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The New House
'All that outwardly happens in The New House,' writes Jilly Cooper in her Persephone Preface, 'is over one long day a family moves from a large imposing secluded house with beautiful gardens to a small one overlooking a housing estate. But all the characters and their relationships with each other are so lovingly portrayed that one cares passionately what happens even to the unpleasant ones. The New House, first published in 1936, reminds me of my favourite author Chekhov, who so influenced Lettice's generation of writers. Like him, she had perfect social pitch and could draw an arriviste developer as convincingly as a steely Southern social butterfly.'
'It is tempting to describe Rhoda Powell, the 30-plus, stay-at-home daughter of a widowed mother, as Brookner-esque,' wrote the reviewer in the Guardian, 'even though Lettice Cooper wrote this wonderfully understated novel several decades before Anita Brookner mapped the defining features of quietly unhappy middle-class women.' Kate Chisholm in the Spectator described Lettice Cooper as 'an intensely domestic novelist, unraveling in minute detail the tight web of family relations' but one who is also 'acutely aware of what goes on beyond the garden gate. The exposé of a family under strain because of changing times is curiously more vivid and real than in many novels about family life written today.'
'It is tempting to describe Rhoda Powell, the 30-plus, stay-at-home daughter of a widowed mother, as Brookner-esque,' wrote the reviewer in the Guardian, 'even though Lettice Cooper wrote this wonderfully understated novel several decades before Anita Brookner mapped the defining features of quietly unhappy middle-class women.' Kate Chisholm in the Spectator described Lettice Cooper as 'an intensely domestic novelist, unraveling in minute detail the tight web of family relations' but one who is also 'acutely aware of what goes on beyond the garden gate. The exposé of a family under strain because of changing times is curiously more vivid and real than in many novels about family life written today.'
336 pages, Paperback
First published January 1, 1936
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About the author
Lettice Cooper
36 books21 followersLettice Ulpha Cooper began to write stories when she was seven. She studied Classics at Lady Margaret Hall, Oxford graduating in 1918.
She returned home after Oxford to work for her family's engineering firm and wrote her first novel, 'The Lighted Room' in 1925. She spent a year as associate edtior at 'Time and Tide' and during the Second World War worked for the Ministry of Food's public relations division. Between 1947 and 1957 she was fiction reviewer for the Yorkshire Post. She was one of the founders of the Writers' Action Group along with Brigid Brophy, Maureen Duffy, Francis King and Michael Levy and received an OBE for her work in achieving Public Lending Rights. In 1987 at the age of ninety she was awarded the Freedom of the City of Leeds.
She never married and died in Coltishall, Norfolk at the age of 96.
From Wikipedia
She returned home after Oxford to work for her family's engineering firm and wrote her first novel, 'The Lighted Room' in 1925. She spent a year as associate edtior at 'Time and Tide' and during the Second World War worked for the Ministry of Food's public relations division. Between 1947 and 1957 she was fiction reviewer for the Yorkshire Post. She was one of the founders of the Writers' Action Group along with Brigid Brophy, Maureen Duffy, Francis King and Michael Levy and received an OBE for her work in achieving Public Lending Rights. In 1987 at the age of ninety she was awarded the Freedom of the City of Leeds.
She never married and died in Coltishall, Norfolk at the age of 96.
From Wikipedia
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November 18, 2025
واحدة من أفضل ما قرأت في هذا العام. وأتمنى أن يُعاد اكتشافها كرواية مجهولة تستحق أن تظهر للنور.
اشتريتها كواحدة من مترجمات سلسلة روايات عالمية القديمة من سور الأزبكية، واستغرق الأمر خمسة عشر عاما حتى قرأتها. أخذت قلبي ولم اكتف بتلك الترجمة التي للأسف اختصرت نصف الرواية الحقيقي تقريبا. وبحثت عن النص الأصلي بالانجليزية ووجدته بصعوبة على موقع انترنت اركيف. أنهيتها مرة ثانية، وبعدها أعدت القراءة للمرة الثالثة التي لم انته منها حتى الان.
كعاشقة للأدب الذي يتناول العلاقات العائلية، لم يكن غريبا أن أحب تلك الرواية. وذلك لم يكن السبب الوحيد، فالرواية كُتبت بمهارة وتكثيف زمني مبدع ليس من السهل أن يتمكن منه أي كاتب. كان بالرواية ما لمسني كإنسانة وأثار بداخلي العديد من الأفكار والخواطر.
في خلال ثلاثمائة صفحة، تستعرض المؤلفة يوما في حياة أسرة من أصل بورجوازي والتي تضطر بسبب تغير الأحوال المادية الى الانتقال الى منزل أصغر من منزلهم الكبير القديم الارستقراطي. وذلك في لندن ما قبل الحرب العالمية الثانية وتحديدا في 1936. يُقسم ذلك اليوم على اقسام ثلاثة. الصباح والظهيرة ثم المساء. وينتقل السرد عبر فصول الرواية مستعرضاَ حياة أفراد تلك الأسرة بين الماضي والحاضر، وكيف استقبل كل واحد منهم ذلك التغيير بالانتقال من منزل العائلة الذي عاشوا فيه معظم حياتهم إلى منزل أخر وسط طبقة إجتماعية أقل منهم.
كان العالم يتغير في ذلك الوقت. إنجلترا دولة التاج البريطاني التي لا تغيب عنها الشمس بدأ يذهب عنها مجدها القديم. لم تعد الدولة المُحركة للعالم والمسيطرة على ربع دول الكرة الأرضية. وبدأ الخط الفاصل بينها كدولة مُستعمِرة وبين العالم ينهار. وفي الداخل انهار نفس تلك الحد الفاصل الذي طالما قسم المجتمع البريطاني إلى نبلاء وفقراء، وما شابهه من انهيار تقاليد بالية أخرى، مثل نظرة المجتمع للمرأة العاملة أو المرأة الغير متزوجة، أو التعامل بفوقية مع الطبقات الاجتماعية الأدنى.
فالموضوع الرئيس لتلك الرواية هو "التغيير". وأثر ذلك التغيير الذي يحدث على مستوى العالم اقتصادياً وسياسياً واجتماعياً على تلك العائلة. من منهم سيرفض ذلك التغيير ويقاومه، ومن سيبقى على مسافة حذرة منه، ومن سيقبل عليه متحمسا لأنه لا فائدة من العيش في الماضي؟
تتخطى "رودا" الأبنة الوسطى بين ثلاث ابناء لتلك العائلة سن الثلاثين. وتلك كان اعلانا صامتا بمقاييس تلك الزمن وتلك الطبقة بأن تلك الفتاة لم تعد صالحة إلا لخدمة ذويها وقضاء ما يتبقى من وقتها بين الأعمال التطوعية وزيارة الاصدقاء والاقارب لتقضية الوقت بين القيل والقال. فتخطي المرأة لهذا السن بدون زواج هو تصريح غير رسمي بأن فترة صلاحيتها كامرأة وانسانة قد انتهت. وأن تلك المرأة لم يعد للحياة ما يمكن أن تقدمه لها كانسانة مضى شبابها.
ترى "رودا" اختها الصغرى "ديلا" تكسر قيود المجتمع المفروضة عليها بكل شجاعة منذ مراهقتها. ف "ديلا" خلافا لما هو سائد في طبقتها الراقية لوضعها كفتاة، تقرر أن تدرس مهنة مثيرة للجدل وقتها مثل التمثيل، ثم تتحلى بشجاعة تجعلها فيما بعد تترك تلك الدراسة عندما تدرك أنها غير مؤهلة لها. ثم ترتبط عاطفيا بشاب تنظر إليه عائلتها بكثير من عدم القبول، ثم يفشل الارتباط. وبدلا من الضياع في دوامة الفشل العاطفي كما يحدث لكل بنات جيلها في هذا العهد، ترمي بالماضي وراء ظهرها وتسافر وترى العالم وتعطي لنفسها الفرصة لترى كل شىء وتجرب ما يمكنها أن تجربه. وعندما تعود تلك الفتاة من الخارج، لا تجلس في انتظار "العريس المناسب" كما كان منتظرا منها. بل تسارع بترك منزل العائلة والعيش في المدينة وحيدة للعمل هناك معتمدة تماما على نفسها ومتحررة من قيود تعرف جيدا أنها لن تتحملها. وترتبط ثانية بشاب أيضا تعرف أنه لن يرضي عائلتها تماما وتستعد للزواج منه، ولكنها لن تهتم، فما يرضيها هي هو الأهم. والأهم، هو أنها اثقلتها تجارب الحياة بشكل جعلها أكثر ثقة في اختياراتها، وأقل تخوفا من الفشل في حالة حدوثه.
