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Books : Fiction : Contemporary Fiction: 1970 Onwards : Authors A-Z : V : Vickers, Salley
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There is something very old-fashioned and reassuring about Sally Vickers' novel Miss Garnet's Angel. The themes, self-discovery and redemption have the air of a bygone age, despite the novel being set in contemporary Venice in a world of holiday apartment lets and Pizza Express-funded restoration works. Julia Garnet is a middle-aged woman who has been practising economies of the spirit for years. Hers is a closed-in world, dusty with Marx's theories and when her friend and flatmate of 30 years dies Julia decides to spend the six winter months in Venice to recuperate from her loss. Miss Garnet is a dignified, brusque heroine and Sally Vickers' prose is likewise unruffled and controlled. Miss Garnet's epiphanies are as quiet and subtle as the "oro pallido" (pale gold) light in early Italian Art because, of course, art plays a part in this Venetian tale of emotional reawakening. Julia is moved by the depiction of Raphael in Guardis Tobias and the Angel: "something rusty and hard shifted deep inside Julia Garnet as she stood absorbing the vivid dewy painting and the unmistakable compassion in the angel's bright glance." She falls in love with Carlo, an art historian with crinkly eyes, white hair and a moustache. There are trials and tribulations to be undergone, Julia must unlearn all her old regimented ways of life, and this brings about heart ache and hurt. However, Vickers handles this with delicate sympathy, giving Julia Garnet a new sensitive view of the world, and the reader a resonant story of transformation. --Eithne Farry
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Fiction readers with a sweet tooth and a high tolerance of Anglican whimsy are offered much beguilement in Sally Vickers' new novel Mr Golightly's Holiday. Set in the Devon village of Great Calne, it records the events observed, and in part precipitated, by Mr Golightly, the author of a work once famous but now tending to be overlooked, who has elected to settle himself in this community for a while. Mr Golightly himself, a rumpled, elderly figure arriving in a half-timbered Traveller van, is a familiar enough version of "the male author"; Great Calne, an apparently idyllic village with a wide range of carefully differentiated characters, but underneath seething with unseen discontents and rivalries, is itself another easily summoned trope--the kind of community now perhaps most commonly encountered in fictional terms in TV shows. This is handy, for Mr Golightly decides that the best way of dragging his great work into the limelight of popularity and relevance is to recast it as a soap opera. In the event, he makes little headway with this project because, of course, the affairs of the village become all-absorbing and gradually draw him in. And so things unfold, as the characters carefully established by Sally Vickers work out their destinies in a mixture of social comedy (some of it very sharp), melodrama, nature mysticism and visionary redemption that delivers far more than the opening paragraphs can suggest. Moreover, the precise identity of Mr Golightly, while not exactly part of the plot, is disclosed gradually and may come as a surprise to some.It should be said that this is not really a novel, although it does offer many of the satisfactions of a novel. It is a fable with distinctly eschatological overtones, and as such runs the general risks of the genre, most of which are successfully negotiated. --Robin Davidson
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Salley Vickers' novel Instances of the Number Three is set in London and Shropshire. It describes the relationship between a dead man, his wife and his mistresses and is illuminated by philosophical ponderings on Hamlet and his ghost, and the poetry of Dante, Gerald Manley Hopkins and John Donne. Peter Hansome is the dead husband who walks through the pages of the novel, appearing to his wife Bridget in "his old tweed jacket and cords. He was, in fact, exactly, but without the disfiguring cuts and bruises of the accident, as she had seen him last--in his coffin. "To come to terms with his life and death, literature-loving Bridget makes friends with his mistress, Francis, an ex-artists' model: "She ... had a capacity for stillness and the kind of body which reflects planes of light." But as the omniscient narrator says:This is not an account of feminine jealousy, or even revenge, instead its a story of negotiation and discovery as the characters orbit each other like little planets.
