. The beautiful old houses about her seemed lovely as the houses in a fairy-tale…….”
(Herb of Grace p 16)

The book’s opening is fresh, vivid, all life’s possibilities lie ahead and the world is a stage set for adventure and romance An aspect of Spring we all long for at the end of a long grey winter. Sally in The Herb of Grace is the personification of all that we find attractive in youth and fresh beginnings. Our hearts go out to her.

“For Lucilla was not without hope for the future. She had lived long enough to know that the spring always comes back. Also, she knew that if it was to be a flowering spring one must make one’s preparations.”
(Herb of Grace p 64)

The book balances this with the knowledge and depth that Lucilla has found and puts into practise, when those cruel winds of March bluster around, gaining entrance from any small crack in our defences, telling the conflicting tales of spring.

The Herb of Grace is my favorite of the Eliot trilogy a book full of optimism and charm which could so easily have been the last written of the Eliots. Elizabeth always maintained that she had only produced Heart of the Family due to the pressure of fans asking for more about them.

Trouble is, I find I can never start a trilogy in the middle.

Green Dolphin Country

“Though this book is fiction, and the characters, not portraits, it is based on fact. That a man who had emigrated to the New World should after a lapse of years write home for a bride, and then get the wrong one because he had confused her name with that of her sister, may seem to the reader highly improbable; yet it happened. And in real life also the man held his tongue about his mistake and made a good job of his marriage.”

Preface to Green Dolphin Country

The book is based on the life experiences of Elizbeth’s Great Uncle William, who left the island to join the British Navy, went on shore leave at an eastern port, missed his ship after “getting into a scrape” and found a ship bound for Australia. His story is William’s in most particulars.

Elizabeth herself said she “made it New Zealand because my ignorance of Australia was, even more, total than my ignorance of New Zealand.”
(Joy of the Snow)

It took her a long time to write, a project that she took up and laid aside during the early days of the Second World War. Elizabeth and her Mother were living at that time in Marldon, a small village on the flight path to Plymouth, and endured many nights of sleepless listening as the German planes roared overhead on their way to bomb Plymouth. As the planes returned there was always the worry that they would jettison their bombs over their village.

Her Mother and Elizabeth shared a bed while this was taking place, determined to be together should the worse occur. Her Mother’s jewelry box and Elizabeth’s manuscript of Green Dolphin Country was with them.
“Perhaps, like the Egyptians of old, we subconsciously thought that what was close to our bodies in death would accompany our spirits as they entered a new life”
(Joy of the Snow)

Green Dolphin Country is arguably one of the most famous adult novels that Elizabeth wrote. It’s a blockbuster of a book and was made into a film in the 1940’s. It caused Elizabeth all sorts of problems as people wanted to visit her and the tax man became interested in her earnings for the first time.

Elizabeth always researched her work meticulously and for this epic, she found a work by F.E. Maning entitled “ Old New Zealand.” It was a chronicle of the author’s experiences in the New Zealand of the late 1800s and his relationship with the Maoris. With the benefit of the internet, I was able to find out that the character of Tai Harura is based on that of Maning himself. They both made their money from timber, both took part in the wars between the indigenous people and the settlers and both had a love-hate relationship with the Maoris. Maning was over six foot tall, had great physical presence and strength as well as a good sense of humor.He was known as a “Pakeha Maori”, the term given to white settlers who became immersed in the Maori culture, a “white Maori.”

Into the book’s opening chapters, she pours all her love for the island that was the home of her Mother’s family. It is lyrical in its descriptions describing minute details and broad vistas as only Elizabeth can. It was the last time she used Gurnsey as the setting for a novel, and she paints a vivid picture of the isolation and beauty of the place and time into which her Mother was born.

 

Modern photo of St Peter’s Port Guernsey

Elizabeth’s books always contain quotes which I like to imagine are the starting point for the moral content of her story, and Green Dolphin Country begins with one by Evelyn Underhill.

“Three deep cravings of the self, three great expressions of man’s restlessness, which only mystic truth can fully satisfy. The first is the craving which makes him a pilgrim and a wanderer. It is the longing to go out from his normal world in search of a lost home, a “better country”; an Eldorado, a Sarras, a Heavenly Syon.”

