September 2024
Giovanni's Room
James Baldwin
This book was the departing suggestion of Mark, who has been a member of the group since its inception twenty-two years ago but has now left to move abroad. In the event he left earlier than he had anticipated, so wasn't present at the discussion, but the email he sent implied that he hadn't liked the book too much, or at least that he had found it very gloomy.
The rest of us did find the book bleak, but our reactions were not entirely negative. Published in 1956 and set in late forties/early fifties Paris, it is the first person narration of David, a young white American. The book opens as he stands at the window looking out into the dark and blaming himself for being 'too various to be trusted', which has led to the situation in which his fiancee, Hella, is on her way back to America, the relationship over, and 'Giovanni ... about to perish, sometime between this night and this morning, on the guillotine'.
His thoughts then take us back through the events that led to this situation. They begin with an innocent childhood sexual encounter with another boy, over which David, stifled by the values of a macho heterosexual father, is later crippled with shame. What follows is the story of David's denial of his homosexuality, and the tragedy for those with whom he becomes involved. In Paris he asks Hella to marry him, yet, while vowing heterosexuality, in return for drinks and money he is providing company for an older homosexual, Jacques, in his visits to homosexual night clubs. It is here, while Hella is in Spain deciding whether or not to accept his offer of marriage, he meets Giovanni, a handsome young Italian barman; he is immediately attracted, and the two very quickly become involved. Short of money and kicked out of his lodgings, David goes to stay in Giovanni's room which is symbolically stifling - small and dark with the window whited out to keep out the stares of passers by, the bed overlooked by the Victorian heterosexual couple on the wallpaper, one wall half demolished by Giovanni's unfinished/unsuccessful attempts at reconstruction. Due to the jealousy of the proprietor, Guillaume, Giovanni is fired from the bar. He is devastated and it becomes clear that he is entirely emotionally dependent on David, who privately intends to leave him, as Hella is due back from America. This is precisely what David does, and tragedy ensues.
The main thing that struck us all was the searing self-disgust running through this book. David is disgusted by his own homosexuality, and both he and Giovanni are repelled by the 'disgusting old fairies', Jacques and Guillaume, to whom they are yet in thrall, depending on them as they do for money. They are horrified at the notion that one day they will turn into those older men, seeking the attentions of younger men who will view them with the same distaste and cynicism, and by the end of the book David is resigned to that fate. It was clear to us that though a book conveying these sentiments would now be considered politically incorrect, it is a searingly truthful depiction of how it must have been in an age when homosexuality was so underground, so unacceptable to mainstream society, and indeed against the law. David's disgust however extends to the transsexuals that frequent the bar, whom he clearly sees as 'other': '[the] grotesqueness made me uneasy; perhaps in the same way that the sight of monkeys eating their own excrement turns some people's stomachs.' This did shock some of us, and perhaps it was this, along with David's self-confessed inability ultimately to love either Hella or Giovanni, that made Ann say she didn't actually like David, finding him self-centred, and others agreed. However, new member Margaret (Mark's replacement) strongly said she totally felt for David all the way, and indeed she loved the book.
The book does feel extremely autobiographical, yet takes an objective view of David's failings, which is perhaps unusual (and maybe creates cognitive dissonance), but is searingly honest. One thing I noted was that, in spite of his inability to love or truly give himself to others, David is however very good - perhaps almost too novelistically good - at understanding the thought processes and emotions of others. I was in great admiration of this, though wondered how psychologically realistic it was, and as John and others said, it does give rise to a great deal of introspection which forms the chief substance of the book, and which some found wearing. John said he found the book suddenly perked up in the scene in which David gives up the keys to the landlady of the house he and Hella rented together and which he is now leaving: there is dialogue and true dramatic action.
Some people wondered at a black author, James Baldwin, making his protagonist white. Ann and I had both read that Baldwin said that he did not want to confuse the issue of homosexuality with race. Someone said they didn't think it mattered, since the whole stress was on homosexuality. However, Ann pointed out that in the fifties someone like Giovanni would have been considered black, and it is his exoticism for the homosexual men around him on which his tragedy pivots.
All agreed that the depiction of the fifties Paris underworld was wonderfully vivid, yet the overall effect was summed up in the one written word of Doug (who had been unable to attend): bleak.
November 2024
The Country Girls
Edna O'Brien
The recent death of Edna O'Brien prompted Ann to suggest this, O'Brien's first novel - and the first in a trilogy of novels about Caithleen Brady and her friend Baba (Bridget) Brennan - which caused a storm on its publication in 1960 and was banned in her native Ireland. (The trilogy, which charts their progress from their time as schoolgirls in rural Ireland to life as young women in London, is now published in one volume under the title of this first novel, The Country Girls). We spent much of our meeting discussing the reasons for the book's dramatic reception.
