The End of the Affair - #GreeneForGran

Remember in the dim and distant past when Simon S organised a #GreeneForGran reading week, in commemoration of Granny Savidge who prized Graham Greene so highly?  It was keenly taken up by bloggers, tweeters, Facebookers etc., and I was one of the number who joined in, picking up The End of the Affair (1951).  And then my blog break happened, and now it's months late... oops.  But I thought the novel was amazing, so I'm going to write about it now.

And, first, can we talk about how great this Penguin cover is?  It's a 1962 edition, and it is those 1960s Penguin covers, with layering and elements of the surreal, that I love the most.

The End of the Affair is the third Greene novel I've read - you can read my review of Travels With My Aunt, should you so wish, but apparently I never got around to writing about Brighton Rock.  In broad brushstrokes, they were funny and violent respectively.  I loved the former, and didn't enjoy the latter.  Well, The End of the Affair is neither funny nor violent, but I am ready to state (even without having read almost everything Greene wrote) that it is his masterpiece.  I don't see how he could have done better - at least not in the line which the novel takes, which is melancholia. Except it's altogether too British for that word, which conjures up images of dreary French novels like Sagan's Sunlight on Cold Water; despondence is perhaps a better description.

The novel concerns, as you might have guessed, a love affair.  Maurice Bendrix is the narrator, and his affair was with the wife of a friend, Sarah Miles (based, apparently, on the woman Greene himself had an affair with.)  The title suggests that the novel documents the end of this affair, but, as Bendrix says towards the end:

If I were writing a novel I would end it here: a novel, I used to think, has to end somewhere, but I'm beginning to believe my realism has been at fault all these years, for nothing in life now ever seems to end.

I usually hate it when novels include the 'If I were writing a novel' gimmick, but I'll forgive Greene this instance because it raises a useful point - The End of the Affair does not document the end of an affair, but rather the aftermath of an affair - and, in flashbacks, the affair itself.  There is no clean break; there is uncertainty and longing and Sarah continues to dominate Maurice's mind throughout.  Sarah's husband Henry asks Maurice whether he thinks Sarah is having an affair (at this point Maurice's affair is over); in response, Maurice hires a private detective to follow her, and report back.  He is driven, of course, by possessive jealousy - but there is little rage and bluster in him; he is no Othello.  Instead, he is simply unhappy.

The sense of unhappiness is so much easier to convey than that of happiness.  In misery we seem aware of our own existence, even though it may be in the form of a monstrous egotism: this pain of mine is individual, this nerve that winces belongs to me and to no other.  But happiness annihilates us: we lose our identity.

Books about lovers usually bore me to tears, as do books about unhappiness, perhaps because both have been written about so very often that it is difficult to write anything original, but Greene's prose is quite astoundingly good.  Par example...

She had often disconcerted me by the truth.  In the days when we were in love, I would try to get her to say more than the truth - that our affair would never end, that one day we should marry.  I wouldn't have believed her, but I would have liked to hear the words on her tongue, perhaps only to give me the satisfaction of rejecting them myself.  But she never played that game of make-believe, and then suddenly, unexpectedly, she would shatter my reserve with a statement of such sweetness and amplitude... I remember once when I was miserable at her calm assumption that one day our relations would be over, hearing with incredulous happiness, "I have never, never loved a man as I love you, and I never shall again."  Well, she hadn't known it, I thought, but she too played the same game of make-believe.

Every page of The End of the Affair was written exquisitely, which meant it couldn't be a quick read - and, similarly, its depiction of despondence was too well done to make for easy reading.  Somehow unhappiness is woven into every word, and the tone is heavy-laden but realistic.  No histrionics or wailing, simply stating, recording, responding.

And yet, in the midst of this, is a fantastic comic character - in the shape of the hired private detective, Alfred Parkis.  The End of the Affair contains one of the most wonderful detectives I've encountered in fiction, and had Greene chosen to take that route, I could envisage a fantastic series of novels featuring Parkis (note to self: craft a spin-off series).  He is delightfully dim, and a curious mixture of eager, officious, and melancholic.  It is a dark comedy, because he is continually afraid of looking foolish in front of 'his boy', who trails around silently after him at all times - and invariably he does look foolish.  But he is also a very sympathetic character, and I would have loved more of him in the novel.

