A Forgotten SF Novel: Planet Patrol, by Sonya Dorman

Planet Patrol, by Sonya Dorman

a review by Rich Horton

Once again I haven't finished my latest true "Old Bestseller". Instead I'm covering a Young Adult science fiction novel from 1978, that is, I think it's fair to say, quite forgotten now, and was really never well known at all. But the writer was an interesting and (in a very modest way) somewhat notable writer in her day. Sonya Dorman. born 1924, died 2005 (married name Sonya Dorman Hess, and she sometimes signed herself a form of that name), published about 20 stories in the SF magazines and anthologies between 1963 and 1980, as well as one story (also apparently SF) in Cosmopolitan in 1961. At least two stories received particular notice. "When I Was Miss Dow" first appeared in 1966 in Galaxy, and has been widely anthologized, including in the second Nebula Award Stories volume, in Pamela Sargent's influential anthology Women of Wonder, and in the landmark Norton Book of Science Fiction (edited by Ursula Le Guin and Brian Attebery). And "Go, Go, Go, Said the Bird" appeared in Harlan Ellison's Dangerous Visions.

Dorman was also a poet, and arguably her reputation as a poet surpassed her reputation as an SF writer. I recall running across one of her poems in a school anthology back in high school, and I was shocked to realize I knew the author as an SF writer.

Between 1969 and 1973 she published three delightful (if slightly retro) novelets in F&SF about a young woman named Roxy Rimidon. Roxy is a young woman in the "Planet Patrol", sort of a special police group in a unified Earth sometime in the nearish future. The three stories are "Bye, Bye, Banana Bird" (December 1969), "Alpha Bets" (November 1970), and "The Bear Went Over the Mountain" (August 1973). A little while back I ran across Dorman's only novel, Planet Patrol. I quickly gathered that it was a Roxy Rimidon story, and so I snapped it up. It was published by Coward, McCann & Geoghegan (there's a classic old publishing house, long gone now I guess) in 1978.

I had hoped it might be a completely new story, but I wasn't surprised to find out that it's mostly a fixup of the three F&SF stories. Well, there's nothing wrong with that, and it had been some time since I had read the stories, so I read the novel, and I confess the first thing I thought was "This isn't as good as I remembered". That too is not a rare feeling, but it really did seem disappointing. So I went back to the original F&SF issues, and reread the stories, and found that, while they are substantially the same as the episodes in the novel, the original stories have a distinct energy that seemed lacking in the novel. Most of this, I believe, is due to the market for the novel: YA. Dorman rewrote the stories, presumably to fit the market, and the rewrite leached a lot of the charm from the stories, for me. Some of the changes are pretty minor: a couple of character names are altered. But there a further changes that are much more important, and not surprisingly, most of them involve sex. To begin with, in the stories Roxy's age is between 22 and 25, while in the novel she's between 17 and 19. Right at the beginning, when she's in training, she throws herself (more or less) at the Planet Patrol Academy's leader, a Colonel with an unsuitable wife -- that's entirely excised from the novel. And in the final episode, the F&SF version has Roxy jumping into bed with one of her colleagues -- again, gone from the novel. There a few other less prominent changes, but to me they all work to the detriment of the novel version. It should be said, the fundamental plots of the episodes remain unchanged (and there is one additional shortish episode in the novel). (there is also a subplot in the stories suggesting Roxy has mild telepathic abilities which is removed in the novel.)

Planet Patrol opens with Roxy in the Planet Patrol Academy, getting criticized for being a bit too full in the hips. (I said the stories are a bit "retro".) There is a little bit about the training exercises, mostly the same in the book and the first story ("Bye, Bye, Banana Bird"), though the original story has a more and more interesting stuff (including the bits about Roxy making a bit of a move (unsuccessfully, I should add) on the Colonel). The novel continues to her first assignment (not in any of the F&SF stories), a somewhat implausible and slight story of rescuing an Akita from a crevasse.

The next segment in the novel is the story "Alpha Bets", set at the biannual "Games" (sort of a future Olympics between the ten Dominions into which Earth is divided). Here we are introduced to the central conflict (such as it is) of the novel: the resentment felt by Earth's two interstellar colonies, Alpha and Vogl, over their restricted roles as basically "breadbaskets" or "mines" for Earth. They are not even allowed to compete in the Games, though that will change in the next year. Roxy's brother is one of the best Tumblers in the world, and when his partner is injured, Roxy improvises by recruiting a new partner for him from an Alphan family that she had met, whose son had made it clear he resented not being able to compete.

