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Tracey Thorn: Every angle, every light

Elizabeth Taylor is an unfairly underrated writer. Her novels of middle-class manners are much more complex than they look.

It was Virago Modern Classics that introduced me to Elizabeth Taylor, just as Virago had introduced me to so many other women writers years earlier. At Hull University in the early 1980s, I’d had a shelf-ful of green-spined books and they marked me out as a “rad fem” student just as surely as did my side-shaved haircut and big, clumpy boots. My education up to that point hadn’t fully alerted me to the existence of something called “the canon”, but a year or so in to my degree course, I was happily challenging it at every turn, thumbing my nose and waving my Virago paperbacks in the face of the literary patriarchy.

It would be another 30 years before I discovered Taylor when Virago reissued her novels in a set of chic new covers resembling 1960s film posters. On each was a black-and-white photo, full-face, extreme close-up, with a band of bold colour below. They looked simple and modern, with a vintage twist. In 2010 I bought one to take on holiday and within a day I was hooked.

She wasn’t necessarily the kind of writer I would have liked all those years ago in Hull. Back then my taste veered more towards the “madwoman in the attic”; I was fiercely feminist and wanted my reading to reflect this. Subtlety was not always top of my list of requirements. But by the time I read Taylor for the first time I was in my mid-forties, no less feminist, but perhaps differently feminist, and more receptive to the kind of wit and wisdom her novels offered. Her voice seemed to be a voice of experience, the insights those of a woman who had lived a few years, watching and listening, taking notes. I felt I was ready for her.

I started with A Game of Hide and Seek, her fifth novel, first published in 1951, which traces the arc of an intense but thwarted love affair. It is a finely detailed and perceptive book, constructed with a discreet skill that you hardly notice. As part one ends, the young lovers, Harriet and Vesey, seem doomed to be parted for ever, their love for each other undermined by his indolent flippancy, her timidity. Yet you turn the page and begin part two with something of a jolt – Harriet is in Vesey’s arms at a dance. “Has it all come right after all?” you think. But no. Twenty years have passed in the blink of an eye. Harriet is married to someone else and has a teenage daughter and Vesey has returned like a spectre from the past to threaten all the calm and respectability of Harriet’s adult life. What follows is a kind of tortuous non-affair, a not-quite-above-board friendship that can’t fail to be slightly sordid, while never being properly illicit.

They make a funny pair of romantic leads – he is half-hearted and she, frankly, is a bit of a drip, forever blushing and bursting into tears – but their plight is moving for all that. Nothing much happens; there’s a walk in an icy park, a Brief Encounter-style meeting on a foggy station platform, passion that goes mostly unexpressed. Yet Taylor has you believe in them as lovers, by first making you believe in them as people. As in all great writing, the joy lies in the closeness of the observation, the eye for detail. Taylor writes of Harriet that “In her diary, she walked right round Vesey and viewed him from every angle and in every light” and in just such a way does Taylor scrutinise her characters. Hers is an unflinching eye that does not glance away from an insight just because it seems cruel – “He knew that she was a good wife, though a bore.” Relatively narrow in focus, she homes in on the middle classes in a domestic setting, but though she writes about “nice” people, she is not particularly nice about them.

After A Game of Hide and Seek I went on to devour her other novels. I found out that she had shied away from publicity during her career, keeping her writing and her family life in a perfect and fiercely guarded balance. Elizabeth Jane Howard, in her introduction to A Game of Hide and Seek, writes of interviewing her on a television book programme, during which she answered monosyllabically and looked “like a trapped and rather beautiful owl”. I realised she was a woman after my own heart. She was shy, and she understood the shy. In The Soul of Kindness (1964) two of her characters agree: “ ‘I could never tell anyone how terrible it is. The dreadful awkwardness and embarrassment.’

