In Howards End is on the Landing Susan Hill reviews her collection of books. She eventually gets round to Anita Brookner's novels. Could they, she wonders, have been written by a man? Hill has no answer to this somewhat unpromising question, and indeed can offer little illumination more generally on a writer she's plainly a fan of. Counterfactuals seldom do lead anywhere very profitable. Nor it is especially fruitful to enquire into the gender profile of Brookner's readership. Brookner knew she was read by men as well as by women; the topic is covered in interview. Men probably do read her differently, but there are surely other variables to be borne in mind: race, age, sexuality, class. Ah yes, class. Do non-Brits realise how significant, how over-riding a factor social class is, even today? What was Brookner's? Or was she, as a child of immigrants, somehow outside the system? - like Kitty Maule, 'difficult to place'?
The much-loved Backlisted podcast ( here ) returns with a 'lockdown' episode that includes a lot of Anita Brookner talk. Prompted by discussion about Hotel du Lac , never the most representative Brookner, the chat meanders pleasantly on to the potential for compiling an Anita Brookner 'Top Ten'. At a loose end myself, though this week at the chalkface entertaining the children of keyworkers, I considered the question myself. I'm sure there are similar such lists elsewhere on this blog - I forget, and I don't particularly want to consult them anyhow. Of course, Brookner - like Henry James, like Trollope, indeed like many prolific authors - passed through phases. Brookner's novels, I contend, fall into three, neatly divided by the decades she wrote in: the raw, vital 80s; the settled magisterial 90s; the bleak, experimental 2000s. A Brookner novel from the 80s seems very different from any of her final works - just as 'James I', 'James II' ...
Her child-of-immigrants status might have given her a bit of an outside view of certain social classes. But I think her characters very definitely inhabit a world that is closer to the 1% (to shorthand a swath of various types of privilege) than they are to the 99%. In almost all of her work (maybe all?) her characters buy, sell, and inherit flats in a way that is incomprehensible to anyone who ever had to find a cheap place to live. Similarly, money is generally only mentioned to assure us that the characters don't need to worry about it. And her characters have longstanding retainers with solicitors and accountants and professionals of that sort. I know that there are other factors that play into social class, but the economic status of most of her characters inoculate them from the worst effects of social stratification.
ReplyDeleteIt is true that most Brookner characters are part of what Victorian novelists call the Upper Ten Thousand. Some though - Julius Herz, Zoe Cunningham - face genuine housing problems. I don't think I resile from my view that in England most things are about class. Many thanks for comments. Have always loved your Brookner blog.
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