Nursing Home as Microcosm in uMemento Mori" and C(Mr. Scobie

Sunsets and Sunrises : Nursing Home
u
as Microcosm in Memento Mori"
C(
and Mr. Scobie^s Riddle"
GERALD F . M A N N I N G
IN
M U R I E L S P A R K ' S N O V E L Memento
Mori several elderly characters receive t r o u b l i n g a n o n y m o u s telephone c a l l s ; the message
is a l w a y s the same — " R e m e m b e r y o u m u s t d i e " ( 2 ) . E l i z a b e t h
J o l l e y ' s Mr. Scobie's Riddle,
w h i c h l i k e Memento
Mori takes
p l a c e i n a n i n s t i t u t i o n for the aged, d r a m a t i z e s the s a m e message
t h r o u g h the o l d m a n ' s r i d d l e : " W h a t is i t t h a t w e a l l k n o w is
g o i n g to h a p p e n b u t w e d o n ' t k n o w w h e n or h o w ? " ( 1 2 0 ) . If
these novels h a v e s i m i l a r settings a n d share a m o r b i d t h e m e
w h i c h their titles h i g h l i g h t , they m a y also be c o m p a r e d for their
m i x t u r e of t r a g i c o m i c devices, a t e c h n i q u e w h i c h results i n a
f a s c i n a t i n g c o m p l e x i t y of tone i n b o t h books. I n d e e d , S p a r k a n d
Jo] ley b o t h stretch the l i m i t s of realistic fiction i n o r d e r to explore
t h e i r serious subject m a t t e r w i t h o u t m o r a l i z i n g o r s e n t i m e n t a l i z i n g . T h e y are b o t h novelists of w i t a n d i m a g i n a t i v e energy w i t h
a n i n c l i n a t i o n for satire. Memento Mori a n d Mr. Scobie's
Riddle
c o m m a n d o u r respect as achievements of n a r r a t i v e art, as effective portrayals of the p l i g h t of the elderly, a n d as expressions of
m o r a l a n d s p i r i t u a l concerns.
G i v e n their o c t o g e n a r i a n characters a n d n u r s i n g - h o m e settings,
w e m i g h t expect these books p r i m a r i l y to offer fictional reflections
of the p s y c h o l o g i c a l , sociological, a n d m e d i c a l dimensions of
g r o w i n g o l d . I n fact, however, these a u t h o r s use the i n s t i t u t i o n a l
settings to s y m b o l i z e v a r i o u s k i n d s of estrangement a n d entrapm e n t , a n d the r e a d e r q u i c k l y notices that s o c i a l a n d m e d i c a l
p r o b l e m s are o n l y a s m a l l p a r t of the novelists' concerns. If a n
essentially realistic t r e a t m e n t of this subject m a t t e r is not w h a t
these books present, the reader m u s t i n q u i r e further for the
1
28
GERALD F. M A N N I N G
n a t u r e of their achievements a n d for the g r o u n d s o n w h i c h to
connect the novels w i t h e a c h other. T h e r e is a tendency a m o n g
some w h o h a v e l o o k e d at the p o r t r a y a l of the aged i n literature
to g l a n c e at the surfaces of novels, note stereotypes, a n d generalize
a b o u t the significance. F o r e x a m p l e , Celeste L o u g h m a n , w r i t i n g
i n The Gerontologist,
argues t h a t S p a r k
fused the subject of senescence w i t h a literary naturalism rooted
i n biological determinism, focusing o n m a n as a d y i n g a n i m a l at
a point close to extinction, his personality a n d behavior determ i n e d to a large degree by the inevitable process of degeneration
a n d decay, a n d by the realization that he must die. (79)
S h e concludes b y s t a t i n g that the novelists she examines, i n c l u d i n g S p a r k , "offer little to m i t i g a t e t h e i r n a t u r a l i s t i c t r e a t m e n t of
o l d age — the i s o l a t i o n , the i m p o t e n c e , a n d the decay w h i c h are
i n t r i n s i c i n the a g i n g process" ( 8 4 ) . T h e difficulty w i t h this k i n d
of analysis is t h a t so m u c h of significance is left u n s a i d . T h e r e is
m u c h of m o r a l a n d s p i r i t u a l significance i n Memento
Mori to
m i t i g a t e a sense of n a t u r a l i s m , as w i l l be s h o w n ; i n d e e d , the
w h o l e n o v e l hinges u p o n this. T h e s a m e is true of Air.