Then Roxy is assigned to investigate potential Vogl insurrectionists on a Caribbean island. (This segment was originally the second half of "Bye, Bye, Banana Bird", and thus originally Roxy's first assignment.) She discovers a murdered Planet Patrol Sergeant, and ferrets out the nasty Voglians who are responsible, but in the process comes to realize that while their methods are evil, the Vogl insurrectionists have a valid grievance.

This leads to the final episode, which was, in F&SF, "The Bear Went Over the Mountain". (Curiously, the title derives from a brief scene in "Bye, Bye, Banana Bird" (that does not appear at all in the novel).) Roxy visits her mother while planning to testify at the Inter Dominion meeting in favor of more autonomy, and especially an independent Planet Patrol branch, for Vogl and Alpha. But she is kidnapped and threatened by more Vogl insurrectionists, leading to a crisis of conscience: should she still testify as she had planned, or will that testimony seem to endorse their violent methods? She finds a way to testify honorably, and ends up assigned to be part of the Planet Patrol group that will help set up the first Vogl Planet Patrol academy. But on Vogl she learns that Vogl has its own internal problems, and also that they have secretly done some original research into cyborgization that surpasses anything Earth has done ... The resolution is a little bit odd, in that Roxy and company do fairly little to solve the problems ... but perhaps that makes some sense.

I still quite enjoyed the stories on rereading them -- as noted, the novel not quite so much. It's all very fast moving stuff, a bit retro in feel in a couple of ways, but very good fun. And, I should add, rather uncharacteristic of the rest of her work, which is by and large still quite worth looking up.

Old Bestsellers: A Fool There Was, by Porter Emerson Browne

A Fool There Was, by Porter Emerson Browne

a review by Rich Horton

Last week I wrote about The Sheik, by E. M. Hull, one of the worst books in many ways among those I have reviewed on this blog. But The Sheik's badness was in large part its objectionable treatment of women and Arabs, especially of course the rape plot. Not to say that it's all that well-written a book either, but you can see if you squint why it was so popular. A Fool There Was is bad in a different way: it's just poorly constructed, and poorly written.

A Fool There Was shares something else interesting with The Sheik. The film version of The Sheik was critical to establishing the persona of one of the most famous male sex symbols of the silent era, in Rudolf Valentino. And the 1915 film version of A Fool There Was established the persona of one of the most famous female sex symbols of the silent era, Theda Bara. (Bara played a femme fatale who was regarded as sort of a Vampire, hence her nickname, the Vamp, and hence the term "vamping".)

I can find only minimal details of Porter Emerson Browne's career in searching the internet. He was born in 1879 and died in 1934. He was a journalist and a playwright. Supposedly he was for a time secretary to Pancho Villa, and also a speechwriter for Theodore Roosevelt. He wrote many plays, of which the most famous are probably A Fool There Was (which was filmed twice) and The Bad Man (filmed three times).

A Fool There Was was written for Broadway, apparently, and ran early in 1909. The copy I have is in novel form, and frankly doesn't seem very much like a play. I assume Browne adapted it for book publication. It was originally published in 1909 by H. K. Fly (this was, actually, most likely the play version), and my copy is a Grosset and Dunlap reprint (possibly the first novelized edition). It is illustrated, curiously, by two different people: there are a few lightly colored plates by Edmund Magrath, and quite a number of pen and ink illustrations W. W. Fawcett. (I preferred the Fawcett illustrations.) The book is dedicated to Robert Hilliard, who was the star of the Broadway production. It is quite short, about 42,000 words, divided into many often very short chapters.

The story is nominally based on an 1897 poem by Rudyard Kipling called "The Vampire". The play and book's title is the first four words of the poem, and the first stanza is given as an epigraph. (Apparently, when the 1915 movie version was presented, the entire poem was recited (live) several times during the showing.) The poem is about a man who gives up his "goods", and his "honour and faith", to a woman who didn't much care and eventually "threw him aside".

