Auntie Phyl worried that she herself might ‘turn nasty’. I think that may have been the phrase she used. But she didn’t. She had often been grumpy and rude when younger, but her manners didn’t deteriorate, and when she was grumpy in old age she had good reason to be so.
She was confronting, as I was through her, the pointlessness of survival, the uselessness of all the little strategies by which we manage to stay alive and fill our time and get through our days – gardening, playing patience, doing jigsaws or crosswords, embroidering, watching snooker, reading, trying to learn a new language, listening to The Archers, collecting little bits of scholarship about the history of games and pastimes.
She wasn’t really one for self-deception. And she didn’t like The Archers. She didn’t like it when people assumed that she listened to it, just because she lived in a village. She thought it was inauthentic.
On one of my earlier visits to the Oaks, I took with me a ball of cheerful scarlet wool and a crochet hook and asked her to teach me how to crochet. I had never mastered this art when I was a child. I could knit, once upon a time, very badly, but never managed to make any object or garment that was useful or wearable. (My gros point cushions and rugs are, as I have indicated, more satisfactory, indeed almost pleasing.) Auntie Phyl used to crochet a good deal, and I still have and wear several of the scarves she made for me. Surely, I thought, I could learn to crochet, even though I was in my sixties. I wanted to learn, and she wanted to teach me. But I simply couldn’t get the hang of it. She began to get annoyed with me, as I sat there by her institutional bed, and I began to get annoyed with myself. She was still a good teacher, but I had become a bad learner. I was too old to learn a new trick. I gave up, promising her I’d try to practise by myself when I got home. But I didn’t bother.
I wish now that I had persevered. It might have been good for my bad thumb, might even have prevented it from getting so bad in the first place. The thumb joint of my left hand is now afflicted by De Quervain’s tenosynovitis, sometimes known as washerwoman’s thumb. It’s annoying. No worse than annoying, but annoying. I don’t know who De Quervain was. My doctor tells me that she doesn’t approve of naming maladies after dead men.
LI
Michael, who was very ill when I started to write this book and is now not so ill, claims from time to time that he is the new Auntie Phyl. In this role he has taken to watching The Antiques Roadshow, and has been known to watch the same episode more than once. He likes the soothing repetition. Like Auntie Phyl, he has allowed himself to be bullied into employing people who knock casually at the door and demand to be allowed to resurface the front steps or clean the windows. The mixture of menace and pathos with which they present themselves on his doorstep gets him down, and he lets them do things that don’t really need doing. He is sorry for them. They always do their work very badly and demand to be paid in cash.
And I am going that way myself. The young mercenary from Rupert Murdoch’s army who jumped around recently like an ibex all over my roof at Porlock, adjusting the dish to stop it speaking Welsh, said he wanted to be paid in cash. Luckily I hadn’t got enough on me, and the nearest bank is many miles away, so he had to accept an old-fashioned cheque. (I did tip him £20, in conciliation. He had been up there for hours.) The week after, I weakly agreed to pay hundreds of pounds in advance for someone to come and inspect my electrical installations – not to fix them, just to inspect them – because I couldn’t work out how to get out of the transaction, once my enquiry had been set in motion. I’ve forgotten how to say, bugger off, I’m not paying something for nothing, do you think I’m a fool? As we grow older, we become more vulnerable to these pressures. The salesman or the antique dealer or the itinerant cowboy builder or the utilities company smells weakness, scents blood, goes for the kill. The victim kneels, bows the neck and surrenders. It is easier to surrender than to struggle.
I won’t mention the pseudo-leather jackets purchased from a con man on a motorway service station forecourt, or the excessive supplies of ironing board covers and yellow dusters and unsatisfactory tea towels and strangely textured absorbent cloths that pile up in the utility room. I forget they are there, and recently went out to purchase an ironing board cover from a shop (which is not easy), forgetting that I’d bought enough from Gary to last me until death.
No, I don’t think I want to write much more about ageing. Telling horror stories is too easy. My worst memories of events surrounding Auntie Phyl’s last days still have the power to make me very angry, and I don’t want to write out of anger. The avoidance of anger has been my self-imposed Oulipean constraint while writing this. It has not been as difficult as trying to avoid the letter E, but it has been taxing. There may be one or two little splinters and signifiers of anger remaining in my text, but they are so deeply buried and coded that not even I can be sure of finding them. I’m still angry with my mother, of course, that’s obvious, but that doesn’t count any more. It is past cure, past hope, and almost past regret. Doris Lessing wrote recently that she hated her mother, a comment that was perceived as shocking. I didn’t hate mine. She filled me with pity and fear as well as anger. But never with hatred.