Scobie's
Riddle, i n w h i c h the c e n t r a l issue is not the s o c i o l o g i c a l one of
a g i n g b u t the m o r a l one of h o w h u m a n beings treat other h u m a n
beings. A n u n d e r s t a n d i n g of these m o r e c o m p l e x issues i n v o l v e s
analysis of the novels' details, i n c l u d i n g matters of m o d e a n d
style, n a r r a t i v e f o r m , character d e l i n e a t i o n , a n d s y m b o l i c
imagery.
2
W h a t i n i t i a l l y strikes a r e a d e r of these novels is their i n c l i n a t i o n t o w a r d s a b s t r a c t i o n , e v e n allegory, w i t h a n a c c o m p a n y i n g
tone of w i t t y , sometimes grotesque, h u m o u r . T h e settings, for
instance, f u n c t i o n as m i c r o c o s m s i n w h i c h b o t h a u t h o r s c o n t r o l
a n d d r a m a t i z e h u m a n b e h a v i o u r a n d ideals. A l t h o u g h i t is
l o c a t e d i n L o n d o n , p r i m a r i l y i n the " M a u d L o n g M e d i c a l W a r d
( a g e d people, f e m a l e ) , " Memento
Mori gives o n l y i n c i d e n t a l
t o p o g r a p h i c a l a n d s o c i o l o g i c a l details. A l t h o u g h i t is set i n a
s u b u r b of P e r t h , W e s t e r n A u s t r a l i a , w h e r e E l i z a b e t h J o l l e y has
l i v e d since e m i g r a t i n g f r o m B r i t a i n i n 1 9 5 9 , Mr. Scobie's
Riddle
also shows little sense of locale b e y o n d the " H o s p i t a l of St. C h r i s t o p h e r a n d St. J u d e . " B o t h novels present i m a g i n e d w o r l d s w h i c h
NURSING H O M E AS MICROCOSM
29
p r o v i d e contexts for a p a r a b l e - l i k e fiction. B o t h novels, the reader
discovers, c o n t a i n v i r t u o u s , even religious characters as w e l l as
v i l l a i n o u s ones, b o t h centre the v i l l a i n y i n greed a n d b l a c k m a i l ,
a n d b o t h rely o n the m o t i f of memento mori i n c o n j u n c t i o n w i t h
a c o m m u n i t y of the aged to h e i g h t e n a n d d r a m a t i z e their m o r a l
concerns.
T o look first at some of the ways i n w h i c h M u r i e l S p a r k ' s
n o v e l denies the c o n v e n t i o n s of d o c u m e n t a r y r e a l i s m , w e notice
t h a t there is n o a t t e m p t to offer a r a t i o n a l e x p l a n a t i o n for the
mysterious telephone calls w h i c h confront the characters ( a n d
the r e a d e r ) . R a t h e r this d e v i c e allows the w r i t e r to p o r t r a y a
r a n g e of responses to a key h u m a n p r o b l e m : the d o m i n a n c e of
the ego a n d the u n w i l l i n g n e s s to accept one's m o r t a l i t y . S p a r k ' s
c h a r a c t e r i z a t i o n verges o n allegory as she illustrates h u m a n personality. T h e t w o characters w h o are the most s e r i o u s - m i n d e d
a n d the least affected by i r o n y are content w i t h a s y m b o l i c interp r e t a t i o n of the telephone calls. P o l i c e Inspector M o r t i m e r c o n cludes t h a t "the offender is D e a t h h i m s e l f " ( 1 5 7 ) , a n d J e a n
T a y l o r , S p a r k ' s most s y m p a t h e t i c character, agrees: " I n m y
belief . . . the a u t h o r of the a n o n y m o u s telephone calls is D e a t h
h i m s e l f . . . . I f y o u d o n ' t r e m e m b e r D e a t h , D e a t h r e m i n d s y o u to
d o s o " ( 1 9 5 ) . A s these characters i n d i c a t e , a n answer to this
r i d d l e m a y be f o u n d i n p s y c h o l o g i c a l a n d religious terms, i f not
i n a r a t i o n a l discovery.
M o s t of the other characters i g n o r e this a d v i c e , h o w e v e r , a n d
i n their b e h a v i o u r a n d attitudes represent v a r i o u s d o m i n a n t personality traits. A l e c W a r n e r ceaselessly studies s y m p t o m s of o l d
age i n his obsessively r a t i o n a l a n d peudo-scientific w a y . G o d f r e y
C o l s t o n i n his egotism c a n n o t o v e r c o m e his obsession w i t h his past
unfaithfulness a n d is b l a c k m a i l e d a c c o r d i n g l y , o n l y to t u r n the
tables finally o n his o w n son E r i c , w h o is a distilled v e r s i o n of his
f a t h e r : " ' I n his m i d d l e - a g e E r i c is b e c o m i n g so l i k e G o d f r e y , '
s a i d C h a r m i a n , ' t h o u g h of course G o d f r e y does not see i t ' "
( 2 2 1 - 2 2 ) . D a m e L e t t i e , c o n c e r n e d w i t h her o w n p h y s i c a l safety
to the p o i n t of obsession, snubs her friends a n d c o n t e m p o r a r i e s
b u t enjoys a r e p u t a t i o n as a p e n a l reformer a n d p r i s o n visitor.
