Chatterton Square by E H Young (1947)

A novel that could have done with editing to remove the repetitive flab, but nonetheless interesting. It’s about family life/husbands/sons around the time of the 1938 Munich Agreement (although the tone sometimes seems positively Victorian or Edwardian). Two contrasting families live side by side in a degentrifying square in “Upper Radstowe” (Clifton), the Frasers and the Blacketts. There’s a lot going on: Mr Fraser has abandoned his large family; Mr Blackett is unwittingly a monster of smug self-centredness; Mrs Blackett has honed a carapace of detached acceptance, but it has come at a cost:

They had each lived in a mean little world, his of self-satisfaction, hers of pandering to it for her own amusement and hers, she feared, was the meaner.

Ouch! Neither is a bad person, but traditional marriage – male authority, female deference – has warped both of them into twisted shapes. Mrs Fraser – husbandless but with happy memories of her marriage and ready to embark on another loving relationship – is a bit of a cliche of life-affirming femininity. To complete the options open to women, we also have the unmarried woman: Miss Spanner, who has also been through the family mangle – this time the handle turned by her chisellingly strict parents (now mercifully deceased). The slight chance of a happy marriage is represented by Mrs Fraser’s daughter.

Like Dorothy Whipple, Young is very good (if prolix) at portraying people’s inner lives. What doesn’t work so well is her preoccupation with the previous and coming wars. (And why couldn’t she just use proper nouns rather than allude to Hitler and the Sudetenland, I can’t fathom.) The older men have been affected by WWI: Fraser’s temper, Lindsay’s body and Blackett’s amour propre at having avoided it. The younger men – sons and son-in-law – will be called upon to risk their lives in the next. Characters presented sympathetically are against appeasement; those like Mr Blackett are relieved at the Munich Agreement – but, again, there is too much of it. There is a parallel in the final pages between Mrs Fraser’s lack of action in bringing her marriage to an end, the Blackett’s uneasy truce and the country’s postponement of action that will have to be taken – but I’m sure there was a shorter route to The End.

In its depiction of the Blacketts’ marriage, this book reminded me a little of A Lady And Her Husband: the self-effacing wife and the self-satisfied husband.

Local Hero (1983)

Director Bill Forsyth with Peter Riegert and Denis Lawson

I didn’t quite get the admiration for Bill Forsyth’s films in the 1980s: their charm eluded me. I’m still not sure that I would want to rewatch Gregory’s Girl, but after 40 years I can say that Local Hero is a really enjoyable film. What I saw then as tiresome whimsy interlaced with money-centred real life is now a small, subtle pleasure. It’s beautifully filmed – idyllic Scotland without the drizzle – and this time I noticed the parallels. Mac and Urquhart are brothers under the skin: both successful wheeler-dealers, albeit one in Houston (international scope for benign/malign influence) and one a Scottish village (influence limited by personal ties). Since Riegert and Lawson were similar in size, build and colouring, this worked perfectly. Little jokes – Mac’s forefathers were from Hungary, the unknown toddler in the pushchair, the Russian fishing captain checking his financial portfolio. Surreal touches of the outside world – the motorcycling dervish and the punk rocker. The minor female roles (stereotypical objects of desire) were enhanced by noticing that one is Marina and the other Stella – echoing the range of the film from underwater oil deposits to Happer’s obsession with astronomy. Nothing was laboured: the amusement was understated and fleeting.

It doesn’t stand up to rigorous analysis – was that supposed to be an environmental message at the end? just what did the villagers intend to do if they made it to Knox’s beach shack? – but I’ll take a bit of filmy gossamer over a tub-thumping lecture any day.

Amiens

I returned to the cathedral to compare it with Rouen: it is much my favourite. Perhaps something about its coherence: constructed in a comparatively short space of time and (unfair on Rouen, this) emerging fairly unscathed from 20th-century bombardment. The rose windows facing each other in the north and south transepts are wonderful.

As I left the cathedral I noticed that the petit train touristique was about to depart – so I caught it. I now have several wonky photos of lampposts obscuring some sight or other, but I did find myself adding to my store of useless information. The town of Amiens was heavily bombed in WWII, and we went along boulevard Faidherbe with its postwar ISAI estate – Immeubles Sans Affectation Immédiate – which still looks good. The cutting that yesterday’s Rouen train went through was once part of the ramparts. The different shades of old and new bricks marking the postwar reconstruction of a church. A long avenue of bourgeois houses that reacted to a window tax by blocking up windows. The unusual decoration on the top of Jules Verne’s house. The Hôtel Bouctot-Vagniez – spot the difference between images from Google Earth and the petit train. A tour of Saint Leu (which I visited on foot in the afternoon) and the edge of the Hortillonages – little market garden islands surrounded by channels of the River Somme.

I was glad I’d caught the petit train. Grands trains tomorrow for the return journey.

Rouen

My aim in coming here was to see the cathedrals of Amiens and Rouen. I didn’t do much homework; had I done so I would have found out how long the train journey from Amiens to Rouen takes and how infrequent the trains are. As well as discovering that Rouen cathedral closes for lunch. But – n’importe. I’ve had a lovely four hours in Rouen. The sun shone, it was warm enough to take off my woollie, and I encountered Gothics both Flamboyant and Rayonnant.