New Zealand is all these things. Even today with our ease of world travel, it is still the other side of the world, Middle Earth where Lord Of The Rings holds sway. How much more exotic and unimaginably far away it would have been in the 1940s.

 

Marianne and Marguerite

Elizabeth, always a homebody, would shortly be making her own way in the world, and unknown to herself was at this time forging the tools to do so.

It was the springboard that gave her the recognition and financial space to become a professional writer. At first, it all seemed unlikely, as she was told that the book was too long, and with the war on there was just not enough paper to justify printing it. But thanks to an American Publisher, it was sent in as a candidate for a Metro Goldwyn Mayer film prize and won. The film sadly does not live up to the book but is a better rendition of the story than the film version of The little White Horse.

As Elizabeth, so often does she uses the local legends to give depth to her characters, such as the footprints of the Abbess in the “bay of fairies.” She uses her family home as the home of the Le Patourels, in Le Paradis, “built high up in the rock citadel of St-Pierre.”

The book deals with the themes of class, the upper-class Patourels and the “trade” Ozannes. The material wealth that one has and the noble calling of the doctor. Yet another doctor who has chosen his work over the love of his life, this time in the person of Dr. Ozanne. The same device which was used in “Bird in the Tree.” Are these echoes of a love that Elizabeth once knew? Was there an unsuitable boy who went away to study to become a Doctor, who promised to return but didn’t?

The book charts the growth of the inner as well as the outer life, the person who stays at home and the one who goes as far from the cradle of her birth as is possible. Yet who changes the most and where and when it takes place is unexpected.
“ They were alike only in their mutual realisation that whatever one expects to feel in this life one will probably feel the opposite.”
(Green Dolphin Country p481)

Moving from one set of small islands to another, both isolated from the changing modern world that was rapidly developing, it is a tale of adventure, both of the natural world and the inner world of the spirit.

 

 

 

 

 

The World Shot Through With Magic

L & V Interior

Linnets & Valerians interior of The Manor

At first glance, Linnets & Valerians by Elizabeth Goudge, doesn’t look like children’s fantasy at all: No one goes to a school for wizards, or meets an elf, or a fairy; no one travels to another dimension, or to another time; there are no talking animals, no invisibility cloaks, no magic mirrors or poisoned apples. And not one character flies through the air on a broomstick, or on anything else: everyone’s feet are firmly planted on the good rich English earth.

And yet, in some ways, none of that is true, and many of those things DO happen. Because Linnets and Valerians is a book of both the purest naturalism and the purest magic. There are guardian bees and a shapeshifting cat and a book of evil spells, and at least three people are bewitched. There is one character who may be an elf and another who is almost certainly a very nasty witch. There is a mirror that on one occasion seems to reflect something, or someone, from the past. There is a statue that may or may not occasionally come to life. There are corridors, and woodland paths, that lead different ways at different times. There is evil, and there is good, and both those things have demonstrable power.

The plot is like a delightful mash-up of E. Nesbit and Frances Hodgson Burnett: the four Linnet children run away from their prim-and-proper grandmother and, almost by accident, end up with their curmudgeonly but secretly doting Uncle Ambrose, a curate and retired schoolmaster. The children ramble freely in the nearby countryside and village where they meet a bevy of characters: Lady Alicia Valerian, a recluse who, grieving for the long-ago loss of her family, never leaves her manor; Daft Davie, a mute hermit who lives and paints in a cave on the mountainside; and Emma Cobley, who owns the village shop and whose sweet candy-selling surface disguises sour intent. There is also, importantly, Uncle Ambrose’s servant, Ezra, who sings and dances in the moonlight and talks to the household bees, which he insists need to be told about any new residents or other important events. Through curiosity, friendliness, and sheerest bumbling, the children uncover long-held village secrets and enable generations-old wrongs to be put right, and in the end, everyone lives happily ever after.