O t h e r characters p l a y s i n g l e - d i m e n s i o n a l roles: M a b e l P e t t i g r e w
the b l a c k m a i l e r , C h a r m i a n C o l s t o n the w r i t e r , G u y L e e t the
30
GERALD F. M A N N I N G
c r i t i c a n d ex-rake, P e r c y M a n n e r i n g the senile poet, T e m p e s t
S i d e b o t t o m e the social m a t r i a r c h , a n d the v a r i o u s grannies o n the
W a r d . T h e d e t a c h e d a n d s a t i r i c a l a p p r o a c h to c h a r a c t e r i z a t i o n
w h i c h is t y p i c a l of S p a r k ' s fiction a n d w h i c h has been n o t e d by
m a n y c o m m e n t a t o r s is a n i m p o r t a n t i n d i c a t i o n of the non-realistic
m o d e she favours. Its presence i n Memento
Mori accounts for
w h a t m a y m i s t a k e n l y be seen as a n u n d u e emphasis o n the n a t u ralistic t r e a t m e n t of o l d age.
T h i s a l l e g o r i c a l t e n d e n c y i n c h a r a c t e r i z a t i o n is p a r t of a larger
p a t t e r n of non-realistic qualities. N o t o n l y d o the characters seem
to represent types, b u t their o w n deaths are c o n t r i v e d b y the
novelist to reflect their personalities a n d obsessions. D a m e L e t t i e ,
b r u t a l a n d p a r a n o i d d u r i n g her life, is c l u b b e d to d e a t h b y a
b u r g l a r . G o d f r e y , selfish to the e n d , takes t w o i n n o c e n t people to
t h e i r deaths w i t h h i m . A l e c W a r n e r loses his entire notes i n a fire
a n d feels " t h a t he was r e a l l y d e a d , since his records h a d ceased
to exist" ( 2 4 4 ) . A s the final c h a p t e r continues dispassionately to
dispose of most of the characters b y s u m m a r i l y r e p o r t i n g their
v a r i o u s deaths, S p a r k imposes a severe sense of closure o n the
n o v e l , d r a w i n g a t t e n t i o n to its artifice a n d r e i n f o r c i n g the suggest i o n of m o r a l tale. T h e curt, b r u s q u e style w i t h its short w o r d s
a n d concise sentences is i n s t r u m e n t a l i n a c h i e v i n g this closure, as
i n d e e d it is responsible t h r o u g h o u t the n o v e l for e n s u r i n g the
i r o n i c d e t a c h m e n t g e r m a n e to S p a r k ' s tone.
N o t o n l y d e t a c h m e n t b u t deliberate m i x i n g of the serious a n d
the c o m i c m a r k s the tone of Memento
Mori. T h e j u x t a p o s i t i o n
operates o n the level of style: i n the contrasts b e t w e e n terse a n d
f u n n y bits of d i a l o g u e a n d w e i g h t y statements f r o m the n a r r a t o r ;
o r between outrageous examples of caustic d i c t i o n a n d gentle
passages w h i c h express the n a r r a t o r ' s o r J e a n T a y l o r ' s reflections.
T h e w h o l e c o n c e p t i o n of this n o v e l , h o w e v e r , i n v o l v e s a s i m i l a r
contrast i n t h a t fate itself — D e a t h , the a n o n y m o u s c a l l e r — can
be i g n o r e d or trifled w i t h , or c a n be t a k e n v e r y seriously. Spark
m a i n t a i n s a constant m i x t u r e of tone b y s h i f t i n g f r o m one set ol
characters to another, f r o m one n a r r a t i v e t h r e a d to another, f r o m
b l a c k m a i l a n d b e t r a y a l to near-farce to h u m a n e , even religious
seriousness — a n d a l l w i t h i n the m i c r o c o s m of this study of elderly
p e o p l e c o n f r o n t i n g their u n i v e r s a l fa.te.
