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Peter Greave’s Secrets

Gerald Wilkinson and his parents, Bombay, India, 1914.
Gerald Wilkinson and his parents, Bombay, India, 1914.

I first came across Peter Greave in a battered Penguin paperback copy of his 1977 memoir, The Seventh Gate, that I’d found at the Montana Valley Book Store, a marvelous storehouse of books in the little town of Alberton, Montana. The Seventh Gate has the grim fascination of a car crash. Born in Bombay in 1910, Greave spent his first years in the comfort of a villa surrounded by a lush garden and cared for by Indian servants. That haven was soon destroyed, however, by his father’s predilections. It wasn’t just that his father (who is unnamed in the book) was a swindler, he was also a chronic exhibitionist. He would ask his wife to play something on the piano to keep her occupied while he strolled out to their porch and exposed himself.

Greave’s childhood was punctuated by abrupt moves as his father fled the police and creditors or pursued ever-riskier ventures. In late 1918, the family sailed from India to New York City on a ship called The City of Lahore to make a fresh start. The voyage was not smooth: the ship was quarantined at Cape Town when influenza broke out among the crew; then the Hindu and Chinese seamen began fighting and one man was thrown overboard. Twice German submarines tried to torpedo her. Then, hours after the family disembarked in New York, the ship caught fire and sank at pierside.

Advertisement for the 1921 Dixie Flyer.
Advertisement for the 1921 Dixie Flyer.

Greave’s father tried to set up an import/export business. It failed. Then he took off for South Africa hoping to sell Afrikaners a new American automobile called the Dixie Flyer. Greave’s mother and the three children were left freezing in a tenement flat in Brooklyn. Unfortunately, the car had a tendency to stop running, usually far from a garage. The father returned and took the family back to India again. This time he started a sporting newspaper; it too proved a failure. Then he set up a lottery scheme that proved another scam. He was convicted of fraud and sent to jail.

Greave’s mother fell ill of cancer. As he writes in The Seventh Gate, the family fell apart “like an old trunk eaten by white ants” — his sister sent to a convent in Calcutta, Greave and his brother to a derelict school in Darjeeling. Desperate for a home, Greave ran away from the school in the spring of 1923. Alone and almost penniless, he traveled eight hundred miles — walking, train-hopping, stowing away on a boat — to a remote town in East Bengal. There he persuaded a kindly woman he barely knew to take him in.

Cover of the Penguin edition of The Seventh Gate.
Cover of the Penguin edition of The Seventh Gate.

By the time Greave was a young man, he’d become accustomed to life on the fringes of Anglo-Indian society. With his sketchy education and lack of connections, he took whatever work he could get. He sold gramophones; he sold refrigerators; he sold coloured enlargements of family photos for a firm that rarely delivered them. He spent most of his time reading, going to movies and getting drunk: “I lived like a nomad, moving from one city to another, existing in seedy hotels or in shoddy rooms.” His father reappeared. The two often shared the same rooms and pooled their meagre resources. Then one day in 1938 while shaving, Greave noticed a reddish bump on his forehead. Others appeared on his legs and buttocks. A doctor diagnosed food poisoning: “You’ve been eating some muck from the bazaar.” New symptoms joined the skin lesions — numbness in his right hand, pain and cloudiness in his eyes.

Finally, he went to an Indian hospital in Calcutta, where he was diagnosed with leprosy in August 1939. Hearing this news, Greave “realised instinctively that I had crossed a frontier from which I could never return.” He spent the next seven years in squalid Calcutta flats, living off handouts, an occasional cheque from his father and the kindness of a few Indian friends. With India being torn apart in the conflicts over Partition, his existence grew more and more tenuous until he received a letter from a doctor with the British Empire Leprosy Relief Association. The doctor offered him free treatment at St Giles, England’s last operating leprosy clinic, outside Chelmsford. Greave managed to obtain a berth on the Franconia, a ship carrying British Army troops and their families away from the embattled former colony. The Seventh Gate ends in August 1947 as Greave stands on the deck, his last view of India slipping over the horizon.

The story that followed was told in Greave’s first book, The Second Miracle, published in 1955. His first miracle was making it to St Giles, where through slow and painful drug therapy, his leprosy was cured. The second miracle referred to in the title was his spiritual recovery. Greave wrote in the brutally honest tradition of Rousseau and Stendhal that considered hypocrisy as the greatest of all sins. While he hid away from the world in his room in Calcutta, Greave had come to see his disease as a mark of “the guilt of a thousand generations of twisted minds, and of bodies thirsting for decay.”

The Homes of St. Giles, the last clinic in England for the treatment of leprosy.
The Homes of St. Giles, the last clinic in England for the treatment of leprosy.