The novel tells of two men who grew up together in New York City, both falling for the same neighbor girl. John Schuyler eventually wins the girl, and they have a daughter, and all are happy. The other man, Thomas Blake, never marries, and continues as a good friend to the Schuyler family. Both men become quite successful.

There are a series of curious interludes, never adequately explained, set in Brittany, detailing the squalid birth of an illegitimate child, and later the now beautiful young woman encountering her father and killing him, and later an odd scene where a young man comes on a naked woman in a forest, and turns away. I can only assume these are scenes of the early life of the femme fatale character who turns up later (this is the character played by Theda Bara in the movie), but the novel never deigns to really connect things.

Eventually John Schuyler is appointed to a diplomatic post in England. He has to go alone, though Blake sees him off, and hears the story of the suicide of "Young Parmalee", who had been making a fool of himself over a wanton woman. Blake sees the woman briefly on the ship ... and also sees Schuyler see the woman ... Well, you see what happens. Schuyler is drawn helplessly (as if!) into the woman's arms, and begins an affair, which continues throughout his (apparently botched) mission, and even on his return to the US. Eventually he leaves his wife, loses his job, and falls into drunkenness. Blake makes a last attempt to save him from degradation, but the woman, contemptuously, insists Schuyler kiss her one more time before he leaves ... and all is lost.

And that's all!

So, a morality tale. The problem is the construction, and the oddly flippant prose. And the failure to really suggest much of anything believable in any of the relationships: certainly not Schuyler's with his wife, but also not his attraction to the "vampire" character. The only character who came close to convincing me was Schuyler's young daughter. As I noted, the prose is a bit odd -- flippant somehow, given to silly epigrams, and often just trailing off in a sort of dying fall. There isn't a lot of dialogue, which seems strange in a book apparently adapted from a play. Perhaps the play was better! And it is intriguing to have -- purely by accident! -- run across the source material for Theda Bara's first big film (even odder to have done so just after reading the source material for a crucial early Valentino film).

Old Bestsellers: The Sheik, by E. M. Hull

Old Bestsellers: The Sheik, by E. M. Hull

a review by Rich Horton

The Sheik is still a somewhat famous and also somewhat notorious novel. Partly this is because it became a film starring perhaps the most famous romantic male lead of the silent period, Rudolf Valentino. (Along with another 1921 film, The Four Horsemen of the Apocalypse, The Sheik established his reputation and persona.) It's also famous ... or notorious ... because it is an astonishingly sexist novel. It is sometimes considered the first novel in the "Romance" category (Georgette Heyer's first novel appeared two years later); and it introduced perhaps the least savory of Romance tropes: the woman who needs to be raped to teach her a lesson, and who then falls for her rapist.

The author was born Edith Maude Henderson in 1880 in London. Though as far as I can tell she lived her whole life in England, her father was American and her mother Canadian. They traveled widely however (her father was a shipowner), and so did young Edith. She married Percy Hull in 1899. During the first World War Edith began writing fiction. The Sheik was her first published novel, appearing in 1919. She published several further novels, including a sequel to The Sheik (The Sons of the Sheik). She died in 1947.

I'll present a brief quick review of The Sheik, followed by some more detail which will include spoilers for The Sheik as well as perhaps P. C. Wren's Beau Sabreur.

The Sheik concerns a very rich young woman named Diana Mayo, who has been raised from birth by her cold fish of a brother. Accustomed to having her own way, and uninterested in men, she decides to take a trip through the Sahara while her brother heads to the US to find a wife who wants his money enough to put up with his selfish ways. However, she is betrayed by her Arab guide, who allows her to be kidnapped by a Sheik, Ahmed Ben Hassan. Ahmed makes his intentions clear, and despite Diana's expressed hate and fear, has his way with her again and again over the ensuing days.

Months pass as Diana's feelings change, and a few crises follow: an escape attempt, a meeting with a French friend of the Sheik, and Diana being kidnapped again by another Sheik, this one gross and evil ...

