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Vintage Byatt

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ISBN-10: 1400077451

ISBN-13: 9781400077458

Edition: 2004

Authors: A. S. Byatt, A. S. Byatt

List price: $9.95
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Fabulist, realist, critic, and winner of the Booker Prize for her now-classic novel Possession, A. S. Byatt has boundless intellectual and literary gifts and a fathomless imagination on which to nourish them. Her novels, stories, and essays allow us to see both our own and other worlds and times and, perhaps most brilliantly, the connections between them. Vintage Byatt includes a self-contained section from the bestselling Possession; selections from the Matisse Stories, Elementals, Sugar and Other Stories, and the recent Little Black Book of Stories; and essays from the collection Passions of the Mind. Vintage Readers are a perfect introduction to some of the great modern writers,…    
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Book details

List price: $9.95
Copyright year: 2004
Publisher: Knopf Doubleday Publishing Group
Publication date: 10/12/2004
Binding: Paperback
Pages: 208
Size: 5.21" wide x 8.01" long x 0.53" tall
Weight: 0.506
Language: English

A.S. Byatt was born on August 24, 1936 in Sheffield, England. She received a B.A. from Newnham College, Cambridge in 1957, did graduate study at Bryn Mawr College from 1957-58, and attended Somerville College, Oxford from 1958-59. She was a staff member in the extra-mural department at the University of London from 1962-71. From 1968-69, she was also a part-time lecturer in the liberal studies department of the Central School of Art and Design, London. She was a lecturer at University College from 1972-80 and then senior lecturer from 1981-83. She became a full-time writer in 1983. Her works include The Biographer's Tale, The Virgin in the Garden, Babel Tower, A Whistling Woman, and The…    

