Elizabeth Fair
Bramton Wick
She wondered how Lady Masters got her old parlour maid to carry the coffee right across the lawn. But, of course, Lady Masters got things simply by always having had them and by taking it for granted that she always would have them.
In Bramton Wick, the setting of Elizabeth Fair’s cheerful debut novel, tensions and resentments—not to mention romance—roil beneath the polite interactions of its charming and eccentric residents.
There’s upper crust Lady Masters, taking the good things for granted but thoroughly cowed by her gardener. There’s Gillian Cole, a war widow, and her sister Laura, for whom romance may (or may not) be in the offing. There’s Miss Selbourne and “Tiger” Garrett, who met driving ambulances during the war (the first one, though Miss Garrett does get them confused). There’s Major Worthy, who is quite energetic for an invalid. And there’s the three Misses Cleeve, who are “all remarkably like toads” and who have a casual relationship with the truth.
Furrowed Middlebrow is delighted to make available, for the first time in over half a century, all six of Elizabeth Fair’s irresistible comedies of domestic life. These new editions all feature an introduction by Elizabeth Crawford.
“Miss Fair’s understanding is deeper than Mrs. Thirkell’s and her humour is untouched by snobbishness; she is much nearer to Trollope, grand master in these matters.” STEVIE SMITH
“Miss Fair’s first novel is not one of promise but of accomplishment. Good luck to her!” JOHN BETJEMAN
“Deliciously malicious humour abounds.” Vanity Fair
FM14
Contents
Cover
Title Page/About the Book
Contents
Introduction by Elizabeth Crawford
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Five
Chapter Six
Chapter Seven
Chapter Eight
Chapter Nine
Chapter Ten
Chapter Eleven
Chapter Twelve
Chapter Thirteen
Chapter Fourteen
Chapter Fifteen
Chapter Sixteen
Chapter Seventeen
Chapter Eighteen
Chapter Nineteen
Chapter Twenty
About the Author
Titles by Elizabeth Fair
Furrowed Middlebrow Titles
Landscape in Sunlight – Title Page
Landscape in Sunlight – Chapter One
Copyright
Introduction
‘Delicious’ was John Betjeman’s verdict in the Daily Telegraph on Bramton Wick (1952), the first of Elizabeth Fair’s six novels of ‘polite provincial society’, all of which are now republished as Furrowed Middlebrow books. In her witty Daily Express book column (17 April 1952), Nancy Spain characterised Bramton Wick as ‘by Trollope out of Thirkell’ and in John O’London’s Weekly Stevie Smith was another who invoked the creator of the Chronicles of Barsetshire, praising the author’s ‘truly Trollopian air of benign maturity’, while Compton Mackenzie pleased Elizabeth Fair greatly by describing it as ‘humorous in the best tradition of English Humour, and by that I mean Jane Austen’s humour’. The author herself was more prosaic, writing in her diary that Bramton Wick ‘was pretty certain of a sale to lending libraries and devotees of light novels’. She was right; but who was this novelist who, over a brief publishing life, 1952-1960, enjoyed comparison with such eminent predecessors?
Elizabeth Mary Fair (1908-1997) was born at Haigh, a village on the outskirts of Wigan, Lancashire. Although the village as she described it was ‘totally unpicturesque’, Elizabeth was brought up in distinctly more pleasing surroundings. For the substantial stone-built house in which she was born and in which she lived for her first twenty-six years was ‘Haighlands’, set within the estate of Haigh Hall, one of the several seats of Scotland’s premier earl, the Earl of Crawford and Balcarres. Haigh Hall dates from the 1830s/40s and it is likely that ‘Haighlands’ was built during that time specifically to house the Earl’s estate manager, who, from the first years of the twentieth century until his rather premature death in 1934, was Elizabeth’s father, Arthur Fair. The Fair family was generally prosperous; Arthur Fair’s father had been a successful stockbroker and his mother was the daughter of Edward Rigby, a silk merchant who for a time in the 1850s had lived with his family in Swinton Park, an ancient house much augmented in the 19th century with towers and battlements, set in extensive parkland in the Yorkshire Dales. Portraits of Edward Rigby, his wife, and sister-in law were inherited by Elizabeth Fair, and, having graced her Hampshire bungalow in the 1990s, were singled out for specific mention in her will, evidence of their importance to her. While hanging on the walls of ‘Haighlands’ they surely stimulated an interest in the stories of past generations that helped shape the future novelist’s mental landscape.
