Whenever I think about Anne Goodwin Winslow, I tend to pair her up with Isa Glenn (whose work was discussed in my interview with Veronica Makowsky). They were both true Southern belles, daughters of wealthy and powerful men, who married Army officers, followed them to exotic assignments, and then, as widows, turned to writing (for a few years) and then faded into obscurity.
Whatever the similarity in their lives, however, their approaches to writing were strikingly different. Glenn, who settled in Manhattan after her husband’s death and started publishing in the 1920s, was usually satirical and looked back upon the South in which she grew up without an ounce of nostalgia. Winslow, on the other hand, retired to her family home, Goodwinslow, outside Memphis and portrayed the South in light strokes and subtle tones. This is not to suggest that she saw her past as a better time — simply that she was a sketcher, while Glenn was an etcher.
Winslow’s delicacy of style may be her greatest handicap in appealing with today’s reader. As I wrote in my post on her final novel, It Was Like This (1949), “Winslow spent most of her time paring away her prose, taking away inessential details, replacing the direct with the indirect, until what was left was timeless in its simplicity and perfection.” It seems like so little happens in her books that it’s easy to miss what does.
Not that there isn’t drama in her third, and best-regarded, novel, The Springs. A jealous husband arrives one night and murders the handsome local boy with whom his wife has become infatuated, leaving the body lying beside the springs of the title and calmly walked away, knowing his money and influence would keep him from any punishment. From the moment Mr. Dupree had arrived from New Orleans to deposit his wife and children at the hotel, people had smelled trouble. Stocky and arrogant, his capacity for violence was palpable, and Mrs. Dupree was quickly seen to be a stupid and foolish woman unable to admit her age.
But what I’ve just written is crude and obvious compared to how Winslow tells the story. And it isn’t even the central story in The Springs. In fact, I somewhat suspect that Winslow included the Dupree’s re-enactment of Othello to enhance the contrast between the coarse lines of their drama and the almost imperceptible filaments of the triangle that forms around Alice, the seventeen year-old girl through whose memory the story is filtered.
Mr. Mason, a man from Charleston, South Carolina sent to work in Memphis in the cotton business, falls for Alice at first sight. But though he spends hours walking and talking with her, often telling her of his family’s once-grand plantation, he feels himself encumbered by a commitment to help restore his parents to their former status in Charleston society. When Mason introduces Alice to Brian Howard, a rich and handsome young Englishman (“They really do seem to be surprisingly like they are in the books they write about themselves,” he observes), he consciously puts Brian forward as a more suitable candidate for her hand.
Though Alice seems oblivious to the maneuver, when Brian falls for her and returns the next year with his family’s approval, she accepts his proposal. Mason has gracefully exited stage right, and when he comes back later, she is somewhat perplexed, feeling that it was Mason who had failed her. To her, Mason is the poetic soul and Brian just the rugged outdoorsman, best seen with shotgun in hand and brace of pheasants hanging from his belt. The fine, the beautiful, the romantic thing to do would be to flee with Mason to his doomed plantation by the sea.
But the real story Winslow is telling in The Springs is not about passion or romance but about perspective. The perspective than transforms experience into memory.
Once when they were going through the woods and the others had gone on ahead, she and Mr. Mason stopped under the tree where they used to spend so much time talking, and it made her feel a little strange. In spite of all you could do, and no matter how happy you were, things were always slipping. You never could hold on to them; you just had something else instead.
“It seems so long ago, doesn’t it?” she said.
He had taken off his hat and stood looking up into the tree, but now he looked at her. “How can it, when you’ve never been in any long ago? That’s a place you are never going with me. I’ve told you that.”
“Do you mean you can really hold on to things — in your mind — so that you don’t feel sad about them?”
“Maybe they hold on to me.”
“This place, for instance?”
“This place. But I have had you here with everything green around you. Stand over there and let me put the colors in. Without your hat.”
She stood quite still, helping him to get the picture he wanted to keep; then he let her go and they walked on.
“You mustn’t ever worry about the past, Miss Alice,” he said. “It hardly ever lets you down. As a rule we like it better and better as we go along, or we can keep working on it until we do.”
Mason sees Alice from the distance of a man twenty years her elder. Alice recalls this time from a distance of forty years and another continent. Winslow, who was 74 when The Springs was published, had the perspective of even greater distance, and was able to show — subtly — delicately — indirectly — how each separation from experience loses something in intensity but gains something in proportion.
Winslow never suggested it, but from a few bits of information, one can determine that there was a strongly autobiographical element to The Springs. The home where she grew up, Goodwinslow, butted up against the edge of Raleigh Springs, a resort that was set up in the late 1800s to take advantage of the supposed medicinal benefits of the local natural springs, somewhat of a Deep South competitor to the Greenbrier and Saratoga. Like the Springs in Goodwin’s novel, the Raleigh Inn eventually lost its prestige and was turned into a girls’ school. Winslow kept up Goodwinslow, however, dying there in 1959, and it remains one of the fine Southern mansions gracing the outskirts of Memphis.