NURSING H O M E AS MICROCOSM
31
F a t e is the d o m i n a n t silent p a r t n e r i n Mr. Scobie's
Riddle,
w h i c h l i k e Memento
Mori has its m i c r o c o s m of b l a c k m a i l a n d
b e t r a y a l w i t h i n a n aged c o m m u n i t y . E l i z a b e t h J o l l e y i n her o w n
q u i t e different w a y has constructed a fictional w o r l d w h i c h like
S p a r k ' s i n t e r m i x e s h u m o u r a n d suffering, e v i l a n d v i s i o n . W i t h
the mysterious presence of Sister M . S h a d y a n d the n i g h t g a m b l i n g games, Mr. Scobie's Riddle also contains elements of the
m a c a b r e w h i c h h e i g h t e n the novel's h u m o u r as w e l l as its m o r a l
concerns a n d reflections o n o l d age. B u t to l o o k first at the novel's
non-realistic qualities, one notices t h a t J o l l e y e m p l o y s several
n a r r a t i v e a n d stylistic devices w h i c h , i n A . P . R i e m e r ' s w o r d s ,
" p a v e the w a y for the novel's e n t e r i n g i n t o a s y m b o l i c , n e a r
a l l e g o r i c a l w o r l d " ( 2 4 7 ) . T h e s e devices i n c l u d e " A G u i d e to the
P e r p l e x e d , " a few pages of often h i l a r i o u s brief excerpts a n d
quotations f r o m the ensuing n a r r a t i v e , w i t h pages d u l y n u m b e r e d
l i k e a n i n v e r t e d i n d e x . F o l l o w i n g this are several pages of entries
f r o m the N i g h t Sister's R e p o r t , w i t h c o m m e n t s , a g a i n v e r y funny,
f r o m M a t r o n H y a c i n t h P r i c e . W i t h the a r r i v a l o f the three
eighty-five-year-old m e n w h o w i l l o c c u p y R o o m O n e of St. C h r i s topher a n d St. J u d e , the c o n v e n t i o n a l n a r r a t i v e v o i c e takes over
at last. T h e h o s p i t a l reports r e c u r i n a r e f r a i n - l i k e m a n n e r
t h r o u g h o u t the book, however, l i k e the telephone calls i n S p a r k ' s
n o v e l . A s a final s m a l l r e m i n d e r t h a t w h a t w e are r e a d i n g is
c o n t r i v e d ( a n d therefore quite p u r p o s e f u l ) , J o l l e y concludes the
n o v e l w i t h a n u r s i n g r e p o r t d a t e d N o v e m b e r 1 (precisely one
year later t h a n the first entry o n page 1 ) i n w h i c h w e l e a r n of
the a d m i s s i o n of three m o r e m a l e patients to R o o m O n e , a l l
eighty-five a n d suffering as d i d Messrs. H u g h e s , Scobie, a n d
P r i v e t t (respectively) f r o m H e m i p l e g i a , H y p e r t e n s i o n , a n d H y pertension w i t h A l t e r e d M e n t a l State.
T h e a p p a r e n t jeu d'esprit of style a n d device i n this n o v e l
demonstrates c l e a r l y the a u t h o r ' s c o n t r o l of her m a t e r i a l , her
delight i n the arts of w i t a n d h u m o u r , a n d her sense of satiric
purpose. T h e contrasts a n d j u x t a p o s i t i o n s w h i c h w e observe i n
S p a r k ' s n o v e l have t h e i r corollaries here i n the r a n g e of c h a r a c ters a n d the t i g h t l y i n t e r r e l a t e d elements of the plot. T w o c h a r a c ters i n p a r t i c u l a r — as i n M emento Mori — a r t i c u l a t e a n d s y m bolize J o l l e y ' s serious m o r a l concerns r e g a r d i n g the e x p l o i t a t i o n
32
GERALD F. M A N N I N G
a n d i s o l a t i o n of i n d i v i d u a l s as w e l l as the significance of d e a t h .
H e a t h e r H a i l e y a n d to a lesser degree M r . S c o b i e , their eccentricities a n d c o m i c l i m i t a t i o n s n o t w i t h s t a n d i n g , are i m p o r t a n t e x e m plars of the h u m a n p o t e n t i a l for c o m p a s s i o n a n d insight, as w i l l
be s h o w n later. O t h e r characters range f r o m the c o m p l e x M a t r o n
P r i c e , w h o is i n p a r t a c a r i c a t u r e d " B i g N u r s e " b u t also a surp r i s i n g l y s y m p a t h e t i c v i c t i m of circumstances, to the f a r c i c a l
F r a n k i e a n d R o b y n , w h o d a n c e their w a y m a d l y t h r o u g h their
duties as h o s p i t a l aides, to the mysterious n o c t u r n a l p o k e r players
w h o c o m p r i s e a sub-plot w h i c h itself contrasts w i t h the m a i n
a c t i o n of the n o v e l . T h i s contrast permits J o l l e y to b l e n d farce
a n d seriousness effectively; the n i g h t g a m b l i n g a n d Sister S h a d y ' s
reports p r o v i d e s p l e n d i d h u m o u r , b u t the n o v e l moves i n e x o r a b l y
to the p o i n t w h e r e sufficient details reveal the c r i m i n a l associations of those engaged i n the shady g a m b l i n g scenes. A passage
s u c h as the f o l l o w i n g shows Jolley's skill :
D E C E M B E R N I G H T SISTER'S R E P O R T
N . A . to report. A l l pats, play cards i n dinette. Message from
M r s . M o r g a n M r . Boxer Morgan and M r . R o b Shady 'Cough
up Matron Price or else' its on account of L t . C o l . (retired)
Matron.
