Penelope Fitzgerald (1978)
Genre
Literary Fiction / Historical Fiction
Reading Time
120 min
Key Themes
See below
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In a 1959 seaside town, a widow opens the only bookshop, facing hostility and strange events that show some communities prefer to avoid new ideas.
In the quiet seaside town of Hardborough, Florence Green, a new widow, decides to open a bookshop, a dream she has had for a long time. With a small inheritance, she chooses the Old House, an old, damp building empty for years. Mr. Brundish, an elderly, private intellectual, is skeptical, and the townspeople are generally uninterested, but Florence continues. She believes Hardborough, a town without a bookshop, needs culture, and she feels she must provide it. Her first steps involve buying the property and starting the hard work of making it ready for her new business.
Florence quickly learns the Old House is not just old but has many problems. The roof leaks constantly, and the cellar, meant for storage, is always damp and floods easily. She hires a local handyman, Mr. Raven, who works slowly and often just offers opinions. More troubling, though, is the town's subtle resistance. Mrs. Gamart, Hardborough's self-appointed cultural leader, disapproves of Florence's choice of location, as she had her own plans for the Old House as an arts center. Her initial polite suggestions soon become clear attempts to hurt Florence's project.
The Old House is also said to have a poltergeist, with strange noises and objects moving by themselves. Florence tries to ignore it, but the events are unsettling. She hires a ten-year-old girl, Christine Gammage, as her assistant. Christine is smart but initially not interested in books, preferring to watch town events. Despite her age, she is a capable and observant helper, though her directness can be difficult. Her presence gives Florence some needed company and practical help in the new bookshop.
Against the odds, Florence's bookshop starts to get customers. She orders many kinds of books, including children's books, and even sells many copies of Vladimir Nabokov's controversial novel, 'Lolita,' which causes a stir in the conservative town. This unexpected success, however, only makes Mrs. Gamart angrier. Mrs. Gamart continues to push for the Old House to become an arts center and uses her influence to subtly turn the townspeople against Florence. The local bank manager, Mr. Mylot, also seems to be influenced by Mrs. Gamart, making Florence's financial dealings harder.
The wide sale of 'Lolita' becomes a main point for Mrs. Gamart's campaign against Florence. The novel, considered scandalous by many, gives Mrs. Gamart a reason to paint Florence's bookshop as selling immoral literature. Florence initially sells the book because it is popular and in demand, but she finds herself caught in a local moral debate. This incident gets the attention of the local newspaper, and Florence's business comes under public scrutiny, further isolating her and making her already difficult position more open to Mrs. Gamart's actions.
Amid the growing hostility, Florence finds an unexpected supporter in Mr. Brundish, the private and respected intellectual. He seemed uninterested at first, but after seeing Florence's quiet determination and the unfair way she is treated, he sends her a letter of support and even visits the shop. Mr. Brundish, who loves literature and has a strong sense of fairness, sees the value Florence brings to Hardborough. He buys books regularly and becomes a quiet but strong advocate for her. His moral authority carries weight in town, even if his direct help is limited.
The mystery of the Old House's poltergeist is eventually solved. Florence discovers that the strange noises and moving objects are not supernatural but are from a family of aggressive rodents, specifically a polecat, living in the walls. This discovery, while ordinary, adds another problem for Florence, as she now has to deal with pests on top of everything else. The incident shows the constant, practical difficulties of maintaining the old building, which drains her money and attention, taking her away from selling books.
Mrs. Gamart, determined to get the Old House for her arts center, uses her influence to pass a local rule. This rule, supposedly about historical preservation, is specifically written to prevent any commercial use of the Old House. Despite Mr. Brundish's efforts to help by writing to the local council and confronting Mrs. Gamart, the rule passes. This legal move makes it impossible for Florence to continue her bookshop in the Old House, serving as the final, decisive blow in Mrs. Gamart's campaign to remove her.
With the new rule in place, Florence has no legal way to stay in the Old House. She has to close her bookshop, her dream broken. The remaining books are packed, and Florence gets ready to leave Hardborough. Christine Gammage, her young assistant, is clearly sad about the closure, having grown to like Florence and books. The town, largely uncaring about Florence's situation, quickly moves on. Florence, having put her entire inheritance and spirit into the business, is left with only the bitter experience of trying to bring culture to a town that rejected it.