بين "كركبة" وضجيج وفوضى الانتقال بين بيتين في يوم واحد، لا تكف "رودا" الأخت الكبرى عن التساؤل: ما الذي منعها أن تكون مثل اختها الصغرى؟ متى وقف الزمان والمكان عند نقطة معينة ولم يتحركا؟ متى ظهر الاعلان الصامت لها كفتاة فقدت فرصتها في الحب؟ متى وقفت حياتها عند نقطة الحياة في بيت العائلة مع الأب الذي توفى، ثم الأم التي تريد الاستحواذ على وقت وحياة الابنة التي بقيت بدون زواج بكل انانية؟
لم تكن اخت "رودا" الصغرى هى المحرك الوحيد لتلك الثورة، بل أيضا كانت خالتها "إيلين". ف "رودا" ترى أنها تكرر تاريخ حياة تلك الخالة التي قضت كل عمرها في خدمة الأب ثم الأم، ثم مضى بها العمر فجأة لتجد نفسها تخطت الخمسين مضطرة الى العيش في منزل للمسنين وحيدة بمصدر مادي محدود يكفيها بالكاد.
تمثل حياة ومصير تلك الخالة ك"لافتة تحذيرية" كبرى تضعها الحياة أمام "رودا". فهى ترى أن تلك الخالة ضحت بحياتها وسعادتها من أجل الأخرين بلا مقابل. وهى-أي رودا-لاتريد لنفسها ذلك المصير.
كانت الكاتبة بارعة في تمثيل كيف أن للماضي سطوة علينا تجعلنا نكرره في أنفسنا وحتى وإن لم نكن راضين عنه أبدا. فالأم "ناتالي" ذات شخصية قوية آسرة استطاعت أن تجعل جميع من حولها يدور في فلكها. بداية من الأخت الكبرى "إيلين المضحية" التي جعلت من نفسها أما ثانية لاختها الأصغر والأجمل. مرورا بالزوج الذي كان رغم قوة شخصيته خاضعا لها ولأتفه وأكثر ثوراتها طيشا وأنانية. نهاية بالإبنة "رودا" التي وضعتها تحت رحمة الشعور الدائم بالذنب اذا فكرت في الابتعاد عنها كما فعلت اختها الأخرى. ونهاية باختها الكبرى التي لم تتزوج "إيلين" التي تقبل عن طيب خاطر أن تهرع إليها لتلبية اتفه طلباتها حتى عندما كبرت وتقدم بها العمر الذي تحتاج فيه لمن يساعدها كامرأة وحيدة لا لمن يثقل عليها بمطالبه.
تترك تلك الأم المتسلطة أثرا خفيا على الابن الأكبر "موريس". فعندما يبحث عن زوجة، نجده يختار امرأة تشبه أمه في تسلطها وتمردها وانانيتها.
بصورة تدعو للدهشة، يختار "موريس" زوجة تشكل صورة مصغرة لوالدته التي عاشت حياتها تجبر من حولها أن يعاملها كأميرة مدللة. أمراة تقدم احتياجاتها وأتفه متطلباتها على من حولها. وبالمثل كانت "إيفلين" زوجته كائنا أنانيا تافها سطحيا. لا ترى في موريس كزوج إلا واجهة براقة تتبختر بها ودرجة سلم تصعدها إلى مكانة اجتماعية ومادية أكبر مما كانت عليه.
حياة تعسة عاشها موريس عانى فيها مع رفيقة حياة تريد أن تأخذ ولا تعطي. أمرأة غريبة تعيش معه تحت سقف واحد.
شغلت معايير العدل الاجتماعي والتي كانت واحدة من نتائج التغيير الفكري في ذلك الزمن عقل موريس. ودائما ما كان يؤنبه ضميره على تفاوت دخله الكيير بينه وبين موظفي شركته. بينما كان ما يشغل إيفيلين زوجته هو كيفية الحصول على دخل أعلى ومستوى حياة أفضل.
بداخل موريس رغبة كبرى في التغيير، ولكن يغلبه خضوعه لما يألفه ويعرفه، يغلبه خضوعه لزوجته المتسلطة التي تملك مفاتيحه كرجل بمنتهى المهارة، يؤلمه فراق بيت عائلته الذي تربى فيه وتعذبه مشاهد ذكريات أبيه الراحل عندما
يعود له في زيارة سريعة خلال يوم الانتقال. يفكر في أنه يتمنى لابنته أن تعيش حياة المسئولية التي عاشتها بشجاعة اخته "ديلا"، وبعدها بدقائق يتنابه الخوف على ابنته فيرى أنه يجب أن يضعها في "فقاعة بلورية" تحميها من أي سوء. ولذلك مثّل "موريس" النموذج الرافض للتغيير وسط اخوته.
يتصاعد الصراع الداخلي في كل فرد من أفراد العائلة خلال ذلك اليوم. فربما الحركة السريعة التي تصاحب فعلا صاخبا مثل الانتقال من المنزل جعلت عقولهم في حالة "استنفار" نشطة. جعلت كل واحد منهم في يوم واحد يتأرجح بين الرغبة في المضي قدما وتغيير ما يجب أن يتغير في حياته (ترك المنزل والاستقلال عن الأسرة في حالة "رودا"، وترك الزواج الغير سعيد في حالة "موريس") وبين الخوف من التغيير ومحاولة القبول ب "تسوية" مؤقتة للهرب من عواقب القفز إلى مجهول نجهل نتائج المضي له.
بذكاء شديد، تجعلك المؤلفة تساءل نفسك مع الأبطال طوال الرواية عن ما يجب حقيقة أن يفعلوه. هل حياتهم تعسة في الحقيقة كما تمثلت لهم في هذا اليوم؟ هل ترغب "رودا" حقا في الاستقلال عن أمها؟ هل ستكون أسعد اذا عاشت بعيدا عنها؟ هل كان الذنب يقع فقط على "ايفلين زوجة الابن موريس" في تلك الحياة الزوجية التعسة التي وصلا لها؟ هل كانت هى فقط الطرف "السطحي" في تلك العلاقة؟ أم أن "موريس" كان لا يقل عنها سطحية عندما لم ير فيها عندما رأها غير امرأة جميلة بهره حسنها؟
هل ليس لأنانية الأم "ناتالي" حدود؟ هل ستقف في النهاية وتحاول لمرة واحدة أن تضع سعادة شخص أخر-ابنتها رودا-قبل سعادتها هي؟
هل الخالة "إيفيلين"-العجوز العانس كما تصفها تلك الكلمة القاسية-أتعستها التضحية بنفسها من أجل الجميع؟ أم أن هذا فعلا ما كان يسعدها؟ وأن مقاييس السعادة ليست لها "كتالوج" يجب أن يسير وفق تعاليمه الجميع؟
أعرف أن تلك مراجعة طويلة لن يقرأها أحد. ولكن ما بداخلي فعلا مما أردت أن أكتبه عن الرواية هو أكثر مما كتبته هنا. وفي القراءة الثالثة تتكشف لي تفاصيل لم أدركها في القراءتان السابقتان. وتلك هو سحر الرواية المكتوبة جيدا، أن تجبرك لتعود إليها مرة بعد أخرى، لتكتشف جديدا تقدمه لك في كل قراءة.