Jigsaws are a useful antidote to anger.
LII
I ask myself: do I believe in the jigsaw model of the universe, or do I believe in the open ending, the ever evolving and ever undetermined future, the future with pieces that even the physicists cannot number, although the physicists say they cannot be infinite? If I could claim anything as grand as a world-view, towards which of these two would I look? I thought that by writing this book I might find the answer.
I used to think I had a teleological sense of life, in which we moved towards a fore-ordained, apocalyptic illumination. All the lost and buried tesserae of memory would rush together to form part of a bright and dazzling pattern, a complete picture, which would explain, perhaps at the very moment of death, everything that had gone before, if not everything that was to come. I did not believe in an afterlife, merely in an enlightenment. The fragments of the True Cross would at last be united, and all the whispers, rumours and muddled legends of history would be made plain, transforming themselves into the Golden Legend. They would come together, the Stone Age children playing with coloured pebbles on the cave floor, the Greek children with their knucklebones, the children of Brueghel and Long Bennington and East Hardwick School, little Tom Malkin who died at the age of six, and the village children playing ducks and drakes and fishing with a pin. Not one of them would be lost, for all would equally be part of the grand design.
This hope, I suppose, represents the religious strain that I inherited from my father. ‘If with all your hearts ye truly seek me, ye shall ever surely find me.’ He liked those words from Elijah, and used to chant them a little tunelessly as he walked round his Suffolk garden in the cool of the evening. None of us could sing.
As I watched my aunt nearing death, it was more the meaningless dignity and indignity of endurance that impressed me. She stuck it out to the end. She was not a believer.
The concept of life as a journey, a pilgrimage, a quest, a ladder, or a spiral track may be attractive to some, but to me the notion of a goal is not. The very word ‘goal’ has unpleasing associations. Board games, unlike jigsaw puzzles, necessarily admit elements of competition and victory, and the notion of winners and losers, sheep and goats, the saved and the damned. Whereas the Greek telos can mean an end, an aim, an ultimate purpose, a final cause, and need not embrace the concept of competition. In the larger pattern, all the solitary journeys combine, and we arrive together.
The jigsaw, with its frame, is a simulacrum of meaning, order and design. As Nick Tucker said, if you try hard enough, you can complete it. That galactic scatter of inert and inept fragments of wood or cardboard will come together and make a picture.
Books, too, have beginnings and endings, and they attempt to impose a pattern, to make a shape. We aim, by writing them, to make order from chaos. We fail. Th
e admission of failure is the best that we can do. It is a form of progress.
NOTES ON QUOTATIONS
here, ‘for it would have…distressed him so often’
here James Boswell’s Life of Samuel Johnson, vol. 1, 1709-1765, p. 317, Oxford edition, 1934, edited by G. B. Hill, rev. L. F. Powell
here ‘What is dying…There she comes’
This quotation from Bishop C. H. Brent was sent to me at my request by the Reverend Tony Pick. I have not been able to trace it further.
here ‘Everything shone…for two hundred years’
Alison Uttley, The Country Child, Faber and Faber, 1931
here ‘tiny metallic sounds’ ‘pursed-up button mouths’
Alison Uttley, The Button-Box and other essays, ch. 14, Faber and Faber, 1968
here ‘and that is why…autobiographical notes’
This quotation is from a short autobiographical sketch by P. L. Travers in The Junior Books of Authors, ed. S. J. Kunitz and H. Haycraft (H. H. Wilson, 1951).
here ‘I choose to mention…favourite amusements’
James Boswell’s Life of Samuel Johnson, op. cit., vol. 5, Tour to the Hebrides 1773, p. 16
here ‘loved indeed the very act…and on despising no accommodations’
Hester Lynch Piozzi, Anecdotes of the late Dr Samuel Johnson (1786)
here, ‘the organisation of the collection is itself a substitute for time’
here For Jean Baudrillard’s essay on ‘The Non-Functional System of Objects’ see Revenge of the Crystal: Selected Writings on the Modern Object and its Destiny (ed. and trans. Paul Foss and Julian Pefanis, Pluto, 1990.)
here ‘I have seen little Girls…more useful to them’
John Locke, Some Thoughts Concerning Education, 1693, 1695
here ‘in the same way…has become “atlantique”.’