Well, it's obvious enough how it all works out. There is one slight (but all too predictable) twist, that I'll mention later. And what did I think of the book? In the first place, the rape plot is truly objectionable ... I don't really get people that defend the Sheik's actions. You can certainly argue that Diana was a stuck up prig, and that her privilege and her unconventional upbringing had led to certain emotional issues which were not healthy. But to suggest that the proper cure for that would be kidnapping and rape -- repeated rape, over months -- is simply sick. Besides that, the book is quite overtly racist in its treatment of Arabs. And finally, it's poorly written. The prose is bad, the pacing is off, Hull's paragraphs are too long (a nitpick, I know), and perhaps most importantly, the romance really doesn't convince, at least not from Diana's side. I suppose I could believe that the Sheik was truly falling for Diana, against his will (he prefers to regard women, especially English women, as disposable), but Diana's sudden realization that she is in love with the Sheik just seems pasted on. Also, though it's obvious that lots of sex (sick as it may be) is occurring, none is described, and quite frankly some more explicit description would have helped (though probably not enough).

A few more details about some additional, spoilerish, points of annoyance after some spoiler space ...







It's fairly obvious that the book's depiction of Arabs is racist, but it's made still worse in that the "good" Sheik, our hero (you know, "good" despite being a kidnapper and rapist) turns out to be actually European in ancestry -- with an aristocratic English father and a Spanish mother ... the same trick, more or less, features in P. C. Wren's Beau Sabreur.

I might also note that the producers of the movie version felt that the rape aspect was too controversial, so it was eliminated. (There were complaints from the book's readers.)

And finally, it seemed possible to me that there was a hint of strange incest in Diana's relationship with her brother, particularly in that he doesn't seem to like women at all, and that Diana is described as having a "boyish figure" and as often dressing in mannish clothes. If Hull had intended that, and had the skill to pull it off, it might have added some psychological interest ... but I think I'm overinterpreting.

Old Bestsellers: Duchess Hotspur, by Rosamond Marshall

Old Bestsellers: Duchess Hotspur, by Rosamond Marshall

a review by Rich Horton

Rosamond Marshall was a popular writer for both children and adults. She was born in 1902, but her first novel (for children) did not appear until 1942. Her first adult (for its time, very adult) novel, Kitty, appeared the next year. For the rest of her life (she died, quite young, in 1957) she produced books in both categories. By repute, her adult novels, especially Kitty, sold very well, particularly in paperback. (There is a certain cultural judgement inherent in that statement as applied to books from the '40s, when paperbacks were still new and quite declassé.) Wikipedia knows little about her: she was American-born, briefly married to an Italian man and lived in Rome, later married Charles Marshall, over the last several years of her life split her time between Southern California and Vancouver. (Oh, and there is some controversy over her birthdate: perhaps she was born as early as 1893).

The back cover of my edition of Duchess Hotspur has more details: born in New York City, grew up in England, educated in France, Austria, Germany, and Italy, including some time at the Sorbonne. Spoke English, French, Italian, German, and Piedmontese (an Italian dialect, I presume?) Wrote extensively for foreign language papers, and published a number of adventure novels under pseudonyms. Also was an experienced moutain climber, being the first to break new trails to the tops of at least 22 mountains, with one Alpine peak that she was the first to scale named after her. Pretty impressive, really.

Kitty was made into a somewhat popular movie with Paulette Goddard and Ray Milland. Her last novel, The Bixby Girls, was also made into a movie.

Duchess Hotspur was published by Prentice-Hall in 1946. My edition is the Fifth Printing, and the dustjacket flap claims over 100,000 copies in print, so this book must have sold quite well itself. It's a romance novel set in 1771 or so. The title character is named Percy, Duchess of Harford, called Duchess Hotspur sometimes. (She is apparently so named as she is a descendant of Henry Percy, called Hotspur, probably best known these days for his somewhat innacurate depiction in Shakespeare's Henry IV, Part I.) She is Duchess in her own right, though she had to win a court case against her odious cousin Sir Harry Cunningham to confirm that. (I'm not sure if it was possible at that time for a woman to be in the House of Lords?) She is a widow, having eloped at 16, but her husband died on their honeymoon and since then she has had a string of lovers, but no one who has held her interest.

Meanwhile Thomas Ligonier is a poor journalist, hoping to attract investors to start a newspaper. He makes enough money to live on from freelancing and from modeling for a sculptor friend. One day the Duchess barges into the sculptor's studio to complain about some work he did for her, and sees Thomas, nude ... and falls hard for him, and he for her. Before long she has thrown over her current lover and is sleeping with Thomas.