ويارب حد يرضى ياخدها ويترجمها
اشتريتها كواحدة من مترجمات سلسلة روايات عالمية القديمة من سور الأزبكية، واستغرق الأمر خمسة عشر عاما حتى قرأتها. أخذت قلبي ولم اكتف بتلك الترجمة التي للأسف اختصرت نصف الرواية الحقيقي تقريبا. وبحثت عن النص الأصلي بالانجليزية ووجدته بصعوبة على موقع انترنت اركيف. أنهيتها مرة ثانية، وبعدها أعدت القراءة للمرة الثالثة التي لم انته منها حتى الان.
كعاشقة للأدب الذي يتناول العلاقات العائلية، لم يكن غريبا أن أحب تلك الرواية. وذلك لم يكن السبب الوحيد، فالرواية كُتبت بمهارة وتكثيف زمني مبدع ليس من السهل أن يتمكن منه أي كاتب. كان بالرواية ما لمسني كإنسانة وأثار بداخلي العديد من الأفكار والخواطر.
في خلال ثلاثمائة صفحة، تستعرض المؤلفة يوما في حياة أسرة من أصل بورجوازي والتي تضطر بسبب تغير الأحوال المادية الى الانتقال الى منزل أصغر من منزلهم الكبير القديم الارستقراطي. وذلك في لندن ما قبل الحرب العالمية الثانية وتحديدا في 1936. يُقسم ذلك اليوم على اقسام ثلاثة. الصباح والظهيرة ثم المساء. وينتقل السرد عبر فصول الرواية مستعرضاَ حياة أفراد تلك الأسرة بين الماضي والحاضر، وكيف استقبل كل واحد منهم ذلك التغيير بالانتقال من منزل العائلة الذي عاشوا فيه معظم حياتهم إلى منزل أخر وسط طبقة إجتماعية أقل منهم.
كان العالم يتغير في ذلك الوقت. إنجلترا دولة التاج البريطاني التي لا تغيب عنها الشمس بدأ يذهب عنها مجدها القديم. لم تعد الدولة المُحركة للعالم والمسيطرة على ربع دول الكرة الأرضية. وبدأ الخط الفاصل بينها كدولة مُستعمِرة وبين العالم ينهار. وفي الداخل انهار نفس تلك الحد الفاصل الذي طالما قسم المجتمع البريطاني إلى نبلاء وفقراء، وما شابهه من انهيار تقاليد بالية أخرى، مثل نظرة المجتمع للمرأة العاملة أو المرأة الغير متزوجة، أو التعامل بفوقية مع الطبقات الاجتماعية الأدنى.
فالموضوع الرئيس لتلك الرواية هو "التغيير". وأثر ذلك التغيير الذي يحدث على مستوى العالم اقتصادياً وسياسياً واجتماعياً على تلك العائلة. من منهم سيرفض ذلك التغيير ويقاومه، ومن سيبقى على مسافة حذرة منه، ومن سيقبل عليه متحمسا لأنه لا فائدة من العيش في الماضي؟
تتخطى "رودا" الأبنة الوسطى بين ثلاث ابناء لتلك العائلة سن الثلاثين. وتلك كان اعلانا صامتا بمقاييس تلك الزمن وتلك الطبقة بأن تلك الفتاة لم تعد صالحة إلا لخدمة ذويها وقضاء ما يتبقى من وقتها بين الأعمال التطوعية وزيارة الاصدقاء والاقارب لتقضية الوقت بين القيل والقال. فتخطي المرأة لهذا السن بدون زواج هو تصريح غير رسمي بأن فترة صلاحيتها كامرأة وانسانة قد انتهت. وأن تلك المرأة لم يعد للحياة ما يمكن أن تقدمه لها كانسانة مضى شبابها.
ترى "رودا" اختها الصغرى "ديلا" تكسر قيود المجتمع المفروضة عليها بكل شجاعة منذ مراهقتها. ف "ديلا" خلافا لما هو سائد في طبقتها الراقية لوضعها كفتاة، تقرر أن تدرس مهنة مثيرة للجدل وقتها مثل التمثيل، ثم تتحلى بشجاعة تجعلها فيما بعد تترك تلك الدراسة عندما تدرك أنها غير مؤهلة لها. ثم ترتبط عاطفيا بشاب تنظر إليه عائلتها بكثير من عدم القبول، ثم يفشل الارتباط. وبدلا من الضياع في دوامة الفشل العاطفي كما يحدث لكل بنات جيلها في هذا العهد، ترمي بالماضي وراء ظهرها وتسافر وترى العالم وتعطي لنفسها الفرصة لترى كل شىء وتجرب ما يمكنها أن تجربه. وعندما تعود تلك الفتاة من الخارج، لا تجلس في انتظار "العريس المناسب" كما كان منتظرا منها. بل تسارع بترك منزل العائلة والعيش في المدينة وحيدة للعمل هناك معتمدة تماما على نفسها ومتحررة من قيود تعرف جيدا أنها لن تتحملها. وترتبط ثانية بشاب أيضا تعرف أنه لن يرضي عائلتها تماما وتستعد للزواج منه، ولكنها لن تهتم، فما يرضيها هي هو الأهم. والأهم، هو أنها اثقلتها تجارب الحياة بشكل جعلها أكثر ثقة في اختياراتها، وأقل تخوفا من الفشل في حالة حدوثه.
بين "كركبة" وضجيج وفوضى الانتقال بين بيتين في يوم واحد، لا تكف "رودا" الأخت الكبرى عن التساؤل: ما الذي منعها أن تكون مثل اختها الصغرى؟ متى وقف الزمان والمكان عند نقطة معينة ولم يتحركا؟ متى ظهر الاعلان الصامت لها كفتاة فقدت فرصتها في الحب؟ متى وقفت حياتها عند نقطة الحياة في بيت العائلة مع الأب الذي توفى، ثم الأم التي تريد الاستحواذ على وقت وحياة الابنة التي بقيت بدون زواج بكل انانية؟
لم تكن اخت "رودا" الصغرى هى المحرك الوحيد لتلك الثورة، بل أيضا كانت خالتها "إيلين". ف "رودا" ترى أنها تكرر تاريخ حياة تلك الخالة التي قضت كل عمرها في خدمة الأب ثم الأم، ثم مضى بها العمر فجأة لتجد نفسها تخطت الخمسين مضطرة الى العيش في منزل للمسنين وحيدة بمصدر مادي محدود يكفيها بالكاد.
تمثل حياة ومصير تلك الخالة ك"لافتة تحذيرية" كبرى تضعها الحياة أمام "رودا". فهى ترى أن تلك الخالة ضحت بحياتها وسعادتها من أجل الأخرين بلا مقابل. وهى-أي رودا-لاتريد لنفسها ذلك المصير.
كانت الكاتبة بارعة في تمثيل كيف أن للماضي سطوة علينا تجعلنا نكرره في أنفسنا وحتى وإن لم نكن راضين عنه أبدا. فالأم "ناتالي" ذات شخصية قوية آسرة استطاعت أن تجعل جميع من حولها يدور في فلكها. بداية من الأخت الكبرى "إيلين المضحية" التي جعلت من نفسها أما ثانية لاختها الأصغر والأجمل. مرورا بالزوج الذي كان رغم قوة شخصيته خاضعا لها ولأتفه وأكثر ثوراتها طيشا وأنانية. نهاية بالإبنة "رودا" التي وضعتها تحت رحمة الشعور الدائم بالذنب اذا فكرت في الابتعاد عنها كما فعلت اختها الأخرى. ونهاية باختها الكبرى التي لم تتزوج "إيلين" التي تقبل عن طيب خاطر أن تهرع إليها لتلبية اتفه طلباتها حتى عندما كبرت وتقدم بها العمر الذي تحتاج فيه لمن يساعدها كامرأة وحيدة لا لمن يثقل عليها بمطالبه.
تترك تلك الأم المتسلطة أثرا خفيا على الابن الأكبر "موريس". فعندما يبحث عن زوجة، نجده يختار امرأة تشبه أمه في تسلطها وتمردها وانانيتها.
