Penelope Fitzgerald’s The Gate of Angels

One would expect Penelope Fitzgerald to have enjoyed a privileged life. Her father was an editor at Punch and her mother was one of the first women to attend Oxford University. Penelope also attended Oxford and before graduating in 1938 she was named woman of the year in the student newspaper, Isis. She then went on to work at the BBC and soon married; however, her marriage turned out to be a difficult one. Her husband returned from the war a changed man: recognized as a war hero, he had also become an alcoholic. Life was not easy for Fitzgerald, yet she carried on.

Fitzgerald was 58 when she published her first book, a biography of the Pre-Raphaelite artist, Edward Burney-Jones. Her first novel, The Golden Child, was written to amuse her sick husband, who died in 1976. Fitzgerald continued writing. Julian Barnes, in his tribute to Fitzgerald, who died in 2000, nicely sums up her writing career:

In the period 1975-84 she published two more biographies and four more novels. Those four novels are all short, and written close to her own experiences: of running a bookshop, living on a houseboat, working for the BBC in wartime, teaching at a stage school. They are adroit, odd, highly pleasurable, but modest in ambition. And with almost any other writer you might think that, having used up her own life, she would – being now in her late 60s – have called it a day. On the contrary: over the next decade, from 1986 to 1995, she published the four novels – Innocence, The Beginning of Spring, The Gate of Angels and The Blue Flower – by which she will be remembered. They are written far from her obvious life, being set, respectively, in 1950s Florence, pre-revolutionary Moscow, Cambridge in 1912, and late 18th-century Prussia. Many writers start by inventing away from their lives, and then, when their material runs out, turn back to more familiar sources. Fitzgerald did the opposite, and by writing away from her own life liberated herself into greatness.

In 1979 Fitzgerald won the Booker Prize for Offshore. Her 1990 novel The Gate of Angels was also shortlisted for the Booker Prize. Fitzgerald’s novels may be short, but they reward close reading; she eliminates all she believes unnecessary. “I always feel the reader is very insulted by being told too much,” she said. But, as Barnes notes, “it is more than just a taste for economy. It is the art of using fact and detail so that it becomes greater than the sum of its parts.”

In an article in Departures, Jo Durden-Smith reports that she asked Penelope Fitzgerald what she needed to have before she could start writing. Fitzgerald answered succinctly: “A title, the first paragraph, and the last paragraph.”

The title The Gate of Angels relates to the novel in a number of ways. Besides referring to the actual gate of the fictitious Cambridge college of St Angelicus (we soon learn that the college was once a religious institution but is now one of science), it is crucial in terms of the religious significance of the ending. It also alludes to one of the main characters, Daisy, who is only introduced in Part 2, but who is clearly an angel of sorts. Not only does she train as a nurse and minister to the sick, her behaviour comes to suggest the 19th century domestic ideal of the “angel in the house.” Fitzgerald’s insights into the situation of women at the beginning of the 20th century are realistic. As critics have noted, she does her research.
In an article published in the journal of Literature and Religion in 2013, Christopher J. Knight adds a fascinating footnote in which he says that Fitzgerald originally wanted to use the title The Unobservables, a reference to both science and religion. (This title preceded the dreadful Mistakes Scientists Have Made — which was suggested by the publisher but dropped because it didn’t fit on the title page!) Knight argues that Fitzgerald believed that science and religion need not cancel each other out but can coexist sympathetically. As the original title more clearly suggests, Fitzgerald’s novel is not simply a romance but also a novel of ideas.
The opening paragraph is striking. I found it quite hilarious and was impressed that Fitzgerald could maintain that level of wit throughout the first part.

How could the wind be so strong, so far inland, that cyclists coming into the town in the late afternoon looked more like sailors in peril? This was on the way into Cambridge, up Mill Road past the cemetery and the workhouses. On the open ground to the left the willow-tress had been blown, driven and cracked until their branches gave way and lay about the drenched grass, jerking convulsively and trailing cataracts of twigs. The cows had gone mad, tossing up the silvery weeping leaves which were suddenly, quite contrary to all their experience, everywhere within reach. Their horns were festooned with willow boughs. Not being able to see properly, they tripped and fell. Two or three of them were wallowing on their backs, idiotically, exhibiting vast pale bellies intended by nature to be always hidden. They were still munching. A scene of disorder, tree-tops on the earth, legs in the air, in a university city devoted to logic and reason.

