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On and off, all that hot French August, we made ourselves ill from eating the greengages.
The greengages had a pale-blue bloom, especially in the shade, but in the sun the flesh showed amber through the clear-green skin; if it were cracked the juice was doubly warm and sweet. Coming from the streets and small front gardens of Southstone, we had not been let loose in an orchard before; it was no wonder we ate too much.
I think that I must have read this book as a teenager and then half-forgotten it, because it felt oddly familiar. It’s possible, though, that its familiarity is more to due with the fact that it is so perfect an example of the “coming of age” novel.
When the narrator Cecil recollects the summer that she was 13, the symbolic keynote memory is of the experience of gorging on greengage plums. In case her reader misses the obvious, author Rumer Godden later makes the point explicit: the fruit is knowledge, sexual and worldly knowledge.
n
This is an old-fashioned novel in the very best sense and Godden has such superb control over all of the elements of character, setting and plot. She’s always a graceful writer, but in this novel there is an elegant simplicity that makes this one of her most readable books.
She begins by removing her English family - mother, and five children - to a foreign setting, in this case a countryside hotel in Normandy. Then she removes the mother - who becomes dangerously ill with sepsis - and the children are set adrift. Suddenly there is no bedtime, no structure, no rules and no protective and loving eye. It’s frightening, but also exciting. When the oldest child, 16 year old Joss, also becomes ill, it creates a space for the narrator to claim the space that is usually held by the more glamorous and self-assured older sister.
A mysterious man named Eliot becomes the unofficial guardian - and sometimes friend and ally - to the children. He claims to be English, but also speaks perfect French and is involved with a Madame Zizi, the owner of the hotel. Eliot’s origins are ambiguous and exotic: his high cheekbones are attributed to a Chinese grandmother, and at another point he claims Genghis Khan as an ancestor. He doesn’t appear to work, but he claims to have done nearly every sort of job at one point or another. He disappears, often, to Paris; and early on, Cecil hears him tell Madame Zizi that the children will be useful “camouflage” for him.
Eliot occupies an ambiguous space in this bucolic setting, but then so do the children. Although they are guests in the hotel in a sense, they aren’t catered to, and they mix more with the hotel’s employees than the other guests. They are privy to its secrets and illusions. Cecil begins to smoke cigarettes and listen to the hotel’s gossip with Paul, a rough orphan who is the general dogsbody of the hotel. As her French improves, she begins to properly observe and tune into the adult world around her. There are sexual tensions all around her, and that is a significant but not the only awakening Cecil experiences.
13 is an ambiguous age, halfway between childhood and adulthood and really neither one or the other. Godden also establishes that the “Grey” family, for that is their surname, don’t particularly belong anywhere.
n
Although Rumer Godden’s story is, by her own acknowledgement, semi-autobiographical, the truly artful bit is the way she probes the ambiguous margins - between innocence and experience, between England and France - and reveals such a rich seam of mingled pleasure and pain.
The greengages had a pale-blue bloom, especially in the shade, but in the sun the flesh showed amber through the clear-green skin; if it were cracked the juice was doubly warm and sweet. Coming from the streets and small front gardens of Southstone, we had not been let loose in an orchard before; it was no wonder we ate too much.
I think that I must have read this book as a teenager and then half-forgotten it, because it felt oddly familiar. It’s possible, though, that its familiarity is more to due with the fact that it is so perfect an example of the “coming of age” novel.
When the narrator Cecil recollects the summer that she was 13, the symbolic keynote memory is of the experience of gorging on greengage plums. In case her reader misses the obvious, author Rumer Godden later makes the point explicit: the fruit is knowledge, sexual and worldly knowledge.
n
He was aloof and unapproachable. How did I know then that he had these times? I do not know, but, as if the first greengage had been an Eden apple, I was suddenly older and wiser and did not try to speak to him.n
This is an old-fashioned novel in the very best sense and Godden has such superb control over all of the elements of character, setting and plot. She’s always a graceful writer, but in this novel there is an elegant simplicity that makes this one of her most readable books.
She begins by removing her English family - mother, and five children - to a foreign setting, in this case a countryside hotel in Normandy. Then she removes the mother - who becomes dangerously ill with sepsis - and the children are set adrift. Suddenly there is no bedtime, no structure, no rules and no protective and loving eye. It’s frightening, but also exciting. When the oldest child, 16 year old Joss, also becomes ill, it creates a space for the narrator to claim the space that is usually held by the more glamorous and self-assured older sister.
A mysterious man named Eliot becomes the unofficial guardian - and sometimes friend and ally - to the children. He claims to be English, but also speaks perfect French and is involved with a Madame Zizi, the owner of the hotel. Eliot’s origins are ambiguous and exotic: his high cheekbones are attributed to a Chinese grandmother, and at another point he claims Genghis Khan as an ancestor. He doesn’t appear to work, but he claims to have done nearly every sort of job at one point or another. He disappears, often, to Paris; and early on, Cecil hears him tell Madame Zizi that the children will be useful “camouflage” for him.
Eliot occupies an ambiguous space in this bucolic setting, but then so do the children. Although they are guests in the hotel in a sense, they aren’t catered to, and they mix more with the hotel’s employees than the other guests. They are privy to its secrets and illusions. Cecil begins to smoke cigarettes and listen to the hotel’s gossip with Paul, a rough orphan who is the general dogsbody of the hotel. As her French improves, she begins to properly observe and tune into the adult world around her. There are sexual tensions all around her, and that is a significant but not the only awakening Cecil experiences.
13 is an ambiguous age, halfway between childhood and adulthood and really neither one or the other. Godden also establishes that the “Grey” family, for that is their surname, don’t particularly belong anywhere.
n
We were odd, belonging and not belonging, and odd is an uncomfortable thing to be; we did not want to belong but were humiliated that we did not.n
Although Rumer Godden’s story is, by her own acknowledgement, semi-autobiographical, the truly artful bit is the way she probes the ambiguous margins - between innocence and experience, between England and France - and reveals such a rich seam of mingled pleasure and pain.