Racine and The Tablecloth
When was it clear that Martha Crichton-Walker was the antagonist? Emily found this word for her much later, when she was a grown woman. How can a child, undersized and fearful, have enough of a self to recognize an antagonist? She might imagine the malice of a cruel stepmother or a jealous sister, but not the clash of principle, the essential denial of an antagonist. She was too young to have thought-out beliefs. It was Miss Crichton-Walker's task, after all, to form and guide the unformed personality of Emily Bray. Emily Bray's ideas might have been thought to have been imparted by Martha Crichton-Walker, and this was in part the case, which made the recognition of antagonism peculiarly difficult, certainly for Emily, possibly for both of them.
The first time Emily saw Miss Crichton-Walker in action was the first evening of her time at the school. The class was gathered together, in firelight and lamplight, round Miss Crichton-Walker's hearth, in her private sitting-room. Emily was the only new girl: she had arrived in mid-year, in exceptional circumstances (a family illness). The class were thirteen years old. There were twenty-eight of them, twenty-nine with Emily, a fact whose significance had not yet struck Emily. The fireside evening was Miss Crichton-Walker's way of noticing the death of a girl who had been in the class last term and had been struck by peritonitis after an operation on a burst appendix. This girl had been called Jan but had been known to the other girls as Hodgie. Did you hear about Hodgie, they all said to each other, rushing in with the news, mixing a kind of fear with a kind of glee, an undinted assurance of their own perpetuity. This was unfortunate for Emily; she felt like a substitute for Hodgie, although she was not. Miss Crichton-Walker gave them all pale cocoa and sugar-topped buns, and told them to sit on the floor round her. She spoke gently about their friend Hodgie whom they must all remember as she had been, full of life, sharing everything, a happy girl. She knew they were shocked; if at any later time they were to wish to bring any anxieties or regrets to her, she would be glad to share them. Regrets was an odd word, Emily perhaps noticed, though at that stage she was already willing enough to share Martha Crichton-Walker's tacit assumption that the girls would be bound to have regrets. Thirteen-year-old girls are unkind and in groups they are cruel. There would have been regrets, however full of life and happy the lost Hodgie had been.
Miss Crichton-Walker told the girls a story. It made a peaceful scene, with the young faces turned up to the central storyteller, or down to the carpet. Emily Bray studied Miss Crichton-Walker's appearance, which was firmly benign and breastless. Rolled silver curls, almost like a barrister's wig, were aligned round a sweet face, very soft-skinned but nowhere slack, set mild. The eyes were wide and very blue, and the mouth had no droop, but was firm and even, straight-set. Lines led finely to it but did not carve any cavity or depression: they lay lightly, like a hairnet. Miss Crichton-Walker wore, on this occasion and almost always, a very fine woolen dress, nun's veiling with a pleated chest, long fitted sleeves, and a plain white Peter Pan collar. At her neck was a simple oval silver brooch. There was something essentially girlish-not skittish, or sullen, or liquid, but unmarked, about this face and body, which were also those of a neat, elderly woman.
The story was allegorical. It was about a caddis-grub which scuttled about on the floor of a pond, making itself a makeshift tube-house of bits of gravel, twigs and weed to cover its vulnerable and ugly little grub body. Its movements were awkward and painful, its world dank and dimly lit. One day it was seized with an urge to climb which it could not ignore. Painfully it drew its squashy length out of its abandoned house and made its way, bursting and anguished, up a tall bulrush. In the bright outer air it hardened, cased in, and then most painfully burst and split, issuing forth with fine iridescent wings and darting movements, a creature of light and air. Miss Crichton-Walker enjoyed this tale of contrasts. Emily Bray could not make out-she was never much to make out, it was her failing-what the other girls thought or felt. Always afterwards she imagined the dead Hodgie as grub-like and squashy. During the telling she imagined the others as little girls, although she herself was the smallest in size, puny and stick-like. They all sat in their dressing-gowns and pyjamas, washed and shapeless. Later in the dormitory they would chatter agitatedly, full of opinions and feelings, pointing fingers, jutting chins. Here they were secret and docile. Miss Crichton-Walker told them they had had a peaceful evening together and that had been good. Emily Bray saw that there were two outsiders in the room. There was herself, set aside from the emotion that was swimming around, and there was Miss Crichton-Walker who wanted them all to be sharing something.
Every Wednesday and every Sunday the school walked into the centre of the cathedral city to go to church. On Wednesday they had their own service, shared with their brother school, Holy Communion and Morning Prayer. On Sunday they made part-a large part-of the general congregation. There were rules about walking through the city; they did not go in a crocodile, but were strictly forbidden to walk more than two abreast through the narrow streets. Three laughing girls, horseplaying perhaps, had once swept over an old lady outside Boot's, had fractured frail bones and been cautioned by the Police. A result of this reasonable ruling was that it was important for each girl to have a partner, someone to walk with, a best friend. Girls of that age choose best friends naturally, or so Emily had observed, who had not had a best friend since her days in the junior school, before her unfortunate habits became pronounced. The church-walking added forms and rituals to the selection and rejection of best friends. Everyone knew if a couple split up, or a new couple was formed. Emily discovered quickly enough that there was a floating population of rejects, ragtag, bobtail, who formed feebler ties, ad hoc partnerships, with half an eye on the chance of a rift between a more acceptable pairing. She assumed she would belong with these. She had no illusions about her chances of popularity in the class. The best she could hope for was decent anonymity. She also knew that decent anonymity was unlikely. When the exam results came, she would be found out. In the interim, she realised quickly enough the significance of the size of the class, twenty-nine girls. There would always be a final reject, one running round when all the musical chairs were occupied. That one would be Emily Bray.
