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romance

The Colours of the Night, by Catherine Ross (1962)

The Colours of the Night by Catherine Ross (Betty Beaty)

The colours of the night in Catherine Ross’s title aren’t romantic in the least. They’re the colors of the signal flares fired from the control tower of RAF Tormartin to confirm that the bombers coming back after a raid are friendly and not Luftwaffe attackers. This is just one of the many details that led numerous reviewers to call The Colours of the Night the most accurate and authentic account of life on an RAF bomber base during World War Two written from a woman’s point of view .

Virginia Bennett, the novel’s narrator, is a member of the Women’s Auxiliary Air Force stationed at an RAF Lancaster bomber base near Lincoln, assigned to the base motor pool. Lincolnshire, with its broad, fairly flat countryside and proximity to the North Sea coast, was, with East Anglia and North Yorkshire, dotted with RAF — and later, U.S. 8th Air Force — airfields from which the Allies launched the bombing raids on occupied Europe, Germany, and Italy that represented the longest single campaign of the Western front.

It was also the deadliest. To quote the Imperial War Museum, “During the whole war, 51% of aircrew were killed on operations, 12% were killed or wounded in non-operational accidents and 13% became prisoners of war or evaders. Only 24% survived the war unscathed.” An aircrew member was committed to fly thirty operational missions before he could be released to other less dangerous duties.

71 Squadron, the unit Bennett supports, flies twelve Lancasters, each manned with a crew of seven. Given a typical operational year (and the novel is set over the winter of 1942 to 1943, perhaps the most typical year for Bomber Command), she knows, most of the flying members of the current would be gone. “There’d be a 71 Squadron, of course, but of entirely new faces. It was a fact like the day of the week, or the month of the year. You accepted that fact.”

A fact that is only notional to Bennett until she finds herself falling in love with Flight Lieutenant Colin Craig. The two meet by accident — literally, as she is the first to arrive on the scene after Craig’s Lancaster goes skidding off the runway and into a muddy verge. He, of course, is handsome, cool, and instantly attractive. But she is cute, clever, and just stand-offish enough to attract his attention as well.

Their romance is considered fraternization between commissioned and other ranks and prohibited by regulations, so after a few bouts of flirting turns into something more serious, they have to resort to various subterfuges to spend time together — the most important being to ensure they’re never seen together. To further complicate matters, Virginia is an object of earnest interest by her motor pool section chief and Colin by the lieutenant in charge of the WAAFs at the base.

But the real complication is the fact of those statistics. As she senses that Colin is just as much in love with her as she with him, she asks the inevitable question:

“But what shall we do about us?”
“What about us?”
“Us,” I said slowly and painfully. “In the future.”
He stared at me surprised, almost blankly.

And suddenly it hits her: “I knew that in his own mind he had no future.”

The Colours of the Night by Catherine Ross - paperback edition

From this point, the tension is predictable: will Colin make it to thirty missions? On one hand, The Colours of the Night is no more than a well-crafted middlebrow romance. We know from the moment dashing Flight Lieutenant Craig emerges only slightly scathed from his crashed aircraft and borrows (and keeps) Virginia’s cigarette lighter that it’s just a matter of time before flirting becomes romance and romance leads to happy ending (or at least tentatively happy: Colin has made it clear he intends to return for another operational tour).

But offsetting this predictable formula is a wealth of details about the ins and outs of RAF and WAAF life. The regular medical inspections for the three scourges: lice, sexually transmitted diseases, and pregnancy. The itchiness and ugliness of the dark blue issue WAAF underpants and the various alternatives resorted to on all the days between medical inspections. The fact that no one knows what was happening on the base better than the radio and telephone switchboard operators.

Betty Beaty, AKA Catherine Ross and Karen Campbell
Betty Beaty, alias Catherine Ross and Karen Campbell.

Catherine Ross was familiar with all this from having been a Virginia Bennett herself during the war. In fact, as Betty Smith (her real name), she met her own husband, Group Captain David Beaty, himself a bomber pilot. They married after the war and David Beaty turned his hand to writing, becoming a successful writer of aviation-oriented novels (sort of the RAF equivalent to Douglas Reeman) and nonfiction books. Betty Beaty took up writing herself, first as Catherine Ross, then later as Karen Campbell and Betty Beaty. As Betty Beaty, she published nine Harlequin romance novels.

The Colours of the Night is no masterpiece, but it’s a thoroughly enjoyable tale that’s rigorous in its accuracy and honesty. I would recommend it highly to anyone who likes novels set during World War Two.