On her mother’s side, Elizabeth Fair was the grand-daughter of Thomas Ratcliffe Ellis, one of Wigan’s leading citizens, a solicitor, and secretary from 1892 until 1921 to the Coalowners’ Association. Wigan was a coal town, the Earl of Crawford owning numerous collieries in the area, and Ratcliffe Ellis, knighted in the 1911 Coronation Honours, played an important part nationally in dealing with the disputes between coal owners and miners that were such a feature of the early 20th century. Although the Ellises were politically Conservative, they were sufficiently liberal-minded as to encourage one daughter, Beth, in her desire to study at Lady Margaret Hall, Oxford. There she took first-class honours in English Literature and went on to write First Impressions of Burmah (1899), dedicated to her father and described by a modern authority as ‘as one of the funniest travel books ever written’. She followed this with seven rollicking tales of 17th/18th-century derring-do. One, Madam, Will You Walk?, was staged by Gerald du Maurier at Wyndham’s Theatre in 1911 and in 1923 a silent film was based on another. Although she died in childbirth when her niece and namesake was only five years old, her presence must surely have lingered not only on the ‘Haighlands’ bookshelves but in family stories told by her sister, Madge Fair. Another much-discussed Ellis connection was Madge’s cousin, (Elizabeth) Lily Brayton, who was one of the early- 20th century’s star actresses, playing the lead role in over 2000 performances of Chu Chin Chow, the musical comedy written by her husband that was such a hit of the London stage during the First World War. Young Elizabeth could hardly help but be interested in the achievements of such intriguing female relations.
Beth Ellis had, in the late-nineteenth century, been a boarding pupil at a school at New Southgate on the outskirts of London, but both Elizabeth Fair and her sister Helen (1910-1989) were educated by a governess at a time when, after the end of the First World War, it was far less usual than it had been previously to educate daughters at home. Although, in a later short biographical piece, Elizabeth mentioned that she ‘had abandoned her ambition to become an architect’, this may only have been a daydream as there is no evidence that she embarked on any post-schoolroom training. In her novels, however, she certainly demonstrates her interest in architecture, lovingly portraying the cottages, houses, villas, rectories, manors, and mansions that not only shelter her characters from the elements but do so much to delineate their status vis à vis each other. This was an interest of which Nancy Spain had perceptively remarked in her review of Bramton Wick, writing ‘Miss Fair is refreshingly more interested in English landscape and architecture and its subsequent richening effect on English character than she is in social difference of rank, politics, and intellect’. In The Mingham Air (1960) we feel the author shudder with Mrs Hutton at the sight of Mingham Priory, enlarged and restored, ‘All pur
ple and yellow brick, and Victorian plate-glass windows, and a conservatory stuck at one side. A truly vulgar conservatory with a pinnacle.’ Hester, her heroine, had recently been engaged to an architect and, before the engagement was broken, ‘had lovingly submitted to his frequent corrections of her own remarks when they looked at buildings together’. One suspects that Elizabeth Fair was perhaps as a young woman not unfamiliar with being similarly patronised.
While in The Mingham Air Hester’s ex-fiancé plays an off-stage role, in Seaview House (1955) another architect, Edward Wray, is very much to the fore. It is while he is planning ‘a “select” little seaside place for the well-to-do’ at Caweston on the bracing East Anglian coast that he encounters the inhabitants of ‘Seaview House’. We soon feel quite at home in this draughty ‘private hotel’, its ambience so redolent of the 1950s, where the owners, two middle-aged sisters, Miss Edith Newby and widowed Mrs Rose Barlow, might be found on an off-season evening darning guest towels underneath the gaze of the late Canon Newby, whose portrait ‘looked down at his daughters with a slight sneer’. By way of contrast, life in nearby ‘Crow’s Orchard’, the home of Edward’s godfather, Walter Heritage, whose butler and cook attend to his every needs and where even the hall was ‘thickly curtained, softly lighted and deliciously warm’, could not have been more comfortable.