The Second Miracle takes the reader not only through the physical ordeal of Greave’s treatment for leprosy but also his realisation that he — not his doctors and not God — was responsible for what he made of his situation. In the end, he went from slinking through his days “sunk in lethargy” to an attitude of joyful penitence — of saying in his prayers, “Thank you — give me more.” This attitude would be crucial to Greave’s acceptance that, despite being cured, his leprosy had left him with such severe damage to his eyes, nerves and muscles that he would remain at St Giles, dependent on its care, for the rest of his life. It fills the two otherwise grim books with vitality, wonder and hope.

Years after I posted pieces about The Seventh Gate and The Second Miracle, I was contacted by Josephine, a woman living in Herefordshire. Josephine had been given Peter Greave’s journals by a friend. Greave had left them to the secretary at St Giles and through various hands they made their way to her. Having been born and raised in India, both Josephine and her husband had a keen interest in materials related to Anglo-Indian society. She also informed me that Peter Greave’s real name was Gerald Carberry, though she had no idea why he’d chosen the pseudonym.

In June 2019, I arranged to visit Josephine and look through the journals. When I arrived, she showed me into her dining room. There on the table sat an old fruit crate filled with what looked like two dozen or more well-used school notebooks. Josephine had marked the dates covered by each — the earliest starting in January 1937, the last in late 1969.

The first entry in Gerald Carberry's diary, dated 11 January 1937.
The first entry in Gerald Carberry’s diary, dated 11 January 1937.

Not knowing what I would find, I hadn’t planned how to use the few hours I had. At first, I skipped through entries almost randomly, photographing pages with my phone. In the earliest entry — 11 January 1937 — he was miserable. “Nothing to read, nothing to do, and no money. And a god-damned toothache.” He was rooming with his father — “H,” for Herbert Carberry — who is also broke but working on some suspicious deal: “I’m sick of his strong silent man act.” And he was frustrated with a woman he referred to as “C”: “It’s like her to start her stuff when I’m in a worse corner than usual.” I jumped forward to the 1950s, where he reported his progress in writing The Second Miracle, worried about publishers and critics, exulted when BBC Radio invited him to appear. In the journals from the 1960s, the handwriting grows larger, looser and more difficult to decipher. Fears about losing his sight came to dominate the entries.

Pages from Gerald Carberry's diary.
Pages from Gerald Carberry’s diary.

I soon began to focus on references to “V.” The initial first appears in the entry of 5 June 1948, the first since his arrival in England nine months earlier. V appeared to a nurse at St Giles. “V was anxious this morning, and behaved with less than her usual sense,” Gerald wrote.

By August, she had left the clinic and he went to see her in London. They saw Oklahoma at the Drury Lane Theatre, sat together in a bar full of visitors to the Olympics and, near midnight, went to V’s room. They “experimented with passion,” but he confessed, “I felt little real desire.” “She sensed it almost immediately and was, I fear, hurt and disappointed.” And yet she begged him, “Can’t we be married?” He quickly gave in. On 9 September 1948, he wrote, “I’ve done it! What the blazes it will lead to I don’t know.” Just a few lines later, he wondered if the marriage can be annulled but feared the resulting publicity “would immediately finish me.” He hadn’t told anyone at St Giles aside from “M,” a fellow patient and confidant.

Armed with the date of the marriage, Josephine and I searched on a genealogical website and confirmed that Gerald Carberry and Violet Wood married in London in September 1948. This fact — indeed Violet’s very existence — was never mentioned in The Second Miracle. It seemed from the diary that Gerald and Violet rarely lived together — there are notes about sharing holiday cottages, but also entries where he fretted about not receiving letters from her.

Then, in an entry dated 26 September 1964, he wrote, “10 months since Vi died.” In the following pages he wrote multiple versions of the days leading up to her death: “And so, when I returned to your room it was all over …”; “It must have been around eleven on the night of 25 October 1963 that I learnt she was going to die”; “She died on the morning of the 5th of December.” It was as if he hoped to appease grief by achieving the most precise record of her death. Yet the sense of loss remained. In one of the last notebooks, from December 1966, one line appears on the inside cover: “My dear Vi, I miss you so very, very much.”

A note from 3 December 1966: “My dear Vi, I miss you so very, very much.”
A note from 3 December 1966: “My dear Vi, I miss you so very, very much.”

As I later read through the hundreds of pages I’d photographed, it became clear that Violet was not the only secret Gerald Carberry had kept from the readers of Peter Greave’s books. In trying to reconstruct Gerald’s story through further research, I discovered that Carberry was also a pseudonym. Gerald Carberry had been born Gerald Wilkinson and christened at St Teresa’s Church in Kolkata on the 11th of November 1910. His parents were listed as Herbert Reginald Wilkinson and Katherine Margaret Wilkinson, nee Tighe.

