Tuesday, 23 September 2014
Class and Joanna Cannan II
Joanna Cannan: All Is Discovered
There is not a single likeable person in this book, apart perhaps for the murdered woman, a "peasant type" who only ever wanted to work on a farm. It is all about class. Joanna Cannan uses her story to pour scorn on council house dwellers and farmers’ wives who want to climb up the social scale thanks to cheap wallpaper, manmade fibres, fridges and convenience foods. It is the early 60s.
The only halfway attractive character is Arthur, an elderly man who lives in a "cream and green" council house and grows his own vegetables. But even he has every dropped H notated.
His wife Edie has aspirations and a seersucker tablecloth. There are “sandwiches to cut and fill with a new recipe from Women’s Weekly Outlook – pineapple with a dab of mayonnaise – and then she must comb out her hair, at present set in curlers under a headscarf, and change into her Terylene skirt and Acrilan twin set.” The couple have just dined on “baked beans, tinned luncheon meat and processed cheese”.
Even worse is Sylvia Lumley, wife of a farmer. She “teeters” across the farmyard in stiletto heels. She owns a miniature poodle and a “baby” car, and wears a mohair stole, a black lacy nightdress and an apple-green corduroy housecoat. Not all at once.
She is not unfaithful, but likes to go on dates with men – usually her cousin Eddy – who take her out to dinner in a nearby town in posh restaurants like Antonio’s. She waits for her date sitting on the edge of a “couch” in a “niche”. The date is a frost – she is too “ingratiating and unsophisticated”. She chooses scampi followed by pressed duck, though “she would much have preferred vol-au-vent and chocolate mousse, and all the time she talked brightly, trying hard to please. She was unsuccessful and knew it.” She “had looked forward to a harvest of expensive entertainments in Sandbourne’s hotels, concert halls and theatre.”
When we see inside her house, we find that “the ‘lounge’ had recently been redecorated in one of Sylvia’s foolish attempts to follow a fleeting fashion with two wallpapers of cheap quality and unrelated design; roses rioted over the three-piece suite; the eye was further confused by patterned curtains, a patterned carpet, a rash of small brass objects...”
Cannan’s series tec is Detective-Superintendent Price – she loathes him. He wears “Strydeout” shoes that fall to bits in the rain. He has twin boys called Howard and Norman, and is married to Valerie, who has a “rat-like” face and is not interested in becoming more middle class. They holiday at Seaview, Ryde or the Pines Hotel, Budleigh Salterton. He uses words like “desirable”, refers to people as “that worthy”, and brags that he doesn’t read novels but “biography, travel, history and current affairs”. When he wants to let his hair down he takes off his tie, undoes the top button of his white shirt and spreads “its collar over that of his navy blue blazer”.
He has opinions like these: “I haven’t much sympathy with loneliness. I believe that it is almost invariably self-inflicted. Any man or woman of goodwill can find a niche in the community – only freaks and those who wilfully refuse to conform remain outside the human family.” And “This insidious ‘couldn’t care less’ attitude is spreading.”
The farmer’s daughters are “plain”, and behave like a parody of Cannan’s usual horsey girl heroines. They talk too much about their pets’ ailments, and rabbits with myxomatosis, and call things they approve of “jolly dee” (jolly decent).
About two-thirds through the book, Price drops out and we leave these scenes of provincial squalor. The murders are not local after all, but connected to rackets based in Soho – prostitution and what we’d now call people-trafficking. We meet a whole new set of characters who are repulsive but unreal. The case is taken over by one Frobisher, who seeks out a felon called Delano in a peeling Georgian boarding house. “He was in a passage carpeted with worn linoleum, smelling of gas, cabbage and old sins.” (They usually smelled of paraffin, incense and Alsatians, as well.)
Suddenly we’re in the world of 50s film noir as the story gallops to an end. Where is the witty and warm writer of A Pony for Jean?
Liz Jones met her daughters, the Pullein-Thompsons, who wrote many pony books between them: "The family never had any money; their parents believed that to worry about it was beneath them... ‘They had ideas above their station,’ says Josephine."