Thereby runs the conflict ... can she stay with him? He is lower born than a Duchess (though not a peasant: his father is a clergyman, and he went to Oxford: seems like gentry, but not nobility). She is controlling (for example, she wants to gift him the newspaper) while he wants to earn his way. (And to rule his wife, as men were expected to do.) And what about their pasts? Thomas (presented as a rather implausible paragon) is apparently the one true passion of at least two other women, while the Duchess' string of noble lovers is quite jealous of her new paramour. And what of her evil cousin, who still has designs on the Dukedom?

We see some interesting details on the newspaper business at that time, as Thomas does successfully found a paper. And there is a bit of society life. And lots of sex, not explicitly described but clearly going on all the time. (Including some slightly kinky stuff, especially with one of Tom's former lovers, who discovers a taste for being beaten when she takes up with a new man.) The true action of the novel takes a while to start, but it gets pretty exciting towards the end, when the bad guys (especially Sir Harry) move against Tom. The ending is a bit flat, partly because of a bit of a deus ex machina aspect. It's not a particularly good novel, but after a slowish start it does hold the interest, and I can see why it might have sold well. The sex was probably a factor: tame by today's standards, but I gather pretty racy for the '40s. (One contemporary review I found on the Web all but accused Marshall of copying Kathleen Winsor's famous Forever Amber in that aspect, from two years before, which seems a bit unfair to me because while Forever Amber predates Duchess Hotspur, Marshall's Kitty predates Forever Amber, and as I understand it Kitty was full of sex as well.)

Old Non-bestseller: Venusberg, by Anthony Powell

Old Non-bestseller: Venusberg, by Anthony Powell

a review by Rich Horton

Another trip into the archives for a review I wrote nearly 20 years ago about a book by one of my very favorite writers. It wasn't a bestseller, though I think it got respectful notice: Anthony Powell was, I think, known as an up and comer. He was one of a remarkable cadre of writers to come out of Eton at about the same time: his exact contemporary was the great Henry Yorke, who wrote as Henry Green; while Eric Blair, who wrote as George Orwell, and Cyril Connolly were two years older, and Ian Fleming (a rather different sort of writer, excellent in his own way) was a few years younger. (Another friend of Powell's, born in 1903, though not an Old Etonian, was Evelyn Waugh.)

Powell was born in 1905 to a very upper middle-class, or somewhat lower upper-class, family (the nuances of British class divisions are sometimes a little hard to decipher for me). I suppose as Powell`s wife was the daughter of an Earl, and Powell himself attended Eton and Oxford, his background is more upper-class than not, a milieu certainly reflected in his novels. Powell spent a brief time in publishing (at Duckworth's, which also published his first few novels), a brief time in Hollywood, and then, after service in the War, he wrote for Punch and for various other journals, as well as of course writing novels. Late in his life he published four volumes of memoirs and three volumes of journals. (Powell's wife, by the way, Lady Violet Powell, was a fine writer herself (of memoirs), and she was the niece of Lord Dunsany, the sister of the notorious Lord Longford, and the aunt of Antonia Fraser. As well as being a descendant of Wellington (or perhaps of a Wellington in-law).)

Powell's most famous work is the 12-volume A Dance to the Music of Time (1951-1975), which is purely and simply one of the towering achievements of English letters. It treats the decline of English upper-class society between the two wars, and during and following the Second World War. It is nominally social comedy, and at times very funny indeed, but there is a distinct thread of regret mixed with realization that the society involved needed to change, and that most of the "decline" was a result of weaknesses inherent in the people involved.

Prior to the second World War, Powell published 5 novels, of which Venusberg is the second, published in 1932. These early novels are in some sense rehearsals for the themes and situations of Dance, but they are completely independent. They don`t seem dated to me at all, but they can be difficult to find. (This may be changing -- the University of Chicago Press recently reissued Powell's first novel, Afternoon Men, and perhaps a new edition of Venusberg will come along sometime soon.) I got Venusberg from my local library`s interlibrary loan program, and the edition I read, published in the States in 1953 or so, is a curious omnibus of Venusberg and another early Powell novel, Agents and Patients (1936).

This novel is the story of one Lushington, an English journalist who is sent by his paper to visit an unnamed Baltic republic, obviously modeled on one or more of the three, then-independent, Baltic states. He encounters a variety of quite unusual characters: American and British diplomats, emigre Russians, locals, expatriate Britons, and so on. He falls in love (or as much in love as he seems capable of) with an Austrian woman, the wife of a local Professor, but of course fate intervenes, and Lushington returns home eventually, alone.

