The Middle Window

by Elizabeth Goudge

The spell of the past was on them...And they were possessed by love. The mountatins, the old house, the people, and especially the young lad...Judy Cameron felt so unaccountably at home in her Scottish holiday surroundings. THen in a dream, Judy learns the story of an earlire Judith whose destiny bewitches the modern Judy. The pain and glory of a former love set her young hear free, and she is swept into the magical stream of a spendid past...and a radiant future.

Genres: Fiction, Historical Fiction, Scotland, Romance, Historical, Novels, Fantasy

300 pages, Mass Market Paperback

First published January 1, 1935

About the author

Elizabeth Goudge was an English author of novels, short stories and children's books.

Elizabeth de Beauchamp Goudge was born on 24 April 1900 in Wells, Somerset, in Tower House close by the cathedral in an area known as The Liberty, Her father, the Reverend Henry Leighton Goudge, taught in the cathedral school. Her mother was Miss Ida Collenette from the Channel Isles. Elizabeth was an only child. The family moved to Ely for a Canonry as Principal of the theological college. Later, when her father was made Regius Professor of Divinity at Oxford, they moved to Christ Church, Oxford.
She went to boarding school during WWI and later to Arts College, presumably at Reading College. She made a small living as teacher, and continued to live with her parents. During this time, she wrote a few plays, and was encouraged to write novels by a publisher. As her writing career took off, she began to travel to other nations. Unfortunately, she suffered from depression for much of her life. She had great empathy for people and a talent for finding the comic side of things, displayed to great effect in her writing.

Goudge's first book, The Fairies' Baby and Other Stories (1919), was a failure and it was several years before she authored Island Magic (1934), which is based on Channel Island stories, many of which she had learned from her mother, who was from Guernsey. After the death of her father, Goudge and her mother went to Devon, and eventually wound up living there in a small cottage. There, she wrote prolifically and was happy.

After the death of her mother, and at the wishes of Goudge's family who wished her to live closer to them, she found a companion who moved with her to Rose Cottage in Reading. She lived out her life there, and had many dogs in her life. Goudge loved dogs, and much preferred their company to that of humans. She continued to write until shortly before her death, when ill health, successive falls, and cataracts hindered her ability to write. She was much loved.

Goudge was awarded the Carnegie Medal for The Little White Horse (1946), the book which J. K. Rowling, author of the Harry Potter stories, has said was her favorite as a child. The television mini-series Moonacre was based on The Little White Horse. Her Green Dolphin Country (1944) was made into a film (under its American title, Green Dolphin Street) which won the Academy Award for Special Effects in 1948.

A Diary of Prayer (1966) was one of Goudge's last works. She spent her last years in her cottage on Peppard Common, just outside Henley-on-Thames, where a blue plaque was unveiled in 2008.

Reviews

[Diane Barnes · Rating 2 out of 5]

I only finished this book because I was reading it with a group. Romance mixed with reincarnation and love that never dies but transcends centuries......not my thing. Why are these kinds of novels always set in Scotland?

[Melody Schwarting · Rating 4 out of 5]

This is the earliest Goudge novel I've read so far, and it was especially interesting to read just after The Bird in the Tree with Sarah Clarkson's interpretation of that novel. The Middle Window is very much about individuality, but tempers it by discussing the meaninglessness of the individual without community. Goudge's humor, fascination with the past and how it affects the living, and vivid settings are all here. I liked a lot about this novel but didn't like the central concept (reincarnation) in the same way I don't quite vibe with the supernatural elements of Montgomery's Emily books. I loved the setting, and the first half-ish of the book, quite a lot, but the rest of it wasn't quite up to the standard of Goudge's later books, which is a high standard indeed.

Methinks Diana Gabaldon owes the Goudge estate royalties for a similar situation in reverse. (I jest, but also, what is it with people wanting to go back to literally the worst time ever to be in Scotland.)

Content warnings: mentions of violence, suicidal ideation (not carried out), accidental death

[Ellen · Rating 5 out of 5]

I have loved every Elizabeth Goudge book that I have ever read, but this one has haunted me since I read it. I used to own a copy, but through various moves had to let go of all of my personal library. I wish I still had a copy of this as I would curl up and reread it right now!!