His father had been born in Manchester and enlisted in the 1st (Kings) Dragoon Guards at the age of 16 in 1899. After service in the Boer War and Aden, he made his way to India. When he married Katherine Tighe, whose father had been a police commissioner in Bombay, in 1909, Herbert Wilkinson’s profession was listed as “merchant’s assistant.” The job must have involved some travel, because a few months before Gerald’s birth, Herbert was arrested and fined in Adelaide, Australia for indecent exposure.

Herbert Wilkinson's arrest for indecent exposure, Adelaide, Australia, 29 June 1910
Herbert Wilkinson’s arrest for indecent exposure, Adelaide, Australia, 29 June 1910.

Sometime after the family’s return to India in 1922, Herbert Wilkinson changed his name, because the Times of India article about his conviction for “cheating and abetment” identifies him as “Herbert Carberry, alias Wilkinson.” The rest of his family went along and Gerald began Gerald Carberry, the name by which he was known outside of his books.

Greave had also taken liberties with some of his characters. In The Seventh Gate Greave wrote of his sexual relationship with a woman he called Sharon. Sharon was clearly the “C” of Gerald’s diary: “C and I spent hours together yesterday;” “With C all afternoon.” He was deeply affected by her: “Another of C’s moods worked off on me;” “Struck cold by something C said.” According to the book, Sharon married, left India in 1946 and was killed in a traffic accident soon after arriving in England.

In the diary, however, C remained alive and part of Gerald’s life into the early 1960s—despite his marriage to Violet. He wrote of meeting her. In 1951, he quoted from one of her letters: “For God’s sake, come to me Gerald; come to me before I lose my sanity.” From some of the clues in the diary, I was able to identify “C” as Catherine Rowland-Jones. Born in Bombay in 1914, she married Owain Rowland-Jones, a ship’s captain, and left India for England not long before Gerald’s own departure. Living in Kensington after coming to England, it would have been easy for her to meet with Gerald, who appears to have come to the city often by train from Chelmsford.

An excerpt from the diary entry for the meeting with "Mac", November 1966
An excerpt from the diary entry for the meeting with “Mac”, November 1966

After Vi’s death, yet another woman appears in the diary: Mac. In a long entry from November 1966, he wrote of meeting her at the Liverpool Street station in London, after which they spent a long afternoon in the bar of the Great Eastern Hotel. “For the first hour her behaviour was relatively subdued, but as one double vodka after another disappeared her voice and her spirits rose disquietingly.” She plied Gerald with drinks, insisted he kiss her, implored, “Will you marry me?” She may have been another nurse from St Giles, as she speaks of her impending departure for “that big hospital in Barnsley” (Yorkshire). He referred to her apprehensively as “Mac the Knife.”

By this point, however, sight was his biggest concern. From the early 1940s, the effect of leprosy on his sight had been a constant worry. “I just don’t know what to do with these bloody eyes”; “Eyes killing me again”; “I feel blindness hovering over me.” At times, he couldn’t focus or bear bright lights. In the 1960s, there were repeated visits to the Royal Free Hospital for operations. Each time he wondered whether he would wake up from the anesthesia and find himself blind. In the next entry after his meeting with Mac, he writes, “The world becomes increasingly foggy and indistinct. All I see is seen darkly even at noon when the sun shines brightly.”

The last diary entry in Gerald Carberry's handwriting, 30 December 1966
The last entry in Gerald Carberry’s handwriting, 30 December 1966

His ability to see became intertwined with his will to live. “Long ago I made up my mind that when it came to this, I’d say, OK, enough,” he wrote in late November 1966. “But already I may have lost the power to act, to conclude the final chapter.” The last entry in his hand is dated 30 December 1966: “Almost certainly my last entry. No sight left — can’t read, can’t write. At last I’m ready to say — I don’t want to live anymore.”

After this, the remaining pages are blank. The next journal opens in early 1967. The handwriting is new, a precise secretarial copperplate: Gerald’s dictation, taken down by the secretary at St Giles. Occasional passages are written in Pittman shorthand: other secrets to be revealed, perhaps.


This is an expanded version of a piece included in Secrets & Lives: The University of East Anglia MA Non-Fiction Anthology 2020.

Candidates for the #1956Club

The 1956 Club logo
For about five years now, Karen Langley (Kaggsy of Kaggsy’s Bookish Rambles) and Simon Thomas (of Stuck in a Book) have instigated a semi-annual event in which people around the world take a week to read and write about books published during a particular year. The next round, coming up the week of 5-11 October, will look at books from the year 1956.

1956 was a terrific year for what I might call good but not stuffily great books. Perhaps the best example is Rose Macaulay’s The Towers of Trebizond, which won her the James Tait Black Memorial Prize for fiction and which is much loved for the spirit embodied in its opening line: “‘Take my camel, dear,’ said my Aunt Dot, as she climbed down from this animal on her return from High Mass.” This was Macaulay’s last novel; also appearing in 1956 is Anthony Burgess’s first novel Time for a Tiger, the first book in his Malayan Trilogy.