Considering the importance of the opening paragraph, one can see that the world is being turned upside down, signalling a time of major change. The wind represents invisible forces and brings to mind the winds of change. I thought about this in relation to the emphasis on what is observable. Of course, the effects of the wind are visible here with the cows on their backs and their legs in the air, somewhat sexually suggestive. Yet, traditionally the wind has an association with the holy spirit, so there is the possibility of a spiritual or religious dimension at work as well. While the larger debate the novel encompasses is between science and religion, Fitzgerald cleverly presents that debate as between the seen and the unseen, which complicates the scientific perspective since there is much in physics, in particular, that can’t be seen, at least not by the naked eye.
When I read the opening paragraph, I couldn’t help thinking of another novel that begins with a violent storm. In Leaf Storm, Gabriel Garcia Marquez, the master of the magic realism, begins with a storm to herald change, in this case the destructive force of capitalist development in Columbia. On her part, Fitzgerald may also be alluding to the forces of destruction about to be unleashed by the Great War.
There is also a strong element of the absurd, or whimsical irony in Fitzgerald’s opening. The college, we learn, still disallows the fellows to marry (not to mention that women are not admitted here). This is what gives rise to the narrative conflict, as the main character, Fred Fairly, a fellow at the college, accidentally bumps into Daisy, which sparks their romance. Barnes likens the chance meeting between Fred and Daisy to particles in collision. There may be other forces at work as well.

In his review of Hermione Lee’s biography of Fitzgerald, Alan Hollinghurst writes:

“Must I explain this?” [Fitzgerald] asks herself of Daisy’s religious faith in The Gate of Angels. For the unexplained in Fitzgerald is sometimes the inexplicable, and anyone who reads all her novels will be struck by the recurrence of the uncanny, from the raucously restless poltergeist in The Bookshop to the nocturnal vision in the Russian birch woods in The Beginning of Spring, to the miracle at the close of The Gate of Angels, which is in fact the opening of a never-opened gate. How this happened she will not say, but there is no doubt that she believes it did.

The history of the fictitious college is also relevant in relation to the title and the ending. Fitzgerald mentions that the gate to the college only opened on two other occasions. Well, at the very end of the novel it opens for the third time — a miracle, and one that made it possible for Daisy to be on the road just as Fred was returning to the college. Must we be told what that means?

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Haruki Murakami’s The Wind-Up Bird Chronicle

The Wind-Up Bird Chronicle is a strange novel. It’s not the first Haruki Murakami novel I’ve read; a year or so ago I read IQ84, which was also strange, but not extraordinary in the sense that Roberto Bolano’s 2666 is extraordinary. Prior to its translation into English, The Wind-Up Bird Chronicle was initially published in three volumes in 1994-95, but in Japan. It appeared in English in the US in 1997. In his interview with the Paris Review, Murakami comments on the novel’s strangeness: “During the four years of writing The Wind-Up Bird Chronicle, I was living in the U.S. as a stranger. That ‘strangeness’ was always following me like a shadow and it did the same to the protagonist of the novel.” Murakami was also influenced by a number of American writers. Like Nathaniel Hawthorne, Murakami casts a spell on his readers. He introduces us into the quotidian world of a Tokyo suburb, but what ensues draws us into another world, one that seems familiar but quickly becomes increasingly strange. Perhaps a better way to describe the novel is to say it’s uncanny.

Murakami is an extremely popular writer, with sales in the millions worldwide. As reported by John Wray in the Paris Review, No. 182,

Internationally, Murakami is now the most widely-read Japanese novelist of his generation; he has won virtually every prize Japan has to offer, including its greatest, the Yomiuri Literary Prize. He is also an extremely active translator, having brought writers as diverse as Raymond Carver, Tim O’Brien, and F. Scott Fitzgerald to Japanese readers, many of them for the first time.

As an experimental writer, Murakami is hard to place. Wray notes that

His greatest novels inhabit the liminal zone between realism and fable, whodunit and science fiction….

The Wind-Up Bird Chronicle is often referred to as a detective novel, but I think that to say it is also science fiction veers off course. It would be more appropriate to call it magical realism, as Murakami embraces realism and the supernatural.