[Jennifer · Rating 3 out of 5]

A disappointing EG novel--I can't believe I wrote that. I love Elizabeth Goudge and was thrilled to find a newly reprinted copy of this novel. It was one of her first, I believe and the characters were interesting but a bit one-dimensional and the plot was forced with a bit of a reincarnation theme/love story that I did not like. Parts of it I found a bit tiresome (sob!). Parts of it I found delightful. EG writes about nature and her characters with great affection but I could tell this is one of her early works and a fellow reviewer of this book on Goodreads said she read that EG regretted writing this story promoting the reincarnation theme (which seemed artificial to me, anyway).

I would only read this if I could get it free from the library as it has worth but I wish I had not bought a copy. I think I am going to re-read the Damerosehay trilogy and remind myself of why I loved EG so much.

Cheers!

[Chautona Havig · Rating 4 out of 5]

This one was a rollercoaster. I loved the opening, had a few stumbles near the middle-ish, and then cheered at the ending.

I think Judy's reaction to a painting in London should've prepared me for a semi magical realism feel to the story. It didn't, and that took a bit of getting used to. Add to that a bit of the story that felt unBiblical, and I wasn't sure I could give it better than three stars. But the author really did redeem it in the end (wasn't unBiblical at all--just not worded well at first), and I think it has a deep, rich message we don't want to miss--namely, that the Lord uses us to accomplish His purposes.

Goudge just used unexpected ways to show that.

[Theresa · Rating 3 out of 5]

2.5 Sweet, quaint, and old-fashioned writing, definitely not on the level of Green Dolphin Street. At least it was a fairly quick read.

[Katherine · Rating 3 out of 5]

I'm so glad I was warned beforehand that this was not one of Elizabeth Goudge's better books. Though she is easily one of my favorite authors I must acknowledge that even the best can fall off their pedestal on occasion and this was a definite stumble.

Goudge's writing is typically old-fashioned, even quaint, sometimes sweet or flowery, but also possessing a depth I don't often encounter in novels. There's substance to her characters and stories, often of a deeply spiritual nature. It's this mix that usually makes reading her books a truly lovely experience. However... and I'm loathe to say it but it's true nonetheless, this book is decidedly--no make that flat-out over-the-top--gushy. Characters throughout the book randomly exceed the heights then plummet into the depths of emotion on a regular basis. I've never seen Goudge's writing lack subtlety before so I was a little surprised but chalked it up to writerly immaturity and inexperience since this was one of her first novels.

On gush. I’ve been known to gush occasionally and have even done so in regard to Goudge's books but, might I include here a caution on the art of gushing? If you are going to gush, please do it in person if at all possible. Written gush-fests tend to come back to bite a writer in the hiney. Most Goudge fans know that she regretted writing The Middle Window and I suspect the subject of reincarnation may not have been the only thing that brought about her feelings of compunction, but perhaps also the gush-factor in the book. Just sayin'.

Aside from that I still managed to enjoy the lovely descriptions, the deeper meanings, the history behind the story, and yes, even the rather intemperate characters themselves.

Recommendation: Certainly read this if you're a fan, however if you are unfamiliar with her work do not under any circumstances start here or it may permanently taint your impression of her considerable writing talent and skill.

[Elizabeth · Rating 2 out of 5]

This was definitely not my cup of tea on several levels. I will say that it was helpful to have just read EG’s memoir Joy of the Snow because she talks about several things there that give context for this novel. She discusses how her mother had the second sight and that she had it a bit herself. She also reflects on how she was interested in the idea of reincarnation in her 30s when she and her parents were living in Oxford. Both those ideas come into play in this novel and it’s bordering on strange. I know this is an early work for Goudge so it is more obvious that she was working out her ideas and beliefs through her writing. In the memoir and in her later novels, she comes to a more stable, orthodox place with those beliefs, tempering the former and rejecting the latter. This novel was more on the nose whereas her more mature novels are gently infused with spiritual depth.