As with all of Powell`s novels, the plot is the least of the points of interest. The novel is composed of short chapters, describing, in very humorous terms, the characters and the unusual situations into which they stumble. Powell is notorious for the economical but striking descriptions of his characters, and this talent of his is evident even in this early novel, though it is much developed in Dance. The characters in this book are generally likable (not always true of Powell`s characters), but they seem lost. They seem unable to commit themselves either to a career, or to other people. In this book, the young Powell is satirically observing these characters, of whose milieu he was a member. In his later novels, with the experience of life and a long war intervening, his purpose is less satirical, more ironical, and more understanding.

Obviously, I heartily recommend A Dance to the Music of Time, although it is quite a project (it took me 15 months to read, reading a trilogy at a time, then taking a few months off.) The early Powell novels, such as Venusberg, are perhaps not quite at the level of Dance, but quite worthwhile themselves.

Old Bestsellers: Random Harvest, by James Hilton

Random Harvest, by James Hilton

A review by Rich Horton

This series of reviews is about Old Bestsellers, obviously enough, and Random Harvest certainly qualifies: it was the second bestselling book of 1941 according to Publishers' Weekly and the New York Times. It's also intended to bring to light somewhat forgotten books, and I freely confess I thought Random Harvest was a likely "forgotten book" when I saw a copy at an antique store in Galesburg, IL. I've certainly heard of James Hilton, and I read Lost Horizon years ago, and I knew that Goodbye, Mr. Chips was also a famous book (and movie). But I pretty much thought those were the only two books by Hilton that anyone knew much about.

That's just me though. I quickly learned that Hilton had three major novelistic successes: Lost Horizon, Goodbye, Mr. Chips, and the book at hand, Random Harvest. All sold very well, all were made into well-received movies. It still seems to me that the first two are much more widely remembered, in both book and movie form -- but a glance at the Amazon page for Random Harvest reveals no fewer than 123 reader reviews, with an averaging rating of 4.3 stars (and of the two 1 star reviews one is complaining about not receiving his e-book copy -- so a review of the service not the book -- and the other claims to love the movie but hate the book -- suggesting to me a reader confused by such things as extended flashbacks ... and probably words -- but I snark).

James Hilton was born in Lancashire in 1900, son of a headmaster (and indeed we are told that his father was an inspiration for the main character of Goodbye, Mr. Chips). His first novel was published in 1920, but his first major success was with Lost Horizon in 1933. Goodbye, Mr. Chips followed a year later, and sold even better, evidently reigniting sales for his earlier novels. Hilton moved to Hollywood in the mid-30s, working on a number of screenplays, most notably perhaps Mrs. Miniver, for which he won an Oscar. (Mrs. Miniver also won for Best Picture -- ironically, another nominated film that year was Random Harvest.) Hilton married twice and divorced twice -- his first wife, Alice Brown, was an Englishwoman and his second wife, Galina Kopineck, was "a starlet", though I can't find her name in the IMDB. He died in 1954.

Random Harvest opens with the narrator, a Cambridge graduate student named Harrison, encountering an older man named Charles Rainier on a train. They discuss the impending war (this is 1937) and a shared interest in psychology, as well as a story about Rainier's service in the Great War. Afterward Harrison looks Rainier up and learns that he's a successful business owner and a Member of Parliament, and too that Rainier is to be a guest at a Cambridge function for which Harrison is one of the hosts ... One thing leads to another and after Harrison finishes his degree he takes a job as Rainier's secretary.

They become somewhat close, and eventually Charles tells Harrison his story (recounted to us in third person). He was a younger son of an autocratic father who ran a prominent company. As with so many young men, he joined the army to fight the Germans, and was severely injured. He remembered nothing from the time of his injury until waking on a bench in the Liverpool rain a year or two after the armistice. Then he returned home, to find his father dying, and the rest of his rather awful family a bit miffed that he is still alive and that their cut of the inheritance just got smaller. He returns to Cambridge, making a bit of a mark, but before he can take a degree his brother has run the family company into the ground, and Charles is pressured into taking over the firm. He makes a great success of it, and over time falls in love with his much younger step-niece (she is 14 and he 25 when they meet ... a bit of a Door Into Summer vibe ...) But she suddenly throws him over as they are about to get married. The rest of the story is a bit routine: continued success with the firm, a pleasant but apparently loveless marriage to an efficient secretary who as his wife works hard to make him a social and political leader, and a growing sense of loss, and of having missed a chance to do what he really should have with his life.

