OK folks, I’m getting back on track here. Having a laptop that works properly makes all the difference. This is Brand New (but does not, thank goodness, involve touch screen – the charming young man in the shop agreed that would be a step too far, given my limited technical abilities). But I can save things, and write things, and look at things, which is all I want to do really, and I am sure it will prove most satisfactory when it comes to ordering books – except, of course, I keep promising there will be No More Books, so forget I mentioned it!
Anyway, it’s Sunday, and it must be time for a Short Story so, since I am catching up, here is a selection of short stories from my trusty copy of The Persephone Book of Short Stories. This week I have two: Dimanche, by Irène Némirovsky, and The Photograph, by Phyllis Bentley.
Over the years Agnès has become resigned to the point of indifference, and no longer waits in despair for her charming but errant husband to return from his latest affair. Seemingly calm, serene, and self-contained, she finds pleasure in the quiet beauty of everyday life. But as she contemplates the past, and remembers her hopes and fears, Nadine is playing out the same kind of scene, suffering as she waits for a man who doesn’t turn up.
Némirovsky has a light touch when it comes to writing about feelings and emotions, and her descriptions of Paris at lunchtime on a hot spring day conjure up the sights, sounds and smells of the city. Things may have changed since this was written in 1934 - for example, Parisians no longer head for the country on Sundays, they head for the banks of the Seine to take some exercise). But the smell of fresh baked bread still wafts through the air; above the noise of the traffic you can still hear church bells and birds, and the chestnuts still flower in the Luxembourg Gardens. I liked the way Dimanche is written, and its quiet restraint with all that hidden emotion seething away beneath the two women’s placid exteriors.
There’s also a French connection in Bentley’s The Photograph. Miss Timperley is
an ageing, down-on-her-luck, out-of-work
governess who considers trying to pass herself off as a younger woman in a bid to
secure a job in the south of France. She is admirably suited for the role, but
feels her age may be against her.
Well! She would say she was twenty-nine, and she would have a new, modern, young, almost coquettish – Miss Timperley smiled and bridled at the word – photograph taken. She could not afford it of course; but it had to be done. She put on her clothes with quite a rakish air, and betook herself to an expensive West End photographer.
The account of her trip to this establishment is very funny, but the outcome is not as she hoped, although her landlady tells her:
They’re as like as life. Just your pleasant look, they have. They’re right down good.
Poor Miss Timperley (who reminds me a lot of Miss Pettigrew), sends the picture off with her letter of application for, at the end of the day, she cannot tell a lie, and cannot obtain a post be deception. She decides it is better to starve than to cheat, and that she will go down with her flag flying. She even informs her prospective employers of her real age - 58. Then she weeps, ‘pressing her thin fingers against her anguished face’. A week later there is a response from France.
Miss Timperley winced. There was no hope from France, she knew. She opened it wretchedly, and unfolded the sheet with spiritless fingers…
Really, I shouldn’t reveal the ending, and I shouldn’t tell you whether the new photo worked its magic, but you all know how much I love a happy ending, and I loved this little tale, so draw your own conclusions! This was a lovely story, full of humour and warmth, that left me wanting to know more about Miss Timperley, and more about Bentley’s work.