As Florence leaves Hardborough, she thinks about her failed business. The town, which she had hoped to improve, resisted her efforts, preferring its comfortable, uncultured state. Her departure is quiet and mostly unnoticed by the townspeople, who quickly forget the bookshop's brief presence. Only Christine Gammage and perhaps Mr. Brundish truly understand the loss. Florence leaves Hardborough with a quiet resignation, her dream of providing a bookshop for the community completely stopped by apathy, local politics, and subtle meanness.
The Protagonist
Florence begins as an optimistic dreamer, determined to succeed, but ends as a defeated yet dignified figure, having learned the harsh realities of human nature and small-town politics.
The Antagonist
Mrs. Gamart remains consistently antagonistic, successfully achieving her goal of removing Florence and solidifying her control over Hardborough's cultural landscape.
The Supporting
Mr. Brundish transitions from an indifferent observer to a principled, if ultimately unsuccessful, defender of Florence and her bookshop.
The Supporting
Christine develops from a detached observer to a loyal and appreciative assistant, saddened by the bookshop's closure.
The Supporting
Mr. Raven remains a static character, consistently slow and philosophical, offering little practical help but some comic relief.
The Supporting
Mr. Mylot remains a passive figure, consistently influenced by Mrs. Gamart, and serves as an instrument of her power.
The Mentioned
Not applicable, as he is deceased and only mentioned.
The Supporting
The polecat's 'arc' is simply its eventual discovery as the source of the 'haunting'.
Florence Green's dream of opening a bookshop in Hardborough is idealistic, driven by her belief in literature's power to improve lives. This idealism, however, constantly meets the realities of small-town politics, human indifference, and money problems. The old Old House, the town's lack of interest, Mrs. Gamart's malice, and the final rule all show this conflict. Florence's good intentions are no match for the self-interest and resistance to change in Hardborough. Her failure shows how vulnerable idealism is when faced with a practical and often hostile world.
“A town that lacks a bookshop isn't always a town that wants one.”
The novel explores community in a small, isolated town like Hardborough. Florence tries to create a cultural center, but she becomes more isolated. The town, instead of welcoming her, subtly (and sometimes openly) rejects her efforts. Mrs. Gamart's influence ensures Florence remains an outsider, despite her attempts to fit in and contribute. Even those who might sympathize, like Mr. Mylot, are too afraid to openly support her. This theme shows how a community can be physically close but emotionally distant, actively excluding those who challenge its rules or power.
“No one in Hardborough had ever suggested to Florence that she should give up the bookshop. They had simply made it clear that they would not help her to keep it.”
Power, especially its manipulative and hidden forms, is central to the novel through Mrs. Gamart. She uses her social standing, wealth, and connections to control Hardborough, from its cultural activities to its local council. Her methods are rarely direct but involve subtle pressure, spreading rumors, and strategically using rules. Florence, without such power and unwilling to use similar tactics, is defenseless against Mrs. Gamart's actions. The novel shows how power, even for seemingly small local matters, can ruthlessly crush individual hopes.
“Mrs. Gamart, who was quite sure that she knew what was best for the people of Hardborough, took a different view.”
The novel reflects on the value of books and culture, and how they are seen differently. Florence believes books are essential for intellectual and spiritual growth, and her bookshop tries to bring this value to Hardborough. However, the town's reaction, from indifference to hostility (especially about 'Lolita'), suggests a deep lack of appreciation. Mr. Brundish stands as the only, principled defender of literature's importance, a stark contrast to the town's general indifference. The bookshop's closure comments on how easily cultural enrichment can be dismissed or destroyed in a community that does not truly want it.
“Books are not a luxury, but a necessity.”
Florence Green shows perseverance throughout the novel, consistently facing problems from the old building to the town's subtle hostility. She works tirelessly, manages her money, and tries to adapt to the community's needs. Despite her constant effort and quiet determination, she ultimately loses. This theme explores the idea that perseverance alone is not always enough to overcome widespread opposition and strong resistance. Florence's defeat is not a failing of her character but shows the strong and often unfair forces against her, highlighting the sad reality that not all battles, however bravely fought, can be won.
“Florence had never imagined that so many things could go wrong, or that so many people would wish them to.”
A dilapidated building symbolizing Florence's struggle and the town's resistance.
The Old House is more than just a setting; it acts as a character in itself and a potent symbol. Its dilapidated state, persistent leaks, damp cellar, and rumored haunting (later revealed to be a polecat) mirror the constant challenges Florence faces. It represents the entrenched resistance to change and progress in Hardborough, as well as the physical and emotional toll of Florence's struggle. The house's history and Mrs. Gamart's desire for it also make it a central point of conflict, symbolizing the battle for cultural space in the town.