This novel is certainly well written and has the Goudge trademarks of beautiful prose and vivid characters. I didn’t really care for the story though. I didn’t think the modern to historical plot line switch worked all that well plus it’s not really my thing. I’d rather have a novel set all in Jacobite days or, even better, set all in the 20th century. Give me a more DE Stevenson-like story set on Skye with Judy and Ian’s love story, and I’ll be happy. The Scottish setting here was the best part. It had potential as a very Goudge-like setting, but I think, in the end, she wrote best when she was writing about her own beloved places, like Ely, Wells, and Keyhaven marsh.

[Kathryn · Rating 2 out of 5]

This wasn’t quite what I expected. The blurb in my copy promised “The Highlands of Scotland and Skye are the background against which is drawn the romance of three people so linked together that time is powerless to separate them either from each other of their home.” I thought that descriptions of the Scottish Highlands and Skye would be lovely, and they were, but the rest of the story was rather odd.

The section labelled Book II was an improvement on Book I, and parts of Book II were quite interesting, but overall, it felt like a tedious read. It was a book I borrowed from my aunt many, many, many moons ago, and after keeping it for so long, I didn’t feel like I could give it back unread so I’m happy to be able to finally return it!

I'd borrowed another Elizabeth Goudge at the same time, The Scent of Water and read that some time last year or earlier this year, and it was only ordinary as well.

2.5 stars for this one, and I doubt that I'll be reading any more Elizabeth Goudge.

[Wicca · Rating 3 out of 5]

Time travel and Scotland... before Diana Gabalden

[Igenlode Wordsmith · Rating 2 out of 5]

I was surprised to discover a copy of an Elizabeth Goudge book I'd never even heard of, let alone read. But I did have a suspicion that as with The Castle on the Hill there might be a good reason for that, and unfortunately I was right.

I liked this even less than "The Castle on the Hill", and the prose has much the same pastiche feel to it, as if it were somebody else imitating Goudge's successful style and producing a poor copy. The book is basically a parallel-time/reincarnation romance of a kind that is popular today and was doubtless popular at the time of writing, and which to be honest I've never cared for much in the first place (and it makes no sense to describe Judith Macdonald as Ian's 'ancestress' in the first place when it is made quite clear in the plot that Judith dies a childless virgin). And I found our heroine Judy neither convincing nor likeable; Miss Goudge has written other intensely selfish protagonists -- although they mainly have the excuse of being children -- and managed to make them sympathetic characters all the same, but I'm afraid I was actively disliking Judy before she ever reached Scotland, never mind before the arbitrary romance decreed in her destiny kicked in.

Meanwhile Angus the ancient retainer is simply a Goudge stock character, the grumpy old man with a heart of gold... and I found the idea that he too is apparently physically reincarnated with memories of his identical past self to be a little too much in terms of credibility. And while it isn't the author's fault, in the age of the burger it does feel a little unfortunate to have unknowingly christened your romantic lead Ronald/Ranald Macdonald!

Judy's poetry is just embarrassingly bad, especially when set alongside the quotations from well known literature that she is also reading. I'm not sure if it was intended to be deliberately amateurish, which the text leaves open as a possibility, since Judith's songs are better (though still not really good enough to be worth subjecting us to multiple stanzas!) But again Judy's efforts at poetry are given at such unnecessary length that one gets the impression the author was expecting us to be impressed or at least emotionally stirred by them...


The first moment at which the book actually rang true to me wasn't until halfway through the whole thing, at the very end of Book 1, when it takes a sudden turn into horror: the agony of betrayal and the dreadful idea of possession and the past coming back to haunt you carry an actual emotional punch in the way that none of the preceding romanticised material does. And then Book 2 is like suddenly coming out of a fog; everything clicks into place as soon as we get into the 1745 story, which one suspects is the aspect the author really wanted to write in the first place. (Was the framing narrative possibly at the publisher's insistence?)

The really odd thing is that it is basically the same style; the opening is even a deliberately parallel scene. But what felt previously almost like self-caricature all at once becomes natural to the character and the setting; anyone would think that the author simply couldn't write contemporary novels, but she had already produced the very successful The Bird in the Tree (the first Elizabeth Goudge book I ever encountered, and one that instantly won me over).