Mr Heritage is one of Elizabeth Fair’s specialities, the cosseted bachelor or widower, enjoying a life not dissimilar to that of her two unmarried Ellis uncles who, after the death of their parents, continued to live, tended by numerous servants, at ‘The Hollies’, the imposing Wigan family home. However, not all bachelors are as confirmed as Walter Heritage, for in The Native Heath (1954) another, Francis Heswald, proves himself, despite an inauspicious start, to be of definitely marriageable material. He has let Heswald Hall to the County Education Authority (in 1947 Haigh Hall had been bought by Wigan Corporation) and has moved from the ancestral home into what had been his bailiff’s house. This was territory very familiar to the author and the geography of this novel, the only one set in the north of England, is clearly modelled on that in which the author grew up, with Goatstock, ‘the native heath’ to which the heroine has returned, being a village close to a manufacturing town that is ‘a by- word for ugliness, dirt and progress’. In fact Seaview House and The Native Heath are the only Elizabeth Fair novels not set in southern England, the region in which she spent the greater part of her life. For after the death of Arthur Fair his widow and daughters moved to Hampshire, closer to Madge’s sister, Dolly, living first in the village of Boldre and then in Brockenhurst. Bramton Wick, Landscape in Sunlight (1953), A Winter Away (1957), and The Mingham Air (1960) are all set in villages in indeterminate southern counties, the topographies of which hint variously at amalgams of Hampshire, Dorset, and Devon.
Elizabeth Fair’s major break from village life came in 1939 when she joined what was to become the Civil Defence Service, drove ambulances in Southampton through the Blitz, and then in March 1945 went overseas with the Red Cross, working in Belgium, Ceylon, and India. An intermittently-kept diary reveals that by now she was a keen observer of character, describing in detail the background, as she perceived it, of a fellow Red Cross worker who had lived in ‘such a narrow circle, the village, the fringes of the county, nice people but all of a pattern, all thinking on the same lines, reacting in the same way to given stimuli (the evacuees, the petty discomforts of war). So there she was, inexperienced but obstinate, self-confident but stupid, unadaptable, and yet nice. A nice girl, as perhaps I was six years ago, ignorant, arrogant and capable of condescension to inferiors. Such a lot to learn, and I hope she will learn it.’ Clearly Elizabeth Fair felt that her war work had opened her own mind and broadened her horizons and it is hardly surprising that when this came to an end and she returned to village life in Hampshire she felt the need of greater stimulation. It was now that she embarked on novel writing and was successful in being added to the list of Innes Rose, one of London’s leading literary agents, who placed Bramton Wick with Hutchinson & Co. However, as Elizabeth wrote in her diary around the time of publication, ‘it still rankles a little that [the Hutchinson editor] bought Bramton Wick outright though I think it was worth it – to me – since I needed so badly to get started.’
However, although Hutchinson may have been careful with the money they paid the author, Elizabeth Fair’s diary reveals that they were generous in the amount that was spent on Bramton Wick’s publicity, advertising liberally and commissioning the author’s portrait from Angus McBean, one of the period’s most successful photographers. Witty, elegant, and slightly quizzical, the resulting photograph appeared above a short biographical piece on the dust wrappers of her Hutchinson novels. The designs for these are all charming, that of The Native Heath being the work of a young Shirley Hughes, now the doyenne of children’s book illustrators, with Hutchinson even going to the extra expense of decorating the front cloth boards of that novel and of Landscape in Sunlight with an evocative vignette. Elizabeth Fair did receive royalties on her second and third Hutchinson novels and then on the three she published with Macmillan, and was thrilled when an American publisher acquired the rights to Landscape in Sunlight after she had ‘sent Innes Rose the masterful letter urging to try [the book] in America’. She considered the result ‘the sort of fact one apprehends in a dream’ and relished the new opportunities that now arose for visits to London, confiding in her diary that ‘All these social interludes [are] extremely entertaining, since their talk mirrors a completely new life, new characters, new outlook. How terribly in a rut one gets.’ There is something of an irony in the fact that by writing her novels of ‘country life, lightly done, but delicately observed’ (The Times Literary Supplement, 1 November 1957) Elizabeth Fair was for a time able to enjoy a glimpse of London literary life. But in 1960, after the publication of The Mingham Air, this interlude as an author came to an end. In her diary, which included sketches for scenes never used in the novel-in-hand, Elizabeth Fair had also, most intriguingly, noted ideas for future tales but, if it was ever written, no trace survives of a seventh novel. As it was, she continued to live a quiet Hampshire life for close on another forty years, doubtless still observing and being amused by the foibles of her neighbours.