A n d M a t r o n M r . Hughes did not come in. I thought you
should k n o w I d i d not even know he was out.
Signed N i g h t Sister M . Shady (unregistered)
M i s s i s Shady : Don't yon ever read my day report? If you turn
back one page you w i l l see that it states quite clearly that M r .
Hughes collapsed at 10 a.m. and was taken immediately to the
C i t y a n d District H o s p i t a l where he was dead on arrival. D . O . A .
Signed M a t r o n H . Price ( 105 )
W h i l e the m a i n n a r r a t i v e develops the reader's interest i n the
characters of Messrs. H u g h e s , S c o b i e , a n d P r i v e t t sufficiently that
this report of M r . H u g h e s ' s d e a t h is w r y l y p o i g n a n t , the sub-plot
becomes m o r e t h a n mere farce w i t h its e v o c a t i o n of m e d i e v a l
scenes of d i c i n g w i t h death, another l i n k w i t h Memento
Adori.
T h e g r o w i n g c o m p l e x i t y s u r r o u n d i n g the M a t r o n ' s need to " p a y
the p r i c e " also extends the strange significance of these " e v i l
p e o p l e " ( 6 2 ) , as M r . S c o b i e calls t h e m , a l t h o u g h a f u l l e x p l a n a t i o n of their motives is not g i v e n a n d the book's m o r a l landscape
r e m a i n s suggestively abstract.
NURSING H O M E AS MICROCOSM
33'
W h i l e Memento
Mori a n d Mr. Scobie's Riddle a v o i d some of
the conventions of r e a l i s m a n d effectively i n t e r m i x the c o m i c a n d
the serious, they also c o n f r o n t some i m p o r t a n t issues r e g a r d i n g
o l d age, as has been suggested. I n t r i n s i c to the distinctiveness of
b o t h novels is the w a y i n w h i c h this subject m a t t e r is integrated
w i t h w h a t the books u l t i m a t e l y say a b o u t m o r a l i t y . T h e unsentim e n t a l yet p o i g n a n t c h a r a c t e r i z a t i o n of the elderly i n a l l their
v u l n e r a b i l i t y provides a d r a m a t i c focus for the h a n d l i n g of greed,
egotism, a n d the fear of d e a t h . A f t e r a brief l o o k at this v u l n e r a b i l i t y w e s h a l l e x a m i n e h o w these s a t i r i c a l l y - e d g e d moralists
c o n v i n c e the reader of the values they affirm.
Memento
Mori evokes the h u m a n p r o b l e m s of a g i n g less
g r a p h i c a l l y t h a n Mr. Scobie's Riddle, a n d w i t h a m o r e deliberate
c o m i c t o u c h , as i n the d e s c r i p t i o n of G r a n n y B e a n ' s b i r t h d a y
p a r t y : " S o m e of the geriatrics were still e a t i n g or d o i n g v a r i o u s
things w i t h their slices of c a k e " ( 2 4 3 ) . B u t the earlier n o v e l is
m o v i n g nonetheless; J e a n T a y l o r ' s u n f l i n c h i n g e v a l u a t i o n of her
c o n d i t i o n is d i r e c t : " B e i n g over seventy is l i k e b e i n g engaged i n
a w a r . A l l o u r friends are g o i n g o r gone a n d w e s u r v i v e amongst
the d e a d a n d the d y i n g as o n a b a t t l e f i e l d " ( 3 4 ) . H e r u n d e r s t a n d i n g is s y m p a t h e t i c a n d h u m a n e , h o w e v e r , u n l i k e most of her
post-seventy c o n t e m p o r a r i e s w h o i n v a r y i n g degrees evade the
truths of a g i n g a n d p a t r o n i z e or d i s d a i n others. D a m e L e t t i e
C o l s t o n t h i n k s t h a t J e a n T a y l o r "is w a n d e r i n g i n her m i n d a n d
b e c o m i n g m o r b i d " a n d , i n response to T a y l o r ' s c o n c e r n about
the u n p l e a s a n t n e w w a r d sister, r e m a r k s : " I n the B a l k a n c o u n tries, the peasants t u r n t h e i r aged parents out of doors every
s u m m e r to beg their keep for the w i n t e r " ( 3 6 - 3 7 ) . G o d f r e y
C o l s o n , i n his t u r n , delights at the t h o u g h t of G u y L e e t " b e n t
d o u b l e over his t w o sticks. A n u g l y f e l l o w ; a l w a y s h a d been, the
little rotter" ( 2 0 1 ) . B u t G u y i n fact is s h o w n to be one of the
few characters w h o accept the c o n d i t i o n s i m p o s e d b y one's
p h y s i c a l state :
H i s fingers were good for another year — i f y o u c o u l d call these
twisted, knobble-knuckled members good. . . . H o w p r i m i t i v e , G u y
thought, life becomes i n o l d age, w h e n one may be surrounded
by familiar comforts a n d yet more vulnerable to the action of
nature than any y o u n g explorer at the Pole. (202)
34
GERALD F. M A N N I N G
G u y ' s g o o d - h u m o u r e d sense of reality c o m m a n d s respect f r o m
the reader, especially since it contrasts w i t h the evasions of D a m e
L e t t i e , the m a c h i n a t i o n s of G o d f r e y , E r i c , a n d M r s . P e t t i g r e w ,
a n d the silliness of A l e c W a r n e r .