To encourage folks to take advantage of the #1956Club while also discovering something beyond what’s readily available for instant download or overnight delivery, I’ve put together this list of 10 long-forgotten and out of print books from 1956.

Dust Jacket from Solo by Stanford Whitmore

Solo, by Stanford Whitmore

A first and only novel about a jazz pianist working in Chicago. In the Sphere, Vernon Fane wrote, “Mr. Whitmore’s hero is an eccentric young man who describes himself as the last individual in the world, is a brilliant jazz pianist and, by his almost total independence, makes himself as many enemies as fans.” In the Guardian, Anna Bostock found Whitmore’s knowledge of Chicago and jazz “fascinating … with its own values, manners, and language, and the author’s sure command of these gives the novel something of the quality of a good travel book.” In the Observer’s year-end wrap-up, John Wain wrote that he’d under-praised Solo, “which has stayed in my mind very firmly since January, and show no sign of dissolving.”

 

Cover from For All We Know by G. B. Stern

For All We Know, by G. B. Stern

A novel about the theater and all the personalities around it. In the New Statesman, Michael Crampton wrote that it “throbs with the passionate, false life of the stage. Everybody strikes poses, and there’s a good deal of sharp elbowing up right and down left in the crowd scences. But I find that green-room novels, like salted almonds, are insidiously to my taste.” Isabel Quigly praised Stern’s ability to manage a vast cast with sublime nonchalance. “For All We Know (a suitably airy title) is about one of those brilliant, fictional families with ramifications so complex that even with a family tree at the beginning you can hardly tell by the end exactly who is whose great-aunt or grandmother or second cousin. But it doesn’t really matter; what does is the frightful, fascinating buoyancy of plot, characters, conversations and, of course, plain narrative.”

 

Cover of The Brazen Head by John Cowper Powys

The Brazen Head, by John Cowper Powys

One of Powys’s last books, described as a phantasmagoria and set in Wessex at the time of Roger Bacon. “A profusion of odd characters — barons, sorcerers, giants, enchantresses — appear and disappear, argue, tangle and disentangle, evacuate, copulate or die,” wrote Tom Hopkinson in the Observer. Hopkinson found the book a molten, formless mass — but didn’t think that mattered much. “The book’s chief quality,” he wrote, “lies in the author’s immense erudition and expansive kindliness of heart, which gleam, whenever they are allow to, through the boisterous confusion of action and the ceaseless babel of talk.” Both Stevie Smith and Angus Wilson named The Brazen Head one of their books of the year. “It is beautifully, deeply weird and also happy,” wrote Smith, while Wilson called Powys “still the most original living English writer.”

 

Cover from Remember the House by Santha Rama Rau

Remember the House, by Santha Rama Rau

A novel about an English-educated Indian young woman in Bombay (Mumbai). Isabel Quigly found it seems—and maybe is—the first novel I remember reading which takes you right away from, right beyond, the confines of western thought. And so delicately that you barely notice, till afterwards, you have spent time in another world. The surface is perfectly familiar—a light, glittering, conversational style, dialogue that often recalls Mr. Waugh in his bright young days, action at just the right pace to keep you interested but not breathless, characters beautifully disposed and organised. ” “The worn old adjective ‘brilliant’ does really apply to this extraordinary eyocation of a way of life at once familiar and remote: and so deftly, so—in a brash, lighthearted way—femininely” Quigly concluded, “that you are half lulled into thinking it just another novel about social habits: which it is, but so very much more. And, I almost forgot to say, highly entertaining, at the idlest level of appreciation, as well.”

 

Cover of Image of a Society by Roy Fuller

Image of a Society, by Roy Fuller

Mary Scrutton spoke for many potential readers when she wrote in the New Statesman, “I never met a more misleading title than Image of a Society. It sounds like yet another sociological survey. In fact it is rather like a good Arnold Bennett, only it is well written [posthumous apologies to Mr. Bennett]. It is about the people who work in a large Building Society in a provincial town, and more particularly about two of them—the ambitious, cocky, extrovert executive who is fancied as the next General Manager, and the sad, intellectual parent-ridden young solicitor who falls in love with that executive’s wife. Both men are most shrewdly studied, but not at the expense of the background; the whole movement of the office is tersely and wittily conveyed.” Scrutton had exceptional praise for Fuller’s skill: “It is a beautifully organised novel, all the more moving for being closely pruned. It gave me the feeling that I had when I first read Afternoon Men—namely, that most novelists never succeed in extracting the statue from the stone at all. No wonder it is often such hard work trying to enjoy them.”