The real-life magic of the English countryside is part of why the book resists easy categorization, why it’s a toss-up to describe it as a book that feels naturalistic although it’s all about magic or one that feels magical while being firmly grounded in the natural world. The beauty of the landscape — the flowers, the woods, the hillside, the tor — literally enchants the children, who’ve grown up in India and don’t know anything first-hand about England. So the magic seems natural, and nature seems magical, and it all gets mixed up together in their experience of the place and their new life.

The natural and supernatural are intertwined for the author, too. In her afterwards, she describes talking with people in a Dartmoor village much like the one described in the book, and the stories she heard of woods appearing out of nowhere one evening and never again, and of people seeing elves on the stairs, and of witchcraft black and white.

I read Linnets and Valerians as a child and remembered it as one of those books like The Secret Garden that plays with the tropes of fantasy, and with the reader’s desire to believe in magic, without actually being fantasy. I started rereading a few weeks ago, armed with sticky notes, and a plan to mark each point where something magical, or something that could be interpreted as magical, was mentioned. I figured I could review the marked places when I was done, and see if the balance tipped towards fantasy or realism. But when I finished, my copy was bristling with sticky notes, too many to count: the whole book is shot through with magic.

It’s all, to use Jo Walton’s lovely phrase in, “Among Others” deniable magic: nothing happens that couldn’t be explained naturalistically. The shape-shifting cat could just be frightened children imagining things. The bees leading them into discovery or out of danger could be…bees, flying around. The book of magic spells could be mere ill-wishing. What Nan, the oldest child, sees in the sewing room might simply be an odd reflection in an old and wavy mirror. The most frightening scene where the two boys are trapped in a beech tree, and Emma Cobley and her confederates plot to counter the protection of the beech with their own wicked power could just be grownup bullies trying to scare kids.

But there are other explanations, that Ezra believes wholeheartedly, and the children come to believe, and even Uncle Ambrose, who explains at one point that as a curate he is not permitted to believe in ancient gods or supernatural powers, shows signs of accepting as real. Emma Cobley certainly does believe she’s casting spells, with intent to do harm, and harm is done. And Ezra and the children set out to undo — and, it’s not too much of a spoiler to say, succeed in undoing — that harm, on the same terms.

So the question hangs in the air: if everyone believes it, and it has the desired effects, is it real?

The answer, for the characters and the author, for the bees and the woods and the statue in the garden, is a resounding “yes.”

Elizabeth Kushner

Save

Save

The Historical Document of the Interrogation of Anne Hill

The Historical Document of the Interrogation of Anne Hill

The further information of Anne Hill, late servant to the lady Lucy Walter, otherwise Barlow, taken upon oath the 2d day of July, 1656.

Vol. xl. p. 37.

Middlesex.

Who saith, that in August last she came first into the service of the said lady Lucy Walter, and went over with one of her children into Holland to the Hague, where the lady then lived; and saith, that Mr. Thomas Howard, gentleman of the horse to the princess royal, did much frequent her company there; and saith she continued there seven months, and then came over into England. And saith, that this informant never heard, that the said lady had any husband in Holland, or any other place, but that those children she had were begotten by Charles Stewart; and saith that Justus Walter, her said lady’s brother, told her this informant, that the said lady, together with the said Thomas Howard, went from the Hague to Flanders, and then immediately they came from thence to Flushing, and so for England, as she hath heard them say. And this informant further saith, that the said lady told her this informant, that the very same night, in which she came to Antwerp or Brussells, Charles Stewart came thither; whereupon this informant asked her in these words, Did your honour see him? to which she answered, Yes, and he saw your master too (meaning one of her children, which is usually called master.) And this informant saith, she knows not who came with the said lady into England, besides Thomas Howard and Justus Walter aforesaid, neither any thing further of their actings beyond seas; and saith, she heard the said lady and her said brother confer together about a necklace of pearl, which the said lady intimated to him she had bought; and that they discoursed it must cost about 1500 l. And the informant saith, she heard the said lady say, she had bespoke a coach, and that she would have it lined with red velvet, and have gold fringe on it within three weeks; and said, although they lived but closely in their lodgings, yet very plentifully in clothes and dyet, and had a coach to attend them continually from week to week. And this informant saith, while she lived with the said lady, she this informant was kept up so privately, that she had not scarce liberty to come down for a cup of beer, which she really believes was, that this informant might not have opportunity to discover them. And saith, the said lady gave her a charge, not to tell who she was, but to say she was a Dutch captain’s wise, whose husband is dead; which she this informant observeth.