The novel begins with the disappearance of a cat. The protagonist and narrator, Toru Okada, is a young man who has recently lost his job, so he now spends his days grocery shopping, and cooking and cleaning for his wife, who supports them. Moreover, it’s her cat. After receiving a mysterious phone call with a message instructing Toru on how to find the cat, he climbs over the wall behind his house to search the alley, which is inexplicably blocked at each end. On one side is a vacant house. Apparently bad things have happened to the people who lived there. One could say it’s a haunted house.

While searching the alley, Toru meets a young woman, May Kasahara, a high school dropout who spends her time sunning herself in the backyard across from the abandoned house. She is a Lolita-like figure although Toru does not become sexually obsessed with her; rather she becomes his neighbourhood buddy. Prompted by the mechanical cries of an unseen bird, May calls Toru Mr. Wind-Up Bird. The novel is after all a chronicle of Toru’s uncanny experiences and the bird’s cries ominously call attention to those experiences

Soon Toru’s wife also disappears and naturally, he is determined to find her. More strange messages are received as well as unusual visitors, mostly women, some of whom are psychics.

My protagonist is almost always caught between the spiritual world and the real world. In the spiritual world, the women—or men—are quiet, intelligent, modest. Wise. In the realistic world … the women are very active, comic, positive. They have a sense of humor. The protagonist’s mind is split between these totally different worlds and he cannot choose which to take. I think that’s one of the main motifs in my work. It’s very apparent in Hard-Boiled Wonderland.

In The Wind-Up Bird Chronicle, the protagonist is advised on when to be active and when to be passive by Mr. Honda, a channeler and acquaintance of Toru’s father-in-law whom the couple are obliged to visit monthly. Mr. Honda also advises Toru on his job search.

“Legal work might be the wrong thing for you, sonny,” said Mr. Honda one day….

“It might?”

“Yep, it might. The law presides over things of this world, finally. The world where shadow is shadow and light is light, yin is yin and yang is yang, I’m me and he’s him. ‘I am me/He is him:/Autumn eve.’ But you don’t belong to that world, sonny. The world you belong to is above that or below that.”

“Which is better?” I asked, out of simple curiosity. “Above or below?”

“It’s not that either one is better,” he said…. “It’s not a question of better or worse. The point is, not to resist the flow. You go up when you’re supposed to go up and down when you’re supposed to go down. When you’re supposed to go up, find the highest tower and climb to the top. When you’re supposed to go down, find the deepest well and go down to the bottom. When there’s no flow, stay still. If you resist the flow, everything dries up. If everything dries up, the world is darkness. ‘I am he and/He is me”/Spring nightfall.’ Abandon the self, and there you are.” (51)

Toru tries to follow this advice, but it becomes increasing difficult to distinguish between reality and dreams. Dreams, in fact, become lived experiences. Possibly inspired by Doris Lessing’s Memoir of a Survivor, we find that Murakami’s protagonist is also able to project himself through walls, but into situations that have real consequences.

As I suggested earlier, Murakami is heavily indebted to Hawthorne, in particular his short story entitled “The Birthmark.” After deciding to descend into the dry well behind the abandoned house, Toru undergoes a transformational experience and finds himself left with a mark in the shape of a tiny hand on his cheek. Much later, he discovers that he has become a healer.

Commenting on Murakami’s influences, in his New York Times 1997 book review, Jamie James comments:

Parts of ”The Wind-Up Bird Chronicle” have the bluntness of Hemingway, and the characters frequently speak to each other in noirish riddles. Yet the novel’s biggest debt is to Kafka, whose influence may have filtered down to Murakami by way of Kobo Abe, Murakami’s great category-smashing predecessor. The pervasive atmosphere of alienation in Murakami’s work bears a much closer affinity to the waking dreams of the German Jew in Prague than it does to the belligerent angst of the American Gen-Xers.

A Japanese Kafka? Quite possibly as one of his later novels is entitled Kafka on the Shore. Somewhat like Kafka’s K, Toru’s experiences are not all positive. One thread involving his cold-hearted brother-in-law leads to the uncovering of political corruption and tales of brutal rape. A background story of Japan’s involvement in Manchuria during WWII also takes on a prominent role and contains scenes of shocking violence and cruelty. Murakami weaves together all these mysterious and varied threads, creating a strong impression of modern Japan and its buried traumas. Not all is black — as the cat does come back. Rather than include too many spoilers, let’s just say this is postmodern fiction at its best.