A l t h o u g h i t sparkles w i t h i m a g i n a t i v e v i t a l i t y a n d offers some
i n o r d i n a t e l y f u n n y scenes a n d descriptions, Mr. Scobie's
Riddle
is d e a d l y serious i n its reflections u p o n o l d age a n d c o n d i t i o n s i n
institutions. J o l l e y ' s s k i l l w i t h significant d e s c r i p t i o n a n d i m a g e r y
is evident as s o o n as the c o n v e n t i o n a l n a r r a t i v e v o i c e enters the
n o v e l . T h e p a n o r a m i c v i e w of the scenery a r o u n d the h o s p i t a l is
r i c h l y sensuous: " T h e r e was a w a r m g a r d e n scent of c u t grass . . .
the p e r f u m e of u n n a m e d flowers . . . a p i l i n g u p of c o l o u r . . .
grey a n d silver p e a r l e d a n d p i n k edged doves, w i t h tender
f e a t h e r s . . . . " I n i m m e d i a t e j u x t a p o s i t i o n the c r a m p e d quarters
of R o o m O n e are e v o k e d : " T h e r e were flies i n the r o o m a n d the
m i n g l e d smells of reheated f o o d , stale t o b a c c o a n d u r i n e . " O u t side the w i n d o w i n the restless w i n d the leaves, " m o v i n g i n the
endless t r e m b l i n g t o w a r d s a n d a w a y f r o m one another, g a v e a n
i m p r e s s i o n of t r y i n g to speak or to listen b u t a l w a y s t u r n i n g a w a y
before a n y t i n y message c o u l d either be g i v e n o r h e a r d " ( I O - I i ) .
T h u s p r e p a r e d for the h u m a n d r a m a of frustrated c o m m u n i c a t i o n a n d helplessness to be a c t e d out i n R o o m O n e a n d elsewhere
i n the h o s p i t a l , w e r e a d o n w i t h a m i x t u r e of h u m o u r a n d h o r r o r
as the t r e a t m e n t of the three octogenarians a n d their f e l l o w i n mates is described. T h e r e is frequently a sense of the gently f a r c i c a l , a n d the reader is able to m a i n t a i n some d e t a c h m e n t :
M r s . R a w l i n g s took the patients, one by one, as they were tossed
from the b a t h r o o m and stuffed t h e m into their clothes. She led
t h e m out, one by one, a n d stacked them o n a piece of plastic, i n
cane chairs, along the verandah. . . . T o and fro the voices of the
doves caressed the freshly washed rows of o l d people.
(49-50)
B u t the reader's feelings are m o r e r a w l y exposed i n other places.
W h e n M r . H u g h e s ' s p a r a l y s e d a r m flaps against the d o o r post,
the d e s c r i p t i o n w h i c h follows is u n f o r g e t t a b l e : " T h e f r a i l s k i n ,
b r o w n m o t t l e d a n d p a p e r t h i n , was g r a z e d a n d b r o k e n . " M r s .
R a w l i n g s , w o r r i e d a b o u t g e t t i n g b l o o d o n her " c l e a n p i n n y , "
q u i c k l y "tore u p a piece of o l d r a g kept for p a d d i n g u p the o l d
w o m e n a n d b o u n d u p the b l e e d i n g h a n d " ( 6 9 ) .
