The Brooknerian

 Part of Everyman's Library Contemporary Classics Series, to be published later in the year:

So I come to the end of my trek through Brookner's most famous novel. I accorded it this treatment in acknowledgement of its undoubted preeminence, and not because I have any particular fannish zeal for it. But it is special to me insofar as it was the first Brookner I read. Rereading it now, nearly thirty years later, I tried to be objective. But I found recent memories of the BBC film of the novel intrusive. And I found the novel's tone a little too ironic, too almost whimsical at times. Surely among the unlikeliest things ever to have appeared on a TV screen It's certainly a comic novel overall, perhaps a reaction against the darkness of its immediate predecessor, Look at Me . The resolution of the Mr Neville plot does have similarities with events in the previous novel, but the effect on Edith is infinitely less devastating than what is suffered by Frances Hinton. The two books also draw similar conclusions on the subject of writing, the first markedly more ser...

One of the several things this chapter-by-chapter survey has shown me is the extent to which Brookner elegantly varies her narrative methods. The interleaving of group scenes, two-handers, passages of individual introspection, letters and flashbacks gives an agreeable sense of structure and substance to an otherwise fairly slight novel. Chapter 11, in which Mr Neville and Edith take a trip on a pleasure steamer, reads like a novelisation of a well-made play by Noel Coward, or even Oscar Wilde. The tone and the treatment are oddly superficial and at odds with the content. Brookner never quite gets to grips with Mr Neville. He's a 'curiously mythological personage'. The terms of his debate are satisfyingly and reassuringly antique, but his patriarchal condescension perhaps demands greater scrutiny than the novel is prepared to offer. Edith unpicks his argument to an extent, but her critique is weakened by her weakened mood. Brookner herself is all but silent, almost ambival...

The novel's new tone - darker, less ironic - continues here. The season has changed; we're heading towards winter. Then there's a scene with the Puseys: Alain, the young waiter, has been (wrongly) accused of impropriety. 'Of course, he'll have to go,' says Mrs Pusey. The Puseys are no longer comic characters. The scene isn't played as farce, as might have been the case earlier. Instead we see the Puseys' carelessness, their misrule, their disregard of others, and also Mrs Pusey's fear of change. That Jennifer Pusey may have one or two secrets is hinted at. The mystery of the opening and closing door is again invoked. 'I wonder,' thinks Edith. 'I wonder.' 'My patience with this little comedy is wearing a bit thin,' she says to herself, confirming the change that has been in the air of the novel for some time. Breakfastless - for the hotel is at sixes and sevens - she heads into town, turning into Haffenegger's,* where...

What do we think of flashbacks? Generally I'm not a fan. I was disconcerted when I read Fitzgerald's Tender is the Night  in the original version, Bowen's The House in Paris , and Larkin's A Girl in Winter , all of which contain lengthy flashback sections centrally placed. In Hotel du Lac the key flashback comes later, two thirds of the way through, and elements of it have already been hinted at. As such it works, but only just. Edith's misgivings about marriage are about love and its absence: she isn't content with the 'kind looks and spectacles' model of mature romance favoured by the likes of Barbara Pym. But more than that she worries about her writing. Married, she would not be writing. Writing may be 'illicit', rather shamefully 'orgiastic', but it is authentic. We are reminded (again) of Larkin in the poem 'Vers de Société', labouring under a lamp, looking out to see the moon 'thinned / To an air-sharpened blade'...

Chapter 8, the first part of which comprises a long extract from one of Edith's letters to David, focuses on the timeworn themes of appearance and reality. Mrs Pusey, so spry, is revealed to be seventy-nine, and possibly deaf, and her daughter, who looks about fourteen, is in fact Edith's age, thirty-nine. Edith's disappointed Viennese mother is pictured reading innocent romances ('Perhaps that is why I write them') while dressed in an ancient peignoir. 'My mother's fantasies, which remained unchanged all her life, taught me about reality. And although I keep reality in the forefront of my mind, and refer to it with grim constancy, I sometimes wonder if it serves me any better than it served my mother.' Such reflections are occasioned by the elaborate fantasy of Mrs Pusey's birthday party, the artificiality and theatricality of which Edith compares and contrasts with her own memories and also with the less than enviable lives of the other guests - Mm...

Interviewer: Despite their subtlety and variations, all your books so far have been basically about love. Do you think you will go on writing about love? Brookner: What else is there? All the rest is mere literature! 1987 Paris Review interview Interviewer: Where do you see yourself in the tradition of English literature? Brookner: I don't know anything like that. I'm a middle-class, middle-brow novelist. And that's it. It amuses me.  2001 Observer interview 'You write about love,' says Mr Neville. 'And you will never write anything different, I suspect, until you begin to take a harder look at yourself.' Anita Brookner, in interview, purported to be on Edith's side, even to the extent of pretending she herself was Edith's kind of novelist. Yet in none of Edith Hope's novels would we find the sort of exchange that takes up much of chapter 7 of Hotel du Lac . The conversation is a deconstruction of the terms that underpin E...