 

Cover of A Single Pebble by John Hersey

A Single Pebble, by John Hersey

This short novel drew upon Hersey’s years of living in China as the son of American missionaries. An American engineer travels by upon a junk up the Yangtze River in search of a location for a dam. But the story is more in the journey and the interactions between the young Westerner and the members of the crew, lead by a man known as Old Pebble. Howard Mumford Jones wrote that the book’s narrative “is merely the occasion of the novel, not the substance of Mr. Hersey’s art. He wonderfully succeeds in purveying the slow, dreamlike journey up this ancient river. We move with the junk as if under enchantment and are as helpless as the teller of the story to alter the drift of event or comprehend the Chinese enigma.” Santha Rama Rau found that Hersey “captured all the magic, the terror and the drama of that extraordinary stretch of water.” John Wain called it “the most distinguished book I read in the year — the one I would have least hope of ever being able to emulate.”

 

Cover of A Dance in the Sun by Dan Jacobson

A Dance in the Sun, by Dan Jacobson

A short novel about the encounter between two drifters and a farm family they meet on a road in South Africa. John Wain gushed about the book in his Observer review: “A Dance in the Sun is a beautiful performance, a model of how to treat a vastly complicated subject without over-simplifying, and yet without ever becoming confused. As a novel of suspense, it could be enjoyed in the simplest way, but I doubt if anyone will be able to keep his reaction dewn to this level; the real subject of the book, race relations in South Africa, is so insistently present that it will touch and move the stupidest and most calious reader.” “Altogether,” Wain concluded, “one might, without absurdity, put this novel on the same shelf with A Passage to India — and that is a very small shelf.”

 

Cover of The Seven Islands by Jon Godden

The Seven Islands, by Jon Godden

A short, simple, almost artless story about a holy guru living as a hermit on an island in the Ganges and the quite unholy measures he takes when he encounters competition in the form of Dr. Mishra, who wants to set up his own commune on a neighboring island. It’s a bit parable, a bit human comedy, and a bit distillation of Godden’s many years of observing Indian manners and thought. “This gravely mischievous fairy tale has a moral too good to give away,” wrote John Davenport. “A singularly charming book.”

 

Cover of Jamie is My Heart's Desire by Alfred Chester

Jamie Is My Heart’s Desire, by Alfred Chester

Jamie Is My Heart’s Desire left many reviewers flummoxed but impressed. In the Listener, Sean O’Faolain wrote that it was “impossible to summarise … all a matter of mood, atmosphere, place, temperament: New York in a strangely, Parisian dress, more Baudelaire than Bonwit Teller.” The hero lives above a funeral parlor, hangs out with a deadbeat novelist, a one-eyed priest, and a warm-hearted social worker. The trappings and atmosphere of the mortuary seeps into everything in the book — “Only the vampires are missing,” O’Faolain joked. He was not entirely off the mark in writing that “Mr. Chester is a real writer; corrupted, somehow, astray somewhere, probably in French Lit., and exile — I hazard the guess.” “Would Mr. Alfred Chester, present whereabouts unknown, please return home immediately where his talent lies seriously ill?” O’Faolain pleaded.

 

Cover of The Marble Orchard by Margaret Boylen

The Marble Orchard, by Margaret Boylen

The second of only three novels that Boylen wrote before dying at the age of 46, The Marble Orchard takes the Southern Gothic sensibilities of Flannery O’Connor and sets them down in the middle of Iowa, where Boylen grew up. Lovey Claypoole, a girl blinded as a result of one of her tinkerer-inventor father’s failed experiments, spends many hours roaming the graveyard — the marble orchard of the title — and talking with her town’s outcasts. Orville Prescott, the New York Times’s oracle of the time, only read the book because his daughter forced it on him. “I had to find’ out for myself about this strange novel which some people liked so much and some people disliked so heartily,” he later wrote. “Sometimes its crackling rainbow prose seems so artificial that all sense of reality is lost. But far more often Lovey’s extraordinary talent for the imaginatively right word, for the concrete detail that will bring a whole episode into life, for a fantastic but wonderful figure of speech, makes reading The Marble Orchard an exhilarating experience.

In the end, Prescott found the book “so original in matter and manner, so startling in its verbal acrobatics and so witty in a raffish and bizarre fashion unlike anything ever printed on paper before that it ought to make Mrs. Boylen famous.” It did not, of course. But as Prescott acknowledged, “Queerly brilliant books are all too often ignored.”

If you’re running out of time to locate one of these ten neglected titles, however, here are some others worth at look. These well- or somewhat well-known and in print titles from 1956 are almost enough to tempt me to divert from my path through the land of the neglected:

My Dog Tulip, by J. R. Ackerley

Ackerley’s loving memoir of his Alsatian dog Queenie (whose name was changed to Tulip out of concerns over inferences about Ackerley’s homosexuality) was turned into an animated feature with Christopher Plummer in the lead in My Dog Tulip in 2009. Both the film and the book are well worth looking for.

O Beulah Land, by May Lee Settle

Settle’s third novel and the second volume in what would ultimately become known as the Beulah Quintet, O Beulah Land is about the early settlement of the Ohio Territory. Like all of Settle’s books, it combines deep tenderness towards nature and emotion with absolutely unflinching depiction of the violence that runs through so much American history.