It's a bit of a cursory canter through the '45, in which Ranald manages by credibility-straining coincidence to turn up at every significant point of the Prince's escape, but it rings true enough. And it helps, I think, that Judith is herself from a Hanoverian family, so the perspective isn't entirely about the romantic Highland clans and their idealism; there's a welcome touch of scepticism that helps avoid the perception that the author is simply serving up a tartan-and-shortbread version of history. It's hard to escape the parallels with D.K.Broster's "The Flight of the Heron" (probably drawing on much the same contemporary sources), but this element of the novel felt well executed to me.

The bit that didn't really work was the 'twist' at the end, where the cause of Judy's nightmares and Judith's self-accusations of betrayal is revealed, and one feels that Broster could have handled that much better. Given that Judith has already given Angus explicit instructions that if necessary he is to "kill the laird" with his own hands in order to save him from the horror of being hung, drawn and quartered, the fact that by her own act she successfully averts that fate --with Ranald's *own* reaction being "You've saved me from them"-- doesn't seem to justify 'the middle window' being a source of horrors forever afterward. (Also it makes no sense to me that the English soldiers completely disappear from that point onward and apparently never come back to discover what happened...)

And it really wouldn't have hurt to give the characters ten minutes or so of snatched intercourse somewhere in the plot to produce the necessary continuing bloodline :-p

The character for whom I felt the most sympathy, unsurprisingly, was Charles, who is basically an echo of Nadine's husband from the Damerosehay novels: a thoroughly decent career soldier who loves Judith, but in an inarticulate way that fails to satisfy her romantic longings. Only Nadine goes back to George Eliot in the end, and Charles simply has to 'do the decent thing' and allow his fiancée to go off with her Designated Soulmate...

[Mimi · Rating 3 out of 5]

Her first book – a reworked stage script reminds me a lot of the Victoria Holt and Mary Stewart that I read as a kid. Very gothic and with an eye towards the thinness of the veil. Not her strongest book but an interesting story. Fun to think of how it may have influenced the Outlander series. 3.25 stars.

[Landri Kozler · Rating 4 out of 5]

As far as I can tell, this is the second novel Goudge published, and honestly, I could tell. This book might be one of her most simplistic, especially regarding plot and characters. This is the closest she comes to a romance novel, and there is a steady (though, I thought, unnecessary and insignificant) theme of reincarnation, but it seemed more like she was using it to explain the actions of her protagonists as opposed to it being a vital part of the book. I thought the theme of individuality was a way better theme.

Ian, Judy, and Angus were great, though Ian's name should have been Ronald.

I loved this quote: "the scents were all different, all individual, and the flowers that were throwing them to her were as different each from the other as the woods and the clouds and the birds. Each had looked for and found a different perfection. Judy, sniffing, decided suddenly that nature, not man, knew how to live. Man, left to himself, did nothing but glue his nose to his neighbor's back and play follow-my-leader round and round on circles till he died of exhaustion. But natural things, flowers, grasses, trees, these unfolded each after its own individual pattern, spreading their perfection under the sun and rooted in quietness and peace lived out their lives in union with the earth that bore them."

Also, LOVED that it was set in Scotland.

[Gina House · Rating 4 out of 5]

Although I was pretty stuck during the Highland war section of the story (not my favorite subject), I ended up really liking this book. The beginning and end were my favorite parts. Once you get to know the slightly eccentric characters, they become dear to you, even the ones you slightly annoy you, like Judy.

As with many of Elizabeth Goudge’s stories, there was a slight element of magic woven into the plot. In this particular book, I really enjoyed this aspect and I was excited to find out how the situation would play out.

There are many beautiful passages and quotes in this book that I loved. I bookmarked a lot of them to enjoy another time. Usually, I don’t appreciate song lyrics included into the narrative but, in this case, it really worked and the words were haunting and exquisite.

Not one of my favorite of Elizabeth Goudge’s books, but definitely in the top 10!

