Alan Hollinghurst - The Stranger’s Child

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Alan Hollinghurst's first novel in seven years is a magnificent, century-spanning saga about a love triangle that spawns a myth – and a family mystery – across generations.
In 1913, George Sawle brings charming, handsome Cecil Valance to his family's modest home outside London for a summer weekend. George is enthralled by his Cambridge schoolmate, and soon his sixteen-year-old sister, Daphne, is equally besotted by both Cecil and the stories he tells about Corley Court, the country estate he is heir to. But what Cecil writes in Daphne's autograph album will change their and their families' lives forever: a poem that, after Cecil is killed in the Great War and his reputation burnished, will be recited by every schoolchild in England. Over time, a tragic love story is spun, even as other secrets lie buried – until, decades later, an ambitious biographer threatens to unearth them.
Rich with the author's signature gifts – haunting sensuality, wicked humor, and exquisite lyricism – The Stranger's Child is a tour de force: a masterly novel about the lingering power of desire, and about how the heart creates its own history.

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8

Didcot and then Swindon came by, with remote tugs of allegiance that distracted him, as the half-familiar outskirts slipped away, from the bigger tug of his mission to Worcester Shrub Hill. He treasured the length of the journey, and had a childish feeling, in the bright placeless run among farms and the gentle tilts of the earth one way or the other, that the important interview with Daphne Jacobs was all the time being magically deferred; though with each long deceleration and stop (Stroud, was it?, a little later Stonehouse) the end came inescapably closer. Of course he wanted to be there, in Olga, as Daphne’s house was surprisingly called, and he also wanted to be cradled all day in this pleasant underpopulated train. He couldn’t even bring himself to prepare; he had written out a series, or flight, of questions, up which he hoped to lead her towards a steady light at the top, but his briefcase, heavy with bookmarked evidence, stayed untouched on the seat beside him.

Some time after Stonehouse, the train made a long threading descent of the western edge of the Cotswolds into what seemed a vast plain beyond, half-hidden in murky sunlight. Paul had never been so far in this direction. The sensation of entering a whole new region of his own island was dreamlike but unsettling. A few minutes later they were sliding quite fast into Gloucester station, the knots of people on the platform, hikers, soldiers, closing in and moving along with their eyes fixed anxiously or threateningly on the rapidly braking train. Well, there was still Cheltenham to come before Worcester.

In a minute, however, he had to move his things for a woman and two children to sit down, she nagging at them distractedly, her own face taut with worry, and when the train began to move again he found the romance of the journey from London, which they knew nothing about, had been left behind for ever, and a period of compromise and cohabitation had begun. Paul kept his briefcase on the table, leaving little room for the boy to spread his colouring book. His dislike of children, with their protean ability to embarrass him, seemed to focus in his scowl over The Short Gallery , which he rather brandished in their faces. The fact that he was about to conduct an interview of enormous importance to his own book, and therefore to his future life, was squeezing and trapping him like the onset of some illness undetectable to anyone else. If what George had said was right, then Paul’s conversations with Daphne, today and again tomorrow, were bound to be a peculiar game, in which he would have to pretend not to know the thing he was most hoping to get her to own up to.

He looked through the first chapter again, which was her ‘portrait’ of Cecil:

On this fine June night, which was to be the last time I saw him, Cecil took me to Jenner’s for a Spartan supper of the kind which seems to a love-struck girl to be a perfect love-feast. Pea soup, I remember, and a leg of chicken, and a strawberry blancmange. Neither of us, I think, cared a hoot what we ate. It was the chance to be together, under the magic cloak of our own strong feelings, out of the noise of war, that counted above all. When we had done we walked the streets for an hour, down to the Embankment, watching the light pass on the broad stretches of the river. The next day, Cecil was to re-embark for France, and the mighty thrust that we knew was coming. He didn’t ask me then – it was to be in his last letter, a few days later – if I would marry him, but the evening air seemed charged with the largest questions. Our talk, meanwhile, was of simple and happy things. He saw me into a cab which would take me to my train at Marylebone, and my last sight of him was against the great black columns of St Martin-in-the-Fields, waving his cap, and then turning abruptly away into the future we both imagined with such excitement, and such dread.