The Colours of Night, by Catherine Ross (Betty Beaty)

This is a contribution to the #1962Club, this autumn’s edition of the semi-annual reading club coordinated by Simon Thomas and Karen Langley.

A Jingle-Jangle Song, by Mariana Villa-Gilbert (1968)

Chatto & Windus/Hogarth Press ad for <em>A Jingle-Jangle Song</em> by Mariana Villa-Gilbert.
Chatto & Windus/Hogarth Press ad for A Jingle-Jangle Song by Mariana Villa-Gilbert.

Mariana Villa-Gilbert, who died recently at the age of 86, spent most of her life as a largely forgotten writer. Her last novel, Manuela: A Modern Myth, came out in 1973 and, like the previous five and her one short story collection, The Sun in Horus (1986), quickly went out of print and have never been reissued.

Such is the fate of a writer whose work earns the half-hearted verdict of “interesting.” Her first novel, Mrs. Galbraith’s Air (1963), about — well, not so much an affair as an attraction — between bright schoolboy and an older, sophisticated married woman was nuanced and complex but perhaps at a level a bit beyond its author’s reach. When I read it last year with some anticipation, I found that what was meant as subtle too often came out as muddle. I gave up several chapters into Manuela when the comic satire seemed to lose all connection to reality, though I still plan to take it up again in hopes that the problem was less with the book than with my tired brain.

Villa-Gilbert probably took her title of A Jingle-Jangle Song from Bob Dylan’s early hit “Mr. Tambourine Man,” for it takes place in a brief moment, probably around late 1964, when there seemed a chance that the American folk revival from which Dylan, Peter, Paul and Mary, and other singers might wash ashore in England with similar success. Sarah Kumar, Villa-Gilbert’s heroine, is undoubtedly modeled on Joan Baez, with similar long black hair, olive skin, piercing dark eyes, and otherworldly voice.

Arrived in London on a brief stop en route to appearances in France, Sarah is taken by a British DJ to an opening at a Pall Mall art gallery and subsequent after party. Jet-lagged and uncomfortable, she drinks far too much and finds herself hanging over the sink in the ladies’ room. Which is where Jane, an older woman and wife to the exhibiting sculptor, comes to her aid. Jane cleans Sarah up and escorts her to a quiet couch to sleep it off.

The next day, Jane and Sarah meet again in a Soho cafe. Jane is waiting to meet her husband for lunch; Sarah is trying to re-enter the world with the help of caffeine. They talk and agree to meet later. Jane is already aware of a vague attraction. Discussing Sarah with her husband after the party, she had found herself being wary of how she spoke of her:

“Twenty-two.” Carefully. And putting aside the earring now, placing it exactly — so. Afraid he might wonder at her interest, that she’d bothered to discover her age. (Oh but it was ridiculous, the way one hummed and hahed over these things. Why on earth should she be ashamed of her interest in a member of her own sex?)

Within 48 hours of their first meeting, the two are making love, both apparently for the first time with another woman. Jane’s background is one of mostly unfulfilled matrimony punctuated by a very occasional affair (her husband’s far more frequently). Sarah, however, is scarred. After losing her virginity to a professor for whom she was just one in a long string of undergraduate conquests, she fell into a five-year relationship with a messianic figure who abused her physically and emotionally. This ended when she was swept up as a rising star by her agent, who is only interested in Sarah as a property — abuse of another form.

Now caught in a torrent of recording sessions, television appearances, concerts, and revolving hotel rooms, Sarah arrives in London not just jetlagged but shell-shocked. Her attraction to Jane, is less physical than for the emotional safety she offers. For her part, Jane is drawn both by Sarah’s beauty and the intensity of her passion for living, chaotically as she currently expresses it.

A Jingle-Jangle Song falls into that narrow sub-genre of the layover romance, where some of the magic resides in the relentless approach of the departure. We all know these things can only end in one of two ways: with a wistful farewell and a heart-breaking return to normal life; or with the last-minute scene in which the two lovers decide to rescue their love at the cost of all the resulting disruption to their normal lives. Either romance or normalcy has to win. This is the logic of this particular cliche.

In the case of A Jingle-Jangle Song, however, we are left one step short of the fork in the denouement. Either Villa-Gilbert was reluctant to choose her ending or intentionally manipulating her readers’ expectations.

Mariana Villa-Gilbert, from the late 1950s.
Mariana Villa-Gilbert, from the late 1950s.

