Lorna Sage

Grandfather’s skirts would flap in the wind along the churchyard path, and I would hang on. He often found things to do in the vestry, excuses for getting out of the vicarage (kicking the swollen door, cursing) and so long as he took me he couldn’t get up to much. I was a sort of hobble; he was my minder and I was his. He’d have liked to get further away, but petrol was rationed. The church was at least safe. My grandmother never went near it – except feet first in her coffin, but that was years later, when she was buried in the same grave with him. Rotting together for eternity, one flesh at the last after a lifetime’s mutual loathing. In life, though, she never invaded his patch; once inside the churchyard gate he was on his own ground, in his element. He was good at funerals, being gaunt and lined, marked with mortality. He had a scar down his hollow cheek too, which grandma had done with the carving knife one of the many times when he came home pissed and incapable.’

These days Hanmer School is tranquil and thriving, just the kind of country school people campaign to keep open because it’s gentler than the bigger urban versions, and the kids get more individual attention. Astonishing, to me, to go back and eavesdrop on these well-behaved children who wear uniforms, talk trustingly with their teachers, and have even produced a booklet which tells me that the school was first built in 1676, and that the Charity Commissioners reported in 1847 that it was damp and dirty, with rotting furniture. This 1847 school is more recognisable to me than the present one: all this cleanliness is unnatural. And what are they doing being literate, for God’s sake? This isn’t the school I knew. Perhaps I really did grow up, as I sometimes suspect, in a time-warp, an enclave of the 19th century? Because here are the memories jostling their way in, scenes from an overpopulated rural slum.

Hanmer’s pretty mere, the sloping fields that surrounded us, and the hedges overgrown with hawthorn, honeysuckle and dog roses that fringed the lanes, might as well have been a cunning mirage as far as grandma was concerned. They did nothing to alleviate the lousy desert that made up her picture of village life. She lived like a prisoner, an urban refugee self-immured behind the vicarage’s bars and shutters. None of my new school friends were allowed in the house, of course. You could get into the vicarage garden via a side yard, or by climbing over the walls, and that was the way we did it. The whole thing was clandestine, the other children weren’t supposed to be really there at all, any more than that picturesque backdrop of lake and trees and cows. Meanwhile, insulated and apart, vicarage life went on. In the church, in bars, in books (grandpa) or in a scented bedroom fug of dreams of home in South Wales (grandma). That is, of Tonypandy in the Rhondda, which rhymed with yonder, but with its Welsh ‘d’s softened into ‘th’, so that it seemed the essence of elsewhere.

Bloody Mary, the blurb suggests, has found her match in her biographer Carol Brightman. Not that this is a hatchet job: if Brightman is a woman in some sense after her subject’s own heart it’s not in the way Randall Jarrell was thinking of when he put Mary McCarthy in Pictures from an Institution, saying that people couldn’t mention her style ‘without using the vocabulary of a salesman of kitchen knives’. On the contrary, Brightman is not murderous at all, but detailed, exigent, measured, beady-eyed. Nor is she a Boswell, however. She may have become an accepted figure in the McCarthy landscape in the years leading up to McCarthy’s death in 1989, interviewing and taking notes, but she proves tough-minded and independent to a degree. The tone is one of unforgiving intimacy. It’s important, obviously, that Brightman belongs to a very different generation, the one that came of age in the Sixties, when she founded and cut her teeth on an anti-war magazine called Viet-Report – the daughter, or even granddaughter generation. She inevitably regards McCarthy’s tours de force in exposing the bad faith of the radicals of the Thirties and Forties with some ambivalence: ‘By withholding pity, by honouring the weight and worth of convention in American life, McCarthy uncovers a deeper truth about the way in which American intellectuals handle the revolutionary dreams of youth, and why they so often turn on them and learn nothing from them.’ You don’t necessarily like someone for being right about this kind of thing – Brightman suspects that McCarthy was so sharp because she was in a sense so reductive, she ‘lived in relations the way other people are attached to things, places, belief systems’.’

This is a compendious, layered novel – see ‘historiographic metafiction’ in the narratology handbook – the sort of novel that intercuts time zones and genres of fiction (realism, fantasy) and so fleshes out the present’s bleakness. In the present, middle-aged Charlotte FitzRoy is having a breakdown, precipitated very likely (thinks the business-like psychiatrist who plies her with anti-depressants she doesn’t take) by the death of her daughter Miranda in a car-crash; though as Charlotte sees it, loss of her political faith, dating from the coming-down of the Berlin Wall, has had rather more to do with it.’