‘They are under-rated forms of suffering.’” This reserve informs the very style of Taylor’s fiction, in which subtlety, economy and understatement reign supreme. Even her humour – and she is an extremely funny writer – is dry and precise, capturing moments when characters believe they are unobserved; as if she were eavesdropping on private conversations.

In A Game of Hide and Seek, for instance, she pinpoints the way shopgirls talk when men are out of earshot, a wonderful mixture of the genteel and the bawdy – “Harriet’s virginity they marvelled over a great deal. It seemed a privilege to have it under the same roof. They were always kindly enquiring after it, as if it were a sick relative.” She is the kind of writer you long to have had as a friend. How witty she would have been to talk to, with that sharpness that misses nothing, that wry acceptance of the way things are.

This acceptance extends to all her characters. Despite the acuity of her observations, she is never cold towards them, seeming rather to understand and forgive her most monstrous creations. And some of them are outright monsters – Flora in The Soul of Kindness is a manipulative, passive-aggressive nightmare (“she had inconvenient plans for other people’s pleasure, and ideas differing from her own she was not able to imagine”), while Angelica Deverell, the heroine of Angel (1957), is a hilarious personi - fication of self-delusion (“she saw nothing as it was, everything as it should be”). I think “Angel” is my favourite of all Taylor’s characters. Proud, arrogant, ambitious, mad and lonely, she is every fictional artist rolled into one, the twist being that she is completely talentless. Hers is an  archetypal struggle – the portrait of the artist as a young woman – rewritten as comedy, even farce. It’s like reading the early-years story of Jeanette Winterson only for her to end up writing the novels of Barbara Cartland. It’s terribly funny, and terribly sad.

I think when I was younger I liked my books to have heroes, or, even better, heroines. One of the great things about getting older is you don’t need that so much; you don’t look to every book for self-verification, or confirmation of your identity. I find I don’t care so much whether or not I like the characters in a book. I just want them to seem true, and for a writer to show me things that seem real. Elizabeth Taylor does exactly this; she finds interest and drama in the tiniest details, the dustiest corners of our lives, and in revealing these details to us so accurately and gracefully she transforms the mundane into something vivid; she makes sometimes dull lives seem worth noticing, and so worth living.

Tracey Thorn’s memoir, “Bedsit Disco Queen”, will be published by Virago in February “Complete Short Stories” by Elizabeth Taylor is published by Virago (£14.99).

Tracey Thorn is a musician and writer, best known as one half of Everything but the Girl. She writes the fortnightly “Off the Record” column for the New Statesman. Her latest book is Naked at the Albert Hall.

This article first appeared in the 27 August 2012 issue of the New Statesman, The end of the political cartoon?

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An English hero for the ages: Ian Botham at 60

Botham blends his sportsmanship and deep-seated passion for cricket with a lust for life.

Begging W H Auden’s pardon, it is possible both to honour and to value the vertical man, and in the case of Ian Botham, who turned 60 on 24 November, it is our bounden duty. No sportsman has given Britons so much to enjoy in the past half-century and no sportsman is loved more. Two decades after he retired from first-class cricket, his reputation as one of life’s champions remains unassailable.

No mere cricketer is he, either. Botham is a philanthropist, having raised more than £12m for various charities, notably Leukaemia and Lymphoma Research. In December, 30 years after his first walk from John o’Groats to Land’s End, he will set off again, in South Africa, where England are on tour. And he really does walk, too, not amble. As somebody who accompanied him on one of his dozen walks said: “You can’t keep up with him. The man is a phenomenon.”

Of all postwar sportsmen, only Bobby Charlton and, at a pinch, Henry Cooper come close to matching Botham’s enduring popularity. But Charlton, a shy man who was scarred by the Munich plane crash of 1958 (and may never have recovered from its emotional effects), has never comfortably occupied a public stage; and Cooper, being a boxer, had a solitary role. Botham, by contrast, spoke for England. Whenever he picked up his bat, or had a ball in his hand, he left spectators in no doubt.