In his Guardian obituary of Mariana Villa-Gilbert, Christopher Adams wrote of the novel, “Attacked by reviewers for its lesbian content, it nevertheless gained a following in the lesbian press and stands as an important contribution to the genre.” Attacked is too harsh a word. Pigeon-holed might be more accurate. Mary Kenny, in the Evening Standard, dismissed A Jingle-Jangle Song as “yet another [unsuccessful] stab at the definitive lesbian novel, not without talent — but not wholly with conviction either” and exhorted the author: “Come, come, Miss Villa-Gilbert: we did better in the dorm at convent school.” Vernon Scannell, quite the proper Englishman in the New Statesman, admitted that “For non-lesbians like myself, the love scenes have a certain didactic interest,” unconsciously revealing just how limited was his understanding of the physical act of sex between two women took place. (And the sex in the novel is barely past the “brush of a fingertip” level.) The worst take by far was that of David Irvine in the Coventry Evening Telegraph, who concluded that the root of the problem was that Sarah Kumar “can never quite reconcile herself to the fact that she is a half-caste.”

The most insightful and enthusiastic review was that written by Gene Damon, editor and critic of the pioneering American lesbian magazine, The Ladder. Damon, whose job often involved reading the sleasiest and worst-written porn, wrote that, “For me, the reward for searching through endless hundreds of books each year is the occasional title tha tmakes all the boredom and all of the irritation engendered by many of them, worth it.” A Jingle-Jangle Song, she announced, “is one of the special books.” Damon felt that “the nature of love is discussed and examined without clinical detractions” and the sex was described in realistic yet tender terms.

A Jingle-Jangle Song was, Damon wrote, “the closest thing to a romantic novel one could expect in this time.” Still, she did note that Villa-Gilbert’s decision to switch back and forth between character’s perspectives was undermined by her use of aa third-person narrative, “which is awkward and unsatisfactory” — as indeed it is. In a book where so much of the time is spent in scenes with just the two women, it can at times prove challenging to keep track of which she is which.

Now that I read neglected books not just to write about them here but with an eye to whether they might be worth including in Recovered Books series from Boiler House Press, I can see that there is a middle ground between “justly neglected” and “reissue worthy.” It links to something I discussed back in 2020 with Álvaro Santana-Acuña, the author of Ascent to Glory: How One Hundred Years of Solitude Was Written and Became a Global Classic. “There are other works that are canonical but not classics,” he argued. “They have literary merit, but they cannot survive in the wild, so to speak. They need support from institutions—academics, publishers, national governments.” When we select a book for Recovered Books, a primary consideration is whether it’s likely to be of enough interest to current readers to make a profit, however modest. This is not, as Santana-Acuña puts it, a curatorial project.

Does A Jingle-Jangle Song deserve reissue? I agree with Christopher Adams that it has some place in the history of lesbian relationships in the English novel, and for that alone it merit inclusion in a series devoted to neglected fiction on this theme. At the same time, I think there are enough essential flaws in its execution that it is hard to argue it can stand on its own without that pigeon-holing label. As a straight white male, I am uncomfortable in making that statement. It may well be that A Jingle-Jangle Song changed some lives. It may be that its structural flaws are of secondary importance to its place in the development of lesbian themes in literature.

What should be clear, regardless of one’s view of where it best fits in our understanding of literature, however, is that it doesn’t deserve to be so obscure and inaccessible that there are no copies for sale and just around three dozen copies sitting in (mostly) university libraries around the world. This is one of the reasons why I hope the Internet Archive, the Hathi Trust, and similar initiative continue to scan and make such books available online. What we understand as literature only grows when we can find places for books like A Jingle-Jangle Song and the other works of Mariana Villa-Gilbert and many, many other writers like her.

A Jingle-Jangle Song, by Mariana Villa-Gilbert
London: Chatto & Windus/The Hogarth Press, 1968

The Cosmopolitan Girl, by Rosalyn Drexler (1974)

Cover of the first US edition of The Cosmopolitan Girl

“Pablo has confessed his love for me. I was stunned.”

We are, too, when we learn, a few lines further down the first page of Rosalyn Drexler’s third novel The Cosmopolitan Girl, that Pablo is a dog. The narrator, Helen, lives in the Hotel Buckminster in Manhattan. The hotel has a strict no-pets policy, but Helen has trained Pablo to walk on his hind legs and dresses him up in a man’s suit, wig, and hat. Pablo is “an intelligent dog, well coordinated and faithful” — which goes without saying, Helen reminds us.

He can also carry on a conversation and enjoys having Helen read to him from the newspaper. They share their most intimate thoughts and dreams. “I dreamt I was lying in the courtyard dead,” Pablo confides after a troubling night sleep. Helen promises to ask her mother what the dream means.

