Julian Barnes - Innocence

Innocence

PENELOPE FITZGERALD

Contents

Cover

Title Page Innocence PENELOPE FITZGERALD

Preface

Introduction

Part 1

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14

Chapter 15

Chapter 16

Chapter 17

Chapter 18

Chapter 19

Chapter 20

Chapter 21

Chapter 22

Chapter 23

Chapter 24

Chapter 25

Chapter 26

Chapter 27

Chapter 28

Chapter 29

Chapter 30

Chapter 31

Chapter 32

Chapter 33

Chapter 34

Chapter 35

Chapter 36

Chapter 37

Chapter 38

Chapter 39

Chapter 40

Chapter 41

Chapter 42

Part 2

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14

Chapter 15

Chapter 16

Chapter 17

Chapter 18

Chapter 19

Chapter 20

Chapter 21

Chapter 22

Chapter 23

Chapter 24

Chapter 25

Chapter 26

Chapter 27

Chapter 28

Chapter 29

Chapter 30

Chapter 31

Chapter 32

About the Author

Praise

Also by the Author

Copyright

About the Publisher

Penelope Fitzgerald Preface by Hermione Lee, Advisory Editor

When Penelope Fitzgerald unexpectedly won the Booker Prize with Offshore , in 1979, at the age of sixty-three, she said to her friends: ‘I knew I was an outsider.’ The people she wrote about in her novels and biographies were outsiders, too: misfits, romantic artists, hopeful failures, misunderstood lovers, orphans and oddities. She was drawn to unsettled characters who lived on the edges. She wrote about the vulnerable and the unprivileged, children, women trying to cope on their own, gentle, muddled, unsuccessful men. Her view of the world was that it divided into ‘exterminators’ and ‘exterminatees’. She would say: ‘I am drawn to people who seem to have been born defeated or even profoundly lost.’ She was a humorous writer with a tragic sense of life.

Outsiders in literature were close to her heart, too. She was fond of underrated, idiosyncratic writers with distinctive voices, like the novelist J. L. Carr, or Harold Monro of the Poetry Bookshop, or the remarkable and tragic poet Charlotte Mew. The publisher Virago’s enterprise of bringing neglected women writers back to life appealed to her, and under their imprint she championed the nineteenth-century novelist Margaret Oliphant. She enjoyed eccentrics like Stevie Smith. She liked writers, and people, who stood at an odd angle to the world. The child of an unusual, literary, middle-class English family, she inherited the Evangelical principles of her bishop grandfathers and the qualities of her Knox father and uncles: integrity, austerity, understatement, brilliance and a laconic, wry sense of humour.

She did not expect success, though she knew her own worth. Her writing career was not a usual one. She began publishing late in her life, around sixty, and in twenty years she published nine novels, three biographies and many essays and reviews. She changed publisher four times when she started publishing, before settling with Collins, and she never had an agent to look after her interests, though her publishers mostly became her friends and advocates. She was a dark horse, whose Booker Prize, with her third novel, was a surprise to everyone. But, by the end of her life, she had been shortlisted for it several times, had won a number of other British prizes, was a well-known figure on the literary scene, and became famous, at eighty, with the publication of The Blue Flower and its winning, in the United States, the National Book Critics Circle Award.

Yet she always had a quiet reputation. She was a novelist with a passionate following of careful readers, not a big name. She wrote compact, subtle novels. They are funny, but they are also dark. They are eloquent and clear, but also elusive and indirect. They leave a great deal unsaid. Whether she was drawing on the experiences of her own life – working for the BBC in the Blitz, helping to make a go of a small-town Suffolk bookshop, living on a leaky barge on the Thames in the 1960s, teaching children at a stage-school – or, in her last four great novels, going back in time and sometimes out of England to historical periods which she evoked with astonishing authenticity – she created whole worlds with striking economy. Her books inhabit a small space, but seem, magically, to reach out beyond it.

After her death at eighty-three, in 2000, there might have been a danger of this extraordinary voice fading away into silence and neglect. But she has been kept from oblivion by her executors and her admirers. The posthumous publication of her stories, essays and letters is now being followed by a biography (Penelope Fitzgerald: A Life, by Hermione Lee, Chatto & Windus, 2013), and by these very welcome reissues of her work. The fine writers who have provided introductions to these new editions show what a distinguished following she has. I hope that many new readers will now discover, and fall in love with, the work of one of the most spellbinding English novelists of the twentieth century.

Introduction

Penelope Fitzgerald liked to begin her late novels with quiet acts of indirection. The first sentence of The Blue Flower contains a disrupting double negative; The Beginning of Spring opens with a character leaving the very city where most of the book’s action is going to take place. We are being put on our guard, politely warned not to take things for granted. But neither of these novels begins in as apparently wrong-footing a way as Innocence . Though the novel is to be set in Florence in 1955, its first chapter plants us back in mid-sixteenth-century Italy, at the Villa Ricordanza, inhabited by the Ridolfis, a family of aristocratic midgets. The Ridolfis dote on their young daughter, and so practise many kindly deceptions to convince her that her genetic condition, far from being a handicap, is not even an aberration. She is surrounded only by those the same size as herself, and is never allowed to leave the villa to discover the truths of the outside world. She is also provided with a female companion, Gemma, a dwarf (as opposed to a midget), whom she pities, and then pities the more when a sudden spurt of growth occurs. Poor girl, about to become a giantess, a freak, and to have to face this fact … and so the daughter, who has ‘a compassionate heart’, comes up with a solution for Gemma, as well-meaning in its intent as it is ghoulishly cruel in its actuality.

After these first four pages, we suddenly jump four centuries to the modern world, by which time the descendants of that Ridolfi family have become normal-sized and are nowadays eccentric only in socially acceptable ways. So were we just being presented with a colourful back story, an attention-grabbing anecdote from the guidebook? Not at all. That genetic aberration of the Ridolfis may have been fixed over the succeeding centuries, but there are other family characteristics, less physical than moral, which have survived:

No more midgets among them now. Still a tendency towards rash decisions, perhaps, always intended to ensure other people’s happiness, once and for all. It seems an odd characteristic to survive for so many years. Perhaps it won’t do so for much longer.