Vickers' prose style is witty, literary and decorous, her musing on the instances of the number three take in purgatory, heaven and hell; the eternal lovers triangle and the trinity (memorably described as the "different flavours of a Neapolitan ice"). The book is a controlled meditation on personal identity, passion and art, where emotions are analysed and reconciled. Sally Vickers' trick is to keep you interested in the hearts and lives of the characters as her novel of ideas gently unfurls.This is a fine successor to Vickers' hugely successful debut novel, Miss Garnett's Angel, a subtle story of an older woman's emotional epiphany set in contemporary Venice. --Eithne Farry
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Salley Vickers' novel Instances of the Number Three is set in London and Shropshire. It describes the relationship between a dead man, his wife and his mistresses and is illuminated by philosophical ponderings on Hamlet and his ghost, and the poetry of Dante, Gerald Manley Hopkins and John Donne. Peter Hansome is the dead husband who walks through the pages of the novel, appearing to his wife Bridget in "his old tweed jacket and cords. He was, in fact, exactly, but without the disfiguring cuts and bruises of the accident, as she had seen him last--in his coffin. "To come to terms with his life and death, literature-loving Bridget makes friends with his mistress, Francis, an ex-artists' model: "She ... had a capacity for stillness and the kind of body which reflects planes of light." But as the omniscient narrator says:This is not an account of feminine jealousy, or even revenge, instead its a story of negotiation and discovery as the characters orbit each other like little planets.
Vickers' prose style is witty, literary and decorous, her musing on the instances of the number three take in purgatory, heaven and hell; the eternal lovers triangle and the trinity (memorably described as the "different flavours of a Neapolitan ice"). The book is a controlled meditation on personal identity, passion and art, where emotions are analysed and reconciled. Sally Vickers' trick is to keep you interested in the hearts and lives of the characters as her novel of ideas gently unfurls.This is a fine successor to Vickers' hugely successful debut novel, Miss Garnett's Angel, a subtle story of an older woman's emotional epiphany set in contemporary Venice. --Eithne Farry
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There is something very old-fashioned and reassuring about Sally Vickers' novel Miss Garnet's Angel. The themes, self-discovery and redemption have the air of a bygone age, despite the novel being set in contemporary Venice in a world of holiday apartment lets and Pizza Express-funded restoration works. Julia Garnet is a middle-aged woman who has been practising economies of the spirit for years. Hers is a closed-in world, dusty with Marx's theories and when her friend and flatmate of 30 years dies Julia decides to spend the six winter months in Venice to recuperate from her loss. Miss Garnet is a dignified, brusque heroine and Sally Vickers' prose is likewise unruffled and controlled. Miss Garnet's epiphanies are as quiet and subtle as the "oro pallido" (pale gold) light in early Italian Art because, of course, art plays a part in this Venetian tale of emotional reawakening. Julia is moved by the depiction of Raphael in Guardis Tobias and the Angel: "something rusty and hard shifted deep inside Julia Garnet as she stood absorbing the vivid dewy painting and the unmistakable compassion in the angel's bright glance." She falls in love with Carlo, an art historian with crinkly eyes, white hair and a moustache. There are trials and tribulations to be undergone, Julia must unlearn all her old regimented ways of life, and this brings about heart ache and hurt. However, Vickers handles this with delicate sympathy, giving Julia Garnet a new sensitive view of the world, and the reader a resonant story of transformation. --Eithne Farry
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Fiction readers with a sweet tooth and a high tolerance of Anglican whimsy are offered much beguilement in Sally Vickers' new novel Mr Golightly's Holiday. Set in the Devon village of Great Calne, it records the events observed, and in part precipitated, by Mr Golightly, the author of a work once famous but now tending to be overlooked, who has elected to settle himself in this community for a while. Mr Golightly himself, a rumpled, elderly figure arriving in a half-timbered Traveller van, is a familiar enough version of "the male author"; Great Calne, an apparently idyllic village with a wide range of carefully differentiated characters, but underneath seething with unseen discontents and rivalries, is itself another easily summoned trope--the kind of community now perhaps most commonly encountered in fictional terms in TV shows. This is handy, for Mr Golightly decides that the best way of dragging his great work into the limelight of popularity and relevance is to recast it as a soap opera. In the event, he makes little headway with this project because, of course, the affairs of the village become all-absorbing and gradually draw him in. And so things unfold, as the characters carefully established by Sally Vickers work out their destinies in a mixture of social comedy (some of it very sharp), melodrama, nature mysticism and visionary redemption that delivers far more than the opening paragraphs can suggest. Moreover, the precise identity of Mr Golightly, while not exactly part of the plot, is disclosed gradually and may come as a surprise to some.It should be said that this is not really a novel, although it does offer many of the satisfactions of a novel. It is a fable with distinctly eschatological overtones, and as such runs the general risks of the genre, most of which are successfully negotiated. --Robin Davidson
