So, I was glad when my book group opted to read A Day in Summer (1963), Carr's first novel - and evidence that he was fond of A [Time] in the [Situation] titles early on. But, except for similar titles, these novels have very little in common - except, that is, for quality. Both are very good.
A Day in Summer sounds a very halcyon title, but this is belied by the opening few pages. Peplow is on a train, coming into Great Minden. He has an imaginary conversation with his Manager; one of several in square brackets throughout the novel, from different characters' perspectives, that give a very open access to their imaginations and projections:
["I wonder if you'd mind very much if I take Friday off?""I suppose not. Is someone ill? Is it urgent?"No - well, it is and it isn't. As a matter of fact I have to go off to a place in the country and shoot a man. Yes, that's right, a man. They call it Great Minden. Perhaps you know it?""Really! Great Minden! I had an aunt living near there. If you wouldn't consider it an impertinence, may I ask who - whom?""It's the man who ran down my boy last summer. He's with a fairground outfit, and on Friday he'll be at the Fair there I understand. So it would be very convenient.""Naturally! Shall we see you again on Saturday? Monday?""Well, no. I've more or less decided it would be better for me to finish myself off too. In comfort, on the way back, all being well. It would by-pass the embarrassing formalities that usually follow. I'm sure you understand."]This isn't precisely the tone that the rest of the novel takes - although it would be rather fascinating to read a whole narrative in this style. He isn't really flippant about his action, and it is the thread that pulls the novel together, but Peplow isn't really the leading character of A Day in Summer. And that is because, more than any other novel I can remember, this is an ensemble piece. Once Peplow arrives in Great Minden, the narrative flits from character to character, weaving their stories together so that the baton naturally passes from person to person.
There is a lascivious young schoolteacher who is having an affair with the vicar's wife; the teacher is rightly terrified of the elderly spinster who runs the school with an iron fist. The vicar is desperate to hold his marriage together, but his wife despises him. There is a poor family with too many children, also with marital troubles; there is a dying man whose young son wonders why his mother left the family years ago. And, taking the cover on my book, is the man in a wheelchair, invalided by war, who happens to have been in action with Peplow.
There are, you see, too many characters to describe all that goes on; the plot is planned perfectly, and yet it feels less like a plot and more like observing villagers living their lives. Their unhappy lives, it should be said; misery is widespread, and marriages seem incapable of being content. Indeed, Peplow's paternal grief seems perhaps less vivid than the teacher Croser's sickness of being in a frustrating job, of the vicar's pain.
Throughout, Carr's tone is quite darkly witty, and I really loved it. Fans of A Month in the Country may find little to recognise, but this is by no means a weak first effort at novel-writing. Carr has a very impressive confidence even at this early stage, and handles a difficult tone and potentially unwieldy plot extremely well. Although A Month in the Country is a better book to curl up with for comfort, this is a stark, moving, and (yet) very amusing novel that is arguably equally good, in a very different way.