Fraud: Closing Remarks

Some final comments on Brookner's Fraud:

It's a novel about care and caring. This struck me only towards the end. Anna cares for her mother. Mrs Marsh is wary lest her own daughter become her carer (ch. 15). Even the predatory Vickie has 'a child's right to care and constant attention' (ch. 16). The novel's conclusion is markedly hard, cold, less than compassionate. Was Anna, in caring for her mother, truly a victim of fraud? I'm unconvinced by Anna in her final iteration. How long will she remain so blithe, so uncaring? Where is she now?
Fraud is also a novel about food. It brings together themes from previous novels, and advances them: Anna is all but anorexic. The set-piece scene in chapter 16 - the Hallidays' dinner party - compares with the restaurant episode at the end of Look at Me. There's terrible food - a terrine, cold and slippery as ice cream - and much horrifying conversation. There may not be a revelation, but the scene is nevertheless climactic. After this point, Anna ('pleine de pouvoir') makes her decision about her future. One other thing about the dinner party: Anna is the moral victor, regarding her hosts with something like pity. The tables are turned on the appalling Vickie Halliday: 'To be so transparent!' The reader cheers.
Fraud, better than any of Brookner's previous novels, handles narrative perspective expertly. The text's shifting eye gives us a kaleidoscope of views on Anna and her intriguing mystery. She comes in and out of focus. No sooner have we felt close to Anna, sympathetic to her plight, than we see her differently and less amenably. Fraud is probably the closest Anita Brookner comes to being an 'omniscient narrator'.
The ending reminds me again of Little Dorrit (see an earlier post here).
The title gives me pause. So dry, legalistic, brutalist: a curious Brookner characteristic as far as titles are concerned. Here's a parlour game. What would other novelists have called Fraud? Jane Austen: Self and Selflessness? Ivy Compton-Burnett: The Lost and the Found? Henry Green: Rejecting? Elizabeth Taylor or Barbara Pym: An Emergent Spring?

The cover of the UK first
edition, showing Titian's
Sacred and Profane Love

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Top Ten Brookner

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' ...

Christopher Hampton's Hotel du Lac

However often I watch it, I'm always surprised. A film of an Anita Brookner novel seems as outlandish as an adaptation of, say, late James. But The Golden Bowl and, more skilfully, The Wings of the Dove have been successfully translated to the screen in recent decades. Their plots, though, underneath the verbiage, are very simple, even sensational. Hotel du Lac , similarly, is one of Brookner's more structured, plotted works. Rights to the novel were bought before its Booker success. Initially Anita Brookner had been approached to write an original screenplay, but she said she wouldn't know how to. Instead she offered the soon-to-be published Hotel du Lac . (This is revealed in the 2002 commentary that accompanies the DVD of the 1986 TV film. The commentary is a dull, low-powered affair. No Brookner, of course.) Anna Massey plays Edith. I've often found Massey a distractingly distinctive actor. Like Judi Dench she manages somehow, in any role, alwa...

Anecdotally

I last saw [Anita Brookner] in the summer of 2010, when the publisher Carmen Callil brought her to lunch. She was frailer, and needed a stick. I had made potted crab, to which she said she was allergic, to my embarrassment (should I have known?). Instead she took a little cheese, some green salad and a roast tomato; she declined the beetroot. We asked about her life. She said that she went out early every morning to her Sainsbury's Local for 'a croissant, a petit pain and a loaf'. 'Every day, Anita?' 'I eat a lot of bread.' She had been rereading Stefan Zweig and applauded that most Brooknerianly-titled novel Beware of Pity . She agreed with Carmen that the one advantage of age was that the trials of the heart were behind you. She stated that she had no religious feelings or beliefs at all. She still rented her television (no digibox or Freeview), and still smoked eight or 10 cigarettes a day. 'Do you have your first after breakfast, Anita?' 'O...

Video Brookner

This mere four-minute piece ( click here for the BBC Archive #OnThisDay feed ) should be top of the list for any Brooknerian, not least because it is, to my knowledge, the only video of the author freely available. Anita Brookner made only rare media appearances. Buried in archives are, I know, a Channel 4 interview with Hermione Lee and a programme (in the 100 Great Paintings series) Brookner made in 1980, still only an art historian, on, I think, Delacroix. We should be gladdened by this marvellous vouchsafement. There she is: stylish and a-swagger; trenchant in her commitment to the truth.

