Henry Green - Loving

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Green remains a dim figure for many Americans. He stopped writing in 1952, at age 47, with just nine novels and a memoir behind him. In the last years of his life-he died in 1973-he became a kind of British Thomas Pynchon, agreeing to be photographed only from behind. But those who knew him often revered him. W. H. Auden called him the finest living English novelist. His real name was Henry Vincent Yorke. The son of a wealthy Birmingham industrialist, he was educated at Eton and Oxford but never completed his degree. He became managing director of the family factory, which made beer-bottling machines. But first he spent a year on the factory floor with the ordinary workers, and his fiction is forever marked by an understanding of the English at all levels of society, something rare in class-bound British literature. Loving is a classic upstairs-downstairs story, with the emphasis on downstairs. You see the life of a great Irish country house during World War II through the eyes of its mostly British servants, who make a world of their own during a period when their masters are away. Green's generosity towards even the most scheming and rascally of them offers a lesson you never forget.
One of his most admired works, Loving describes life above and below stairs in an Irish country house during the Second World War. In the absence of their employers the Tennants, the servants enact their own battles and conflict amid rumours about the war in Europe; invading one another's provinces of authority to create an anarchic environment of self-seeking behaviour, pilfering, gossip and love.
"Loving stands, together with Living, as the masterpiece of this disciplined, poetic and grimly realistic, witty and melancholy, amorous and austere voluptuary-comic, richly entertaining-haunting and poetic-writer." – TLS
"Green's works live with ever-brightening intensity-it's like dancing with Nijinsky or Astaire, who lead you effortlessly on." – The Wall Street Journal
"Green's novels- have become, with time, photographs of a vanished England -Green's human qualities – his love of work and laughter; his absolute empathy; his sense of splendour amid loss – make him a precious witness to any age." – John Updike
"Green's books are solid and glittering as gems." – Anthony Burgess

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'Why to protect us if the Germans took this place for their billets,' she said.

'You don't want to pay no attention,' he told her.

'Is that so? Then what do you need to go talkin' round it for?'

'It's you I'm concerned about,' he said.

Again she took a short look at him. This time it was as if he could not understand the flash of rage on her face. He put an arm through hers. As she turned her head away he said almost hoarse, 'Here, give us a kiss.'

'Lucky we left the door open wasn't it?' she said.

'Just a small one?' he asked.

She got up.

'Have you cleaned your teeth?' she enquired.

'Have I cleaned my what?'

'Oh nothing,' she said. She did not seem so pleasant.

'Why,' he remarked, 'I brush them every morning first thing.'

'Forget it,' she said and wandered over to that group photograph of Mr Jack which she peered into.

'I can't make you out at all,' he complained, getting up to follow her.

'You will,' she replied. 'You will when those Jerries come over and start murdering us or worse in our beds. When the police begin to fight one another like you said they would.'

He stood back making motions with his hands.

'But it's you I was concerned over love,' he said.

'Me?' she took him up. 'What have I got to lose by goin' home? I'll thank you to tell me that. While if I stay on here there's worse than death can come. It'll be too late then. I got my life still to live Mr Raunce. I'm not like many have had the best part of theirs.'

'Just lately I been wonderin' if my life weren't just starting.'

'Well even if you can't tell whether you're comin' or goin' I know the way I'm placed thank you.'

'Look dear I could fall for you in a big way,' he said and he saw her back stiffen as though she had begun to hear with intense attention. She said no word.

'I could,' he went on. 'For the matter of that I have.' At this moment she flung round on him and his hangdog face was dazzled by the excitement and scorn which seemed to blaze from her. But all she said was, 'You tell that to them all Charley.'

He appeared to rally a trifle and was about to answer when she exclaimed, 'Why Badger you dirty thing whatever have you got then?'

He turned to find the greyhound wagging its tail at him, muddy nosed, and carrying a plucked carcass that stank.

'Get off out from my premises,' he cried at once, galvanized. 'No wait,' he said. 'What've you got there mate?' The dog wagged its tail.

'Why d'you bother?' she asked impatient. 'It's only one of them peacocks.'

'One of the peacocks?' he almost shouted. 'But there'll be murder over this. No,' he added, 'you're having me on.' He made a step towards the dog which started to growl.

'That's right,' she said, 'Mrs Welch buried it away where none should see.'

'You're crazy,' he said.