Georges Perec, from Penser/Classer (Think/Classify) (Le Genre Humain, 1982), an essay which appears in Species of Spaces and Other Pieces, ed. and trans. by John Sturrock (Penguin, 1997)
here ‘I should recommend…a perfect Whole.’
William Cowper to William Unwin, letter dated 7 September 1780, The Letters and Prose Writings of William Cowper, vol. 1, 1750–1781, edited by James King and Charles Ryskamp (Clarendon Press, 1979)
here ‘a playful visualisation…bosom and rump’
Diana Donald, The Age of Caricature (New Haven, 1996)
here ‘Whoever has watched children…slow, but sure, and wins the day’
Maria Edgeworth, Practical Education, vol. 1 (vol. 11 of Complete Works; 1798)
here ‘he works very hard all day…or anything else’
Stella Tillyard, ch. 3, ‘Homes, Education and Adultery’, Aristocrats (Chatto & Windus, 1994)
here ‘The Queen thanked [Lady Carteret]…that I drew the pattern’
Autobiography and Correspondence of Mary Granville, vol. 1, 1861: a letter dated 4 March 1728/9
here ‘Indian figures and flowers…painting on glass’
Autobiography and Correspondence of Mary Granville, vol. 3, 1861: a letter dated 11 June 1751
here ‘Now I know you smile…banish the spleen’
Ruth Hayden, Mrs Delany: Her Life and Her Flowers, p. 143
here ‘a knife, sizsars, pencle, rule, compass, bodkin’
Ruth Hayden, Mrs Delany: Her Life and Her Flowers, p. 155
here ‘national magnificence…carry into effect’
The Journal of Elizabeth Lady Holland (1791–1811), published by Longmans, Green and Co., 1908 (vol. 11, p. 195)
here ‘the lamps from London Bridge…town hall for Swanage in 1881’
Raphael Samuel’s Theatres of Memory, 1994. See also Swanage Past by David Lewer and Dennis Smale, Phillimore and Co., 1994.
‘an overwhelmingly undisciplined example of the City of London style’
John Newman and Nikolaus Pevsner, The Buildings of England: Dorset (Penguin, 1972, 1975)
here ‘creep,/Wretch, under a comfort…dies with sleep’
G. M. Hopkins, untitled poem, ‘No worst, there is none’
here ‘Tristes desirs, vivez donques contents…que j’endure’
Joachim du Bellay, Sonnet VII of his sequence Antiquitez de Rome, 1558
here ‘the belt buckle of a uniform…the chandelier’
Georges Perec, Life: A User’s Manual (1978), translated by David Bellos
here ‘I dine, I play backgammon…with my friends’
David Hume, Conclusion of Book I, A Treatise of Human Nature, 1739
‘very cheerful, and even elegant…to my Honour’
E. C. Mossner, The Life of David Hume, ch. 37, ‘Autumnal Serenity’
here ‘A peasant and a philosopher…consciousness with a philosopher’
James Boswell, op. cit., vol. 2, 1766–1776
‘Prejudice apart…always asserted of poetry’
Jeremy Bentham, Rationale of Reward, Book 3, Chapter 1, 1830
here ‘I am not so great an enemy to cards…for that purpose’
Ruth Hayden, op. cit., p. 95
‘I can’t help when I play deep…don’t feel pleasant at it’
Stella Tillyard, op.cit.
here ‘poor little ugly she-mouse…not being in the house’
John Hervey, Memoirs of the Reign of George II, first published 1848, ed. J. W. Croker
‘Read to the Queen…provoke one’s understanding’
Flora Fraser, Princesses, p. 200 (Harcourt Mss, Elizabeth to Elizabeth Lady Harcourt, 23 July 1802)
here ‘always played…females in a certain class’
F. J. Harvey Darton, The Life and Times of Mrs Sherwood, 1910
here ‘The house itself…compose a third’
Thomas de Quincey,‘Southey, Wordsworth and Coleridge’, first published in Tait’s Edinburgh Magazine in August 1839 and reprinted in Reminiscences of the English Lake Poets (also known as Recollections of the Lake Poets)
here ‘a house is never said to be properly furnished…a kitten rising three weeks’
Robert Southey, The Doctor, 1834. The story of Goldilocks is also to be found in this publication.
