Review: Take Three Tenses: A Fugue in Time, by Rumer Godden
by Rich Horton
Take Three Tenses is the American title of Rumer Godden's sixth novel, which is better known as
A Fugue in Time, its original UK title. I have not read much by Godden, but I am familiar with her in a general sense, and I had heard of what I thought to be her major novels, including two early novels made into major films:
Black Narcissus and
The River. In addition, I would have cited
In This House of Brede,
Kingfishers Catch Fire, and
A Candle for Saint Jude as her best known works. But I saw this novel at an estate sale, and I figured "Why not?" (It turns out that it too was made into a movie -- at least nine of Godden's books have been filmed! --
Enchantment (1948) with David Niven and Teresa Wright. It seems to have been well-received, and it seems pretty faithful to the book, except for an understandable but significant alteration to the ending -- an event that, to be fair, I sort of expected as I read the book.) The novel was quite successful itself -- my copy is from the seventh printing, in June 1945 -- the first US printing was in March!
Not to hold anyone in suspense -- I was immediately, er, enchanted. It's a glorious, lovely, novel. I thought for a bit that I might have discovered a forgotten classic, but I quickly decided to investigate. Two of my favorite book reviewers, both of whom I knew to like Rumer Godden, Jo Walton and Scott Thompson, have reviewed
A Fugue in Time. Jo loves it, Scott likes it with reservations -- in this case I'm with Jo. It was apparently out of print for some time, but was reprinted, by Virago, in 2013. So, instead of revealing something special to unsuspecting readers, I'll just be adding my voice to those who already know this book.
Margaret Rumer Godden was born in England in 1907, but was largely raised in India (her father was a shipping executive.) She spent some time at school in England, but mostly lived in India until after the Second World War. She ran a ballet school in Calcutta (now Kolkata) for twenty years. She converted to Catholicism in 1968 after many years of study. Ballet, India, and Catholicism are all recurring subjects of her books. She wrote some 60 books -- novels, children's books, memoirs. Her elder sister, Winsome Ruth Key Godden, was also a novelist (writing as "Jon Godden"), and the two collaborated on some memoirs late in life. She married twice, the first time unhappily, the second time much more successfully (though she has been quoted as saying she never really loved any man but Mr. Darcy from Pride and Prejudice!) She had two daughters. She was named an Officer of the British Empire in 1993, and died, a month short of her 91st birthday, in 1998.
The novel is divided into six sections: Inventory, Morning, Noon, Four O'Clock, Evening, and Night. It is preceded by three quotations: a passage by Lawrence Abbot describing Bach's fugues, a long quote from T. S. Eliot's "East Coker", and two bits from
The Book of Common Prayer, about birth, death, and children. These all serve to comment on the themes and structure of the book. As the Abbot quote and the two titles of the book suggest, the structure is quite experimental -- quite fugal indeed. The action of the novel extends from about 1840 to about 1940, with some brief flashes forward to the future, as far as 1990. (In this sense it could be called SF, though I don't really think that's quite useful -- in another sense there are passages that might be read as fantastical (involving a ghost.)) The tenses are artfully manipulated -- past tense, present tense, future tense -- and the prose throughout is very elegant -- Godden was truly a beautiful writer.
The novel opens in a house, with the only remaining survivor of the original family who still lives there, retired General Sir Roland Dane. The General, now called Rolls (his name alters from Roly as a child to Rollo as a young man, to Rolls in his old age) is discussing with his solicitor the expiration of the 99 year lease on the house, and he realizes he will have to move out, and that the old place, number 99 Wiltshire Place, will likely be torn down. The house is described from bottom to top, and the garden, and an old plane tree, and reference is made to the family members, and the servants, who have lived there this past century. There is a key painting, labeled "Mrs. Griselda Dane, wife of John Ironmonger Dane Esq., and their children: Pelham, John Robert, Lionel, James, Selwyn, Selina, Frederick, Elizabeth, and Rollo. 1861". And we are told: "There is no Lark in the picture. There is not, anywhere in the house, a picture of Lark." Thus we know nearly all of the main characters: John, called "The Eye", is the patriarch. Of his sons, this book will mostly feature Pelham and Rollo, and his first daughter, Selina, is another key character. And Lark -- Lark is a mystery to be slowly introduced. The only other family member of importance is Grizel, Pelham's granddaughter, and it takes a while for her to come into focus. There are also many servants who also fugally appear and reappear -- many of them related to each other -- so: Mrs. Crabbe and Proutie are Rolls' servants in 1940, and Mrs. Sampson, Mrs. Crabbe's grandmother, was charwoman in the 1800s sometime, and there is the Cook, and Nurse, and Proutie's aunt Mrs. Proutie, and Agnes the maidservant.
The novel goes on to layer in the details of all these lives -- Griselda's marriage to John in 1840 when she is 17 and he 29; his insistence on having 9 children: then Griselda dying at the birth of Rollo. The loss of Frederick and Elizabeth at age 5. Pelham's eventual emigration to the US (so that Grizel is an American.) Selina's somewhat cramped life, due both to her taking over housekeeping at her mother's death, and to her own nature. Grizel, in 1954 or so, remarking on the milkman's brilliant son going to Eton while her son, the descendant of many men who went to Eton routinely, will settle for a more ordinary school. And Rollo -- and Lark. Lark is the daughter of musicians who died in the Tay Bridge disaster of 1879 (a real historical event and also the subject of one of William McGonagall's famously awful poems.) The Eye had been visiting her parents, and she was with him when her parents died, so he took her home to be raised as his daughter. (It is strongly hinted that Lark's mother was the Eye's mistress, and thus it seems plausible that Lark is his illegitimate daughter, though this is never established -- if true, it lends an incestuous flavor to the book's central romance.) Selina hates Lark from the beginning, for no good reason, and thus Lark's childhood is rather poisoned. But both Pelham (some 30 years her senior) and Rollo (a more appropriate 8 years older) fall for her ...
All these entanglements are resolved, bit by bit, as the book progresses, especially as Grizel shows up shortly after Rolls learns that he must leave the house, and as Lark's nephew Pax also shows up. Grizel is an American volunteer ambulance driver, and Pax an airman, temporarily in London after an injury. We can guess where that leads -- and then we can see how Rolls responds, and how his memory of Lark and how their romance worked out informs things. And we keep learning of Selina's rather sad life, and of Griselda's proto-feminist feelings; and how though she seems to love her husband she also powerfully resents him, for reasons he mostly never understands. The book is less about class but that comes through too, in seeing the servants' lives, and how their positions change over decades, and in seeing how the presumably lower class Lark is treated by Selina, and even Rolls' bitterness about his military career and his ambiguous successes in that realm. And of course how he perceives the American invader, the rather "liberated" (for 1940) young woman Grizel.
The experimental structure is, for me, profoundly successful. The seamless shifts in time -- back to the 1840s, to the 1880s, the novel's "present" of 1940, and then the slight but telling hints of the future -- are very effective. As I said, it's beautifully written. The characters come through excellently -- perhaps Griselda and Selina above all, even though Lark and Rollo are more closely the "main" characters -- though it truly is an ensemble novel, or perhaps one should say a novel in the form of a fugue played by a small chamber orchestra of characters. It is moving throughout. I loved it.
