Verdopolis for ever

From Greenberg’s Glass Town

Isabel Greenberg: Glass Town
Jonathan Cape 2020

Before Charlotte wrote The Professor or Jane Eyre, and Emily Wuthering Heights, and Anne Agnes Grey the three Brontë girls and their brother Branwell were creator gods. The self-proclaimed Genii founded Glass Town, a place to populate with characters based on public figures of the day (such as the Duke of Wellington and Napoleon), literary ideals such as the Byronic hero, and social archetypes such as revolutionaries and blue-stockings.

Though Emily and Anne, fed up with their domineering brother Branwell and an acquiescent Charlotte broke away to create their own lands of Gondal and Gaaldine, the two older siblings continued with their country of Angria, while Charlotte continued with Angria stories when she became a teacher.

Isabel Greenberg has created her own version of the creation of Brontë juvenilia: in what she identifies as her historical fiction she has “embroidered, embellished and indulged in a great deal of supposing.” More than that, she has illustrated her fiction — full of “inaccuracy and anachronism and many flights of fancy” — with her own distinctive style, producing a delightful graphic novel in which Charlotte discourses with the imaginary Charles Wellesley as they survey the birth, development and fate of this unique paracosm.

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What the Dickens!

Engraving of snail by Orlando Jewitt

George Braintree:
Poverty and Oysters; how words inspired Charles Dickens
Gotham Press 1970

“It’s a wery remarkable circumstance, Sir,’ said Sam, ‘that poverty and oysters always seem to go together.”
— Sam Weller to Mr Pickwick

One of the most striking things about Dickens’ writings is the range of curious names his characters, places and book titles sport — Micawber, Chuzzlewit, Mudfog, Uriah Heap, and so on.

Georgian literature was replete with artful names, of course, usually suited to the nature of the person so called: Mrs Malaprop in Sheridan’s play The Rivals, for example, is from the French mal à propos (meaning ‘inappropriate’), and religious allegories like Bunyan’s Pilgrim’s Progress were chock-full of them.

But the names Dickens invents are altogether more playful and seemingly pointless except for their memorability. Where did he get his inspiration for them? George Braintree thinks he knows.

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Master of mischief

Diana Wynne Jones:
Eight Days of Luke
Illustrated by David Wyatt
Collins 2000 (1975)

Feeling grateful. Feeling guilty. Feeling angry when you’re wrongly accused. Feeling frustrated when your wishes are thwarted. Being a child under the charge of adults gives rise to so many emotions, some negative, many persisting into adulthood. For orphan David Allard, whom if we had to guess is about ten or so, emotions are running particularly high: the relatives he is now living with are unsympathetic to the point of unfairness and he is just about to explode.

Retreating to the end of the garden he expresses his anger in a torrent of gibberish words. Somehow this ‘spell’ coincides with what appears to be a mini earthquake, which causes the garden wall to tumble down and venomous snakes to appear. And from nowhere up pops a boy with reddish hair, who calls himself Luke.

After the initial shock David is of course very confused, but the personable Luke seems promising as a new companion for the luckless lad so they strike up a friendship, with Luke expressing sincere gratitude at being freed from his prison. But this odd occurrence is merely a prelude to a week of strange occurrences in which new acquaintances are made and the master of mischief himself is unmasked.

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Headology

Ludlow Castle, how I imagine Lancre Castle might look

Terry Pratchett: Wyrd Sisters
Corgi Books 1989 (1988)

‘You know, Hwel, I reckon responsible behaviour is something to get when you grow older. Like varicose veins.’
— Tomjon in ‘Wyrd Sisters’

The fourth in Pratchett’s Discworld series is full of witches behaving badly, meddling yet not meddling in the affairs of men. Preceded by Equal Rites it focuses on the kingdom of Lancre with its usurping ruler Duke Felmet and his wife, a castle full of ghosts, a troupe of travelling players and the aforementioned witch trio of Esme Weatherwax, Gytha Ogg and Magrat Garlick.

It’s not the assassination itself that sets things awry — Lancre has seen dastardly deeds done to royalty before and survived — but the misrule following it, and Granny Weatherwax senses the land is unhappy. For this reason and others (such as her being a dyed-in-the-wool contrarian) she determines, along with her coven of three, to nudge things along a bit.

And that includes a bit of messing around with time, accomplished in a manner similar to the ending of Superman the Movie, except with a black-caped Granny flying her broomstick round the kingdom.

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Thunder in human guise

Horned figure with animals from the Gundestrup cauldron

Lloyd Alexander:
The Book of Three
Square Fish / Henry Holt and Company 2014 (1964)

I had a hardback copy of this in the late sixties or early seventies and then — foolishly — gave it away; so I was pleased to come across this 50th anniversary edition and to revisit the land of Taran, his friends and adversaries after decades of absence. And though the author specifically says the Land of Prydain “is not Wales — not entirely, at least” my now long term residence in the principality made me even more eager to return to this world.

But first, the story. Young Taran is made an Assistant Pig-Keeper to Coll, his charge being the sow Hen Wen. She is a special creature being as how she’s oracular, but unfortunately she suddenly ups and disappears. Thus Taran sets off without warning in a quest to retrieve Hen Wen, but the task proves increasingly difficult as he stumbles across dastardly plans by dark forces to overcome all that is good in Prydain.

Can Taran forge alliances to combat the coming evil? And if he does will they be up to the struggle? Of course — this being a children’s fantasy — the answers are likely to be yes, but it won’t be easy and things will frequently hang in the balance.

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Pretending to be grown-up

Eleanor Fitzsimons:
The Life and Loves of E. Nesbit
Duckworth 2019

There is only one way [to understand children]: to remember what you thought and felt and liked and hated when you yourself were a child. […] There is no other way.

Daisy Nesbit, Edith Bland and Mrs Tommy Tucker: just three of the many sides to one extraordinary character. One a fearful yet imaginative child, deprived of a father at an early age, shifting from pillar to post, to and fro across the English Channel; the second a dedicated socialist married to a prodigious womaniser, soon to become a successful writer of children’s fiction and friend to established and aspiring literati; the last a widow, remarrying for love but plagued by health issues, finally buried in a Kentish churchyard on Romney Marsh.

Edith Nesbit’s singular life — spanning over six decades, encompassing the late Victorian and Edwardian periods and witnessing momentous movements and events — is fully documented in this new Nesbit biography, the second in as many years, complete with references, a detailed index and a selection of some dozen images.

Exceedingly well researched, The Life and Loves of E Nesbit largely lets contemporary documents speak for themselves so that the reader may hear authentic voices and individual opinions, both so important in gauging the impact this woman had on those who met her, knew her, and read her.

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Unbound

Titian’s Prometheus (Prado, Madrid)

Diana Wynne Jones:
The Homeward Bounders
Illustrated by David Wyatt
HarperCollins Children’s Books 2000 (1981)

“Are you one? Do you call us Homeward Bounders too?”
“That is the name to all of us is given,” he said to me sadly.
“Oh,” I said. “I thought I’d made it up.”

Jamie Hamilton is twelve going on thirteen, living in a past which we can establish is 1879. But when, in exploring his town, he comes across a mysterious building where cloaked and hooded figures flit about his curiosity get the better of him and, by intruding on them, he becomes an outcast from the life with which he has grown familiar.

And it is all the doing of Them, as he soon terms those figures, games players who decide the fates of individuals, societies and worlds. As a ‘discard’ from the game They play he is forced to be both bystander and wanderer as he is thrown from one world to another without so much as a ‘by your leave’.

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