here ‘Princess Elizabeth is a lovely little fat…for the purpose’
Flora Fraser, ch. 2, ‘Growing Up’, Princesses
here ‘cannot be created by charters…perish by themselves’
Hugh Kingsmill, The Poisoned Crown, Eyre and Spottiswoode, 1944
here ‘hauntingly still and grave…expression and gesture’
Helen Langdon, Travellers’ Art Guide to Italy, Mitchell Beazley, 1984
here ‘imitations fondly made…weakness, and his loves’
William Wordsworth, The Prelude, Book 7, ‘Residence in London’
here, ‘a sort of existentialist mosaic…and unpublished’
here ‘An early book I tried to write…squares of opinion and feeling’
John Fowles, Wormholes, Jonathan Cape, 1988, pp. 367, xi of Preface
here ‘a map of England…towns were worked in silk’
H. Winifred Sturge and Theodora Clark, The Mount School, York, J. M. Dent and Sons Ltd, 1931
here ‘I satisfied my hunger…seemed to do me good’
The Prose of John Clare, ed. J. W. and Anne Tibble, Routledge and Kegan Paul, 1951
BIBLIOGRAPHY
This book, as I explain in the foreword, began as a book about jigsaws, and I read widely if randomly round this subject and the subject of children’s games and literature. The most important single source was The English Jigsaw-Puzzle 1760–1890 by Linda Hannas (Wayland Publishers, 1972), a pioneer text that led me to F. R. B. Whitehouse’s Table Games of Georgian and Victorian Days (Priory Press, 1951) and Chris McCann’s Master Pieces: The Art History of Jigsaw Puzzles (Collector’s Press, Inc., Portland, Oregon, 1998). Jill Shefrin’s work in this field – ‘Make it a Pleasure not a Task’, Princeton University Library Chronicle, LX: 2 (Winter, 1999) and Such Constant Affectionate Care: Lady Charlotte Finch, Royal Governess and the C
hildren of George III (Los Angeles, Cotsen Family Foundation, 2003) – has been invaluable. Shefrin’s The Dartons: Publishers of Educational Aids, Pastimes & Juvenile Ephemera, 1787–1876. A Bibliographic Checklist. Together with a description of the Darton Archive as held by the Cotsen Children’s Library, Princeton University Library & a brief history of printed teaching aids (Cotsen Occasional Press) will be published in 2009. Peter Haining’s Movable Books: An Illustrated History (New English Library, 1979) colourfully illustrates an adjacent area.
The specialist literature on children’s literature in English is extensive, and the key text for me was F. J. Harvey Darton’s Children’s Books in England (1932; third enlarged and revised edition, ed. Brian Alderson, Cambridge University Press, 1982), which in turn introduced me to his edition of The Life and Times of Mrs Sherwood (Wells Gardner, Darton, 1910) and his pseudonymous novels My Father’s Son: A Faithful Record (Hodder and Stoughton, 1913) by ‘W. W. Penn’, and When: A Record of Transition (Chapman & Hall, 1929) by ‘the late J. L. Pole’. Marjorie Moon’s John Harris’s Books for Youth 1801–1843 ( Five Owls Press Limited, 1976) was also useful, as was The Oxford Companion to Children’s Literature (Oxford University Press, 1984) by Humphrey Carpenter and Mari Prichard. The new Oxford Dictionary of National Biography (Oxford University Press, 2004) is a storehouse of well-researched lesser lives, including those of the Spilsbury family. The account of Robert Southey’s childhood is from the first volume of The Life and Correspondence of Robert Southey, ed. C. C. Southey, 6 vols. (Longman, Brown, Green and Longmans, 1849). Information about Lindley Murray is from The Mount School, York by H. Winifred Sturge and Theodora Clark ( J. M. Dent and Sons Ltd, 1931).
Lists of games and pastimes may be found in Rabelais and in Robert Burton’s Anatomy of Melancholy (1621); and there are early descriptions of card games in Henry Peacham’s The Complete Gentleman (1622). Joseph Strutt published a classic compendium titled The Sports and Pastimes of the People of England in 1801. William Hughes Willshire produced a Descriptive Catalogue of Playing and Other Cards: Playing Cards in the British Museum (1876). Catherine Perry Hargrave’s A History of Playing Cards (Dover Publications Inc., 1930, 1966) is a history of playing cards and their origins. Thomas Fuller’s A Pisgah-Sight of Palestine (1650) is full of engaging maps, while Victor Morgan’s ‘The cartographic image of “the country” in Early Modern England’ (Transactions of the Royal Historical Society, 5th series, vol. 29, 1979) explores adjacent territory. Anke te Heesen’s The World in a Box: The Story of an Eighteenth Century Picture Encyclopedia (1997; trans. 2002, Chicago Press) records a singular experiment employing picture cards. Willard Fiske’s Chess in Iceland (1905) is full of arcane gamesmanship.
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