The mark of Ann [] Hill.

 

From: ‘State Papers, 1656: July (1 of 6)’, A collection of the State Papers of John Thurloe, volume 5: May 1656 – January 1657 (1742), pp. 173-86. URL: http://www.british-history.ac.uk/report.asp?compid=55532. Date accessed: 02 October 2007.

Diary of Prayer

From Tangled Thoughts to Tranquillity

Twisted Boughs

One of my constant companions, a book that I dip into almost daily, is Elizabeth Goudge’s Diary of Prayer. Published by Hodder & Stoughton in 1966 it is set out in diary form with a prayer or two for each day of the year. The prayers are taken from different faiths and pertain roughly to the Church’s calendar, although as Christmas is the only static festival of the Christian year they do not always correspond to the relevant date, this does not detract from the anthology in any way.

People sent Elizabeth prayers and poems knowing that they would always delight her. One person, a lady called Adelaide Makower, sent her all the Jewish prayers that she uses and Elizabeth also credits her with sending or finding others for her too. The whole anthology took many years to put together, and there is no doubt that Elizabeth used them on a daily basis herself. They were not collected with the intention of being put together as a book at first, but to help Elizabeth learn to pray in an organised and methodical manner. One of the Jewish prayers that speaks to me in particular is the entry for September 3rd which starts “Though our mouths were full of song as the sea, our tongues of exultation as the fullness of its waves,”

Each “chapter” or month starts with a verse that sets the tone. For example, April’s begins with a poem by the Welsh writer David of Gwylym. In it the poet is describing the dawn chorus in a cwm in Wales and attributing clerical roles for all the birds he can hear. “The Chief Priest was the nightingale: the lark and thrush assisted him: and some small bird (I do not weet his name) acted as Clerk.” Both Elizabeth and her Father were enthusiastic Ornithologists so the poem appeals directly to her as it is full of detail about birds, their calls and habits.

April is also the month most likely to contain the celebration of Easter, so the poem is echoing the most important Mass of the Christian Year. In fact the year the Diary was put together, Easter fell on April 1st.

The depth of Elizabeth’s reading is obvious throughout the work; she doesn’t use the trite or overworked. David of Gwylym was a 14th century medieval poet little known outside of Wales. Maybe she discovered him through Jessie who had extensive Welsh connections. She transposed this love for obscure writers to Hilary in the Eliots; he you will remember was always being accused of quoting from them at the slightest provocation.

There are sections for various afflictions and all conditions of humanity, as in June’s section for the poor, and homeless, the refugees, the lonely and the unemployed. Refugees from the Second World War were a common sight in the London of the 40’s and 50’s and later on in that decade the migration of thousands of Commonwealth immigrants occurred. June’s entries portray the range of faiths that Elizabeth used to touch the heart of the matter; from Rabindranath Tagore’s Gitanjali No X

“Here is Thy footstool and there rest Thy feet where live the poorest, the lowliest, and the lost.”

to Anthony Ashley Cooper, Earl of Shaftesbury’s

“O God, the Father of the forsaken, the Help of the weak, the Supplier of the needy, who teachest us that love towards the race of man is the bond of perfection….”

Elizabeth had a vast compassion for the dispossessed, born perhaps out of her deep love and connection to place. Maybe it was akin to her secret fear of the shapeless darkness that waited for her in her depression, that fear of becoming nothing. She kept the extent of her charity private, but it was large, personal and at times took intensely practical forms, such as continuing to pay past employees when they retired.