I'll have you remember who you're speaking to Charley Raunce,' she broke out at him. 'Mrs Welch thinks nobody's learned but this bird aimed a peck at 'er Albert's little neck so the little chap upped and killed it. Then she buried it in such a way that no one shouldn't know. The children told me. But I wouldn't have that stinking thing lying around in my part no thank you. Badger,' she said, 'you be off you bad dog.'

On which the dog deposited this carcass at Raunce's feet.

'Holy Moses,' he said, 'the old cow.'

'Now then,' Edith interrupted. 'That's all right,' he went on, 'I'm thinkin' of you ducks. See?'

'No I don't.'

'Well she's got it in for you about that waterglass an' now we've something on her. Get me?'

A noise of high shrieks and the clapping of hands announced Miss Evelyn and Miss Moira, tearing along towards them down passages.

'For land's sake the children,' Edith exclaimed. 'Why I declare I forgot all about…'

Meantime Raunce had dashed out into the pantry snapping his fingers at the dog. It picked up the dead peacock and followed. Raunce shut that further door behind them both. For a moment Edith was alone as those children raced towards her the other way. Then they had arrived. She was holding her breasts.

'Mercy,' Miss Evelyn exclaimed with a trace of Cockney accent, 'why Edith you do look thrilled at something.'

Raunce's Albert came out of the door Mr Raunce had closed. He shut it again after him, on the butler and the dog and its find it carried.

'Hello Bert,' Miss Moira said.

'Hullo Miss Moira,' he replied. He just stood looking pale and miserable.

'You coining with us?' Edith asked. 'It's your afternoon off isn't it?'

'Oh yes,' he said, and a smile broke over his wan face.

'I got to get ready,' she announced. I'll race you two all the way up to my hide out. One three go,' she shouted and they were gone. The boy got out a handkerchief, blew his nose. His weak eyes shone.

As the three of them ran the front way through all the magnificence and the gilt of that Castle Miss Evelyn looked back. She cried, 'Why couldn't Bert race with us?'

'Because he's too old,' Edith called back panting, and steadied herself round a turn of the Grand Staircase by holding the black hand of a life-sized negro boy of cast iron in a great red turban and in gold-painted clothes.

Albert went behind the door to the cellar, unhooked his mackintosh and put on the rubber boots he kept there. It was not long before the others were back ready dressed to meet showers. Edith's head was in a silk scarf Mrs Jack had given her which was red and which had for decoration the words 'I love you I love you' written all over in black longhand with rounded letters.

Albert stayed silent while the rest argued where to go. At last they decided on that walk to the temple. Miss Evelyn had a bag of scraps to feed the peacocks. When they went through Raunce's pantry to reach the back door this man and the dog were gone without trace. But as soon as they were outside rain began to come down so thick that they hesitated. Edith said not unkind, That's a silly thing Bert to come without a hat.' He looked back speechless and plastered his long streaming yellow hair down one cheek with a hand. While those two little girls argued where they should go next to get out of the wet Edith looked at the lad derisively. She added as if in answer to a question, 'Oh it does mine good, the soft water curls my hair.'

Then while he regarded her, and he was yearning in the rain, Miss Evelyn announced they'd decided that they'd go play in the Skull-pier Gallery.

'All right if you want,' Edith replied, 'but not through the old premises or we'll dirty 'em wet as we are,' for this Gallery was built on to the far portion of the Castle beyond the part that was shut up. So they ran along a path round by the back past the dovecote and any number of doors set in the Castle's long high walls pierced with tall Gothic windows. Running they flashed along like in the reflection of a river on a grey day, and smashed through white puddles which spurted.

Squat under this great Gothic pile lay the complete copy of a Greek temple roofed, windowed and with two green bronze doors for entrance. The children dashed through an iron turnstile, which clicked into another darker daylight, into a vast hall lit by rain and dark skylights and which was filled with marble bronze and plaster statuary in rows.

'What shall we play?' the Misses Evelyn and Moira cried. Their sharp voices echoed, echoed. The place was damp. Albert kept his mackintosh on. Edith took off her scarf. She was brilliant, she glowed as she rang her curls like bells without a note.

'Blind man's buff,' she said. 'Oh let's,' the girls cried. It was plain this was what they had expected.

'You won't have no difficulty telling it's me,' Albert brought out as if he held a grievance, 'it's me,' the walls repeated.

'You stay mum or we'd never have invited you. We're not playing for you,' Edith told him.

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