A Month in the Country (New York Review Books Classics)
by J.L. Carr, Michael Holroyd
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Book Summary Information
Author: J.L. Carr, Michael HolroydEdition: Paperback
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2000-10-31
ISBN: 0940322471
Number of pages: 135
Publisher: NYRB Classics
Book Reviews of A Month in the Country (New York Review Books Classics)
Book Review: Exquisitely Crafted Novella of Love & Art
Summary: 5 Stars
Sometimes it is good to revisit a favourite novel or to watch again a film that always brings you pleasure.
J. L. Carr's exquisitely written novella A Month in the Country was first brought to my attention in 1987 when I saw the film adaptation at the cinema in London. The film affected me so profoundly that I went out the following day to buy the book and what immediately struck me was the fact that there were only one hundred and five pages to it. The concise nature of this story does not reflect upon the depth of the prose and, in fact, the author imbues every line with description and dialogue so wonderfully rich that the length of the work is irrelevant.
The book is rich with characters and atmosphere. There is a gentle, bucolic peacefulness and a kind of restrained beauty as the idyllic summer unfolds. But it is the final scene (both in the film and the novel, although they are treated differently) that never fails to take my breath away.
Carr writes: `We can ask and ask but we can't have again what once seemed ours forever - the way things looked, that church alone in the fields, a bed on a belfry floor, a remembered voice, a loved face. They've gone and you can only wait for the pain to pass. All this happened so long ago. And I never returned, never wrote, never met anyone who might have given me news of Oxgodby. So, in memory, it stays as I left it, a sealed room furnished by the past, airless, still, ink long dry on a put-down pen. But this was something I knew nothing of as I lifted the loop and set off across the meadow.'
This passage never fails to tug at my heart; the acknowledgement that there are certain moments in time that have passed and will never again be recaptured. It is one of the very few pieces of fiction that never fails to blur my vision by the final line and, for one so cynical, that is no mean feat.
If you have never read this spellbinding analysis of love and art then I suggest you buy a copy immediately. This beautifully crafted and understated story of ordinary people, places and experiences is a treasure to be revisited time and time again.
Summary of A Month in the Country (New York Review Books Classics)
In J. L. Carr's deeply charged poetic novel, Tom Birkin, a veteran of the Great War and a broken marriage, arrives in the remote Yorkshire village of Oxgodby where he is to restore a recently discovered medieval mural in the local church. Living in the bell tower, surrounded by the resplendent countryside of high summer, and laboring each day to uncover an anonymous painter's depiction of the apocalypse, Birkin finds that he himself has been restored to a new, and hopeful, attachment to life. But summer ends, and with the work done, Birkin must leave. Now, long after, as he reflects on the passage of time and the power of art, he finds in his memories some consolation for all that has been lost.Any good reader has, well, had it with novels of healing. The culture of confession has given rise to novels that begin with an unspeakable act (graphically described) and end in redemption (this part is usually more vague). That's not how it works in J.L. Carr's quiet, brief, dreamy A Month in the Country. Writing in 1978, Carr's narrator, Tom Birkin, recalls the summer of 1920. A veteran of the Great War and a cuckold, Tom arrives in Oxgodby to restore a medieval mural in the church. His single season in this town in the north of England passes quickly: he sleeps in the belfry, makes a friend or two, falls secretly in love with the vicar's wife, and, chipping away at plaster and dirt, uncovers a lost masterpiece. These events seem to melt past Tom in the heat of the perfect, fleeting English summer: "The front gardens of cottages were crammed with marjoram and roses, marguerites, sweet William, at night heavy with the scent of stocks. The Vale was heavy with leaves, motionless in the early morning, black caves of shadow in the midday heat, blurring the sound of trains hammering north and south."
Carr devotes many fewer words to Tom's time in the war. The vicar's wife tries to ask him about it. "'What about hell on earth?' she said. I told her I'd seen it and lived there and that, mercifully, they usually left an exit open." His healing consists of not talking about his past--perhaps a revolutionary notion these days. A Month in the Country, with its paean to a lost, good place, oddly recalls Alain-Fournier's Le Grand Meaulnes. But where that novel was elliptical, Carr's work values clarity and simplicity above all. These are rare enough qualities, but to find them in a novel of romance and healing is a rarer pleasure still. --Claire Dederer
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