[Loyola University Chicago Libraries · Rating 4 out of 5]

While aimlessly wandering the stacks one day, I came across a section of old books with mysteriously vague titles: The White Witch, Tower in the Mist, The Middle Window. I plucked the latter title off the shelf and dug in. I chose wisely: this is one of Elizabeth Goudge's earliest novels, and from what I've heard, fairly representative of her work. The story involves reincarnated lovers in the Scottish Highlands, and has some of the most beautiful descriptions of nature I've ever read. Though an excellent mixture of history, mystery, and romance, the book does seem rather old-fashioned in its sentimentality -- but if you're willing to swallow your cynicism, it's a really enjoyable read.

[Mary Stock · Rating 5 out of 5]

This was written a long time ago, but the surpris ending is fantastic. It is a story of love, but not a "chic-flick" book. It has mystery and self reflection. Love this story. Often wish I could go to "The Middle Window" myself.

[Heather VT · Rating 5 out of 5]

Many people seem to be critical of this book because of the split timelines and the idea of reincarnation. I, however, enjoyed it very much, finding therein Goudge's usual stunning descriptions and poignant insights into human character. Granted, I am predisposed to love anything set in Scotland and almost anything written by Elizabeth Goudge, but even with those assumptions, I was captivated with the beauty and both moved and encouraged by the tragedy and hope of this novel.

First, understanding the context in which Goudge wrote this story makes the rather abrupt timeline shifts understandable. She originally wrote The Middle Window as a play and then later adapted it to a novel. Thus, the modern and historical storylines make sense as Act I and Act II of a play. It also explains why the characters do not quite have the depth of some of her later novels; although I think they are developed quite well, considering the translation from a dialogue-driven script to novel. In fact, her seamless descriptions of setting and the incorporation of the characters' thoughts are really quite remarkable.

Second, many of Goudge's novels have a mystical, magical, or supernatural element. I don't believe in reincarnation, but I don't believe in time travel either. This does not preclude my reading and enjoying books that contain these ideas. Part of the enjoyment of a novel, particularly fantasy, is the suspension of disbelief which takes us beyond the world that we know - that mysterious factor of "what if" it could happen. In The Middle Window, Goudge uses the possibility of reincarnation to frame the redemption and restoration that bring a saving grace to the very real hardship and tragedy her characters endure.

Finally, I appreciate how Goudge blends timeless truths with both history and fantasy. The historical Judith lived her life in the wake of great grief and hardship. ". . .And at the end of it all there was nothing to show for it. . ." She is flawed. Grief changed her; her lonely life hardened her; yet she served others and continued working towards an unattainable goal. Her hope was not in success or in the completion of an ideal, but her hope was in something greater - that her small faithfulness in helping others would contribute one day to a better, more beautiful whole. Is that not what we are all called to do? We are surrounded by terrible hardships, war, evil, and sin in ourselves and others on both small and large scales. We may not see God's Kingdom come in our lifetimes; we may not have success or see much fruit from the works or our hands (I am reminded of Elisabeth Eliot, who lost a year's of Bible translation work when a suitcase was stolen), but that does not mean we give up or give in to despair. We are called to faithfulness in the place God has called us and in the work He has given us to do, regardless of success or failure. So, while Goudge partially resolves this tension with the idea of reincarnation (it does make for a tidy dénouement), ultimately, I think she still points to the resurrection and final redemption when all things will be made right and made new.

[Barb · Rating 2 out of 5]

This is a rare negative review. Rare, because usually if I sincerely dislike a book, I will put it down unfinished and never pick it up again. Since one can't honestly review a book without reading the whole thing at least once, and spending some thinking time about it as well, the problem generally doesn't arise.

In this case I persevered with The Middle Window (though it took me numerous tries) because it is an early work by an author whom, for all her many flaws - purple prose, excessive sentimentality, long passages of vaguely theological navel-gazing, repeated use of the same characters under different names, and improbably worked out "happy" endings - I generally enjoy, and I was eager to add another title to the growing Elizabeth Goudge section on my shelves. I have at last choked the whole thing down, several years after its much-too-pricey purchase and at least three aborted previous reading attempts. So I am going to review it, and then tuck it away at the back of the shelf, and move on.