Elizabeth Crawford
Chapter One
The morning was wet and it must have been raining all night, for a pool of water had seeped under the back door of Miss Selbourne’s cottage. When she came downstairs to let out the dogs that slept indoors, these dogs, frolicking ahead and then running back to encourage her, made wet footmarks all through the kitchen and across the uncarpeted floor of the little hall. It was a pity, for yesterday had been Mrs. Trimmer’s day for “doing” the hall and the kitchen, and now they would not be done for another week.
Miss Selbourne might, of course, have fetched a cloth and wiped away the dogs’ footmarks. But a life devoted to dogs makes one indifferent to the state of one’s house. After tut-tutting mildly at Agnes and Leo she drew back the bolts and prised open the back door, which was sticking badly as it always did in wet weather. Agnes and Leo ran out and bounded down the garden to the kennels to mock the less privileged dogs who were still confined in their sleeping quarters. A confused babble of barks and yelps marked the beginning of the day.
Miss Selbourne lit the oil cooker, put the kettle on, and returned to the foot of the stairs.
“Tiger, Tiger!” she called.
Tiger was not, as strangers assumed, another dog, but Miss Garrett, her friend and partner. Tiger was a heavy sleeper—a useful accomplishment in such a noisy house as this—and it was often necessary to go upstairs and shake her into consciousness. But this morning was different; perhaps the importance of the day had penetrated into Miss Garrett’s sleeping brain, as the thought of a journey or a visit to the dentist will rouse us more effectually than an alarm clock. Miss Selbourne heard heavy bumps, a prolonged coughing, and the squeak of an opening door. She returned to the kitc
hen.
Shortly afterwards Miss Garrett joined her. Miss Garrett was one of those people who can do nothing until they have had a cup of tea. It was for this reason that Miss Selbourne had to get up first. Even Miss Garrett’s tongue did not work freely till the tea was brewed. She simply nodded to her friend and sat herself heavily on the edge of the kitchen table. The table creaked; Miss Garrett frowned at the dogs’ wet footmarks; Miss Selbourne poured out the tea.
“Well, old thing,” said Miss Garrett at last, putting down her cup, “it’s not much of a day.”
They looked out. The view was rather obscured by an overgrown Virginia creeper and heavily shadowed by the trees that bordered the lane. It was difficult to make a good weather forecast from the kitchen window.
“Of course, it’s quite early yet,” Miss Selbourne said hopefully.
“Been raining all night. It’s bound to make the ground muddy. I told them!” said Miss Garrett triumphantly, passing her cup for a refill, “I said to them right from the beginning that that field was bound to be muddy.”
“You were quite right, Tiger. And they knew you were right. But I suppose it was the only ground they could get.”
“Oh, bosh! What about the playing field? Or the flat piece on Marly Common? Now that would have been perfect. If only they’d given me a free hand!”
“Perhaps they will, another year.” But even Miss Selbourne’s loyalty could not blind her to the fact that the playing field was always in use on Saturday afternoons, and that Marly Common was three miles from Bramton. Tiger’s schemes were always excellent; it was just in the practical details that she failed. But for that, what might she have accomplished! She was so clever, so ambitious, so like a man in her freedom from convention and petty-mindedness.
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