PENGUIN BOOKS
A HOUSE UNLOCKED
Penelope Lively grew up in Egypt but settled in England after the war and took a degree in history at St Anne's College, Oxford. She is a Fellow of the Royal Society of Literature, and a member of PEN and the Society of Authors. She was married to the late Professor Jack Lively, has a daughter, a son and four grandchildren, and lives in London.
Penelope Lively is the author of many prize-winning novels and short-story collections for both adults and children. She has twice been shortlisted for the Booker Prize; once in 1977 for her first novel, The Road to Lichfield, and again in 1984 for According to Mark. She later won the 1987 Booker Prize for her highly acclaimed novel Moon Tiger. Her other books include Going Back; Perfect Happiness; Passing On, which was shortlisted for the 1989 Sunday Express Book of the Year Award; Cleopatra's Sister, Beyond the Blue Mountains, a collection of short stories; Oleander, Jacaranda, a memoir of her childhood days in Egypt; Spiderweb; A House Unlocked, a second autobiographical work; and The Photograph.
Penelope Lively has also written radio and television scripts and has acted as presenter for a BBC Radio 4 programme on children's literature. She is a popular writer for children and has won both the Carnegie Medal and the Whitbread Award. She was appointed CBE in the 2001 New Year's Honours list.
PENELOPE LIVELY IN PENGUIN
Fiction
Going Back
The Road to Lichfield
Treasures of Time
Judgement Day
Next to Nature, Art
Perfect Happiness
According to Mark
Pack of Cards: Collected Short Stories 1978–1986
Moon Tiger
Passing On
City of the Mind
Cleopatra's Sister
Heat Wave
Beyond the Blue Mountains
Spiderweb
The Photograph
Autobiography
Oleander, Jacaranda: A Childhood Perceived
A House Unlocked
A House Unlocked
PENELOPE LIVELY
PENGUIN BOOKS
PENGUIN BOOKS
Published by the Penguin Group
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First published by Viking 2001
Published in Penguin Books 2002
8
Copyright © Penelope Lively, 2001
All rights reserved
The moral right of the author has been asserted
Text illustrations by Harry Brockway
Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher's prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser
ISBN: 978-0-14-192252-2
IN MEMORY
J.F.L., B.M.R., R.B.R.
Contents
Preface
The Hall Chest, the Photograph Albums and the Picnic Rug
The Children on the Sampler
The Gong Stand, The Book of Common Prayer and the Potted-Meat Jars
The Woman in White and the Boy on the Beach
The Cedar of Lebanon and Erigeron karvinskianus
The Sunset Painting and the Harness Room
The Dressing-Room, the Nursery and the Grand Piano
The Knife Rests, the Grape Scissors and the Bon-Bon Dish
Acknowledgements
Bibliography
Preface
It has always seemed to me that one effective way of writing fiction is to take the immediate and particular and to give it a universal resonance – to so manipulate and expand personal experience that it becomes relevant to others. This book is an attempt to do the same thing not with a human life but with the span of one family's occupation of a house.
The house as I knew it exists now only in the mind. In my head, I can still move easily and vividly around it. The furnishings are precise and clear, the sounds and smells are as they ever were. I can walk through the front door into the vestibule, and thence into the hall. Ahead of me, the garden door frames a green section of Somerset; wisteria pours down above the veranda. I turn left past the gong stand and through into the dining-room, where I pause to look at the sunset picture above the sideboard, whose right-hand cupboard is minus its key and has to be opened by means of a piece of string… If I walk along the passage to the drawing-room the Turkish rug will skid under my feet on the parquet floor; when I open the door the sunlight will throw a mesh of shadow on to the framed sampler in its stand by the fireplace, with the row of embroidered children from Stepney.
This mansion in the mind, with its many rooms, each complete with furnishings – pictures and vases and pin-trays and the contents of drawers – seems to me an eerie personal reflection of those imaginary constructions of another age, the mnemonic devices of the classical and medieval art of memory. Frances Yates's fine book on that subject describes the system whereby the sequence of an oratorical argument was retained by means of the creation of an imaginary mansion, within which the orator moved from room to room, each space serving as a stage in the argument, and the emotive trappings – a statue, an urn, a painting – acting as prompts for specific flights of language.
In the same way, I can move around my memory house and focus upon different objects. The house itself becomes a prompt – a system of reference, an assemblage of coded signs. Its contents conjure up a story; they are not the stations of an oratorical argument, but signifiers for the century.
Golsoncott, an Edwardian country house in the corner of west Somerset that lies between the Brendon hills and Exmoor, was the family home of my grandmother, Beatrice Reckitt (née Hewett), from 1923, when she and my grandfather bought it, until her death in 1975. Her daughter, the artist Rachel Reckitt, lived there until she died in 1995. I have known it all my life and spent most of my adolescence there.
The family's occupation of the house nearly covers the century – seventy years of social change. In 1923 its daily running required the services of eleven people; by the 1990s this infrastructure was remembered only in the wages book buried in the hall chest, in the bell system in the pantry, in the gong stand and the tarnished contents of the silver cupboard.
