I remember picking up a paperback copy of ‘Tipping the Velvet’, Sarah Waters’ first novel, in a London bookshop, years ago. It wasn’t because I’d heard of the author or of the book, it was because the cover caught my eye and because I spotted a Virago apple on the spine.
Since then her star has risen and risen to such glorious heights; I had to wait and wait in a very long library queue – as long a queue as I have ever waited in – to read ‘The Paying Guests.’
I wish that I could say that I loved it, but I can’t quite say that.
Maybe my expectations were just a little too high.
Maybe I was the wrong reader. I’ve always believed that how we respond to books is heavily influenced by the books we’ve read before. I’ve read many books from this period; and ‘A Pin to See the Peepshow’ by F Tennyson Jesse, a book that Sarah Waters has acknowledged as a significant influence, is a particular favourite of mine ….
As I read ‘The Paying Guests’ I found things to love, I found things to admire, but I also found things that I didn’t love and things that disappointed me.
The story began beautifully: on an afternoon in 1922, Mrs Wray and her grown-up daughter, Frances, were at home, on the outskirts of London, awaiting the arrival of their first paying guests. Mr Wray had died leaving little but debt, his two sons had been killed in the Great War, and so his wife and daughter had to manage alone. Frances had persuaded her other that, rather than sell up, she would take on the domestic duties that had been done by servants in the past and they would let part of the house. She could manage. They could manage. But now that the day had come Mrs Wray’s worries had returned and Frances was anxious about how it would all work.
Sarah Waters captures the discomfort of having change in your home, of having to be ever aware of other people, of having to deal with things – small but significant things that you never had to deal with before – quite perfectly. And as she slowly builds up to the dramatic incident that will be the centrepiece of her story she reveals more about her characters; the picture becomes clearer, the psychology becomes clearer, and it all makes sense.
The details are so well chosen, and the story is so very well rooted in its era; that and the sheer quality of the writing made this part of the story, where very little happened but it was clear that something was going to happen, utterly compelling.
The characters were not likeable, but they were believable. I appreciated that there were no heroes and no villains, just real, fallible human beings.
That dramatic incident was inevitable, but when it came it was shocking. I wanted to look away, but I couldn’t.
That shifted the story, and that was where things started to go wrong.
The remainder of the book was concerned with the fallout from that incident, and though it was compelling, though it had significant things to say, about marriage, about justice, about change in the post-war world, it was compromised by the love story that Sarah Waters so clearly wanted to play out.
I could accept the blurring of right and wrong, though I didn’t like it; there were other thingsthat I found much more difficult to accept.
I felt that Sarah Waters compromised her characters – in some cases she made them blind – to reach the ending she wanted. I couldn’t help feeling that it was the wrong ending, though I give her great credit for not making it a definitive ending; there were clearly things that had to be faced in the future.
(I wish I could explain a little more, I wish I could ask certain questions, but I think that it’s far too early in this book’s life to write about specific plot points.)
The emotions rang true, so much rang true, but those things that didn’t ring true, pulled me right out of the story.
That’s why, though I found much to appreciate in this book, my lasting feeling is one of disappointment.