The Lost Steps, by Alejo Carpentier

This was really the first novel that made English language readers sit up and realize that Latin American novelists were coming up with something new — the sizzle before the Latin American boom, if you will.

Andersonville, by McKinlay Kantor

A huge book (~800 pages) and a huge bestseller, this account of the grim conditions in the notorious Confederate Andersonville prison camp — particularly coming after World War Two and the grim images of Nazi concentration camps — helped offset (somewhat) the nostalgia for the antebellum South embodied in that other doorstopping bestseller, Gone with the Wind.

The Tree of Man, by Patrick White

Technically, this only qualifies for the #1956Club for readers in the UK, where it was published about nine months later than its appearance in the US and Australia. Like The Lost Steps, The Tree of Man was a book that made readers in the Northern Hemisphere sit up and realize that great fiction that wasn’t just English stories transplanted were being written in Australia.

The Emigrants, by Vilhelm Moberg

Moberg published the first of his four volume Emigrants series in 1949, but it first reached English readers in 1956. In a fair world, we’d recognize it as one of the better candidates for the Great American Novel: taken together, the four books are the closest thing we have to an epic of the American Dream in all its complexities.

Tunes of Glory, by James Kennaway

Kennaway’s first novel, later made into a terrific film starring Alec Guinness, Tunes of Glory is a favorite with many a soldier for its knowing depiction of the turnover of traditions and generations that’s inherent in the history any military unit that wants to remain effective.

Anglo-Saxon Attitudes, by Angus Wilson

Angus Wilson was just nine years older than Kingsley Amis but he unjustly got labeled as an old man (in contrast to the Angry Young Men), despite the fact that his satirical blade cut far deeper and sharper than Amis’s. I’m not sure he had the best judgment in his choice of titles, either, which is a shame. I’d take Anglo-Saxon Attitudes over Lucky Jim any day of the week.

A Charmed Life, by Mary McCarthy

Although I prefer McCarthy as a critic than as a novelist, I had to include this book — which Edward Albee had to have read before writing “Who’s Afraid of Virginia Woolf?” — because it is so much better than the book she’s best known for (which need not be named).

Pincher Martin, by William Golding

Another example where the novelist’s best known book pales in comparison to a somewhat lesser known work. I remember the impact when I realized, late in the book, was Golding was doing, what really was the fate of Pincher Martin. It was like that moment in Richard Yates’ Revolutionary Road when we learn that April Wheeler is dead: a punch in the chest that takes your breath away in shock.

A Train to Pakistan, by Khushwant Singh

So much life, so much suffering, so much death is packed into the under-200 pages of this novel about the partition of India and Pakistan in 1947. An antidote for anyone who gave up without finishing Midnight’s Children

An Indian Train Station, from Two Under the Indian Sun, by Jon and Rumer Godden

When_the_train_stops_in_India

When a poor Indian family intended to travel, it seemed to take its entire belongings and move with them and all its family members — as Fa’s babus called them — into the station and camp until the right day and time arrived to take the train. They spread their mats on the platform, slept there, cooked their food over small braziers, washed under the station tap, while the coolies and other passengers and railway officials stepped round or over them; nobody seemed to mind but the platforms were crowded in a babel of noise. Not only humans used the stations: there was always a sacred bull, wandering from camp to camp and calmly helping itself to the food; there were goats, chickens, pigeons, and pye-dogs which were well fed compared to street ones — people threw scraps from trains. The beggar children knew this; people even threw money, perhaps because travelling was so spendthrift anyway that a pice or two more or less did not matter. Beggars were not allowed on the platform — the railways had some rules — but the children bobbed up on the other side of the train and stood between the tracks rubbing their stomachs and wailing, “No mummy. No daddy. No foo-oo-d,” but as they wailed they laughed and pulled faces at us. All along the platform were booths, kiosks, and barrow stalls that sold inviting things, especially hot good-smelling Indian food, but, “Not safe,” said Mam and Aunt Mary. In those days there were no ice-cream barrows but sherbert was sold, and brass trays held sticky Indian sweets. Mam bought oranges and bananas, but not the open figs or dates. There were sellers of green coconuts who would obligingly hack off the top of the nut so that the customer could drink the cool juice, and sellers of soda water, lemonade, and the virulently red raspberryade we always longed to try. There were water-sellers too. Magazines and cheap books printed in English, Hindi, Urdu, Bengali, Tamil, were carried round on trays but best of all were the toy barrows that had chip baskets of miniature brass cooking pots and ladles, or bigger baskets of wooden toys painted with bright flowers, and wooden animals and birds, all sizes, painted with flowers too: crimson daisies, green leaves, yellow roses. There were feather dusters and fans, strings of beads of the sort worn by tikka-gharri ponies, and there was always bustle and drama and noise.