The book is the first-person narration of the introspective Caithleen, and begins when she is fourteen, on a summer day that will be turn out, although she doesn't yet know it, to be her last day at the village school, and 'the last day of her childhood'. She wakes to find that, once again, her feckless and violent father has failed to return home (from a no doubt drunken spree) to the farm he is letting go to ruin, and to his long-suffering wife and daughter. At school Caithleen discovers that she has won a scholarship to a convent boarding school - Baba, her close though self-centred (and sometimes even vindictive) friend will be going there too as a paying pupil. After school, when she and Baba are wandering in the village, the grocer informs Caithleen that her mother has gone on a trip, a clearly unusual event, and as a result she must go to stay with Baba's family. That evening, while she is attending a play in the village with them, news comes that Caithleen's mother (escaping with a lover, it will turn out) has drowned. After this, Caithleen lives with the Brennans for the rest of the summer, before the girls leave for the convent, and afterwards during the holidays until the two girls eventually leave for Dublin. It is during this first summer that the fourteen-year-old Caithleen first becomes involved with a married man who lives in the big house and whom the villagers call Mr Gentleman.
This last was of course scandalous enough for the Ireland of the time (indeed, even for England at the time), but as Ann said, the real offence of the book was its implicit critique of the Catholic Church and its hold over Irish society. The weight of its repressive dominance and the sense of stifled lives are evident in all of the vividly portrayed scenes: the oppression and dissatisfaction of the women; the repressed male sexuality that finds its escape in what we would now see as paedophilic behaviour towards young girls (Caithleen and Baba spend a great deal of time dodging kisses from older men); above all, the harsh atmosphere and treatment in the convent - against all of which the feisty Baba is compelled to rebel, with Caithleen on her coattails. Someone, I think Ann, commented that it is probably hard, from our present-day perspective, to appreciate quite the impact this book must have had at the time.
I said though that, having read the book many years ago, this time it struck me as more harrowing. I think perhaps when I was very young, closer to Caithleen's age and to the time it depicts, I took more for granted the social and religious mores it portrays. I had indeed found the book uplifting: the prose is lively - economical and witty - and the story moves along at a fast past (everyone agreed with that), and I simply rejoiced in the girls' rebellion (and was all behind Caithleen in her romantic love for Mr Gentleman). This time around however, I was deeply struck by the tragedy of it all, and, in the first part especially, moved to tears by the atmosphere of longing and loss, however shot through it is by Caithleen's moments of ecstasy and Baba's hijinks. Here's Caithleen leaving for school on that first morning and looking back at her mother for what will turn out to be the last time:
She was waving. In her brown dress she looked sad; the farther I went, the sadder she looked. Like a sparrow in the snow, brown and anxious and lonesome. It was hard to think that she got married one sunny morning in a lace dress and a floppy buttercup hat, and her eyes were moist with pleasure when now they were watery with tears.
John said he was really struck by the fact that nowadays the general behaviour of men in the book, which goes unremarked in the community, and in particular, Mr Gentleman's relationship with Caithleen, would be regarded as paedophilic, and that this, in one way, makes the book particularly shocking from a present-day perspective.
We had gone a long way into the evening discussing the social significance of the book when I noted that we hadn't at all critiqued it as a novel. None of us three women, it turned out, had anything critical to say about this apart from the fact that we had loved the lively prose, the vividness and the way the story moves along at pace. The two men did have a slight criticism: John and Doug both felt that there was a gap in the middle of the novel. The beginning of the girls' stay at the convent is narrated in detail and told with the book's characteristic lively dramatic action. On the first night in the dormitory, Caithleen brings out a cake she has brought, but a nun enters:
"What is the meaning of this?"she asked...
"We were lonely, Sister," I said.
"You are not alone in your loneliness. Loneliness is not an excuse for disobedience"...
"What is this?" she asked, picking up one of the cups."
"A tea service, Sister. I brought it because my mother died."...
"Sentimental childish conduct," she said. She lifted the outside layer of her black habit and shaped it into a basket. Then she put the tea service in there and carried it off.
The rest of the time at school however is passed over, and, with only a fairly brief mention that in the holidays Caithleen takes secret boat trips with Mr Gentleman, the narrative fast-forwards to the day, three years later, that Baba engineers their expulsion in order to escape. Both John and Doug found this leap forward unsatisfying. The rest of us, four women, hadn't found it unsatisfying at all. Ann (who had been to boarding school) found it realistic - the first days at boarding school are seared on your mind, she said, but the rest of the time passes in a blur - and I protested that it's a perfectly acceptable novelistic convention - one of artistic selection - to pass over periods when not much happens that would be relevant to the theme or plot. But, countered Doug, he consequently found the change in Caithleen hard to take. We were taken aback by this, as we hadn't found Caithleen significantly changed beyond the kind of maturing you would expect in the three years of a girl's development. Margaret said that in fact she hadn't found her changed at all: she was still the tentative yet privately critical sidekick to Baba's exploits, and still as in thrall to Mr Gentleman.
John said that although the book has a very autobiographical feel (so that one is tempted to identify narrator Caithleen with the author), he didn't find it all that realistic that two such different girls would be such close friends. The rest of us had no problem with this - two girls of the same age in such a small place, their families connected, would be bound to gravitate together whatever their differences. However, it's true that I had read that O'Brien had once been questioned about this, and had replied that the two girls represented the two sides of herself, Baba being the side repressed by her Irish Catholic upbringing - which is itself a comment on the repressive power of the Catholic Church.
I think we all enjoyed this book and certainly appreciated the significance of its place in the canon. Ann said that having read it she could see its influence on Irish writers we had read previously, including Ann Enright and (perhaps especially, I thought: the grocery store scenes in Brooklyn seem like a development of those in The Country Girls) Colm Tobin.