The house was fingered by the cataclysmic events of our time – the Russian Revolution, the Holocaust, the Blitz. My grandmother gave help and hospitality to a Russian family who had fled the aftermath of 1917; Mary Britnieva, the mother, wrote her hectic account of those years while staying at Golsoncott. Otto Kun, a fifteen-year-old Viennese refugee from the Nazis in 1939, was brought to Somerset by my aunt Rachel and stayed for a while at Golsoncott. In 1940 the house became an o
fficial war nursery, with a group of children from London's East End billeted in the old staff wing.
When the potent process of dismemberment and dispersal became unavoidable after my aunt's death, the entire place – its furnishings, its functions – seemed like a set of coded allusions to a complex sequence of social change and historical clamour. Objects had proved more tenacious than people – the photograph albums, the baffling contents of the silver cupboard, the children on my grandmother's sampler of the house – but from each object there spun a shining thread of reference, if you knew how to follow it. I thought that I would see if the private life of a house could be made to bear witness to the public traumas of a century.
The Hall Chest, the Photograph Albums and the Picnic Rug
The hall chest was carved oak, some four feet long and three feet deep. Late nineteenth-century, I would guess, and brought to Golsoncott from my grandparents' previous home in St Albans. Indeed, it features in a photograph in one of the albums, doing duty in that other hall. At Golsoncott the chest housed the albums, a great pile of them, the hefty leather-bound objects favoured in the early part of the twentieth century. Here was the pictorial history of the house and garden, and their predecessors at St Albans; through the pages troop family and friends, from the 1890s onwards. Edwardian skirts and Norfolk jackets give way to twenties shapeless dresses and Oxford bags. People are decked out in silks and morning dress for weddings; young mothers pose with babies by the sundial in the rose garden. The babies grow up and are wed in turn; more babies peer down into the lily pond.
At the other end of the chest was a welter of dog leads, brown wrapping paper, lengths of string and bald tennis balls. On the top of the contents lay the picnic rug, stained and weathered tartan, veteran of many a moorland lunch or tea and potent symbol of how it all began – the family's hundred-year addiction to north-west Somerset, now into the fifth generation.
You could say that this addiction was fuelled by the advent of the Great Western Railway. Wordsworth and Coleridge had a hand in it, which would perhaps have been news to my grandmother and her siblings – not a bookish lot – whooping it up on the moor in their youth around the turn of the century. There they are, the Hewetts, in the earliest album, the late Victorian family incarnate, their names alone pinning them firmly to a time and a class: Walter, Gilbert, Maud, Beatrice, Harold and Douglas. On a Sunday afternoon in 1895, having tea on the lawn of Wootton Courtenay Rectory, rented for the summer, the party expanded with a couple of friends. Most of them are sitting on chairs, but the two youngest are sprawled on a rug similar to the one I knew in my adolescence. There is a table with white cloth and silver kettle; on the grass is a three-tier cake stand, the cakes largely demolished. The girls – all are in their late teens or early twenties – wear hats, round straw with shallow crowns and brims and wide petersham bands. All have long skirts and sumptuously swollen leg-of-mutton sleeves, either on their white-frilled and pin-tucked blouses worn with a dark ribbon tied in a bow around the neck, or on their jackets. Other photographs are less posed – here they are on Larkbarrow in the autumn of 1901, on a moorland hike, in deerstalkers and straw boaters, Norfolk jackets and long skirts. Here is Harold in a larky pose with his head on one side and boater tipped jauntily to the back of his head, beside his nicely smiling sisters, a pipe jutting incongruously from his youthful face. And here he is flat on his back on the shingle of Porlock beach with Maud leaning over him, bespectacled and wearing a man's tie, apparently admonishing. Often some or all of them are on horseback – the horse always named in the handwritten caption: Lorna, Hard Bargain. Dogs too are meticulously identified.
In all these photographs the family is defined by dress. What they wear and how and where they are wearing it tells you who they are: upper class. They may be on holiday, in an isolated spot, engaged in strenuous country pursuits, but they cannot be without their badges of identity. The girls must have their matching coats and skirts, their hats, the men their tweed jackets, their collars and ties. Looking at family parties in summer Somerset today, I note that everyone is again clad very much alike – in jeans, leggings, chinos, T-shirts, trainers. But nothing tells me where the wearers fit into the social system – they are classless, anonymous. Until they open their mouths, and even then distinctions are blurred. Back in 1900 that family's dress and utterance set them apart instantly. Anyone seeing and hearing them could have told you what sort of home they occupied and their manner of living.
The story of Golsoncott over the seventy years of its occupancy by this family has two dominating themes, and those are social change and absence of change. The style of its habitation over time reflects in microcosm the shifting sands of this country's class structure. Things are done differently now – up to a point. The structure remains, but at the end of the twentieth century it is opaque, furtive, lurking behind the engineering feats of educational opportunity and social mobility. We all know who we are and whence we came, but it is harder to define others. This subtle reconstruction of how people view one another is nicely expressed, for me, in those sepia photographs of six twenty-somethings on Exmoor back then.