Then we return to the present time, as war grows closer. Harrison and Rainier attend a play, and that plus a chance mention of a certain hospital suddenly leads to Rainier regaining his memory of the lost years between his injury and his waking up in Liverpool ... and we get an account of this time, when he had no idea who he was, or what his family was, and called himself Smith after escaping from an asylum, soon meeting an actress in a touring company of players, and joining the company as a sort of accountant and later, briefly, a successful actor (I was reminded of Scaramouche), while he and the actress become closer ... well, I won't spoil anything, but the crisis and resolution obviously involve Rainier's need to reconcile his two separate lives -- if even he can.

The ending is beautiful, I have to say, if perhaps a bit contrived, and certainly representative of popular fiction. But that's what it is, after all. Hilton is also deeply concerned with the nature of England, and a return to a simpler, truer, time. I think in this he is a bit sentimental and uncritical of what that Olde England was really like. Its clear that Rainier (and perhaps Hilton) expected the second War to shock England into major changes, and so it did, but I don't think the changes were precisely as this novel seems to advocate. All that said, it does provoke thought about such issues, and more importantly, it's a greatly enjoyable book to read, with a really moving finish.

Old Bestsellers: Heyday, by W. M. Spackman

Heyday, by W. M. Spackman

A review by Rich Horton


I'm cheating a bit here ... this wasn't a bestseller (though I think it did OK), and it's not quite as old as the usual parameters of this series. (I like to stay pre-1950, and this book is from 1953.) It's also not exactly forgotten, though it was in danger of being forgotten when Spackman's career stalled for a couple of decades as he couldn't sell his (outstanding) second novel.

One of my favorite 20th Century American writers is W. M. Spackman.  Spackman was a Quaker, of old family and old money, born in 1905, a member of the Princeton Class of 1927.  The depression apparently ruined his plans for his life (he lost all his money), and he spent some time in journalism and radio, before ending up in academe in the 50s, though after selling his first novel he returned to Princeton to write (but apparently not to teach).  His first novel was Heyday, published in 1953, when he was 48. It was apparently a modest success. His next novel, An Armful of Warm Girl, was finished by 1959 or so, but he couldn't sell it.  He concentrated on his academic work then, publishing some well-regarded essays and a collection of poems, until An Armful of Warm Girl was rediscovered and eventually published in Harper's in 1977, and as a book in 1978. Three more novels were published by 1985 (A Presence with Secrets, A Difference of Design, and A Little Decorum, for Once).  Spackman died in 1990, leaving an unpublished novel (As I Sauntered Out, One Midcentury Morning) and some work on a revision to Heyday.  All six of these novels (Heyday in its partially revised form) and a couple of short stories were published by the magnificent folks at The Dalkey Archive Press in 1997 as The Collected Fiction of W. M. Spackman.  I've written about that book before, I think it's wonderful.  The later novels, from Armful on, are generally of a piece -- the plots feature lighthearted adultery, usually between a man in his 50s or older and a somewhat younger woman (the ages range from the late teens to the 40s through the various books).  The primary delight of the novels is the prose -- as somebody wrote, "confectionary" -- a breathless, elegant, supple, sheerly gorgeous stream of words -- wry and purposely affected dialogue, ardent descriptions (usually of the inexhaustible charms of beautiful women) -- and constant movement.  For some tastes the prose might be too affected, too arch -- though not for me.  For many tastes, including mine, if I let it bother me, the plots and situations and characterizations are very classist, arguably sexist, and full of wish-fulfillment.  The general mood is comic, though the novels can turn meditative and somewhat melancholy at times.