-
There is something very old-fashioned and reassuring about Sally Vickers' novel Miss Garnet's Angel. The themes, self-discovery and redemption have the air of a bygone age, despite the novel being set in contemporary Venice in a world of holiday apartment lets and Pizza Express-funded restoration works. Julia Garnet is a middle-aged woman who has been practising economies of the spirit for years. Hers is a closed-in world, dusty with Marx's theories and when her friend and flatmate of 30 years dies Julia decides to spend the six winter months in Venice to recuperate from her loss. Miss Garnet is a dignified, brusque heroine and Sally Vickers' prose is likewise unruffled and controlled. Miss Garnet's epiphanies are as quiet and subtle as the "oro pallido" (pale gold) light in early Italian Art because, of course, art plays a part in this Venetian tale of emotional reawakening. Julia is moved by the depiction of Raphael in Guardis Tobias and the Angel: "something rusty and hard shifted deep inside Julia Garnet as she stood absorbing the vivid dewy painting and the unmistakable compassion in the angel's bright glance." She falls in love with Carlo, an art historian with crinkly eyes, white hair and a moustache. There are trials and tribulations to be undergone, Julia must unlearn all her old regimented ways of life, and this brings about heart ache and hurt. However, Vickers handles this with delicate sympathy, giving Julia Garnet a new sensitive view of the world, and the reader a resonant story of transformation. --Eithne Farry
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There is something very old-fashioned and reassuring about Sally Vickers' novel Miss Garnet's Angel. The themes, self-discovery and redemption have the air of a bygone age, despite the novel being set in contemporary Venice in a world of holiday apartment lets and Pizza Express-funded restoration works. Julia Garnet is a middle-aged woman who has been practising economies of the spirit for years. Hers is a closed-in world, dusty with Marx's theories and when her friend and flatmate of 30 years dies Julia decides to spend the six winter months in Venice to recuperate from her loss. Miss Garnet is a dignified, brusque heroine and Sally Vickers' prose is likewise unruffled and controlled. Miss Garnet's epiphanies are as quiet and subtle as the "oro pallido" (pale gold) light in early Italian Art because, of course, art plays a part in this Venetian tale of emotional reawakening. Julia is moved by the depiction of Raphael in Guardis Tobias and the Angel: "something rusty and hard shifted deep inside Julia Garnet as she stood absorbing the vivid dewy painting and the unmistakable compassion in the angel's bright glance." She falls in love with Carlo, an art historian with crinkly eyes, white hair and a moustache. There are trials and tribulations to be undergone, Julia must unlearn all her old regimented ways of life, and this brings about heart ache and hurt. However, Vickers handles this with delicate sympathy, giving Julia Garnet a new sensitive view of the world, and the reader a resonant story of transformation. --Eithne Farry
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There is something very old-fashioned and reassuring about Sally Vickers' novel Miss Garnet's Angel. The themes, self-discovery and redemption have the air of a bygone age, despite the novel being set in contemporary Venice in a world of holiday apartment lets and Pizza Express-funded restoration works. Julia Garnet is a middle-aged woman who has been practising economies of the spirit for years. Hers is a closed-in world, dusty with Marx's theories and when her friend and flatmate of 30 years dies Julia decides to spend the six winter months in Venice to recuperate from her loss. Miss Garnet is a dignified, brusque heroine and Sally Vickers' prose is likewise unruffled and controlled. Miss Garnet's epiphanies are as quiet and subtle as the "oro pallido" (pale gold) light in early Italian Art because, of course, art plays a part in this Venetian tale of emotional reawakening. Julia is moved by the depiction of Raphael in Guardis Tobias and the Angel: "something rusty and hard shifted deep inside Julia Garnet as she stood absorbing the vivid dewy painting and the unmistakable compassion in the angel's bright glance." She falls in love with Carlo, an art historian with crinkly eyes, white hair and a moustache. There are trials and tribulations to be undergone, Julia must unlearn all her old regimented ways of life, and this brings about heart ache and hurt. However, Vickers handles this with delicate sympathy, giving Julia Garnet a new sensitive view of the world, and the reader a resonant story of transformation. --Eithne Farry
-