بصورة تدعو للدهشة، يختار "موريس" زوجة تشكل صورة مصغرة لوالدته التي عاشت حياتها تجبر من حولها أن يعاملها كأميرة مدللة. أمراة تقدم احتياجاتها وأتفه متطلباتها على من حولها. وبالمثل كانت "إيفلين" زوجته كائنا أنانيا تافها سطحيا. لا ترى في موريس كزوج إلا واجهة براقة تتبختر بها ودرجة سلم تصعدها إلى مكانة اجتماعية ومادية أكبر مما كانت عليه.
حياة تعسة عاشها موريس عانى فيها مع رفيقة حياة تريد أن تأخذ ولا تعطي. أمرأة غريبة تعيش معه تحت سقف واحد.
شغلت معايير العدل الاجتماعي والتي كانت واحدة من نتائج التغيير الفكري في ذلك الزمن عقل موريس. ودائما ما كان يؤنبه ضميره على تفاوت دخله الكيير بينه وبين موظفي شركته. بينما كان ما يشغل إيفيلين زوجته هو كيفية الحصول على دخل أعلى ومستوى حياة أفضل.
بداخل موريس رغبة كبرى في التغيير، ولكن يغلبه خضوعه لما يألفه ويعرفه، يغلبه خضوعه لزوجته المتسلطة التي تملك مفاتيحه كرجل بمنتهى المهارة، يؤلمه فراق بيت عائلته الذي تربى فيه وتعذبه مشاهد ذكريات أبيه الراحل عندما
يعود له في زيارة سريعة خلال يوم الانتقال. يفكر في أنه يتمنى لابنته أن تعيش حياة المسئولية التي عاشتها بشجاعة اخته "ديلا"، وبعدها بدقائق يتنابه الخوف على ابنته فيرى أنه يجب أن يضعها في "فقاعة بلورية" تحميها من أي سوء. ولذلك مثّل "موريس" النموذج الرافض للتغيير وسط اخوته.
يتصاعد الصراع الداخلي في كل فرد من أفراد العائلة خلال ذلك اليوم. فربما الحركة السريعة التي تصاحب فعلا صاخبا مثل الانتقال من المنزل جعلت عقولهم في حالة "استنفار" نشطة. جعلت كل واحد منهم في يوم واحد يتأرجح بين الرغبة في المضي قدما وتغيير ما يجب أن يتغير في حياته (ترك المنزل والاستقلال عن الأسرة في حالة "رودا"، وترك الزواج الغير سعيد في حالة "موريس") وبين الخوف من التغيير ومحاولة القبول ب "تسوية" مؤقتة للهرب من عواقب القفز إلى مجهول نجهل نتائج المضي له.
بذكاء شديد، تجعلك المؤلفة تساءل نفسك مع الأبطال طوال الرواية عن ما يجب حقيقة أن يفعلوه. هل حياتهم تعسة في الحقيقة كما تمثلت لهم في هذا اليوم؟ هل ترغب "رودا" حقا في الاستقلال عن أمها؟ هل ستكون أسعد اذا عاشت بعيدا عنها؟ هل كان الذنب يقع فقط على "ايفلين زوجة الابن موريس" في تلك الحياة الزوجية التعسة التي وصلا لها؟ هل كانت هى فقط الطرف "السطحي" في تلك العلاقة؟ أم أن "موريس" كان لا يقل عنها سطحية عندما لم ير فيها عندما رأها غير امرأة جميلة بهره حسنها؟
هل ليس لأنانية الأم "ناتالي" حدود؟ هل ستقف في النهاية وتحاول لمرة واحدة أن تضع سعادة شخص أخر-ابنتها رودا-قبل سعادتها هي؟
هل الخالة "إيفيلين"-العجوز العانس كما تصفها تلك الكلمة القاسية-أتعستها التضحية بنفسها من أجل الجميع؟ أم أن هذا فعلا ما كان يسعدها؟ وأن مقاييس السعادة ليست لها "كتالوج" يجب أن يسير وفق تعاليمه الجميع؟
أعرف أن تلك مراجعة طويلة لن يقرأها أحد. ولكن ما بداخلي فعلا مما أردت أن أكتبه عن الرواية هو أكثر مما كتبته هنا. وفي القراءة الثالثة تتكشف لي تفاصيل لم أدركها في القراءتان السابقتان. وتلك هو سحر الرواية المكتوبة جيدا، أن تجبرك لتعود إليها مرة بعد أخرى، لتكتشف جديدا تقدمه لك في كل قراءة.
ويارب حد يرضى ياخدها ويترجمها
April 3, 2023
A fascinating portrait of England in the 1930s represented through the varied experiences of a middle-class Yorkshire family. Lettice Cooper’s 1936 novel was dubbed “Chekhov in Yorkshire.” Although it doesn’t display Chekhov’s subtlety, Cooper does share some of his preoccupations. Set over one day, the plot revolves around petulant Natalie Powell and her diffident, spinster daughter Rhoda, known as Roddy, as they make the move from their old house to a new one. Natalie’s recently widowed and can’t now finance her old lifestyle, so she’s reluctantly sold her capacious mansion and bought a smaller one. And she’s horrified that this change will force her to live in close proximity to one of the housing estates springing up all over her rapidly-expanding, northern industrial town. Home to help with the move is younger daughter Delia, the family rebel who’s carved out a career for herself in London and hopes to encourage Rhoda to do the same. There’s also Maurice, Natalie’s son, married to the exacting Evelyn, and his small daughter Tatty; and then there’s Ellen, Natalie’s older sister, alone and ensconced in a local boarding-house, she gave up her youth and independence to care for their elderly mother.
Through this cast of characters Lettice Cooper explores a society in flux, riddled with divisions: there are hints of the growing threat of European fascism; the conflict between generations and between political groupings particularly the forces of conservatism versus the lure of the Labour party and the growing trade union movement – something Cooper, an active Socialist, was keenly aware of. Cooper also draws on more personal experiences of her own family and equally demanding mother. Like Delia, Cooper broke away, although unlike Delia she never married. The Powell family are in crisis albeit on a small scale, the older generation who grew up with Victorian values are fighting against a society in which servants are not only scarce but also, like Natalie’s maid Ivy, refuse to accept a lesser place within it. Although Ivy too is uncertain about her future, already fearful she’ll end up a weary housewife.
Here too are glimpses of radical changes in concepts of the individual and individual experience linked to the spreading influence of Freud and the relatively-recent field of psychology. These concepts fuel the dilemma which drives the narrative which is whether or not Rhoda will have the courage to follow in Delia’s footsteps. They also feed into a broader exploration of different possibilities for ordering or existing in society, how these might lead to greater freedoms or force people to repeat repressive patterns - like the Powells’ neighbour Lucy caring for her aging father but still dreaming of the girl she adored at school. Aspects of these patterns are also seen in shifting political allegiances: the working-class Parkinson who’s bought Natalie’s old house for development, now an out-and-out Tory who has no sympathy for the poor who he believes have only themselves to blame; Maurice torn between his wife’s embrace of suburban convention and his increasingly liberal notions but also liberated by his close bond with his daughter.
Cooper’s representation of the North, political divides, and the damage family can inflict, reminded me a little of Winifred Holtby’s work, although Cooper’s style is far more muted and introspective. But, like Holtby, she’s adept at conveying the intricacies of the British class system, she’s also interested in gender although she’s not typically feminist. Cooper’s men are as complex as her women and Maurice is shown to be far more sensitive and capable as a parent than his chilly wife Evelyn. Some of the issues explored are very much rooted in a specific time and place, others display an optimism that’s since been swept aside. The Powells’ town has long been segregated by wealth, with the poorer population inhabiting cramped, crumbling dwellings, some like Maurice and his Labour-voting, friend Legard have responded by embracing equality and a need for practical change, pleased by the rapid growth of affordable housing and the levelling of city slums. It felt quite strange to be reminded of progressive ideas and policies of the past when contemporary England has reverted to an older model in which people are routinely priced out of whole areas, unable to afford stable, decent housing, a place where social housing is scarce.
I found it hard at times to engage with Cooper’s dense, tell-not-show style but still found her snapshot of 1930s’ England incredibly compelling. People discussing vintage fiction often excuse conservative content or prejudices on the basis that that was just how things were, if nothing else reading writers like Cooper make it clear that then, as now, attitudes and values not only varied but frequently, violently, clashed.