Hypnotic: Muriel Spark's The Abbess of Crewe

I continue my random survey of Muriel Spark's works in her centennial year with her 1974 novella The Abbess of Crewe , 'A wicked satire on Watergate', as the cover teasingly but rather heavyhandedly puts it. Soon to be re-released (by Polygon in summer 2018), The Abbess of Crewe occupies a truly bizarre and striking place in Spark's bizarre and striking middle period. Scandal has hit the Abbey of Crewe. Reporters are at the gates; police patrol the grounds. There has been an election: Sister Alexandra was victorious and is now the Abbess. Her rival, the younger Felicity, has run off with a local Jesuit and told her story to the papers. The new Abbess is accused and indeed guilty of orchestrating a robbery and of covertly and extensively electronically bugging the convent... Abbess Alexandra is Miss Jean Brodie reborn: patrician, charismatic, amoral. Secretly, it is hinted, she believes in nothing - nothing but power. Or nothing, perhaps, but literature, which s...

Stendhal Again

We had the recent post * about the after-dinner cigar, and one from a short while back on the connections between or among Brookner, Sebald and Stendhal, and yesterday I enormously enjoyed reading a text** by Jack Robinson (Charles Boyle) from CB Editions , An Overcoat: Scenes from the Afterlife of H. B. ,*** which I discovered by chance in the Guardian Review . The text is powered by its footnotes - and what pleasure there is in finding on pp. 4-5 a quotation from Brookner's 1980 TLS review of a Stendhal biography, collected in Soundings : 'Anita Brookner', says Robinson, '...approves [Beyle's] furious attempts "to measure up to the rules of the game, even when [my [i.e. Robinson's] italics] there was no game being played ".'**** Though Brookner isn't directly referenced again, the italicised line is mentioned twice more, on p. 81 and p. 128. The other echoes are numerous. Beyle, while watching a mosquito bite on his ankle, reme...

Something in Their Lives: Quartet in Autumn by Barbara Pym

She had always been an unashamed reader of novels, but if she hoped to find one which reflected her own sort of life she had come to realise that the position of an unmarried, unattached ageing woman is of no interest whatever to the writer of modern fiction. Barbara Pym, Quartet in Autumn (1977), ch. 1 A look at the subject matter of several novels of the time may suggest otherwise. But this was Barbara Pym's personal experience; it's a cri de coeur . Pym, writing Quartet in Autumn after years of rejection, saw little prospect of its being published. The novel has a recklessness: she's perhaps writing for herself alone, or for a coterie of fans such as Philip Larkin, who read and commented on the manuscript. The heartening and miraculous story of the novel's eventual publication, after Pym was celebrated in a TLS article, is well known. A Booker nomination followed, and the reissue of her 1950s novels, along with the release of several works that had failed t...

Brookner Biography Announced

A brief post to let Brooknerians know the moment has arrived: a biography commissioned by Chatto & Windus, to be written by Hermione Lee. Hermione Lee interviewed Brookner on television in the 80s. Brookner joins illustrious company. Lee has lifed, among others, Virginia Woolf and Edith Wharton.

The Rules of Engagement: Contiguity

If I were to live the life of an exile I could do so much more comfortably by remaining where I was, surrounded by familiar possessions, my position unambiguous. The Rules of Engagement , ch. 9 Brookner's novels, as well as falling into phases (I propose the 1980s, the 1990s and the 2000s as reasonably distinct periods: not quite James I, James II and the Old Pretender but just a little along those lines), can be grouped thematically into pairs and groups. The reader who might baulk at the notion of a well-heeled Englishwoman feeling like an exile in the heart of London should read Brookner's previous novel The Next Big Thing about a real exile. The two novels are in communication with one another: it's a kind of auto-intertextuality.

'Fifty-five minutes, with slides': Brookner at the Booker

A welcome arrival on YouTube: a recording of the 1984 Booker Prize dinner at which Anita Brookner learned of her win. Brookner's surprise is genuine; it was a strong year. The clip includes Julian Barnes (see last week's post) and Brookner's future biographer Hermione Lee.

The Brooknerian

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