Others have also spoken for England. Bobby Moore and Martin Johnson, captains respectively of England’s World Cup-winning football and rugby teams, were great players but did not reach out to people as naturally as Botham. Nick Faldo, Lester Piggott, Sebastian Coe and, to bring us up to date, Lewis Hamilton have beaten the best in the world, but they lacked those qualities that Botham displayed so freely. That is not to mark them down. They were, and are, champions. But Botham was born under a different star.

It was John Arlott, the great cricket commentator, who first spotted his uniqueness. Covering a match at Taunton in 1974, he asked the young colt to carry his bags up the rickety staircase to the press box, where Arlott, wearing his oenophile’s hat, pulled out a bottle of red wine and invited Botham to drink. Forty years later Botham is a discriminating wine drinker – and maker. Along with his friend and fellow England great Bob Willis, and their Australian wine­making pal Geoff Merrill, he has put his name to a notable Shiraz, “BMW”.

Arlott, with his nose for talent and good company, saw something in the young Botham that Brian Close, his captain at Somerset, was beginning to bring out. Later, Mike Brearley, as England captain, drew out something even more remarkable. As Rodgers and Hammerstein wrote, you’ve got to be carefully taught. And Botham, a fine team man as well as a supreme individual performer, has never withheld praise from those who enabled him to find his voice.

If sport reveals character, then cricket is the game that reveals it most clearly. In no other sport is the individual performance rooted so firmly in a team context. Every over brings a contest of skill and intelligence between batsman and bowler but only a team can win the match. “A cricketer,” as Arlott said, “is showing you something of himself all the time.”

Cricket also reveals national character more than any other sport. Football may be the most popular game in the world but cricket, and cricketers, tell us far more about England and Englishness. It is instructive, in this regard, to hear what Philippe Auclair, a French journalist and author long resident in London, has to say about Botham: “He is essentially an 18th-century Englishman.” In one! It’s not difficult to sense a kinship with Tom Jones, Fielding’s embodiment of 18th-century life, who began his journey, as readers may recall, in Somerset.

A country boy who played for Worcestershire after leaving Somerset, and who lives by choice in North Yorkshire, Botham is an old-fashioned Englishman. Although nobody has yet found him listening to the parson’s sermon, he is conservative with a small and upper-case C, a robust monarchist, handy with rod and gun, and happiest with a beaker in front of him. He represents (though he would never claim to be a representative) all those people who understand instinctively what England means, not in a narrow way, but through something that is in the blood.

Above all, he will be remembered for ever as the hero of 1981. Even now it takes some believing that Botham bowled and batted with such striking success that the Australians, who were one up after two Tests, were crushed. Some of us who were actually at Headingley for the famous third Test – thousands who claim to have been there were not – recall the odds of 500-1 on an England victory going up on the electronic scoreboard that Saturday evening.

Botham made 149 not out as England, following on, beat the Aussies by 18 runs. For three hours the country seemed to stop. In the next Test, at Edgbaston, Botham took five wickets for one run as Australia fell under his spell. Then, at Old Trafford, on a dank Saturday afternoon, he played the most memorable innings of his life and one of the greatest innings ever played by an Englishman: 118 magnificent, joyful runs. Joy: that’s the word. Botham brought joy into people’s lives.

Yet it was the final Test at the Oval, which ended in a draw, that brought from him a performance no less remarkable than those from before. He bowled 89 overs in that match, flat out, continuing to run in when others withdrew with injury. That was the team man coming to the fore. Little wonder his comrades thought the world of him.

Modest, loyal, respectful to opponents, grateful to all who have lent him a hand, and supported throughout a turbulent life by Kath, his rock of a wife, and their three children, this is a cricketing hero to rank with W G Grace, Jack Hobbs, Wally Hammond and Fred Trueman. A feature in the lives of all who saw him, and a very English hero. 

This article first appeared in the 26 November 2015 issue of the New Statesman, Terror vs the State