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Through this cast of characters Lettice Cooper explores a society in flux, riddled with divisions: there are hints of the growing threat of European fascism; the conflict between generations and between political groupings particularly the forces of conservatism versus the lure of the Labour party and the growing trade union movement – something Cooper, an active Socialist, was keenly aware of. Cooper also draws on more personal experiences of her own family and equally demanding mother. Like Delia, Cooper broke away, although unlike Delia she never married. The Powell family are in crisis albeit on a small scale, the older generation who grew up with Victorian values are fighting against a society in which servants are not only scarce but also, like Natalie’s maid Ivy, refuse to accept a lesser place within it. Although Ivy too is uncertain about her future, already fearful she’ll end up a weary housewife.
Here too are glimpses of radical changes in concepts of the individual and individual experience linked to the spreading influence of Freud and the relatively-recent field of psychology. These concepts fuel the dilemma which drives the narrative which is whether or not Rhoda will have the courage to follow in Delia’s footsteps. They also feed into a broader exploration of different possibilities for ordering or existing in society, how these might lead to greater freedoms or force people to repeat repressive patterns - like the Powells’ neighbour Lucy caring for her aging father but still dreaming of the girl she adored at school. Aspects of these patterns are also seen in shifting political allegiances: the working-class Parkinson who’s bought Natalie’s old house for development, now an out-and-out Tory who has no sympathy for the poor who he believes have only themselves to blame; Maurice torn between his wife’s embrace of suburban convention and his increasingly liberal notions but also liberated by his close bond with his daughter.
Cooper’s representation of the North, political divides, and the damage family can inflict, reminded me a little of Winifred Holtby’s work, although Cooper’s style is far more muted and introspective. But, like Holtby, she’s adept at conveying the intricacies of the British class system, she’s also interested in gender although she’s not typically feminist. Cooper’s men are as complex as her women and Maurice is shown to be far more sensitive and capable as a parent than his chilly wife Evelyn. Some of the issues explored are very much rooted in a specific time and place, others display an optimism that’s since been swept aside. The Powells’ town has long been segregated by wealth, with the poorer population inhabiting cramped, crumbling dwellings, some like Maurice and his Labour-voting, friend Legard have responded by embracing equality and a need for practical change, pleased by the rapid growth of affordable housing and the levelling of city slums. It felt quite strange to be reminded of progressive ideas and policies of the past when contemporary England has reverted to an older model in which people are routinely priced out of whole areas, unable to afford stable, decent housing, a place where social housing is scarce.
I found it hard at times to engage with Cooper’s dense, tell-not-show style but still found her snapshot of 1930s’ England incredibly compelling. People discussing vintage fiction often excuse conservative content or prejudices on the basis that that was just how things were, if nothing else reading writers like Cooper make it clear that then, as now, attitudes and values not only varied but frequently, violently, clashed.
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May 17, 2022
This novel is not really about the new house, or the old one either, for that matter. It all takes place on "removing day", as they refer to it. It begins with all the principle characters waking up, and ends with them going to sleep, changed people for sure, as all of them come to some stark realizations of their lives so far. Some you will root for, others you just want to slap, but they all have their own emotions about the move.
I have never lived in one house for 30 years. My husband is a builder, so we moved on an average of every two years. Before that, I lived in apartments as a single woman, and before that, my parents rented in several houses until they bought a home when I was 10. But I could sympathize with leaving a long time family home, all my parents, in-laws, grandparents and older relatives only gave it up when they were forced by circumstances and health.
As ever, these Persephone books are so well-written that you can identify with a story that takes place in 1930, in another country, with social expectations so different from our own world. But human nature rarely changes, not really. My only quibble with this one was that it got a little repetitious at times, otherwise a real pleasure to read.
I have never lived in one house for 30 years. My husband is a builder, so we moved on an average of every two years. Before that, I lived in apartments as a single woman, and before that, my parents rented in several houses until they bought a home when I was 10. But I could sympathize with leaving a long time family home, all my parents, in-laws, grandparents and older relatives only gave it up when they were forced by circumstances and health.
As ever, these Persephone books are so well-written that you can identify with a story that takes place in 1930, in another country, with social expectations so different from our own world. But human nature rarely changes, not really. My only quibble with this one was that it got a little repetitious at times, otherwise a real pleasure to read.
December 6, 2018
4,5 stars rounded up
Split into three sections; morning, afternoon and evening, this is a novel set in one day. The premise is very simple; it concerns a family moving house from a large imposing house with gardens (not quite a stately home, but quite big), to something much smaller overlooking a housing estate. It is an enforced move as the old house is too large and expensive to be managed.
Lettice Cooper lived a long life which might seem unremarkable to some. As well as being a writer and penning a number of novels, she wrote reviews for a local newspaper, worked for the ministry of food for the Second World War, founded the Writers Action Group, wrote a ground-breaking novel about PTSD and spent a lifetime fighting for libraries and Public Lending Rights. Her novels examine class with Cooper coming from a leftist perspective and she even wrote a novel about the Miners Strikes of the 1970s.
This novel was written in 1936 and reflects the changes in the English middle classes after the First World War. The family involved is the Powell family; Mr Powell has recently died and Mrs Powell can no longer manage the house; although she does not really accept this. Her daughter Rhoda lives at home and is in her 30s. Her brother Maurice lives nearby with his wife Evelyn and their daughter. The final sibling Delia lives and works in London and is engaged to be married to Jim. All the family are rallying round to assist with the removals, including Mrs Powell’s sister Ellen. As you may have gathered there is not a great deal of action (pretty much none in fact) and the pace is slow. We see the situation from the perspective of all the different members of the family, noting their different feelings and their particular tensions. We see Mrs Powell resentful that she has to move, selfish and used to getting her own way. Rhoda is dutiful and caring, knowing she is expected to care for her mother, but also longing to break free. We see the tensions between Maurice and Evelyn who have different aspirations; Evelyn feeling the importance of moving up the social ladder and becoming wealthier whilst Maurice has vague egalitarian leanings (which, as he is a capitalist owning a small part of the means of production, he will do nothing about). Delia is a freer spirit and gets frustrated with them all and wants Rhoda to break free.
Cooper is a skilful writer and there is some perceptive analysis here. Rhoda ponders her feelings on moving:
“Today, she thought is like a crack in my life. Things are coming up through the crack and if I don't look at them, perhaps I shall never see them again. Ordinary life in the new house will begin tomorrow and grow over the crack and seal it up.”
And it is Rhoda who seems to get the most time as she struggles with her role and her relationship with her mother:
“'If, thought Rhoda, you could, just for a single minute, get inside another person, and look at yourself and everyone from them, what a difference it would make to all the rest of your life!”
Mrs Powell and her daughter-in-law (Evelyn) both worry about seeing and meeting the poorer classes from the housing estate. Cooper draws clear parallels between the oppression of the working classes in housing estates and slums and the situation of women like Rhoda.
Cooper is able to make the reader understand the motivations and feelings of all the characters, even the unlikeable ones (and there are a number of those) and this is one of the strengths of the book. It is a vignette of family life, a character study and a picture of a social change which took place between the wars. For those who like thoughtful and considered novels.
Split into three sections; morning, afternoon and evening, this is a novel set in one day. The premise is very simple; it concerns a family moving house from a large imposing house with gardens (not quite a stately home, but quite big), to something much smaller overlooking a housing estate. It is an enforced move as the old house is too large and expensive to be managed.
Lettice Cooper lived a long life which might seem unremarkable to some. As well as being a writer and penning a number of novels, she wrote reviews for a local newspaper, worked for the ministry of food for the Second World War, founded the Writers Action Group, wrote a ground-breaking novel about PTSD and spent a lifetime fighting for libraries and Public Lending Rights. Her novels examine class with Cooper coming from a leftist perspective and she even wrote a novel about the Miners Strikes of the 1970s.