Perhaps it was just a reflection of his own habits, but Paul didn’t believe anyone remembered all the courses of a meal they’d eaten four years ago, much less sixty-four; whereas (again perhaps reflecting his own fairly limited experience) they always remembered having sex. The worrying air of cliché and unreality about the whole of this scene was only heightened by the leg of chicken and the strawberry blancmange, which in some way Paul didn’t like to think about seemed to stand in for the blandly concealed truth of a night spent at the Valances’ Marylebone flat – even the naming of the station was a cover. And what, come to that, of Cecil preparing for a ‘mighty thrust’?

Chewing his lip, Paul examined Daphne’s photo on the back flap of the jacket. She appeared three-quarter length, in a plain dark suit and blouse and a single string of pearls, looking out with a half-smile and a certain generalized charm, caused perhaps by her not having her glasses on. Immediately behind her was an archway, through which a grand hall and staircase could dimly be made out. When you looked very closely at her face you saw it was a subtly worked blur, silvery smooth from touching up around the eyes and under the chin; the photographer had taken fifteen or twenty years off her. The whole thing gave the impression of a good-looking, even marriageable woman of means in a setting whose splendour needed only to be hinted at. It was hard to relate her to the bedraggled old figure he’d rescued in the street. None the less, the suggestion that the other persona existed was subtly unnerving.

At Worcester he was suddenly cheerful to be on the move; he queued for a taxi, the first one he had taken since their joint journey the previous November: Cathedral Cars. He mustered a breezy tone with the driver as they left the city and the meter started flickering in cheerful green increments. He thought he would enjoy the small country roads more on the way back – as yet he was looking straight through the barns and hedges to the imagined scene he had set up at Olga. They came into Staunton St Giles, past the lodge-gates of a big house and then along a wide unattractive street of semi-detached council houses; a war memorial, with a church beyond, a village shop and Post Office, a pub, the Black Bear, where he almost felt like stopping first, but it was a minute or two from closing time. ‘Do you know where Olga is?’ Paul asked the driver.

‘Ooh, yes,’ he said, as if Olga were a well-known local character. A handsome stone house, the Old Vicarage, came by, a run of old cottages looking much more pleased with themselves than the rest of the village, a nice place for Daphne to spend her final years. The taxi slowed and turned down a side lane, and pulled up unexpectedly by the gate of a decrepit-looking bungalow. ‘Twelve pounds exactly,’ said the driver.

Paul waited till the taxi had turned the corner, then he walked a short way along the lane and took four or five photos of the bungalow, over the low garden wall, a documentary task that held off for a minute his heavy-hearted embarrassment at the state of the place. He came back, hiding the camera in his briefcase until later, when he’d worked out whether Daphne would mind being photographed herself. Sometimes, after the subjective indulgence of an interview, people found the crude fact of a photograph too jarring and intrusive.

The name OLGA was fashioned out of wrought iron, on the wrought-iron gate. Paul stepped in over the weedy gravel, and gazed round at the neglected garden, the grass tall and green in the roof-gutters, the dead climbing rose left swaying over the porch, an old Renault 12 with a rusty dent in the offside wing and green moss growing along the rubber sills of the windows. Two or three stripes of the lawn had been mown, perhaps a week ago, and the mower abandoned where it stood. The flower-beds were full of last year’s dead leaves. It all made him more flinchingly apprehensive about what he was going to find once he got indoors. He pressed the bell, a sleepy ding-dong that then repeated, all by itself, as if showing some impatience the caller might have hoped to conceal, and saw his face scarily distorted in the rippled glass of the front door; he seemed to run forward into their lives in waves. It was Wilfrid Valance who answered. He was just as Paul had remembered, and also, after thirteen more years of bumbling along as he was, alarmingly different, a wide-faced child with furrowed cheeks, and one defiant central tuft of grey hair fronting the bald plateau above. ‘How are you?’ said Paul.

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