A narrative red herring that highlights practical problems and underlying natural resistance.
The initial belief in a poltergeist haunting the Old House serves as a narrative red herring, creating an atmosphere of unsettling mystery. Its eventual reveal as a polecat is a classic example of demystification, grounding the supernatural in mundane reality. This device highlights two key aspects: firstly, the practical, persistent problems of the old building that constantly drain Florence's resources; and secondly, it subtly symbolizes the 'natural' or instinctive resistance Florence faces, not from malicious spirits, but from the animalistic, unreasoning forces of nature and, by extension, human inertia.
A controversial book that acts as a catalyst for public scrutiny and moral judgment.
Vladimir Nabokov's novel 'Lolita' functions as a significant plot device. Its controversial nature and Florence's decision to stock and sell it serve as a catalyst for public scrutiny and moral judgment against her bookshop. It provides Mrs. Gamart with a convenient and socially acceptable weapon to wield against Florence, allowing her to frame Florence as a purveyor of immoral literature. This highlights the town's conservatism and its readiness to condemn anything perceived as scandalous, ultimately contributing to Florence's isolation and the bookshop's downfall.
A legalistic plot twist used by the antagonist to achieve her goal.
The by-law passed by the local council, ostensibly for historical preservation but specifically crafted to prevent commercial use of the Old House, is a crucial plot device. It represents the ultimate, legalistic weapon Mrs. Gamart uses to definitively defeat Florence. This device highlights the insidious nature of power and manipulation, showing how bureaucratic and seemingly legitimate means can be employed to serve personal agendas and crush individual enterprise. It leaves Florence with no recourse, emphasizing the finality of her defeat.
“Human beings are not like that. They do not think, 'I will go and do an evil thing.' They do not think, 'I will go and do a good thing.' They just go and do what they are going to do.”
— Florence Green reflecting on the nature of human action and motivation.
“She had found that the only way to get through life was to take no notice of what you couldn't help.”
— Describing Florence's pragmatic approach to dealing with adversity.
“A bookshop is not a place to make money, it is a place to keep books.”
— A somewhat idealistic view of the bookshop's purpose, contrasting with the commercial realities Florence faces.
“The worst thing about the sea is that it has no memory. It takes everything and gives nothing back.”
— A melancholic observation, reflecting the town's isolated and unchanging nature.
“There is no such thing as a small town in England. There are only towns where things have not happened yet.”
— A subtle foreshadowing of the events and conflicts that will unfold in Hardborough.
“She was not a person to give up easily, but she was a person who was often given up for.”
— A poignant description of Florence's persistent yet ultimately vulnerable character.
“It was not that she was stupid; it was that she knew nothing about the world.”
— Referring to Christine, the young girl helping Florence, highlighting her innocence and lack of experience.
“The people of Hardborough were not malicious, but they were quite prepared to see a fellow creature suffer if it was for their own convenience.”
— A sharp observation on the underlying self-interest and passive cruelty of the townspeople.
“She knew that to try to make a new life was like trying to mend a torn net. The more you pulled at it, the more it frayed.”
— Florence's weary realization about the difficulty of establishing herself in Hardborough.
“No one in Hardborough seemed to have noticed that anything was happening, which was exactly how they liked it.”
— Illustrating the town's resistance to change and preference for maintaining the status quo.
“Books were not just paper and print, they were living things, and they had to be looked after.”
— Florence's deep personal connection and reverence for books.
“She had always believed that if you did your best, things would turn out for the best. Now she was not so sure.”
— Florence's growing disillusionment as her efforts are thwarted by Mrs. Gamart.
“The silence in the bookshop was a friendly, comforting silence, full of the unspoken words of thousands of books.”
— Describing the atmosphere within Florence's bookshop, highlighting its unique charm.
“It was a mistake to believe that anything in Hardborough could be decided by reason.”
— Florence realizing the futility of logical argument against entrenched local power and prejudice.
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Penelope Mary Fitzgerald was a Booker Prize-winning novelist, poet, essayist and biographer from Lincoln, England. In 2008 The Times listed her among "the 50 greatest British writers since 1945". The Observer in 2012 placed her final novel, The Blue Flower, among "the ten best historical novels". A.S. Byatt called her, "Jane Austen’s nearest heir for precision and invention."