This novel was written in 1936 and reflects the changes in the English middle classes after the First World War. The family involved is the Powell family; Mr Powell has recently died and Mrs Powell can no longer manage the house; although she does not really accept this. Her daughter Rhoda lives at home and is in her 30s. Her brother Maurice lives nearby with his wife Evelyn and their daughter. The final sibling Delia lives and works in London and is engaged to be married to Jim. All the family are rallying round to assist with the removals, including Mrs Powell’s sister Ellen. As you may have gathered there is not a great deal of action (pretty much none in fact) and the pace is slow. We see the situation from the perspective of all the different members of the family, noting their different feelings and their particular tensions. We see Mrs Powell resentful that she has to move, selfish and used to getting her own way. Rhoda is dutiful and caring, knowing she is expected to care for her mother, but also longing to break free. We see the tensions between Maurice and Evelyn who have different aspirations; Evelyn feeling the importance of moving up the social ladder and becoming wealthier whilst Maurice has vague egalitarian leanings (which, as he is a capitalist owning a small part of the means of production, he will do nothing about). Delia is a freer spirit and gets frustrated with them all and wants Rhoda to break free.
Cooper is a skilful writer and there is some perceptive analysis here. Rhoda ponders her feelings on moving:
“Today, she thought is like a crack in my life. Things are coming up through the crack and if I don't look at them, perhaps I shall never see them again. Ordinary life in the new house will begin tomorrow and grow over the crack and seal it up.”
And it is Rhoda who seems to get the most time as she struggles with her role and her relationship with her mother:
“'If, thought Rhoda, you could, just for a single minute, get inside another person, and look at yourself and everyone from them, what a difference it would make to all the rest of your life!”
Mrs Powell and her daughter-in-law (Evelyn) both worry about seeing and meeting the poorer classes from the housing estate. Cooper draws clear parallels between the oppression of the working classes in housing estates and slums and the situation of women like Rhoda.
Cooper is able to make the reader understand the motivations and feelings of all the characters, even the unlikeable ones (and there are a number of those) and this is one of the strengths of the book. It is a vignette of family life, a character study and a picture of a social change which took place between the wars. For those who like thoughtful and considered novels.
April 26, 2023
Set over the course of one day, in which the Powell's are moving from Stone Hall, which has become too big for the widowed Natalie Powell, (if only she'd realise it), to a smaller, more manageable house, with just one servant. Removal day represents the rapid changes taking place in English society between the wars
May 3, 2022
The subject of leaving a large house that is well-loved but unwieldy and impossible to maintain, for a small house, manageable but with less character, knowing that the old house will shortly be torn down, is one of great personal resonance to me, so I was readily drawn into this story which takes place over the course of one family's moving day. Cooper makes the move a sort of metaphor for changes in English society in the 1930s, which is apt enough, but I agree with my goodreads friend Susann that there's a certain quaintness to some of the characters' musings about social progress. However, it's mostly the interior lives of the characters that interest Cooper. We have Rhoda, unmarried in her 30s, and seemingly destined to take care of her peevish selfish mother (who can't really understand why the move is necessary) for the rest of her life, her younger sister Delia, who's left their Northern provincial city to make a life for herself in London, and their older brother Maurice, struggling to make the engineering works he inherited from his father pay, unhappily married to his shallow and materialistic wife, Evelyn. There's also young and flighty cat-loving Ivy, sole remaining servant, who'll come with the family to the new house, and Rhoda's Aunt Ellen, a woman who's spent her life as a doormat, and who is repeatedly held up as an example of what Rhoda might become. I enjoyed it, though parts in the middle dragged, because characters had a tendency to go over the same ground in their heads repeatedly. Some thoughts about the ending are in the spoiler space.
August 3, 2020
I absolutely loved this! One of my favorites that I’ve read in 2020. Even though it was written in 1936 it feels timeless. The way Lettice Cooper weaves in and out of each character’s thoughts was seamless. With one small paragraph Cooper gave such life to even the background characters, like Cook and Ivy, and these brief passages were actually some of the most touching moments of the book for me.
So many quotes that I had to highlight and I’d like to share some of my favorites!
“You could not help feeling that the end of thirty years ought to be more dramatic. That was expecting life to be like a book or a play instead of the inconsequent business that it was, with flat places in the middle of excitement, and peaks of excitement in the middle of ordinary things.”
“Relationships are so easy when carefulness doesn’t get into them. It’s like walking on a slippery road: so long as you don’t think, you’re all right. When you think, you stiffen, and rhythm is broken.”
“Nothing, she thought, could be very interesting at Evelyn’s table, because all the conversation was in her key. Her view of things was sensible, practical, matter-of-fact, one-dimensional. Everything looked to her, thought Rhoda, as a box looked to you when you were small and were told to draw it, one square front facing you, no sides, no top, no light nor shade nor angle, nothing behind it. But why do we let her? Maurice and I are not very clever or successful people, but we know that there is always more than the front of the box. Why is it so easy for the people who see less to override the people who see more?”
“We think out what we ought to do, and then feel as though we’d achieved something, and don’t notice that we aren’t doing.”
So many quotes that I had to highlight and I’d like to share some of my favorites!
“You could not help feeling that the end of thirty years ought to be more dramatic. That was expecting life to be like a book or a play instead of the inconsequent business that it was, with flat places in the middle of excitement, and peaks of excitement in the middle of ordinary things.”
“Relationships are so easy when carefulness doesn’t get into them. It’s like walking on a slippery road: so long as you don’t think, you’re all right. When you think, you stiffen, and rhythm is broken.”
“Nothing, she thought, could be very interesting at Evelyn’s table, because all the conversation was in her key. Her view of things was sensible, practical, matter-of-fact, one-dimensional. Everything looked to her, thought Rhoda, as a box looked to you when you were small and were told to draw it, one square front facing you, no sides, no top, no light nor shade nor angle, nothing behind it. But why do we let her? Maurice and I are not very clever or successful people, but we know that there is always more than the front of the box. Why is it so easy for the people who see less to override the people who see more?”
“We think out what we ought to do, and then feel as though we’d achieved something, and don’t notice that we aren’t doing.”
August 31, 2012
The New House takes place over one very long day that sees the “removal” of Natalie Powell and her adult daughter Rhoda from their large family home to a much smaller house on the other side of the town. The old house is to be demolished to make way for newer more modest housing for working class families. Rhoda’s sister Delia has arrived from London to help, and with her she brings the wind of change. The social order is a central theme to this wonderful novel. Natalie Powell has been a spoiled and petted woman her whole life, given to childlike rages when she doesn’t get her own way, she generally did, and she has become a selfish woman. Natalie and her sister Ellen – who also comes to help on moving day - are still living in their shared past, they were brought up in a certain way, the duties that they believed were due to their parents, they believe are due to Natalie. Natalie still recovering from her husband’s death, relies on Rhoda to help run the home, Rhoda in her early thirties, has become trapped. Aunt Ellen the dutiful sister and daughter who never married and now lives in a kind of hotel for ladies like herself is delighted to be back helping and organising and busy, and in her Rhoda recognises the woman she too could so easily become if she doesn’t break free. Delia planning soon to marry her fiancé Jim is eager to help Rhoda get away and suggests she takes her job in London when she leaves to get married in a few months. Rhoda is shaken by the suggestion, but keeps thinking about it throughout the day.
“Today, she thought, is like a crack in my life. Things are coming up through the crack, and, if I don’t look at them, perhaps I shall never see them again. Ordinary life in the new house will begin tomorrow and grow over the crack and seal it up.”
Maurice the son of the family, is also now living away from home, he is married to the fairly dreadful Evelyn, a young women not dissimilar to her mother-in-law. Although Evelyn is uncomfortable with Maurice’s family, and is quite disliked by Maurice’s two sisters. She is more concerned with lovely things, clothes and her social position than with her husband and his family.
“Evelyn got off her bus in the centre of the town, strolled along, looking at the shop windows, and finally turned in at the big doors of Varleys. It was like coming back into her familiar world. The warm air, scented with cosmetics, lapped her round. The bright lights shone on counters of expensive oddments, fantastic gloves, fragile stockings, handkerchiefs like bright flowers, handsome heavy bags. There were a lot of well-dressed people about, shopping or looking. The women behind the counters served them with skill and deference. Once you got inside those big doors, you were in a world which, provided that you had money to spend, existed for your convenience.”
