Clergymen, spinsters and gossip: Barbara Pym, Crampton Hodnet. Virago Modern Classics, 2013. First published (posthumously) 1985
Miss Doggett is one of literature’s great bullies. Here’s how she’s first described –
She was a large, formidable woman of seventy with thick grey hair. She wore a purple woollen dress and many gold chains round her neck. Her chief work in life was interfering in other people’s business and imposing her strong personality upon those who were weaker than herself.
Barbara Pym is good at using clothes (and hats) as an index of character. That purple dress and bling is a clear sign that Maude Doggett is another, rather stupider, Lady Catherine de Bourgh.
She is vicious and domineering to everyone she considers her inferior (she’s obsequious with those few she considers her social superiors). She’s especially nasty to her hapless ‘paid companion’ of the last five years, Miss Jessie Morrow, ‘a thin, used-up-looking woman in her middle thirties.’ In spite of her ‘misleading appearance’, however, Miss Morrow is ‘a woman of definite personality, who was able to look on herself and her surroundings with detachment.’
Clearly Miss Morrow is a sort of surrogate novelist, Barbara Pym’s voice, eyes and ears. She finds life ‘so much funnier than any book.’ She has no illusions about her status, as she cheerful discloses:
A companion is looked upon as a piece of furniture. She is hardly a person at all.
She says to the self-confessed ‘feeble, inefficient’ curate, Mr Latimer, clearly alluding to Miss Doggett’s spitefulness and the world’s unfairness:
‘[Men] are feeble, inefficient sorts of creatures…Women are used to bearing burdens and taking blame. I have been blamed for everything for the last five years…even for King Edward VII’s abdication.’
Shortly before that opening description, Miss Doggett had barked at Miss Morrow about the whereabouts of the buns for the imminent (and excruciating) teaparty she regularly held for sycophantic or long-suffering undergraduates (the novel is set in genteel North Oxford) and occasional Anglican clerics.
She follows up with a complacently miserly reference to the ‘struggling fire’ that fails to warm the musty drawing-room overfull of dreary Victorian mahogany furniture, for it’s a cold, wet October day. She’d once reprimanded Miss Morrow for wearing a cotton vest:
“There is no warmth in cotton,’ continued Miss Doggett. ‘We could hardly expect to find warmth in cotton.’
Miss Morrow felt the reassuring tickle of her woollen underwear and turned away to hide a smile.
That’s the nature of the low-key humour in this flawed but entertaining novel. Through the tyrannical Miss Doggett, Pym is able to show Jessie Morrow as quietly rebellious; her small victories are achieved in various, often sartorial ways. At one point she decides against ‘her brown marocain with the beige collar’, among the ‘drab folds’ of her wardrobe, and puts on instead the richly gleaming blue velvet, bought to attend a wedding (‘Miss Doggett had thought it an extravagance’), confident that Mr Latimer, like all men, won’t notice such a frivolously colourful garment. She’s wrong.
On another occasion she ‘impulsively’ buys herself a spring dress ‘of tender leaf green’, which she hides in her wardrobe ‘among her old, drab things’, knowing it will inspire ‘damping remarks and disapproving raised eyebrows’, Miss Doggett’s especially.
When she finds the courage to wear it for the first time, Miss Doggett’s predictable wrath is palpable in its venomous inarticulacy:
‘Really, Miss Morrow,’ she began, ‘really…’ and then muttered a word that sounded like ‘popinjay’.
Here Pym artfully conveys the spiteful nature of this monster. When Mr Latimer exacerbates the situation by praising Miss Morrow’s verdant appearance, what follows is priceless:
Miss Doggett said nothing. Perhaps in her opinion Miss Morrow hardly counted as a woman, certainly not the kind to be associated with spring and new dresses.
The ‘strained’ dinner the three of them take soon after is one of several such set pieces in the novel, delicately nuanced, its seemingly innocuous humour spikily barbed. And it’s noteworthy that it’s through her choices of dress that Miss Morrow precipitates Mr Latimer’s unflattering proposal.
Others have written well about the plot (concerning multiple doomed romances and individuals trapped by social circumstance), which is perhaps the weakest aspect of this comedy of thwarted passions and ill-fated, farcical liaisons (and there are some awkward repetitions, like that overused ‘drab’ I’ve quoted already), so I’ll give some links at the end. All I’ll say is that Miss Morrow’s archly amused refusal of Mr Latimer’s proposal (straight out of the Mr Elton book of romantic declarations) is representative of her view that her life is as fulfilled and content as it’s ever likely to be, and that ‘worms’ of curates like Mr Latimer don’t make good husband material.
Resignation and occasional rebellion are preferable to revolution, and being risk-averse is sensible: those are some of the ironically ambivalent moral lessons learned in the narrative – and Miss Morrow’s stoicism often looks like a sardonic pose, put on to disguise her true, vibrant, indomitable nature.
Her low-level rebellions serve to indicate that not all irrational impulses are doomed in Banbury Road, and that tender green leaves can flourish in the dogged Miss Doggett’s ghastly drawing-room, stuffed full of faded sepia photographs and dreary prints, intended to display her good taste, but which serve instead to confirm her narrow-mindedness.
Other (rather better) Pym novels I’ve written about:
Thoughtful 2013 review by blogger Heavenali.
Interesting 2015 essay by Rose Little (on the B. Pym Society’s website) on her long friendship with near-contemporary Elizabeth Taylor, based on the archive of their surviving correspondence held at the Bodleian. Little shows how both writers were interested in the themes of loneliness and the ways that individuals can become isolated from others. I discussed this, among other topics, in my recent pieces on Taylor’s short stories, and her novel Mrs Palfrey at the Claremont.