NURSING H O M E AS MICROCOSM
35
P h y s i c a l i n d i g n i t i e s a n d frustrations w h i c h result f r o m "decrepit a g e " — a phrase f r o m Yeats's " T h e T o w e r " q u o t e d i n the
e p i g r a p h —• are g r i m e n o u g h , b u t E l i z a b e t h J o l l e y raises a m o r e
p r o f o u n d p r o b l e m for the aged, a p r o b l e m t h a t c a n be exacerb a t e d b y a n insensitive i n s t i t u t i o n . T h i s p r o b l e m is a n o n y m i t y
a n d its correlatives, loneliness a n d i s o l a t i o n . A f t e r his room-mates
die, M r . S c o b i e is left w i t h a curious feeling of emptiness :
H e d i d not miss M r . H u g h e s or M r . Privett. H e d i d not
them. T h e y h a d come briefly into his life a n d gone out
again. . . . It was strange, he reflected, that no one ever
tioned their names. It was as if St. C h r i s t o p h e r a n d St.
never spoke of the dead. People simply ceased to need to be
for. It was as i f they h a d never existed.
( 171-72)
know
of it
menJude
cared
T h e n o v e l portrays i n r a t h e r stereotyped ways some of the causes
of this i m p e r s o n a l i t y : s o c i a l workers a n d n u r s i n g staff w h o are
i m m a t u r e , selfish, or, i n the case of M a t r o n P r i c e , c o r r u p t . M i s s
H a i l e y w a r n s M r . S c o b i e : " ' D o not,' she s a i d , 'expect too m u c h
f r o m t h a t little s o c i a l w o r k e r . I have l e a r n e d f r o m experience,'
she c o n t i n u e d , ' w e are o n l y m a t e r i a l for their questionnaires,
their statistics a n d their e x a m i n a t i o n r e s u l t s ' " ( 1 7 7 ) . A n d
Memento
Mori has n o t h i n g to m a t c h the M a t r o n w h o is eager
for profit, d o m i n e e r i n g , a n d m a n i p u l a t i v e . A t the crash of the
three a m b u l a n c e s she " h u r r i e d f o r w a r d , her w h i t e head-dress
r i s i n g l i k e a sail b e h i n d her a n d the panels of her n a v y dress
s w i n g i n g w i t h a c l i n i c a l briskness" ( 1 6 - 1 7 ) . " ' A m b u l a n c e s d o n ' t
g r o w o n trees y o u k n o w , ' i n her m i n d she addressed the little
g r o u p of s h o c k e d m e n " ( 1 6 ) . She also prevents the P u b l i c H e a l t h
Inspector f r o m d i s c o v e r i n g the truths a b o u t St. C h r i s t o p h e r a n d
St. J u d e , a n d she pressures patients i n t o p u t t i n g t h e i r
financial
affairs i n t o her c o n t r o l .
B u t it is t h r o u g h the M a t r o n ' s r e l a t i o n s h i p w i t h H e a t h e r
H a i l e y , c o n d e m n e d because of a s c a n d a l i n the past to be utterly
d e p e n d e n t o n H y a c i n t h P r i c e , t h a t J o l l e y expresses her chief
m o r a l concerns, concerns w h i c h relate to the t r e a t m e n t of the
aged a n d b e y o n d . M a t r o n P r i c e not o n l y exploits aged patients
b u t has evidently, w i t h b r u t a l callousness, r u i n e d the lives of b o t h
M i s s H a i l e y , her o l d s c h o o l f r i e n d , a n d L t . - C o l . Iris P r i c e , her
brother. A s H e a t h e r H a i l e y blurts out i n a m o m e n t of crisis:
36
GERALD F. M A N N I N G
" I never dreamed that you w o u l d take everything, but everything.
Y o u must k n o w , y o u do k n o w , that I a m a pauper. . . . I ' m
trapped for life. . . . B u t nothing makes any difference to you,
n o t h i n g at a l l T i n T i n . I mean, w h a t about Iris? . . . H o w can
you be so cruel to h i m . I k n o w he needs l o o k i n g after, but not i n
R o o m T h r e e of a l l places. A n d what or w h o has m a d e h i m like
he i s ? "
(149-50)
H y a c i n t h P r i c e ' s c o m p u l s i o n to c o n t r o l others for p o w e r a n d
profit has l e d her to this p o i n t , a n d o u r a d d i t i o n a l discovery t h a t
her c r i m i n a l h u s b a n d r e m a i n s at the centre of a w e b w h i c h ensnarls even her, t h a t she too is a v i c t i m of frustration a n d u n r e q u i t e d love, o n l y slightly d i m i n i s h e s the c o n t e m p t i n w h i c h w e
h o l d her. I n a d e s c r i p t i o n of S w i f t i a n grotesquerie the n i g h t
g a m b l i n g scene w i t h M r . Scobie's r e a c t i o n to it u n d e r l i n e s J o l l e y ' s
v i s i o n of h u m a n i t y :
W i t h sunken toothless mouths w i d e open, a n d w i t h grey-wisped
heads trembling a n d n o d d i n g on scarcely supporting withered
necks, w i t h frail-skinned faces animated a n d w i t h greedy g r o p i n g
hands they played their game w i t h fierce determination. A l l were
so intent they p a i d no attention to M i s s H a i l e y ' s h y m n a n d d i d
not notice M r . Scobie standing, shocked a n d dismayed, l o o k i n g
on. O v e r c o m e by the sight of such wickedness he stumbled back
to his o w n r o o m . It was impossible to sleep listening to those evil
people.