I am aware that I am one of the last to the party on this one, and that I'm hardly uncovering a forgotten classic, but I was bowled over by how tautly good The End of the Affair was.  The blurb to my copy says that it is 'distinct from any other major novel by Graham Greene', which is a curious way of phrasing things and gives me hope that perhaps some of his minor novels (whichever they might be) run along similar lines?  I'll certainly try more Greene, waiting to see what else he can do - and will metaphorically raise a glass, or literally raise a book, to Granny Savidge when I do so.


Others who got Stuck into it:

"[It] is a dark, intense little gem of a novel, as wintry and stark as the post-war January landscape in which it takes place" - Victoria, Tales From the Reading Room

"This is an incredibly moving story that brims with pathos and anger throughout." - Kim, Reading Matters

"Greene is often bleak but not often this bleak." - Catherine, Juxtabook

Travels With My Aunt

As far as I'm aware, until this month I had never read a book with the word 'Aunt' in the title - and now I find myself reading two of them. Travels With My Aunt by Graham Greene, and Aunts Aren't Gentlemen by PG Wodehouse - both very funny. Perhaps Aunts are a source of untapped hilarity (also languishing on my shelf is Cordial Relations: The Maiden Aunt in Fact and Fiction by Katharine Moore, so more to discover there, too...)

My lovely book group has themed months, where the shortlist for voting must be suggested within a theme or idea. Next month, for example, is books set in Oxford (I'm holding out for Jill by Philip Larkin). Last month was books about geographical journeys - and I suggested Travels With My Aunt by Graham Greene, which was eventually victorious. I hadn't read it - indeed, I knew almost nothing about it - but has been told by one or two people that I should read some Greene. And I'm very glad that I did.

Henry has never met his Aunt Augusta before she turns up at his mother's funeral: "It's odd how we seem to meet only at religious ceremonies. The last time I saw you was at your baptism." His quiet life working in a bank, tending his dahlias, and generally not doing very much - it's all about to be wildly disrupted. His is not a spirit of adventure - 'The bank had taught me to be wary of whims. Whims so often end in bankruptcy." But Augusta is no-nonsense, fairly eccentric, and determined to change him. But I'll let Henry do the describing:

I wish I could reproduce more clearly the tones of her voice. She enjoyed talking, she enjoyed telling a story. She formed her sentences carefully like a slow writer who foresees ahead of him the next sentence and guides his pen towards it. Not for her the broken phrase, the lapse of continuity. There was something classically precise, or perhaps it would be more accurate to say, old-world in her diction. The bizarre phrase, and occasionally, it must be agreed, a shocking one, gleamed all the more brightly from the odd setting. As I grew to know her better, I began to regard her as bronze rather than brazen, a bronze which has been smoothed and polished by touch, like the horse's knee in the lounge of the Hotel de Paris in Monte Carlo, which she once described to me, caressed by generations of gamblers.

For Aunt A is well-travelled. When she suggests a trip, Henry thinks Brighton would be a good destination, and it does offer an interesting excursion - little does he know that their travels will later include Paris, Istanbul, Paraguay... Truth be told, the destinations aren't hugely important in themselves (which rather relieved me, as I'm not usually a fan of travel literature, and was glad that the novel didn't turn into it) but rather act as settings for the illicit and extraordinary activities with which Augusta is involved. I don't want to spoil them for you, but safe to say the police get involved along the way.

Having written that, you might be surprised to learn that the character I was reminded of most, from the earliest chapters onwards, was Miss Hargreaves. In the unlikely event that you've missed me talking about Miss Hargreaves, probably by favourite novel, you can read my eulogies here. Miss H was written in 1939; Travels With My Aunt came out in 1969 - and Aunt Augusta is more or less what I'd expect Miss Hargreaves to be if she'd lived thirty years later, and been rather less respectable. I can't imagine Miss Hargreaves saying, for instance, "A brothel is after all a kind of school." But the characters have the same indomitable spirit, eccentric manner, and amusingly unpredictable speech. The success of Greene's novel, for me, is through character - through Augusta and Henry's conversations, where two wholly different characters meet and travel together. The first half of the novel focuses upon character (broadly speaking) and the second half more on plot - which I found perhaps less interesting, though apparently it is more akin to Greene's literary thrillers.

I haven't read anything else by Greene, and I've been told that Travels With My Aunt is the unGreenelike Greene novel, but I was so charmed and amused by this spirited novel that I'll definitely be trying some others. Anybody got anything to suggest? I'm also keen to see Maggie Smith in the film, but (of course) it hasn't been released on DVD... (Oh, and for the thoughts of another member of the book group - I've just spotted Harriet's review!)