Warning: spoilers follow. If you're already a die-hard Goudge fan, you won't be put off by knowing what happens; it's utterly predictable but you won't mind that - all of her books follow generally the same pattern, and you're okay with that, right? If you're just getting started on her books, or are wondering if they're worth your time, this may help you make up your mind. This author wrote some MUCH better novels - do not start with The Middle Window! Try the Eliot trilogy instead (The Bird in the Tree, The Herb of Grace, The Heart of the Family), or The Scent of Water - my personal favourite.

***

Beautiful and wealthy young socialite Judy Cameron is just getting over the flu, and is feeling physically and emotionally fragile as a result. Wandering through the London streets window-shopping, Judy is inexplicably drawn to a painting in an art gallery window. It is a Scottish scene, mountainside and loch and heather, and as Judy stares into it the traffic sounds fade as she is drawn into a strangely familiar world where, in reality, she has never been before. Luckily her doting fiance, Charles, a cheerful if not particularly intellectual army captain, turns up in time to rescue her from her daze.

Soon Judy is off to Scotland to holiday in a rented estate house which she has somehow located, dragging an entourage of doting father, volubly complaining mother, and bemused Charles - they were supposed to holiday in Bournemouth - they are heading for what Judy knows is the original setting of the painting. And, lo and behold, she is right. Everything is familiar to her, she knows exactly how things will be before she gets there, it's just as if she was once there in a previous life or something! How intriguing!

It gets even more intriging as the estate's picturesque butler ("Arrr, do ye be the wealthy Sassenach interlopers? Here's yer tea, then...") stares into her eyes and calls her "Mistress Judith" with a certain knowing intonation. And look, here's the young laird himself - a hunky dish named Ian Macdonald - come to welcome her. What is this thrill of mutual recognition, and why does he stare into Judy's lovely eyes with such passion, heedless of her bemusedly looming official lover, Charles?

To condense: Judy and Ian are the reincarnations of 1700s doomed lovers and newlyweds Judith and Ranald Macdonald. Before celebrating their wedding night, Ranald tears away to take part in the attempted restoration of Bonnie Prince Charlie to the British throne. As we all know, that attempt ends badly. Goudge subjects us to a long and tiresome historical fiction episode in order to explain all of this - modern-day Judy puts on dead-and-gone Judith's dress and suddenly travels back in time (mentally, not physically - in real life she merely faints) to get the whole story. After the Jacobite rout at Culloden, Ranald eventually sneaks home, where the British forces are waiting for him; they intend to hang him as a traitor. He reunites with Judith, but is sent away to hide nearby until she can get rid of the arresting officers. They are not fooled by Judith's vague excuses, and stick around in ambush. Eventually Judith fires a warning shot through the window and fatally wounds Ranald, who was lurking waiting to sneak into the house. He dies in her arms, but not before telling her not to worry, that their great love will be consecrated in a future generation.

Hence Judy and Ian. Poor Charles is given the heave-ho, but that's all right, because Ian's sister Jean is there to catch him; she's been giving him the glad eye the whole summer, and she's a much better fit for him anyway. Or something.

Gar. What a tiresome story this was. I feel all bilious; I think I need to read something crisp and witty to cleanse my emotional palate. Or maybe another Goudge to prove that she can do better (a lot better!) than this overblown romantic mess. The whole reincarnation thing was just downright disturbing. Not that I have a problem with the concept, at least fictionally speaking, but it felt exceedingly contrived in this case. In later novels Goudge tones this idea down, or perhaps "refines" would be a better term, but she still continually trots out the troubled ancestor "coming back" in the contemporary character for some sort of redemption or fulfillment.

Predictable characters, predictable plot, overly rambling and decidedly over-written. This was Goudge's second published book, following her very popular first novel Island Magic (which I have not yet read; now I'm rather afraid to!) She was definitely still very much finding her narrative voice.

Judging The Middle Window with all of the other Goudge works I have read to date, I would give it one star out of five. For Goodreads I gave it two stars; there's worse out there. It's not a great Elizabeth Goudge, though.