Helen’s mother is a psychic who changes her lovers more often than her sheets. Helen’s father is a fabulously wealthy herbalist. Neither parent is particularly concerned that their daughter is in love with a dog. It’s good to know she’s got a steady relationship.

It’s not without its difficulties, though. Helen notices that the roll of stamps is growing smaller and smaller and discovers that Pablo has been sending obscene letters to sex magazines. Also, her mother’s latest lover, Albert, is taking an interest in Helen. He tries to seduce her one night, but she finds the fact that he’s disguised himself as Gertrude Stein disconcerting. “I did not want to discover that yes, Gertrude did have a penis.” Well, who would?

Helen often gets her advice about romance from Cosmospolitan magazine. Cosmo tells her that “Anything goes” is the motto of her time: “Whether your ‘thing’ turns out to be of redeeming social importance is not crucial; it’s the passion with which you defend you view that’s important.” And so, she decides to sleep with Pablo.

The sex is not bad, but not great. Pablo’s nails leave deep scratches on Helen’s back and he seems unconcerned whether she enjoys it. Things grow even more complicated when Helen finds that an old man in the hotel is stalking her. When she visits his room to warn him off, the man introduces Helen to “your twin sister” — a life-size rag doll he’s dressed and made up to look exactly like her.

Rosalyn Drexler
Rosalyn Drexler, from the dust jacket of The Cosmopolitan Girl.

It should be apparent by this point that Rosalyn Drexler was not looking to Zola for inspiration. Any pretence of realism is abandoned in the first paragraph of The Cosmopolitan Girl. Nor is this an example of magical realism in the fashion of Garcia Marquez and his Latin American colleagues. The clue to her approach can be found in two of the writers quoted on the back of the book’s dust jacket: Stanley Elkin and Donald Barthelme.

Elkin, Barthelme, and Kurt Vonnegut were the most critically and popularly successful American fabulists of the 1970s. For Barthelme in particularly, the aim of a piece of writing was more to achieve some formalistic coherence than to be realistic. No one thinks that the children in Barthelme’s The Dead Father are really dragging the giant corpse of their father across the landscape, but from a symbolic standpoint it’s an amazingly effective parable for the emotional burden that parents can leave behind.

By this standard, how does The Cosmopolitan Girl measure up? Well, one thing that Elkin, Barthelme, and Vonnegut all had going for them was a brilliant gift for comedy. I suspect that many people who read Barthelme’s stories in The New Yorker enjoyed his extravagantly absurdist humor without noticing the serious messages underneath the jokes.

And Drexler certainly holds her own in this regard. She takes full advantage of the playfulness that characterizes so much of American experimentalist fiction of this period. There are newspaper articles, letters, advertisements, dialogues from radio shows, to do lists, and a dozen other types of material included alongside passages of conventional narrative.

The Cosmopolitan Girl has 145 chapters in its 192 pages, but you can’t really say they’re squeezed into the book because some of them are just a sentence or two long. Take this example, when Helen is trying to write an article about incest for Cosmo:

103
Article going well. Already have four typewritten pages.

104
Article going well. Already have three typewritten pages.

105
Article may not be written. Should be able to begin on the fifteenth page, as one begins on the top floor of the Guggenheim to see the show. It’s too exhausting to begin on page one. It’s never any good. Has anything ever been written backward?

106
.reverof em evarc mih ekam dluohs amleS hserf fo etsat teews eht, ffo repparw ym sleep luaP nehw, nehT. wollamarc a ekil nat ni depparw nruter ll’I.

What, then, about Drexler’s underlying message? I’m tempted to reread The Dead Father now because I suspect there is more of a connection between it and The Cosmopolitan Girl than Barthelme’s blurb on the back. The Cosmopolitan Girl came out in 1974, The Dead Father a year later. Both deal with the complexities of the relationship between parents and children, particularly after the parents are gone.

And Drexler is also examining the nature of marriage and romantic relationships. It may be absurd that Helen finds happiness, at least for a while, with Pablo as a partner, but it’s really no more absurd that the notion that the stereotypical heterosexual American couple like Ward and June Cleaver were the ideal to which everyone should aspire. The Cosmopolitan Girl is not just a product of American experimentalism in fiction but of the wave of feminism and sexual liberation that was shaking up the country. (It’s telling that Gloria Steinem is one of the back-cover blurbers. It’s sad, however, that her quote appears second down the page after Norman Mailer’s).

The Cosmopolitan Girl is no more than a night or two’s read, and well worth looking for as both a very funny book and an illuminating artifact of its time.

The Cosmopolitan Girl, by Rosalyn Drexler
New York: M. Evans & Company, 1974