Maurice although adoring of his little girl Tattie, is unhappy and dissatisfied with his life. The upheaval of the move from the family home throws everything up in to the air – releasing feelings in the members of the Powell family they are hardly aware of. He is still attached to the large family home that he moved out of five years earlier – and seeing his mother and sister leaving it is painful for him, forcing him, along with other members of his family, to take stock and look at his life.
The New House was first published in 1936 and re-issued by Persephone books in 2003 with a wonderful preface written by Jilly Cooper the wife of Lettice Cooper’s nephew Leo Cooper. It is that wonderful thing, a beautiful quiet novel, where nothing much happens, but through it you see the whole of the society which existed at the time it was written. I loved it and as I had a busy couple of days with family, I was forced to read it more slowly than I might have done otherwise.
October 4, 2017
Widowed Natalie Powell and her 32-year-old unmarried daughter Rhoda are having to leave the big old house where the family has lived for many years, to move somewhere smaller and cheaper. All the action of this book takes place in one day in their northern English town in the 1930s, as they move, helped by Natalie's son Maurice and his wife, a second daughter Delia and her fiancé, and Natalie's sister, Aunt Ellen.
I loved this and thought it was wonderfully well written. All the strains and jealousies in the different relationships are brought out in a masterful way. The big question of the book is whether Rhoda will have the desire and courage to leave her domineering mother and go for the job in London which Delia is leaving to get married - as women had to do in those days!
I loved this and thought it was wonderfully well written. All the strains and jealousies in the different relationships are brought out in a masterful way. The big question of the book is whether Rhoda will have the desire and courage to leave her domineering mother and go for the job in London which Delia is leaving to get married - as women had to do in those days!
July 13, 2019
"The trouble with human beings was that they wanted things to last. So often not what they saw or did today, but what they had seen or done yesterday, was the preoccupation of their lives. They wanted childhood to go on, passion to endure, youth to remain....." This wonderful book is a marvel of fine writing and fair characterizations of the people that inhabit it. When you feel that a certain character is negatively portrayed, she surprises the reader with a transcendent moment where we get glimpses of his/her better self. I think the author is determined to be fair to her characters. Having said that, I do feel that one character was her great favorite, and served as the model for how modern women should think. I found that annoying, but I still must award it five stars.
August 29, 2018
After I read this book, I contacted Persephone Books directly (something I’ve not done before) to ask if they are publishing anything more of Lettice Cooper whose nearly every page here strikes some chord of understanding for me (I actually caught myself nodding yes ridiculously to myself a number of times). Happily, in October, they will publish National Provincial. Can I just take a moment to thank Persephone books for finding mostly lesser known women writers and giving them an audience who frankly needs them, or I’ll say for myself: I need them!!! Thank you!
May 6, 2023
A brilliant gem!
One family caught at the moment of moving from the old loved family house to the new (smaller) one, forced to do it by circumstances, not by choice.
Lettice Cooper used the moment as a scene for the study of relationships in a family, the study of human beings, the study of time, and changing societies.
One of the main, and the most powerful message (and longings) in the novel was the need to feel that one is a whole. It was touching to the core of my being.
The second main thread was the struggle to be oneself. To not only be whole but also free. Some members of the family lost their battle, some won, some didn't even try, and some pretended they weren't enslaved.
In a way, it was a simple story, but thanks to all those priceless observations - excellent, deep, memorable, forcing to think.
Every morning a new cobweb of threads was laid down on top of yesterday's pattern.
One family caught at the moment of moving from the old loved family house to the new (smaller) one, forced to do it by circumstances, not by choice.
To-day, she thought, is like a crack in my life. Things are coming up through the crack, and, if I don't look at them, perhaps I shall never see them again. Ordinary life in the new house will begin to-morrow and grow over the crack and seal it up.
Lettice Cooper used the moment as a scene for the study of relationships in a family, the study of human beings, the study of time, and changing societies.
He was an ordinary person. But ordinariness, he perceived, was a question of time. The ordinary post-war person would have been a pre-war crank.
One of the main, and the most powerful message (and longings) in the novel was the need to feel that one is a whole. It was touching to the core of my being.
You cannot become a whole person by seeing the division, but, if you know where it is, you can sometimes behave like one.
It was the thing that his generation yearned for, wholeness, but wholeness was difficult, the supreme achievement.
The second main thread was the struggle to be oneself. To not only be whole but also free. Some members of the family lost their battle, some won, some didn't even try, and some pretended they weren't enslaved.
You can bring your mind to reason in half an hour, and your feelings not at all, or perhaps, by great courage and skill, in then years.
A tyranny is not all the tyrant's fault; it is the fault of those who submit to be slaves
A relationship is spoiled as soon as you begin to demand more than the other person wants to give.
In a way, it was a simple story, but thanks to all those priceless observations - excellent, deep, memorable, forcing to think.
What you see is so seldom the other person. It is a character in your one novel, in the story of your life that you have foisted upon them, made of the things in your own mind. It is a novelist's character that you have made out of the person, stressing the outlines, omitting inconsistencies, giving coherence, adding emphasis.
January 5, 2024
Totally my cup of tea. Loved it!
April 24, 2023
A lovely, but somber novel about a family relocating to a smaller home. The book takes place in a single day, which I really liked, and is in three sections-morning, afternoon and evening.
The mother in this story, Natalie, is very hard to like and has been brought up to be very selfish. Her daughter Rhoda and son Maurice are struggling through life, while her daughter Delia is free and living the life she wants to lead.
I felt the most sympathy with kind and confused Rhoda, but I loved Delia’s spunky and decisive character. Maurice also has difficulties with his wife and I could really understand that, too.
Overall, I truly enjoyed this book about home, transition and learning to find your way in life. I think I would have given it more stars if I had been in a better place emotionally. This was not a cheerful or uplifting book, but a thoughtful one. It was beautifully written and I may want to read it again at a different point in my life.
The mother in this story, Natalie, is very hard to like and has been brought up to be very selfish. Her daughter Rhoda and son Maurice are struggling through life, while her daughter Delia is free and living the life she wants to lead.
I felt the most sympathy with kind and confused Rhoda, but I loved Delia’s spunky and decisive character. Maurice also has difficulties with his wife and I could really understand that, too.
Overall, I truly enjoyed this book about home, transition and learning to find your way in life. I think I would have given it more stars if I had been in a better place emotionally. This was not a cheerful or uplifting book, but a thoughtful one. It was beautifully written and I may want to read it again at a different point in my life.
July 29, 2020
A wonderful, beautifully-written, quiet novel where not a lot happens and yet you learn so much about a family and the society they live in over the course of one day - the day Natalie Powell, a fairly selfish and spoiled old woman, and her grown-up daughter Rhoda move out of the old family home into a new, smaller house on the other side of town. The other grown up Powell siblings - Maurice who lives nearby with his wife and daughter, and Delia, a free spirited younger sister who lives in London - come to help, as well as Natalie’s doting older sister Ellen, who very much augurs the life that lies in store for Rhoda if she continues living with her mother and never breaks free.
After a slow start, I found myself absolutely loving this book and savoured it. I enjoyed the company of the Powell family very much and am sorry the novel is over!
After a slow start, I found myself absolutely loving this book and savoured it. I enjoyed the company of the Powell family very much and am sorry the novel is over!
December 20, 2016
Stop everything you are doing and go read this book. I mean it. I really, really, mean it.
This is the kind of novel that you don't want to end. The kind that you are thrilled is long (a rare, rare thing for me) because the world Ms. Cooper invites you into is so real and so flawed and so very bittersweet. She is kind to her characters, warts and all and nobody is painted as 100% virtuous or a villain, they are all nuanced. You see yourself in them; you see the good, the bad and the sheer humanity of it all.
A quiet, beautiful read in the best tradition of domestic fiction. If you read Barbara Pym or Dorothy Whipple, do yourself a favor and read this book.