***

And here, for comparison, are some of the others with my personal ratings. Not a full list; I have not read most of her children's titles, nor any of the anthologies. Goudge was, in her heyday, a very popular writer of the "inspirational-romantic" genre. Daughter of a noted theologian, Elizabeth Goudge's strong Christian faith is obvious in every one of her stories, though she also generously allows strong pagan overtones in some of her tales and has a deep tolerance for other religions; some of her best characters are atheists and agnostics. She was all about finding "God" in your own way, not blindly following a laid-out creed; something I deeply appreciate in many of her works.

■A City of Bells (1936) - 3 stars
■Towers in the Mist (1938) - 3 stars
■The Dean's Watch (1960) - 3 stars
■The Bird in the Tree (1940) - 4 stars
■The Herb of Grace (1948) aka Pilgrim's Inn (1948 ) - 5 stars
■The Heart of the Family (1953) - 5 stars
■Island Magic (1934) - have not yet read
■The Middle Window (1935) - 1 star
■The Castle on the Hill (1941) - have not yet read
■Green Dolphin Country (1944) aka Green Dolphin Street (USA title) - 4 stars
■Gentian Hill (1949) - 4 stars
■The Rosemary Tree (1956) - 2 stars
■The White Witch (1958) - have not yet read
■The Scent of Water (1963) - 5 stars
■The Child From the Sea (1970) - 3 stars
■The Little White Horse (1946) - children's - 4 & 1/2 stars
■Linnets and Valerians (1964) - children's - 4 & 1/2 stars
■The Joy of the Snow (1974) - autobiography - 5 stars

[Tabitha · Rating 3 out of 5]

This one of those EG stories that is a little difficult to get through but the ending stays with you for a while and reinforces everything you loved about the story. I feel like this would've been so much better if she had mixed the stories together instead of basically having 2 separate books with an epilogue that joined them at the end... I was JUST getting into Judy's story when it switched! And to be honest the war parts in Judith's story didn't interest me a whole lot.
So this was a mixed bag. But it still had all the imaginative and uplifting elements I look forward to from a Goudge, and was fun to read on misty, ghostly summer mornings.

[Elizabeth · Rating 4 out of 5]

I loved it, acknowledging it doesn't have some of the depth amd nuance of her other works. But I loved it. Interesting story and some really beautiful, poignant reflections. The 'theme' of the book was a bit on the nose, but still Goudge does it better than most.

[Clare Johnson · Rating 4 out of 5]

Definitely not the best Elizabeth Goudge book I've read, but turned out better than I expected. Contained an interesting time twist which is not her usual style. There were some thought provoking ideas and her usual colorful descriptions, which made Scotland sound just beautiful.

[Polly Ekin · Rating 5 out of 5]

Perhaps my favorite book by a beloved author.

[Rose Collins · Rating 5 out of 5]

At the beginning of the book I thought I didn't like this book as much as Goudge's other books. But when the background historical story began I loved it! I could see the connection between the characters and the Goudge's theme of " linking them not only to each other but also to this particular spot of earth in which their lot was cast." Another quote I like "First you find yourself, and then you find where to put yourself." Goudge also brings out how understanding the will of God enables one to find oneself.

[Beth · Rating 3 out of 5]

I love Elizabeth Goudge, but this might be my least favorite of her novels…

[Sherrill Watson · Rating 4 out of 5]

Why is it I find these 'lil 'ol books oftentimes the best???? This one wasn't published in America until 1967, written in 1922 . .

Well. Judy "connects" with Scotland, and with Ian Macdonald, despite being engaged to lightweight, insipid Charles. She drags her whole family to an obscure little house in Scotland where poor Ian dreams of putting an Utopia in the Highlands. And there's Angus, who is somehow a descendant from Angus of 200-odd years ago . . . okay, okay, it's fanciful, MAYBE silly. But I liked it! I even understood Angus' accent!

Why was the middle window light blocked off? For a good sad reason!

[Melissa Swearingen · Rating 2 out of 5]

I sort of liked this one. Her writing is beautiful, but the main character is just so selfish that it was hard for me to look past even with the storyline of strange things happening to her that I suspect was supposed to partially explain her selfishness, but it was just painful to read that much self-absorption. I skimmed the last half as I just didn’t want to invest more time.