Fiction readers with a sweet tooth and a high tolerance of Anglican whimsy are offered much beguilement in Sally Vickers' new novel Mr Golightly's Holiday. Set in the Devon village of Great Calne, it records the events observed, and in part precipitated, by Mr Golightly, the author of a work once famous but now tending to be overlooked, who has elected to settle himself in this community for a while. Mr Golightly himself, a rumpled, elderly figure arriving in a half-timbered Traveller van, is a familiar enough version of "the male author"; Great Calne, an apparently idyllic village with a wide range of carefully differentiated characters, but underneath seething with unseen discontents and rivalries, is itself another easily summoned trope--the kind of community now perhaps most commonly encountered in fictional terms in TV shows. This is handy, for Mr Golightly decides that the best way of dragging his great work into the limelight of popularity and relevance is to recast it as a soap opera. In the event, he makes little headway with this project because, of course, the affairs of the village become all-absorbing and gradually draw him in. And so things unfold, as the characters carefully established by Sally Vickers work out their destinies in a mixture of social comedy (some of it very sharp), melodrama, nature mysticism and visionary redemption that delivers far more than the opening paragraphs can suggest. Moreover, the precise identity of Mr Golightly, while not exactly part of the plot, is disclosed gradually and may come as a surprise to some.It should be said that this is not really a novel, although it does offer many of the satisfactions of a novel. It is a fable with distinctly eschatological overtones, and as such runs the general risks of the genre, most of which are successfully negotiated. --Robin Davidson
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Fiction readers with a sweet tooth and a high tolerance of Anglican whimsy are offered much beguilement in Sally Vickers' new novel Mr Golightly's Holiday. Set in the Devon village of Great Calne, it records the events observed, and in part precipitated, by Mr Golightly, the author of a work once famous but now tending to be overlooked, who has elected to settle himself in this community for a while. Mr Golightly himself, a rumpled, elderly figure arriving in a half-timbered Traveller van, is a familiar enough version of "the male author"; Great Calne, an apparently idyllic village with a wide range of carefully differentiated characters, but underneath seething with unseen discontents and rivalries, is itself another easily summoned trope--the kind of community now perhaps most commonly encountered in fictional terms in TV shows. This is handy, for Mr Golightly decides that the best way of dragging his great work into the limelight of popularity and relevance is to recast it as a soap opera. In the event, he makes little headway with this project because, of course, the affairs of the village become all-absorbing and gradually draw him in. And so things unfold, as the characters carefully established by Sally Vickers work out their destinies in a mixture of social comedy (some of it very sharp), melodrama, nature mysticism and visionary redemption that delivers far more than the opening paragraphs can suggest. Moreover, the precise identity of Mr Golightly, while not exactly part of the plot, is disclosed gradually and may come as a surprise to some.It should be said that this is not really a novel, although it does offer many of the satisfactions of a novel. It is a fable with distinctly eschatological overtones, and as such runs the general risks of the genre, most of which are successfully negotiated. --Robin Davidson
-
-
-
Salley Vickers' novel Instances of the Number Three is set in London and Shropshire. It describes the relationship between a dead man, his wife and his mistresses and is illuminated by philosophical ponderings on Hamlet and his ghost, and the poetry of Dante, Gerald Manley Hopkins and John Donne. Peter Hansome is the dead husband who walks through the pages of the novel, appearing to his wife Bridget in "his old tweed jacket and cords. He was, in fact, exactly, but without the disfiguring cuts and bruises of the accident, as she had seen him last--in his coffin. "To come to terms with his life and death, literature-loving Bridget makes friends with his mistress, Francis, an ex-artists' model: "She ... had a capacity for stillness and the kind of body which reflects planes of light." But as the omniscient narrator says:This is not an account of feminine jealousy, or even revenge, instead its a story of negotiation and discovery as the characters orbit each other like little planets.
Vickers' prose style is witty, literary and decorous, her musing on the instances of the number three take in purgatory, heaven and hell; the eternal lovers triangle and the trinity (memorably described as the "different flavours of a Neapolitan ice"). The book is a controlled meditation on personal identity, passion and art, where emotions are analysed and reconciled. Sally Vickers' trick is to keep you interested in the hearts and lives of the characters as her novel of ideas gently unfurls.This is a fine successor to Vickers' hugely successful debut novel, Miss Garnett's Angel, a subtle story of an older woman's emotional epiphany set in contemporary Venice. --Eithne Farry
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