This is the kind of novel that you don't want to end. The kind that you are thrilled is long (a rare, rare thing for me) because the world Ms. Cooper invites you into is so real and so flawed and so very bittersweet. She is kind to her characters, warts and all and nobody is painted as 100% virtuous or a villain, they are all nuanced. You see yourself in them; you see the good, the bad and the sheer humanity of it all.
A quiet, beautiful read in the best tradition of domestic fiction. If you read Barbara Pym or Dorothy Whipple, do yourself a favor and read this book.
March 23, 2015
After Jane Austen's works this is my favourite work one of only half a dozen I reread regularly.
November 6, 2017
very nice. i really enjoyed it. reminded me of Dorothy Whipple.
April 15, 2025
I kept getting distracted as I read The Old House and I think my inconsistency weighed against a full appreciation of it. It is a simple story: the old family house is sold, a new one found where the elderly mother anticipates living with her eldest daughter at her beck and call. The action takes place on the single day of removal. The novel is acutely observed psychologically—sometimes I thought Cooper’s insights uncanny in how on the mark they were. For a book first published in 1936, it has a lot of relevance. Or maybe it’s more accurate to say that we haven’t changed much: We still choose what we don’t want, we still resent those we love, we still manipulate with kindness and cruelty.
Read
June 2, 2014Fashion must have dictated the placement of “The End” after the last sentence of this novel. The last sentence marks the end of the day, certainly, but that one day has made a difference in the lives of most of the characters, more difference than just moving from the old house to the new. The next morning will probably see them making or refusing the same choices as before, but they will have a sense of new beginning. First published in 1936, the novel raises questions about social injustice and gender roles but also about the modernist awareness of the impossibility of really knowing other people. While the main focalizer is 33-year-old Rhoda, many other perspectives are represented: her mother, her sister and brother, her brother’s wife, her aunt, the maid and the cook, and family friends all observe the events of the day. The settings are not all domestic, so that we follow the brother to his office and his club, and the focus is on the thoughts of the characters: as Rhoda muses, “What you see is so seldom the other person. It is a character in your own novel, in the story of your life that you have foisted upon them, made of the things in your own mind.” Or as she thinks soon after that, “It’s odd to think what each one of us carries about,” past experiences that never quite go away. The strangeness of a world where servants are still taken for granted and choosing the right hat is the highlight of a woman’s day is balanced by the utter familiarity of the varieties of selfishness Cooper deftly portrays.
August 14, 2012
Written in 1934 and set in those days, this story revolves around a family who faces "removal" to a new home due to the death of the father and more limited resources. Its' 319 pages cleverly consists of three parts: Morning, Noon and Night.
What might be utterly boring becomes insightful gleanings from each family member as their thoughts and conversations meander between the present day and past ones. We are given glimpses into the inner workings of their personalities and are either charmed by them or repelled.
I found myself agreeing with various thoughts and cheering on one of the characters to buck up and become more of her own person. I also saw myself in a more negative tone with some of their thoughts.
Although the times and customs are quite different now, I would call this book ageless, as it deals at heart with the constant human condition of relationships in families.
What might be utterly boring becomes insightful gleanings from each family member as their thoughts and conversations meander between the present day and past ones. We are given glimpses into the inner workings of their personalities and are either charmed by them or repelled.
I found myself agreeing with various thoughts and cheering on one of the characters to buck up and become more of her own person. I also saw myself in a more negative tone with some of their thoughts.
Although the times and customs are quite different now, I would call this book ageless, as it deals at heart with the constant human condition of relationships in families.
July 25, 2017
The New House examines one day in the life of a family: sister Rhoda and mother Natalie are moving out of the old family home to a smaller house, while younger sister Delia looks forward to marriage and helping her husband with his work and brother Maurice tries not to think about his fragile, shallow marriage. The differences (and similarities) in the women's lives are especially finely observed, as Rhoda tries to decide whether to break out of her old life by taking over the job Delia will have to give up when she marries or to stay as a helpmeet to her selfish mother and end up like her aunt Ellen.
February 7, 2010
Really liked this actually. I knew I would enjoy it because Persephone Books are surefire trashy comfort reads for me, as romance novels are for other people. But it makes better literature than I expected. I liked the observation about people and human nature, and the close attention given to each change of mood in a person, leading them to snap or be kind, almost unconsciously. Also interested in how little your average privileged upper middle-class mindset varies across time and space.
Terrible uninteresting preface by Jilly Cooper, consisting mostly of name-dropping, bleh.
Terrible uninteresting preface by Jilly Cooper, consisting mostly of name-dropping, bleh.
October 6, 2015
One of those Single Day books, divided into Morning, Afternoon, and Night. Cooper shows the inner lives of an extended family as two of its members (plus maid) move to a new house. Although some of the socialist thoughts seem sadly quaint now, I marked many other passages for their universal truths. It's impossible not to root for Rhoda.
May 14, 2017
Loved every character in this book - wish I could know much more about them. There were so many quotable lines that would be perfectly applicable to today. I love how even the "selfish" mother had a soft spot occasionally and some remorse looking back and that the unmarried daughter was able to be strong and look forward to moving on with her life. A book to reread for sure.
August 16, 2008
Published in the early 40s - I can't believe how it's held up and how relevant it still is.
October 6, 2022
This contained many of the ingredients that float my boat. A period novel, a novel about women and set over a single day. Despite this, my boat sank rather quickly.
Set in the inter-war years the family are moving "mother" from her married house of stature with grounds, staff and class, set away from common folk to a smaller more practical house in town along with Rhoda, her unmarried daughter.
The biggest problem for me was the omniscient narrator which forced the narrative. Instead of reading, understanding and working through the family history and their interactions, we had endless internal trains of consciousness from every possible aspect. There was neither space for speculation, subtlety nor for the reader to infer. This made what could have been a fascinating snapshot of a period when society was changing into a long dull read.
eg "arranging flowers was her passion"
A shorter, better edited and more crafted novella might have better carried this story.
Set in the inter-war years the family are moving "mother" from her married house of stature with grounds, staff and class, set away from common folk to a smaller more practical house in town along with Rhoda, her unmarried daughter.
The biggest problem for me was the omniscient narrator which forced the narrative. Instead of reading, understanding and working through the family history and their interactions, we had endless internal trains of consciousness from every possible aspect. There was neither space for speculation, subtlety nor for the reader to infer. This made what could have been a fascinating snapshot of a period when society was changing into a long dull read.
eg "arranging flowers was her passion"
A shorter, better edited and more crafted novella might have better carried this story.
This entire review has been hidden because of spoilers.
September 14, 2021
I’m baffled that I’ve never heard of this book or author before. I thought it was brilliantly written, the construction so well done, the characters so real. I was completely caught up in the story of moving day for this family. The author goes into the minds of each character in turn, you see them as others do, then how they see themselves, and the whole effect is a masterful commentary on human nature. What seemed at first like small concerns developed into life-changing dramas. I loved it from first to last.
Must find more of Lettice Cooper’s novels!
Must find more of Lettice Cooper’s novels!
April 28, 2020
3.5 stars. A quick, nice read with some interesting commentary on gender and class in 1940s England. Though I generally enjoyed reading about each character, they occasionally oscillated so extremely from one opinion or mood to the next that they seemed less like well-rounded and multifaceted humans, as I assume Cooper was intending, and more like people suffering from personality disorders. Overall, a good read but not one that I think will really stick with me.
January 19, 2022
This is my second novel by Lettice Cooper. I read Fenny previously and liked that but enjoyed this one even more. It was more typically British and I enjoyed the family drama unfolding on “removal day.”
Despite being set in the 1930s it felt quite modern as the new generation contended with the older one as changes were brewing both personally and in their country.
Great characters and insights into their feelings and the broader human condition. Bits of humor too. Very enjoyable!
Despite being set in the 1930s it felt quite modern as the new generation contended with the older one as changes were brewing both personally and in their country.
Great characters and insights into their feelings and the broader human condition. Bits of humor too. Very enjoyable!
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