[Marliss Bombardier · Rating 2 out of 5]

I don't think Elizabeth Goudge believed in reincarnation. She was certainly a strong Christian. But this book is about reincarnation, and I don't recommend it. I think I read somewhere that later in life she regretted writing it.

[Elaine · Rating 5 out of 5]

Found this book on a secondhand bookstall when I was about 15yrs old. I absolutely Loved it! (Was beautifully reminded of the author when, 'The Little White Horse' was re-issued a few years ago.) Love the mystical everydayness which this book portrays.

[Marjorie · Rating 2 out of 5]

Not a particularly good example of EG'a writing.

[Carolyn Hill · Rating 3 out of 5]

I first read this many years ago and, being a Goudge fan and interested in Scotland, I sought it out and found a used copy. (Our public library where I had first found a copy had unfortunately purged it.) I remembered that it was very much a reincarnation story. That doesn't bother me - in fact, I'm rather intrigued by it - but it might put some people off. Goudge was a deeply religious Christian and her spirituality informs all her books, so the reincarnation theme is a bit surprising. The book was first published in 1939 and was one of Goudge's earliest works, so she is still an immature writer at this point. What struck me on the re-read is that this is an early example of a type of book, a time-skip, that has been popularized of late. I can't help but think of the Outlander saga and Susanna Kearsley's books, which also have a contemporary story combined with an historical one which takes place in Scotland around the same period. Of course, contemporary for Goudge's book was the 1930's! Goudge is known both for her modern day and historical novels, so it is not surprising that she combined them here.

As usual, Goudge's lyrical descriptive writing of the Scottish setting is wonderful, and, as also typical, there is an old house at the heart of it. This always draws me in. The book is divided into two sections; the first being the story of the modern character, Judy Cameron, and the second, Judith MacDonald in 1745 -1746, with an epilogue going back to the modern Judy. Those who know Scottish history recognize those dates as the disastrous campaign of "Bonnie Prince" Charles Stuart returning from France to reclaim the English throne, mustering the clans, and ending in total defeat at the Battle of Culloden and the dispersion of the clans. Judy has convinced her wealthy parents and fiance to take a vacation from London to the Scottish highlands and, through wild improbability, rents a house that she immediately feels at home in as well as a connection to the owner, Ian MacDonald. But there is a sense of overwhelming tragedy and Judy feels the haunting of the past.

Unfortunately, Goudge's telling gives way to melodrama. Everything is overwrought. The modern Ian MacDonald, as well as his ancestor, Ranald MacDonald, is idealistic and wants to create a Utopia in his little hidden valley in the mountains. As a trained doctor, his work is understandable, wanting to care for the neglected crofters of the region. The idealism of the eighteenth century Ranald, however, is tied up with the Prince and is not really comprehensible. The 1745-46 rebellion, which Ranald joins, was as much a religious war as a political power struggle, though Ranald doesn't seem to be overly religious. He is more concerned with saving the 'old ways' of the clans. These are distinctly feudal, and as a laird, no matter how benevolent, he certainly benefits from the system. The Scottish lairds as well as the common Highlanders were treated brutally after Culloden, and, with the outlawing of the language and traditions, the results of the war effectively crippled a society and culture. In the second part of the book especially, there is a lot of philosophical grandizing about the nature of faith and the endless struggles in life. The ending of the historical part of the book is gripping, but overplayed. Judith would have been a lot more sympathetic if her steely resolve had been more evident. I also never saw how her dedication to her husband's Utopian dream played out. If she had tried to better the brutal lives of her common neighbors, wouldn't she have earned at least respect and veneration instead of being alone and isolated and considered strange? The story of Judith's aging character didn't seem to make much sense. She worked tirelessly, but for what and how? She was supposedly driven by a purpose, but what it was was unclear.

For those who are Goudge fans, or who enjoy an historical fiction view of the events surrounding the battle of Culloden, or who like a story with reincarnation themes, this would be a book to read. However, it is not one of Goudge's best, and is given over to too much melodrama. It does have its bright moments, though, as all Goudge's books do.