Elizabeth quotes extensively in all her works, which adds another dimension to her writing. I’m always being sent off on literary adventures, discovering writers and poets that have helped to enrich my life. One of my favourite finds from this book was”The Prayers from the Ark “by Carmen Bernos De Gasztold, a poet and Benedictine nun who lived at the Abbaye Saint Louis de Temple at Limon-par-Igny, France. Most of the prayers/poems had been written during the war when she was forced to do uncongenial work in the laboratory of a silk factory near Paris. This took place under the Nazi occupation, when life was hard, cruel and she was often cold and hungry. She takes the animals and our attitude towards them and turns it around so that we can learn from them the virtues of their strengths of patience, hard work, and the putting to use of talents and abilities to the greater good.

The Bee

Lord,
I am not one to despise your gifts,
May you be blessed
who spread the riches of your sweetness
for my zeal………..
let my small span of ardent life
melt into our great communal task;
to lift up to your glory
this temple of sweetness,
a citadel of incense,
a holy candle myriad-celled,
moulded to your graces
and of the hidden work.

The book is dedicated to Sonia Harwood, and her son Andrew Harwood explained the reasons behind this.

“My mother so liked Elizabeth’s book “The White Witch” that, in January 1960, she wrote congratulating her and enquiring about the location of the cottage featured therein. Elizabeth replied on January 28th stating that she actually lived in the cottage! From this small beginning a regular swapping of correspondence was started, and eventually the shy Elizabeth said she would like them to talk on the phone and so they did in 1965. Finally Elizabeth decided she wanted to meet my mother in person and so in 1967 she travelled up to Rose Cottage. Their friendship flourished and they would meet in the spring and autumn of each year.

 

In one of her letters Elizabeth said she wanted to dedicate a book to my mother and offered her a choice of two – “Linnets and Valerians” or “An Anthology of Prayer”- she chose what turned out to be called “A Diary of Prayer”. But when the “Linnets and Valerians” was published Elizabeth sent my mother a copy inscribed as follows -“Dear Sonia, This is the book that would have been dedicated to you had you not preferred to wait for the prayer anthology, and so its half yours. Love and best wishes from Elizabeth Goudge”

Elizabeth strikes me as being the sort of person who needed to make the best of each moment of her day, especially in the important task of prayer. Setting out the prayers in a structured manner, gave her a focus and helped to resolve her tangled thoughts into tranquillity. Whatever the reason for the book’s conception, this collection was undoubtedly put together by someone who loved poetry and the way that words can be made to sing on the page.

IMG_0804

Deborah Gaudin

With thanks to Andrew Harwood.

Goudge Elizabeth 1966 Dairy of Prayer Hodder & Stoughton
Carmen Bernos De Gasztold 1963 The Prayers from the Ark MacMillan & Co

 

City of Bells

When Elizabeth embarked on this book, Britain was a place on the edge of darkness. War was bubbling under the surface of an old establishment Britain. The government announced that it would triple the size of the R. A. F. The first steel rolled out of the Corby mills and Britain protested on an international level over Germany’s introduction of conscription.

It was a country of new ideas and a change in government, Stanley Baldwin was elected as the head of a national government, still led by the Conservatives but with a reduced majority, and Clement Atley became the leader of the Labour party. Robert Watson-Watt demonstrated the use of radar, an invention that would play a large part in the War to come,

We have no way of knowing how much of this Elizabeth assimilated, although her father Henry must have been a socialist at heart, with his liberal values and interest in the conditions of the working man.

But in the face of change Elizabeth did what she always did and retreated into an unthreatening past. She set her new novel in the small city of Wells in Somerset amid the blue Mendip hills during the opening of the Edwardian age. It was the same era that Elizabeth had grown up in, passing her formative years in the cathedral close, in a secure and privileged background.

IMG_3055

The story opens with Jocelyn going to visit his Grandparents after fighting in the Boer War. He has returned damaged in body, mind and spirit, rudderless until he is washed up on the steps of the empty shop in the market square. His journey and the relationships he forms in this quiet little city shape the rest of his life.

The pivotal point of the book takes place at Christmas and gives us some wonderful insights into the way Elizabeth spent her own Christmas and the way she felt about this festival.

