Elisabeth Sanxay Holding, The Blank Wall (1947, Persephone reprint 2003)
No, this post is not a sneaky attempt to post about two books for the price of one, diminishing drastically the pile of books to be reviewed. Bear with me…
I blame myself that I read too many books at the same time. I’ve been known to have up to 9 books on my “currently reading” list of Goodreads. Ugh… It’s not that I have a magical power to read one book with one eye and a second with the other (I wish!). I start one book, then get distracted with another, then come back to the first for a few evenings, then start an exciting one from the library… But the advantage is that sometimes my readings collide.
Take Nora Webster by Colm Toibin, a shiny new acquisition from the library, on my left, and The Blank Wall, a Persephone shiny grey book from my own bookshelves, on my right. Apparently, not much in common. A 1940s American noir / suspense novel (that reminded me of Patricia Highsmith in part), versus an Irish contemporary psychological / literary novel. Both vying for my attention (and my limited free time!)
Where in one hand a dead body has to be dealt with in the first twenty pages, and the whole book takes place within a week, Colm Toibin’s novel in the other hand spans several years and nothing dramatic really ever happens. It’s a slow-moving book where buying new furniture for the living room carries a weight and a meaning that leaves you rooting for Nora, while in The Blank Wall, issues were more life-and-death, scandal or prison, but it took me a longer time to warm up to Lucia.
Both features wives and mothers of teens and grown kids. They are alone and obliged to act and take decisions because of their husbands’ absence (Mr Webster died recently and Lucia’s husband is at war in the Pacific). Both women are not used to assert themselves, they express strong opinions in their mind but look proper and meek in front of others. Both are not really likeable characters at the beginning (in my 21st century eyes) because they are so limited in their thoughts and actions, and then by the end of the book they have both evolved, have discovered that they can decide, act and stand for themselves and I grew to like them.
Nora lives in a small town in 1960s Ireland and Lucia lives in a small town in 1940s outside New York. The context in both books provided in each case some new level of reading for me: the political events and the women’s movements for Nora, the war and the home front for Lucia. Both books are quiet feminist manifestos in a sense, full of delicacy and subtlety.
In both books, children are not painted under the positive light you’d expect. Lucia’s kids, Bee (around 17) and David (14-15) are selfish and spoilt. David behaves like a little master and gives orders to his mother, while Bee rolls her eyes at her mother who can’t understand anything. Nora has 4 kids, two nearly graduating daughters and two younger boys. Nora, as a typical 1960s parent, is not one to talk much about feelings or to show her love. There is a real distance between Nora and her daughters who obviously have a much more liberal, modern mentality.
Lucia’s daughter would be of Nora’s age, if I am not mistaken, but Bee is so empty-headed (the whole book comes from her poor choice of a boyfriend, this girl begs to be grounded for a few months) and Nora so provincial that they would probably have nothing to talk about together. But I’m sure Nora would have loved to have the opportunity to travel to the States, given the opportunity.
This was my first brush with Colm Toibin and Elisabeth Sanxay Holding, who is deemed the Godmother of Noir. Definitely not the last I hope!