Followers of this blog will know I recently read, with great pleasure, Lotte in Weimar by Thomas Mann. Another largely hotel-focused story, the novel takes place in the early nineteenth century but reveals its modernist credentials towards the end, when Mann gives us Goethe's thoughts and feelings in a long stream-of-consciousness chapter. Edith Hope, in Hotel du Lac , though she may look a little like Virginia Woolf, is no modernist, and nor is her creator. Chapter 6, though reflective, introspective, and set deep in Edith's consciousness, nevertheless could have been written by Jane Austen or Anthony Trollope. Not least because Brookner gives us Edith's letters to her lover. This is a successful and fitting technique, and there will, I recall, be a smart pay-off at the end of the novel, when Edith reveals she hasn't sent any of the letters. But it is old-fashioned. But again, perhaps fittingly so. *** Some additional points: 1. Balkanization [Mrs Pu...

Anita Brookner could never be accused of an over-slavish adherence to the notion of the classical unities. She plays fast and loose with her time-schemes, she sends her characters on vacation at a moment's notice, and not a few of her novels contain several disparate plots. None of which need be considered criticisms. Chapter 5 of Hotel du Lac is an exception, as well as being a rather satisfying and exceptional chapter in its own right (at least in an 'early Brookner' sort of way - and I'm really trying to get over my mild prejudice against her early work). The chapter takes place in the hotel over the course of a day, and it centres solely on Edith's viewpoint. Edith wakes from a series of dreams, a typical Brooknerian device (see an earlier post on the topic of dreams), though here the dreams are 'disjointed' and 'half dream, half memory'. As such they have a narrative function, introducing us further to the hotel guests, especially the ...

'Are you a writer?' he enquired, in a voice very slightly tinged with amusement. Brookner is to be applauded for writing so rarely about writers. I can think of only a handful of writer-protagonists: Edith, here; Frances in Look at Me ; and Jane in A Family Romance . None is quite a Brooknerian artist. Edith is a romance novelist; Frances writes Barbara Pym-style comic short stories for the New Yorker ; and Jane is a children's writer. Brookner was ambivalent as to the attractions of a writing life. It was a penance for being unlucky, she said in Look at Me (chapter 6). Later, in interview , she said writing had reprieved her from the despair of living. In Hotel du Lac Edith's work is 'obscure and unnoticeable', though her 'labours' are said to 'anaesthetise' her. The Puseys are again a focus in chapter 4, and a note of seriousness is gestured towards. Their presumed ages are getting steadily higher; and 'in a way she could not define...

'Incidentally, although I have been thinking of Mrs Pusey as a lady, I have adjusted this downwards: Mrs Pusey is definitely a woman ... And the woman with the dog has to be adjusted upwards to lady, or rather Lady.' Brookner's is a conservative imagination. Characters, however individual, are fitted into established roles and types. The boy Alain, who brings Edith's breakfast, has 'the set expression and also the expertise of a much older servant, a gentleman's gentleman'. Later, in town, there's a reassuring scene in a cafe, with 'sturdy-looking women' drinking coffee and eating cakes, and 'flushed waitresses' hurrying between tables. Brookner, or Edith, looks for the eternal, the unchanging in the human scene. The chapter proceeds once more through reflection and flashback. Edith wakes; then her mind returns to yesterday evening, and we see how her meeting with the Puseys developed. This is occasion for some high comedy, subtly of ...

A steady pace and a sparkling tone are maintained in Hotel du Lac 's second chapter. We get to know more about Edith's lover David, and we get further viewings of the hotel's guests. The fairly monstrous Mrs Pusey (but 'dainty with it,' as Brookner said in interview) and Jennifer come to the fore. The mystery of Edith's presence in Vevey (which is never named) remains potent. We're also treated to a key passage, the famous, clever, and perhaps now rather hackneyed lines about the hare and the tortoise (which crop up here and there on Twitter with aggravating regularity). The passage comes during one of the book's many flashbacks. Edith is about to undergo the ordeal of dinner at the hotel. She leans back for a moment and closes her eyes, remembering the last meal she had before leaving England, with her agent. We're clearly deep within Edith's consciousness here, but during the remembered meal something disconcerting happens. We suddenly have...

I'll admit at the start that I find myself resistant to Hotel du Lac . This may be a result of having watched the BBC film fairly recently . I keep hearing Anna Massey's arch tones. The tone of chapter 1 is of interest. At times it's whimsical, clever-clever. 'A cold coming I had of it,' writes Edith to her lover. And later in the letter, 'Not drowning, but waving' and 'all these sad cypresses'. Brookner describes the hotel's austere amenities with similar jaunty irony: It was implied that prolonged drinking, whether for purposes of business or as a personal indulgence, was not comme il faut , and if thought absolutely necessary should be conducted either in the privacy of one's suite or in the more popular establishments where such leanings were not unknown. The Augustan expansiveness of that sentence seems typical of the novel. One recalls Philip Larkin's comments on Anthony Powell's style: A formal, slightly absurd view of l...

I come, as I always knew I would, to Hotel du Lac . It's a faintly daunting prospect. You'll forgive me if I take it slowly, looking for the moment at some cover images. This is a fruitful enterprise, as Hotel du Lac is undoubtedly Brookner's most popular and reissued book. (I talked about its dominance in an earlier post .) To begin: the first UK edition, and the most famous. Are we in the South of France? The light seems too bright. Is that a palm tree? Now for some later UK editions, and the balcony motif has become established, even ritualised - to the extent almost that it has left the original behind. Look at the second, monochrome image below, from Penguin. It's a distant simulacrum. Is this a nineteenth-century novel? The posthumous republication of most of the Brookner corpus in 2016 yielded a set of largely successful black-and-white images. But Hotel du Lac 's dominance was signalled with a (faded, colour) cover, showing a (vintage) car tr...