from Two Under the Indian Sun, by Jon and Rumer Godden
New York: Alfred A. Knopf and The Viking Press, 1966

Two Under the Indian Sun, by Jon and Rumer Godden (1966)

Two_Under_the_Indian_Sun“This is not an autobiography as much as an evocation of a time that is gone,” write Jon and Rumer Godden at the start of this magical book. At the time the book was published, both women were experienced writers of novels and short stories. Rumer was the more prolific and successful, best known for her 1939 novel, Black Narcissus, and her 1963 best-seller, The Battle of the Villa Fiorita. Jon did not begin publishing until she was over forty, but like Rumer, she set a number of her books in India, including her 1956 novel, The Seven Islands.

Two Under the Indian Sun is a lyrical, funny, and charming recollection of the seven years the sisters spent with their family in Narayanganj, a city on the Shitalakshya River in then-East Bengal (and now Bangladesh). The girls had been sent to live with relatives in England and receive proper English educations in 1913, but a year later, with war about to break out in Europe, they were brought back to the relative safety of India.

And safe India was, particularly from their child’s eyes: “We never felt we were foreigners, not India’s own; we felt at home, safely held in her large warm embrace, content as we were never to be content in our own country.” Their father, referred to as Fa, ran a steamship company based in Narayanganj, and the girls enjoyed the run of a large house with a courtyard and a retinue of cooks, amahs, maids, babus, and other servants. Like many of the better-off Anglo-Indians, the family travelled into the lower reaches of the Himalayas and summered in one of the hill stations like Simla.

They also had the chance to travel up some of the wide, slow rivers on their father’s steamships and were able to experience a considerable part of East Bengal. “We never thought,” they write, “as many people do, that the Bengal landscape was monotonous and dull; each little village, with its thatched roofs among the tall slim coconut palms and dark mango trees against the jewel-bright background of the rice or mustard fields, was beautiful in its own calm way and full of interest.” These trips were among their favorite times. “It was bliss to wake early and lie watching the reflected sunlight dancing on the ceiling, to feel the comfortable beat of the engines beneath us, to listen to the tinkle of the carafe on the washstand, and to know that another whole river day was before us.”

Rumer and Jon Godden, 1966
Rumer and Jon Godden, 1966
Taught at home by their Aunt Mary, the girls quickly discovered a talent for writing. They competed in devising stories and offered rudimentary criticism to each other as — usually — the sole readers of each other’s work. Only rarely did any of the adults take notice, as in the case of Jon’s carrot saga:

Jon could illustrate her books; she seemed set fair to be that luckiest of combinations, an author who could illustrate her own writing, an artist who could write her own text, and this double talent meant that her books were more exciting that Rumer’s, but most even of Jon’s efforts stayed unnoticed. Occasionally, though, one would soar into attention, as unpredictably and, to us, as inexplicably as any best seller in the real literary world. It happened, for instance, when Jon wrote a novel about a family of carrots, four male carrots called No. 1, No. 2, No. 3, No. 4. In spite of their prosaic names they were surprisingly alive characters and, in its miniature way, the book was a complete novel; very often we did not finish ours. There were two villains, a cross cabbage and an apple tree that spitefully rained apples on the carrots’ heads. Then, “Ho, horror!” as the book said, a human boy dug up No. 1 and carried him away, but it was only to scoop him out and hang him up in the window to grow again — as we had done in our London day school. Finally the cabbage was dug up and eaten, the apple tree had its apples picked; No. 1, having grown, was replanted and four more carrots came up in the carrot bed, luckily all females, so that “there were four little carrots more.” It was vividly illustrated and Mam and Fa showed it to their friends. Jon was congratulated, which she half liked and half detested.

Reading Two Under the Indian Sun, one is challenged to tell one author’s voice from the other. The two blend together into an almost seamless narrative, and the only clue to a change is when one of the sisters is named: if it’s Jon, then Rumer is writing, and vice versa. And the book was also something of a unique creation from the publishing standpoint, as it was released under the dual imprints of Knopf, Rumer’s publisher, and Jon’s publisher, Viking. Distributed by Viking and picked up by the Book of the Month Club, it was probably Jon’s best-selling book. It was reissued in the late 1980s by Beech Tree Books, but is now out of print.


from Two Under the Indian Sun, by Jon and Rumer Godden
New York: Alfred A. Knopf and The Viking Press, 1966

The Seventh Gate, by Peter Greave

Cover of Penguin edition of The Seventh Gate by Peter Greave

As recounted in his 1976 memoir, The Seventh Gate, Peter Greave’s life up to his mid-thirties was one no reader could envy. Born in Calcutta in 1910, he enjoyed a few years of privileged childhood as his father climbed the ladder of business success with an English merchant trading firm in India.