Heyday is a rather different beast. I have read both versions.  The revisions are mostly severe cuts.  The original novel, about twice the length of the later revision, was published simultaneously in hardcover and paperback by Ballantine in 1953. The basic subject of the novel, in both forms, is the tribulations of the Princeton Class of 1927 during the Depression.  We follow a small group of men and women as they try to find work, hatch silly schemes like riding out the slump on a communal farm, and, mostly, go to parties and sleep with each other.  The narrator is a man named Webb Fletcher, a Quaker born in Pennsylvania but raised in Wilmington, Delaware (much like Spackman), but his main interest is chronicling the love life of a distant cousin of his, Malachi ("Mike") Fletcher, also a Quaker and a fellow member of the Class of 1927.  The storyline follows Mike as he almost falls in love with Kitty Locke, only to find her long term involvement with a somewhat abusive other man too much to overcome; and as he fends off the desperate attentions of Jill Starr, a fragile woman who is being blatantly cheated on by her husband; then as he enters an affair with Stephanie Lowndesden, only to lose her to Webb, after which he rekindles things with Kitty, even though it is clear his chance for real happiness is gone.  In the later, revised, version, that's pretty much all there is (intermixed, to be sure, with some descriptions of Webb's amorous adventures, particularly with Stephanie), but it works pretty well -- it's a desperate portrayal of a rather desperate, not wholly sympathetic, group of people.  At the same time it is basically comic, though tinged with melancholy, as what wouldn't be set against the backdrop of the Depression.  (And there is only a smidgen of recognition that these characters are privileged and lucky, with resources to fall back on that many a poor person entirely lacked.) The prose is pretty good, though not pitched quite to the level of Spackman's later novels (much of the dialogue is already pure Spackman).

The parts Spackman cut tend to shift the focus quite a bit, and to point a moral rather more explicitly.  They also move the novel more to the tragic than comic direction.  The original novel opens as Webb Fletcher, a Lt Cdr for Navy Intelligence, finds out that Mike Fletcher has died in the Pacific in 1942, attacking a Japanese ship with his carrier-based plane.  (Apparently he was not a Conscientious Objector, even though a Quaker.)  Webb begins to reflect on what he knew of Mike, and the ways in which he and his cousin were very similar, and yet also the ways in which Webb was able to avoid Mike's desolate end.  (Not so much dying, but entering into a less than satisfactory marriage, it later becomes clear.  In the revised version, I don't think it's made clear that Mike's marriage to Kitty is a second-best sort of thing.)  And Webb reflects a bit on his Princeton career, and then on a trip to France shortly after college at which he encountered Davy Starr with a silly girl named Jill, and Jill's friend Barbara, or Bar, with whom Webb falls head over heels in love.  Webb and Bar are married, then the Depression hits, and they spend some time in Chicago before Webb gets a job in New York.  On the way to meet Webb in New York, Bar, not concentrating, runs over three children on a rural road, and gets sent to prison for manslaughter. 

Which makes for a slightly lurid opening.  The novel continues to the middle section, which is pretty much exactly the revised version, except that explicit references to Webb's being married, and to Bar's travails in prison, are excised.  Thus the original version is much more balanced in that it is about both Webb and Mike, and that much of the novel is really concerned with Webb's loneliness, missing Bar, and how his eventual despair (particularly after an early parole chance is denied) nearly leads to what might have been a disastrous affair with Kitty Locke, and does lead to his actually rather sweet, but doomed, affair with Stephanie Lowndesden.  Finally, there is a closing section, also cut, detailing Webb's and Bar's reunion in 1937, after she is finally released from prison, and their beginning to rebuild their life (apparently successfully, as far as we can tell from the perspective of 1942).  Spackman also takes some care to point out that Webb's eventual salvation was that he fell thoroughly in love with someone, while Mike is portrayed as never having been able to give himself so completely to a woman (there are hints that maybe he should have taken Jill away from Davy Starr).  There is also a mild suggestion that Stephanie is tragically, or at least sadly, deprived of her own true love because Webb is already "taken".

All in all the revised version seems a bit more explicitly Fitzgeraldian -- indeed, Spackman himself, in a note at the end of 1953 edition, brings up Fitzgerald. Besides Fitzgerald the most obvious comparison might be the great British novelist Henry Green, born in the same year as Spackman. Another comparison might be with the early novels of yet another great writer born in 1905, Anthony Powell, especially his first, Afternoon Men. Heyday is a pretty good book, one that you would probably call very promising had you encountered it in 1953, but maybe also a bit unsure of itself -- too ready to force a point, as it were. And maybe a bit too overtly portentous.