Jocelyn has been living in the market house, which he turns into a bookshop, for some months. During the clear out he has come across the manuscript of a poem/play that the previous occupant had written then discarded. As he begins to piece it together he becomes aware that it “was amazingly beautiful poetry, but though the plot was mapped out to the end, the actual writing was only a little more than half finished” (Goudge p 169)

The poet’s name is Ferranti, a friend of Jocelyn’s grandfather until he disappears one night. Jocelyn feels a strange connection with this unknown poet, who is going through a period of self-doubt and worth much as Jocelyn is. He is compelled to wrestle with the same problems and decides that the work is of such merit that it deserves to be completed. The problems of finishing someone else’s work are finally overcome and he finishes on Christmas Eve. He has promised to read the story to Henrietta and the family and Christmas morning sets off to do so, gloomy with the prospect of a boring day.
From here the story takes off, leaving for a while the idyll of Wells and journeying into the “real” world, the mean streets of London with their evil-smelling gas lighting up only poverty and hopelessness.

We also glean information about how Elizabeth herself viewed Christmas. Like Jocelyn, she was invariably gloomy about the whole charade.
“I have a very gloomy friend who continually remarks a quotation from Homer I think “My friends, even this will pass and I am afraid I feel that way about Christmas.” She once wrote to a very good friend

“For years Christmas day had been for him a day when one ate too much so as not to disappoint cook, stifled a great many yawns and made a lot of silly jokes to hide an inner sadness that was both a lament for romance and belief that had faded and a vague sense of unsatisfied expectations”
(Goudge City of Bells p171 )

Not the sort of remark you expected her to make. But of cause, she was referring the material layer of the season not the reason or ritual of it.

Elizabeth did see the “starlit sky full of wings and a manger with a baby in it….”
(Goudge City of Bells p171) She still also loved the small fairy tales and customs of the day, such as the stirring of the Christmas pudding and the wishes that were made, the leaping flames when it was set alight the manifestation that they would be granted, Father Christmas bringing the “noble” turkey on his sledge, and the gathering around the fire to listen to stories.

Jocelyn meditates much as Elizabeth must at some time have done on the fact that if people who were far superior to them in intelligence and intellect could believe in the gift of God then they would be stupid to dismiss it. This is the start of his journey, the “toys of religion” put aside for a more considered approach.

Did the deepening of Elizabeth’s faith start as a child with the beauty and pageantry of Christmas in the cathedral? It must have influenced her.

IMG_3058

I was watching a fascinating programme called “How To Build a Cathedral” back in June and one of the cathedrals featured was Wells. During the Middle Ages, the statues on the west front of the cathedral came to life on special days and sang to the people, made possible by secret galleries which connected them and were accessible to the choir. I find it strange that Elizabeth didn’t know this. What a wonderful image. For a few brief moments, architecture, sculpture and a kind of sacred theatre fused, and this small cathedral in the English West Country became Jerusalem itself. The Reformation of the church would have discontinued all such practices, as smacking of idolatry and popish artefacts. But it seems to have been totally airbrushed out of the Edwardian times when Elizabeth and her family lived there.

It is an image that Elizabeth would surely have woven into her story if she had known about it. She writes in loving detail about the commemoration of Wells patron saint and benefactors and All Saints’ Day, “when the choir at evensong sang “Who are whose like stars appearing?” and the figures on the west front surely swelled a little to find themselves so appreciated.” (Goudge p 141/142). A perfect opportunity to allude to the statues singing.

Henrietta often wishes that the statues could laugh and talk, and it is the practicable Hugh Anthony that reminds her they are made of stone.

For Elizabeth, this very special birthday was always the start of her religious year, marking it out, reaffirming her faith as Christ was reborn. She wrote to the same friend,  “As I am writing I send my Christmas card for you and Jay. Frank (the American boy) took it when he was in the Holy Land with Freddy last April, and I loved it so much that I borrowed the negative from him and had some copies enlarged and mounted. The Garden of Gethsemane is over the wall to the left (the trees are growing in the garden) and as Frank was just going to take the photo a shepherd came by leading his sheep. It doesn’t look as though the scene had changed much in 2000 years does it?”

This was the gift Elizabeth possessed, the art of bringing into people’s lives something incredible that happen 2000 years ago and making it relevant and meaningful today.

 

Save