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325 pages, Hardcover
First published January 1, 1940
Whiteoak Heritage by Mazo de la Roche was published in 1940, right after Whiteoak Harvest yet in the Jalna chronology the action follows Young Renny. De la Roche wrote sixteen stand-alone Jalna novels, going back and forth in time. It took me a while to get used to the situations of each character, as I had recently read Whiteoak Harvest, which took place in 1934. In this novel, however, Renny and Maurice return to Jalna immediately after World War I, and they are young unmarried men. I had to take myself back in time and forget everything from the novel I had just read. I wonder how de la Roche herself managed to keep track of her characters and events. So far I have not noticed any anachronisms or people appearing in the past when they hadn’t even been born yet. Still, the idea of jumping back and forth in time with prequels and sequels seems a daunting task, but obviously not to de la Roche.
De la Roche delivers her usual modus operandi: secret extra-marital affairs (and multi-generational at that) and financial crises. Renny gets himself tangled up with two women, one who is married and one who already has two boyfriends–one young enough to be her son and the other old enough to be her father. No hanky-panky occurs between any of the couples yet the passion is steamy. This is a tribute to de la Roche, who can still convey the intensity of emotions between the couples by writing only of a caress against a cheek or the conversation shared over tea. I read this book in four days because I could not put it down. By the time I picked it up, I had four de la Roche novels under my belt and knew who these characters were. I was a sponge, wanting to absorb all about their early years and learn how they evolved into what I know about them from novels that take place later.
The author writes some evocative imagery and I loved how she portrayed the sounds of a choir by a concert of birdsong:
“A jolly jargon of untutored sweetness rose to them from the ravine. Baritone and tenor, soprano and alto, stretched their breasts to make their own part the solo. The very branches shook with the passion of their singing.”
And she always has a knack for dropping an unexpected but most humorous line at the end of a series, such as:
“In summer, when Mrs. Clinch had carried her rocking chair into the open and rocked and fanned to keep the mosquitoes off, Pheasant knelt on the warm grass beside her and they talked of droughts, floods, northern lights, thunderbolts, and people struck and burnt black by lightning.”
A woman of the name of Amy (or is it Aimee) Stroud lives close to Jalna and she has subdivided her house to rent out, in order to raise additional income. Mrs. Stroud, as she is often referred to, has developed a romantic liaison with young Eden, who is eighteen. Unfortunately the couple and baby who now share Mrs. Stroud’s house are noisy and untidy, and often disturb Mrs. Stroud’s times with her gentleman callers. The second half of the novel involves Mrs. Stroud’s schemes to get her tenants out of the house. I laughed when I read this passage, complaining about her noisy renters:
“She was angry with herself for having hampered the builder who had made the alterations. He had wanted a more solid dividing wall. But she had insisted on cheap materials. Now, in her most cherished moments, Dayborn’s voice would penetrate the partition, complaining of the hardness of his work or Chris’s cooking. Once Chris herself had shrieked that the sausages were burning and an hour with Eden had been spoilt. Eden had insisted on shouting back–‘Bring them here! I like burnt sausages!'”
I noticed a curious overuse of the words insolent and insolence, whereas in Young Renny, I remarked that de la Roche used indolent and indolence to excess.
This is my fifth de la Roche novel and all five have been recent reprints. It puzzles me how there could be so many typos in these editions, and of the five novels I have read so far, I found more errors in Whiteoak Heritage than in all the other four combined. Why would there be any typos–and curious inconsistencies–in the first place? I made a list of them, naturally. The most puzzling is the dual spelling of Mrs. Stroud’s first name. On one page (p. 164) it’s Amy, and on the next page it’s Aimee, then it flipflops between the two. Up until page 164 the name was consistent as Amy. Even Uncle Nicholas finds his name misspelled as Nicolas on one occasion (p. 21). The other errors are just sloppy: “it had been shut out to long” instead of “…too long” (p. 33); “The he hurled the bicycle to the ground.” instead of “Then he…” (p. 61); “the voices of the bids” instead of “…the birds” (p. 66) and four other gaffes which I will mercifully not reveal. Was the entire text retyped when it was reset? There’s no way the original text was tainted by so many errors. The reprinting of the entire Jalna oeuvre is an attractive project with the new cover artwork and large page formatting but the typos within sully the work of one of Canada’s most brilliant writers.