A thatcher at work in Botley, Oxfordshire in 1933, the county in which the Lark Rise books are set. (Photo: Getty)
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Flora and fauna: Dreams of the Good Life by Richard Mabey

The story of Flora Thompson’s semi-autobiographical novels set in the Oxfordshire hamlet of Lark Rise.

Dreams of the Good Life
Richard Mabey
Allen Lane, 240pp, £16.99

This is the story of the evolution of Flora Thompson’s semi-autobiographical novels Lark Rise (1939), Over to Candleford (1941) and Candleford Green (1943), first published together as Lark Rise to Candleford in 1945. I hope the editor at Oxford University Press who came up with the title was duly rewarded. Lark Rise to Candleford brilliantly captures the poetic appeal of these three books.

Through the persona of the young Laura, Thompson looks back on her Victorian childhood in Lark Rise, an impoverished rural hamlet in Oxfordshire, and to her first job at the post office in the neighbouring Candleford. The rhythm of the world she recalls is cyclical: the rising of the sun is always followed by candlelight. Yet against the predictability of nature can be felt the march of progress: by the time Thompson, in her early sixties, wrote her quiet masterpieces, a different dawn had broken and the lights had gone out all over Europe.

Like Thompson, Richard Mabey is more interested in places than in people. He excels as a writer in embedding characters in their surroundings and describing the effects of displacement. Thompson left the safe “fort” of Lark Rise when she was a child but she was out of place in other ways, too. She was producing romantic rural tales long after the birth of modernism; Freud’s contemporary, she had no perspective on inner landscapes.

Thompson admitted that she had little self-knowledge and even Mabey confesses – beyond that she was self-taught, ambitious, solitary and a lover of high fashion: he finds her unknowable. Yet by plotting the progress of her writing, from village post mistress to chronicler of lost England, he tells us a good deal about her rise as a woman of letters. Critics like to see rural writers as instinctive producers of prose, naive woodlanders who lack the art of their urban contemporaries. Mabey successfully shows how, rather than writing her books as a bird might sing, Thompson achieved something more complex, particularly in her narrative voice.

There is much to admire in Dreams of the Good Life, particularly in Mabey’s descriptions of the natural world, but while it has the wings to fly, it does not take off as his other books have done. It stays rooted on the earth. 

Frances Wilson is an author, biographer and critic, whose works include The Ballad of Dorothy Wordsworth. Her most recent book is How to Survive the Titanic, or the Sinking of J Bruce Ismay. She reviews for the TLS, the Telegraph and the New Statesman.

This article first appeared in the 12 March 2014 issue of the New Statesman, 4 years of austerity

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Ariana and the Arianators: "We really are like a family"

The pop star provides her fans with a chance to express themselves joyfully - their targeting was grimly predictable.

Ariana Grande’s concert at Manchester Arena on 22 May began like any other. Children and teenagers streamed through the doors wearing pink T-shirts, rubber wristbands and animal ears (one of Grande’s signature looks). They screamed when she came on stage and they sang along with every song. It was only once the music had ended, and the 20,000-strong audience began to leave the venue, that the horror began – with a bomb detonated at the main entrance.

The show was just one date on Grande’s Dangerous Woman tour, which began in Phoenix, Arizona in February, moved across the United States and Europe, and had stops scheduled for South America, Japan, Australia and Hong Kong. (Since the Manchester attack, Grande has suspended the tour indefinitely.)

Since releasing her debut album in 2013, Grande has successfully transitioned from teen idol to fully fledged pop star (all three of her studio albums have sold over a million each) with a combination of baby-faced beauty and Mariah Carey-style, breathy vocals. Her most popular records are bubblegum pop with a Nineties R’n’B influence, a combination also expressed in her fashion choices: Nineties grunge meets pastel pinks.

She entered the limelight at 16 on the children’s TV programme Victorious, which ran on the Nickelodeon channel, pursuing her musical ambitions by performing the show’s soundtracks. Many of the young people who grew up watching her as the red-haired arts student Cat Valentine on Victorious would become fans of her pop career – or, as they call themselves, the Arianators.

As she outgrew her child-star status, Grande’s lyrics became more sexually suggestive. Recent songs such as “Side to Side” and “Everyday” are more explicit than any of her previous hits. She has repeatedly insisted that young women should be able to speak openly about sex and feel empowered, not objectified.

“Expressing sexuality in art is not an invitation for disrespect,” she tweeted in December. “We are not objects or prizes. We are QUEENS.”

Grande also has a reputation as something of a gay icon. She has advertised her records on the gay dating app Grindr, headlined shows at Pride Week in New York, and released a single and a lipstick to raise money for LGBTQ charities.

Cassy, a 19-year-old film student and fan, told me the fanbase is “made mostly of young women from 14-23, but I run into guys and non-binary fans all the time.”

“It’s pretty well known that Ariana has got a LGBTQ+ fan base. She’s so outspoken about it and that’s what draws us to her. Because she’s accepting of everyone, no matter who you are.”

Like many child actresses-turned-pop star, Grande has a fan base skewed towards the young and female: teenage and pre-teen girls are by far the majority of her most dedicated supporters. A writer on the Phoenix New Times described the typical Ariana Grande crowd as “pre-tween, tweens, teens, young gay (and fabulous) men, moms with cat ears, and multiple candidates for father of the year”. The Arianators form tight-knit groups on social media. I spoke to several over Twitter after the attack.

Arena concerts, which often have more relaxed age restrictions than nightlife venues, have long been a safe space for children, young people and teenage girls. They provide a secure place for concert-goers to dress up, experiment, play with burgeoning sexualities, dance, scream and cry: to flirt with an adult life still slightly out of reach. Glitter-streaked tears stream down the unapologetic faces of fans touched by an emotion bigger than themselves. It is appalling, if grimly predictable, to see children, teenage girls and young gay men targeted by agents of regressive ideologies for expressing themselves so joyfully. On 23 May, Isis claimed the attack.

“I went to my very first Ariana concert on 9 April,” Cassy tells me. “It was one of the warmest places I’ve ever been. People were so happy, smiles just beaming from their faces. People were being themselves – if that meant showing up in drag, they did. It was such an amazing place to be.”

Andréa, a 17-year-old fan from France, told me about her first experience of a Grande concert. “It was incredible,” she said. “Everyone was so kind, excited and happy. We really are like a family.”

The fans are devastated by Monday’s bombing. Thousands of messages appeared on social media to commemorate those who lost their lives. “As an Arianator,” Alexandre, aged 16, told me, “I’m really sad and I’m scared.”

“We’re all taking it really hard,” Cassy said. “We’re a family and we lost 22 members of that family last night.”

Ariana began her gig in Manchester with the song that has opened every night of her current tour: “Be Alright”. In it, she repeatedly reassures the crowd, “We’re gonna be all right.” It’s a phrase that her fans are clinging to after the attack. So, too, are the lyrics of “Better Days”, by Grande and her support act Victoria Monét, which was also performed the night of the explosion. “There’s a war right outside our window,” the words go. “I can hear the sirens . . ./I can hear the children crying . . ./I’m hoping for better days . . .”

“It’s hit us all very hard because we’ve lost some of our own,” said one Arianator who runs a popular Twitter account about the tour. “People we interacted with on a daily basis. People that just wanted to have a night of fun. These are dark times, but we are looking forward to better days.”

Anna Leszkiewicz is a pop culture writer at the New Statesman.

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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