But first Amiens. I walked past the town hall on the way to the station: very French and imposing in a double-winged neo-classical style topped off with a baroque clock. Views of the cathedral down side streets. Then a bit of art deco with the Grands Garages de Picardie. At the railway station I stopped to look at the mid-century skyscraper I’d seen on arrival and then noted how it seemed to be of a piece with the station – monumental on almost Stalinesque lines. Wikipedia tells me that the station was destroyed in WWII by Allied action (the previous station having been destroyed in WWI) and rebuilt by Auguste Perret, a pioneer of reinforced concrete. It’s quite as impressive as the town hall . . . in its own way.

I cycled to Rouen from (I think) Dieppe decades ago and stayed in the youth hostel; all I can remember are hills. Today Rouen is definitely busier and bigger than Amiens and has many wooden buildings. Things I didn’t know/had forgotten: Jeanne d’Arc (“Que les Anglais brûlèrent à Rouen”); Marcel Duchamp was born near here; his siblings (including Jacques Villon) were also artists; Gustave Flaubert was born here and had Emma Bovary visit the city regularly. (But not for piano lessons.)

I arrived at the wonderful station. Although built in the 1920s, it’s more art nouveau than art deco. Next stop the tourist office on the Esplanade Marcel Duchamp. Then to the cathedral. Amiens cathedral has already won my heart and Rouen didn’t displace it. Taller but smaller (by volume) than Amiens, despite the width of the west front. The choir was damaged in WWII (the Allies again) and is obviously a reconstruction, and the spire is undergoing repair work. From some angles it looks as if the cathedral is made of lace rather than stone. I was also taken by the Église Saint-Maclou: Flamboyant Gothic (think carpet beaters laid one on top of each other) and moving forward to greet you. Like Amiens and the north door of Rouen, it has a grim image of the Day of Judgement.

Last stop was the Musée des Beaux Arts because it seemed a shame to pass up the chance of seeing one of Monet’s paintings of the cathedral.

It’s a big gallery with lots of overwhelming history paintings which I skipped for the Impressionist rooms. There was also a full room of some recently restored murals by Walter Crane of some Viking fantasy. A painting by Marcel Duchamp, which was overshadowed by paintings by his brother, Gaston (who called himself Jacques Villon). Some lovely works by Alfred Sisley, a gloomy woman on a bed by Walter Sickert, and a new discovery – Jacques-Émile Blanche. Self-taught (and it showed), but I was amused by the label on his painting of “Les Six” (composers – actually only five of them in the painting and the women don’t feature in the title): it included the words “Francis Poulenc, reconnaissable par ses oreilles”.

Amiens

I have a hopelessly outdated vision of France. Romantic, elegant and classy with earthier undertones from Zola and Maigret. Quite ridiculous of course. I put it down to French textbook propaganda, watching/reading too many thrillers set on the Côte d’Azur at an impressionable age, artists and Chanel. I know this is 2026 and that the knots of national differences have been planed away over the years . . . but it took ages today before my journey shook off the global Subway/Starbucks/Deliveroo vibe and turned into something that seemed more “French”. (And I realise that part of the shift was moving into a more middle-class world.) London to Lille and then to Amiens. The latter train was delayed by an hour and was no more exotic than Northern Rail – but without the scenery. Such big fields of just mud! And then I remembered the battles of the Somme and was glad that this had returned to farmland.

Anyway, at some point – possibly when I dredged up some French (and my accent sounds oddly atrocious even to my ears) – I finally felt that I had entered a different world. Part of the difference is not being able to have what I am used to: a washed-out café crème rather than an americano , or uncertainty over finding a non-meat food option. I do not ask for sympathy: I pimped my café crème by asking for the “café gourmand” option: a macaron, macaroon, chocolate and a view of the cathedral.

Ah, the cathedral. My reason for coming. Most of it was built in the 13th century in the Rayonnant style (looks like somebody’s been let loose with a Spirograph set). It’s the largest Gothic cathedral in the world thanks to its breathtaking height. It brought tears to my eyes as I first took in its size and light – and I felt quite sad when I completed my tour and realised that my initial sense of awe had dwindled into ordinary appreciation. It is truly magnificent and I am lucky enough to have a view of it from my hotel window.

The Fallen Idol (1948)

Director Carol Reed with Ralph Richardson, Bobby Henrey, Michèle Morgan

What a brilliant film. Richardson was outstanding as Baines the butler. Kindly, amusing and flawed. The little boy was natural and very watchable without being stomach-churningly cute. He was in almost every scene, so the audience always had a simultaneous sense of the adult and the child’s view of what was happening. The photography – angles, framing (Philippe half-wrapped in his blanket or through the banisters) – was a delight. It even had an uncertain outcome – would the gun be used? – which maintained suspense.

Peter Grimes

The singing was sublime (and it’s fascinating to hear a libretto in English) the staging was simple and dramatic . . . but Peter Grimes is such an alienating character. The pre-show talk focused on his outsider status, his yearning for a “safe harbour”, and suggested that he would be seen today as neuro-divergent. Well, yes – but two boys in his care die, he can be brutal (albeit in a brutal world) and he’s obsessed with making his fortune. But he did have an absolutely beautiful voice.

  • Peter Grimes – John Findon
  • Ellen Orford – Philippa Boyle
  • Captain Balstrode – Simon Bailey
  • Auntie – Hilary Summers