Sepia. A descriptive term for a kind of early photograph, but also a loaded one. The photographs themselves are loaded, indeed. I have to look at them with a cool dissecting eye because images such as these are tainted. They have become the currency of the remembrance industry – the stock of grainy postcards for sale by the bundle, the furnishings of souvenir guidebooks, representing a past that is reinvented in tune with the requirements of the present. Heritage. Nostalgia. Freighted words – nostalgia especially, a term itself subject to reinterpretation over time. Pejorative today, implying a distorted vision to be avoided, but a term that carried a clear and precise meaning once, in the eighteenth century: ‘homesickness’, German Heimweh, a condition recognized as requiring treatment and thus, when diagnosed in a soldier, entitling him to a spell of home leave.
So I look at the photographs for what they can tell me about their time, trying to extract information, to see beyond the obscuring sepia haze that gives them nostalgia status. But they have a further dimension. Those people fossilized in that particular fraction of a second subsequently stepped out of the frame, assumed flesh and personality. Several of them are vibrant within my own head – my grandmother, my great-uncles – reconstructed for the 1950s, '60s and '70s. Nostalgia in any sense of the term is out of place.
Four members of that turn-of-the-century group would eventually settle in west Somerset. My grandmother brought her family there in 1923 to Golsoncott, a Lutyens-style house built some ten or fifteen years earlier at the foot of the Brendon Hills, and set about creating a large Gertrude Jekyll-style garden to complement it. Aunt Maud set herself up in a gloomy house in Porlock that matched her aloof, acerbic style – I remember visits to her in adolescence, neither of us finding anything to say to the other. Douglas and Harold, the youngest of the siblings, became Uncle Chuff and Uncle Herk, pursuing brief parallel careers in the Burmese and Indian Civil Services before retiring at a comfortably early age to live together in a house overlooking Porlock Vale, purpose-built for them before such refinements as planning permission. They were bachelors in the old-fashioned sense of the word – not a woman in sight, nor anything else. Their long and gleeful retirement was devoted entirely to walking and riding on the moor, rising to the seasonal high of stag hunting, on which Uncle Herk published a small but definitive work, The Fairest Hunting. The house was astonishing, a cross between a London club and an officers' mess somewhere in the East – huge battered leather armchairs, brass coffee tables, moth-eaten oriental rugs, bamboo screens, a tiger skin. Bits of foxes and stags sprouted from the wall – grinning masks, tattered brushes, a forest of antlers. We used to go there for tea – the uncles served copious schoolboy teas: jam puffs, doughnuts, sponge rolls, rock cakes. They wore ancient hairy tweeds deeply impregnated with cigarette smoke. Uncle Chuff was purple-faced and convivial, Uncle Herk was beaky, weather-beaten a
nd equipped with a silver cigarette case on the back of which each fag was briskly tapped before being lit. They addressed each other as ‘brother’ and my grandmother as ‘sister’, treating her with joshing affection, as someone deeply familiar but of another species. And, looking again at the photographs, I see that she and Maud are always standing together but slightly apart from the others. Their brothers in plus-fours and jackets are a uniformed brigade: the Men.
My great-uncles seem to have hammered their sex drive into total submission and settled to a satisfactorily uncomplicated alternative of pursuing red deer over the moor. I remember them fondly and admire their genial treatment of a young and awkward female relative – they can't have had much to do with schoolgirls. Indeed, when I knew them in the forties and fifties they had not had much to do with a good deal of twentieth-century England, holed up down there, and hence were relatively untroubled by what was going on elsewhere. There were ritual fulminations about the horrors of a Labour government after 1945, but with a certain detachment, as though they could not conceive that they themselves would be severely inconvenienced, as indeed they probably were not. Rather surprisingly, both of them went in for versifying – carefully typed selections survive still, some of them dating back to 1900. Cod verses after Tennyson and Kipling. Heavy-handed Edwardian humour – ‘Apology to a Lady’ makes you wonder for a moment about their bachelordom: ‘If you met an angel / You would surely find / You for once had lost your head / Got confused in mind / Now perhaps you understand / Why I always put / Into every social trap / My ungainly foot.’ But another poem by Uncle Herk sets the record straight by pondering the advantages of marriage, and then deciding that his horse is preferable as a companion – biddable, controllable and, it would seem, more congenial. A somewhat ham-handed Longfellow parody has Hiawatha out with the Devon and Somerset staghounds and failing to be in at the kill: ‘Very wroth was Hiawatha / To have missed the glorious finish.’ But a high proportion of their verse is jingoistic stuff hymning the glories of Empire and the virtues of being English. I read it now with bewilderment, thinking of those jovial figures, plying one with jam tarts and talking to my grandmother about their dahlias – realizing that the climate of their minds is as alien as that of another century.