You might suppose that grown-up, intelligent schoolmistresses would be capable of seeing the significance of twenty-nine, or that it might be possible for Emily to point it out, or recall it to them, if they did not. You also almost certainly know enough about conventional institutional rigours to be unsurprised that it was quite impossible for Emily to say anything coherent when, as happened regularly, she was caught up in the street and reprimanded for tagging along in a threesome. (Walking anywhere alone was an unthinkable and serious offense.) She dreaded Wednesdays and Sundays, working herself up on Tuesdays and Saturdays to beg, with mortified mock-casual misery, to be allowed to come along. After she began to get exam results, the situation, as she had foreseen, worsened. With appalling regularity, with unnatural ease and insulting catholicity, Emily Bray came first in almost everything except maths and domestic science. She came first in the theoretical paper of domestic science, but her handiwork let her down. She was a simply intellectual creature. She was physically undeveloped, no good at sport, no one to chatter to about sex, or schw�rmerei, delicious shoes or pony club confrontations. She had an image of herself in their minds as a kind of abacus in its limited frame, clicking mnemonics, solving problems, recording transactions. She waited to be disliked and they duly disliked her. There were clever girls, Flora Marsh for example, who were not so disliked: Flora was peaceably beautiful, big and slender and athletic and wholesome, genuinely modest, wanting to be mother of six and live in the country. Flora had a horse and a church partner, Catherine, she had known since she was five. Flora's handwriting was even and generous, flowing on in blue running curves and rhythmic spaces. Emily Bray wrote hunched over the page, jabbing at it with a weak-nibbed fountain pen. There was never a misspelled word, but the whole was blotted and a little smeared and grimy, the lines uneven, the characters without settled forms. In Emily's second year Miss Crichton-Walker addressed their class on its work and said in front of all of them that it was her habit always to read the best set of exam papers. In this case that was, as they all knew, Emily Bray's but she was afraid that she had had to return these unfinished since she was distressed by the aggressive handwriting. The papers were a disgrace in other ways too, nastily presented, and dirty. If Emily would be kind enough to make a fair copy she would be delighted to read them. She delivered this judgment, as was her habit, with a slight smile, not deprecating, not mitigating, but pleased and admiring. Admiring the accuracy of her own expressions, or pleased with the placing of the barb? It did not occur to young Emily to ask herself that question, though she noted and remembered the smile accurately enough to answer it, when she was ready, when her account was made up. But the child did not know what judgment the woman would make, or indeed that the woman would judge. The child believed she was shrugging off the judgment of herself. Of course the paper was dirty: schools thought dirt mattered; she believed it did not. She opposed herself like a shut sea anemone, a wall of muscle, a tight sphincter. It is also true, changing the metaphor, that the judgment dropped in heavily and fast, like a stone into a pond, to rest unshifted on the bottom.
She noted the word, aggressive, as on that earlier occasion she had noted "regrets." She remembered writing those speedy, spattered pages-an essay on Hamlet's delays, a character-analysis of Emma Woodhouse. She had written for pleasure. She had written for an imaginary ideal Reader, perfectly aware of her own strengths and failings, her approximations to proper judgments, her flashes of understanding. If she had thought for ten minutes she would have known that no such Reader existed, there was only Miss Harvey and beyond Miss Harvey Miss Crichton-Walker. But she never yielded those ten minutes. If the real Reader did not exist it was necessary to invent Him, and Emily did so. The pronoun is an accurate rendering of Emily's vaguest intimation of his nature. In a female institution where justice, or judgment, was Miss Crichton-Walker, benign impartiality seemed to be male. Emily did not associate the Reader with the gods worshipped in the cathedral on Sundays. God the Judge and God the Friend and God the rushing wind of the Spirit were familiars of Miss Crichton-Walker invoked with an effort of ecstasy in evening prayers in the school, put together with music and branched stone and beautiful words and a sighing sentiment in the choir stalls. Emily could not reasonably see why the propensity to believe this myth should have any primary guarantee of touching at truth, any more than the propensity to believe Apollo, or Odin, or Gautama Buddha, or Mithras. She was not aware that she believed in the Reader, though as she got older she became more precise and firm about his attributes. He was dry and clear, he was all-knowing but not messily infinite. He kept his proportion and his place. He had no face and no imaginary arms to enfold or heart to beat: his nature was not love, but understanding. Invoked, as the black ink spattered in the smell of chalk dust and dirty fingers, he brought with him a foreign air, sun-baked on sand, sterile, heady, tolerably hot. It is not too much to say that in those seemingly endless years in that place Emily was enabled to continue because she was able to go on believing in the Reader.
She did not make a fair copy of her papers for Miss Crichton-Walker. She believed that it was not really expected of her, that the point to be made had been made. Here she may have been doing Miss Crichton-Walker an injustice, though this is doubtful. Miss Crichton-Walker was expert in morals, not in Hamlet or Emma.
When she was fifteen Emily devised a way of dealing with the church walk. The city was medieval still in many parts, and, more particularly, was surrounded with long stretches of city wall, with honey-pale stone battlements, inside which two people could walk side by side, looking out over the cathedral close and the twisting lanes, away down to the surrounding plain. She discovered that if she ducked back behind the church, under an arched gateway, she could, if she went briskly, walk back along the ramparts almost all the way, out-flanking the mainstream of female pairs, descending only for the last few hundred yards, where it was possible to dodge through back streets to where the school stood, in its pleasant gardens, inside its own lesser barbed wall. No one who has not been an inmate can know exactly how powerful is the hunger for solitude which grows in the constant company, day and night, feeding, washing, learning, sleeping, almost even, with partition walls on tubular metal stems, excreting. It is said women make bad prisoners because they are not by nature communal creatures. Emily thought about these things in the snatched breathing spaces she had made on the high walls, but thought of the need of solitude as hers only, over against the crushing others, though they must all also, she later recognized, have had their inner lives, their reticences, their inexpressive needs. She thought things out on that wall, French grammar and Euclid, the existence of males, somewhere else, the purpose of her life. She grew bold and regular-there was a particular tree, a self-planted willow, whose catkins she returned to each week, tight dark reddish buds, bursting silvery grey, a week damp and glossy grey fur and then the full pussy willow, softly bristling, powdered with bright yellow in the blue. One day when she was standing looking at these vegetable lights Miss Crichton-Walker and another figure appeared to materialize in front of her, side by stiff side. They must have come up one of the flights of steps from the grass bank inside the wall, now bright with daffodils and crocus; Emily remembered them appearing head-first, as though rising from the ground, rather than walking towards her. Miss Crichton-Walker had a grey woollen coat with a curly lambskin collar in a darker pewter; on her head was a matching hat, a cylinder of curly fur. There were two rows of buttons on her chest; she wore grey kid gloves and sensible shoes, laced and rigorous. She stood there for a moment on the wall and saw Emily Bray by her willow tree. There was no question in Emily's mind that they had stared at each other, silently. Then Miss Crichton-Walker pointed over the parapet, indicating some cloud formation to her companion, of whose identity Emily formed no impression at all, and they passed on, in complete silence. She even wondered wildly, as she hurried away back towards the school, if she had not seen them at all.