But by the time he was about to start school, he found himself on a tramp steamer on a slow and trouble-filled voyage to New York City as his father took the family off in search of a fresh start. His father, as Greave later learned, had run through a string of failed business schemes, insulted or stolen from much of proper society in Calcutta, and been bankrupted and politely asked to leave the country. He had also, as Greave only came to understand slowly and obliquely, been on the verge of being jailed as a chronic exhibitionist.

With utterly no connections in America, Greave’s father still manages to persuade another English firm to bankroll him in a venture to sell a now-forgotten car, the Dixie Flyer, in South Africa. His tiny stipend forces Greave’s mother to find ever-worse lodgings in ever-rougher parts of New York City. His days were spent avoiding, battling with, or being chased by gangs of young boys “engaged in continuous warfare.” At one point, she fell ill and the boys were taken into the city’s foster care system, spending weeks in a bleak orphanage stuck in the midst of a grey forest. His mother prayed for her husband to return and rescue them.

Instead, he returned accused of having blown through $600,000 in South Africa, and antagonized the Afrikaaners, and run off to the Congo with a black mistress in search of a lost mine. So he took his family off again, back to India on another cheap passage. Greave and his brother were enrolled in a threadbare boarding school where a schoolmaster straight from Dickens loved to beat morality and Catholic virtues into the boys.

Used to running wild in the streets of New York, Greave found the school intolerable and engineered an escape. Smuggling himself onto trains and ferries, hiding from the police, stealing food and finding unexpected support from an occasional Indian, he made his way from the Punjab to the far reaches of Assam. There, he enjoys some months of refuge, peace, and unsupervised play in the jungle from a friendly American couple he had met on ship.

The rest of Greave’s childhood was spattered with brief family reunions, more troubles due to his father’s grifts and sexual addiction, and a variety of poor excuses for schooling. With such an upbringing, it’s not surprising that his own experiences as a young man involve hopping from one job to another, great bouts of drinking, gambling, and whoring, and barely managing to exist on the fringes of Anglo-Indian society.

Then, sometime in his late twenties, he noticed a spot on his face. It stayed for weeks, growing slowly, and then was joined by similar spots on his legs and buttocks. He finally heads to the public hospital in Calcutta, where an Indian doctor calmly informs him that he is suffering from leprosy.

Over the next seven years, Greave spent much of his time holed up in a tiny, squalid room in a boarding house. One eye was blinded by the disease, the other nearly so. Only the tenderness of his lover, a beautiful but wayward Anglo-Indian girl rejected by both races, and an incredible forbearance and patience on Greave’s part, got him through. Finally, in 1946, a letter came to him out of the blue with an offer to take for him for free in a special clinic back in England. Greave tracked down his father–still concocting schemes in India–and begged enough money to pay for his passage. Scraping through the medical inspection, he got on board and set sail, never to return to India.

This is a pretty grim story. I suspect few reading my synopsis would imagine The Seventh Gate as anything but a study in black and more black.

Yet Greave (who died in 1977) seems to have possessed a spirit made of pure stainless steel. In the most degraded and dehumanizing situations, he managed–at least in reflection–to have been able to latch onto the tiniest bits of sunlight. Yes, he was trapped in some god awful boarding school run by a sadist–but he could always escape for a few moments:

Pacing endlessly across the wet, deserted playing field, I forgot the shoddy classrooms and the soaring, aloof grandeur of the Himalayas, and returned to those happy months when I had been free to wander beside the waters of Bombay harbour. Soaked in dazzling sunlight, the smell of the sea in my nostrils, I saw again the white sails of the dhows as the wind carried them towards Africa, and mingled happily with the cosmopolitan crowds that drifted beside the waterfront.

The cover of the Penguin paperback edition of The Seventh Gate shows a bright orange sun shining across some Indian river, and despite the many hardships Greave recounts, this is one of the sunniest books I’ve ever read. It may be that in having had so little, having been able to take so little for granted during his childhood, Greave simply developed an extraordinary capacity for acceptance and finding life and humor in the most dismal situations.

It’s also a book rich in description, with remarkable scenes, such as the one where Greave stumbles across a pack of vultures in the middle of the night as he escapes from school. I found it a little like David Copperfield, where you keep turning the pages wondering what worse trouble the young hero was going to face in the next chapter. I zipped through it in the course of a single flight back from the U.S..

Although Greave was cured of leprosy once safe in the English clinic, the disease permanently weakened him and his blindness eventually became complete. Despite this, he managed to write, starting with his 1955 memoir of his cure, The Second Miracle. He wrote several plays and novels and appeared as a monologist on BBC television and radio. He lived in the clinic where he was treated, the Homes of St. Giles, until his death.

A thoroughly rewarding reading experience. Let’s hope John Seaton at Faber Finds adds this to his list.



The Seventh Gate, by Peter Greave
London: Maurice Temple Smith, Ltd., 1976