(62)
I n v i e w of this passage, Sister S h a d y ' s recurrent " N o t h i n g a b n o r m a l to r e p o r t " r e g a r d i n g these n i g h t l y sessions seems especially
pointed.
It is clear t h a t Memento
Mori a n d Mr. Scobie's Riddle
both
use the m i c r o c o s m i c settings of n u r s i n g homes to develop t r a g i c o m i c fictions w h i c h engage the reader i n a n e x a m i n a t i o n of
attitudes t o w a r d s o l d age a n d d e a t h a n d confront the reader w i t h
a d r a m a t i z a t i o n of e v i l . T h e t h e m e of memento
mori runs
t h r o u g h b o t h b o o k s : it is f o u n d i n M r . Scobie's frequent b i b l i c a l
allusions, i n his r i d d l e itself, a n d i n M i s s H a i l e y ' s quotations (see
2 2 , 3 6 , 4 7 , 6 1 , 120, 125, a n d 1 6 1 ) . T h e b l a c k m a i l i n g greed of
M r s . P e t t i g r e w , w h o moves spider-like f r o m v i c t i m to v i c t i m , is
close k i n to the M a t r o n ' s pursuit of " s u b s t a n t i a l b a n k a c c o u n t s "
( 17 ) a n d the sinister operations i n the dinette. D o these novels,
then, say n o t h i n g affirmative a b o u t h u m a n relationships o r the
NURSING H O M E AS MICROCOSM
37
c o n d i t i o n s of b e i n g o l d a n d i n s t i t u t i o n a l i z e d ? A l t h o u g h i t is
neither writer's purpose to d w e l l o n the s o c i o l o g y of homes for
the aged, a n d w h i l e b o t h writers here a n d elsewhere i n their
w o r k cast a c o l d eye o n h u m a n b e h a v i o u r , these novels nevertheless h a v e values to affirm.
S i n c e the t h e m e of memento mori is s t r o n g i n b o t h books, a n
i m p o r t a n t i n d i c a t o r of m e a n i n g a n d v a l u e is the w a y characters
r e s p o n d to the k n o w l e d g e of their m o r t a l i t y . K e y characters i n
e a c h n o v e l s h o w a n u n d e r s t a n d i n g a n d a c c e p t a n c e of the l i m i t a tions of h u m a n life, a n d t h r o u g h their responses to the r e a l i t y of
d e a t h a n d the c r u e l t y of h u m a n beings the authors o v e r r i d e some
of the pessimism i m p l i c i t i n the subject m a t t e r . H e n r y M o r t i m e r ,
J e a n T a y l o r , a n d also C h a r m i a n C o l s t o n i n Memento
Mori have
c o m e to terms w i t h d e a t h b y d e v e l o p i n g a p h i l o s o p h y of life
w h i c h permits c a l m acceptance of the message w h i c h so upsets
D a m e L e t t i e a n d others. M o r t i m e r , r e m i n d i n g us of the d r a m a t i c
assertion of W a l l a c e Stevens's " S u n d a y M o r n i n g , " " D e a t h is the
m o t h e r of b e a u t y " (Stevens 8 ) , sees d e a t h as i n t e g r a l to "the
f u l l e x p e c t a n c y of life. W i t h o u t a n ever-present sense of d e a t h life
is i n s i p i d " ( 166 ) . J e a n T a y l o r echoes this t h o u g h t i n reassuring
A l e c W a r n e r : " W e a l l a p p e a r to ourselves frustrated i n o u r o l d
age, A l e c , because w e c l i n g to e v e r y t h i n g so m u c h . B u t i n reality
w e are still f u l f i l l i n g o u r l i v e s " ( 2 4 4 ) . A s Peter K e m p says i n his
b o o k o n S p a r k , d e a t h is
released from terrifying absurdity by seeming to belong to some
necessary cycle. E m p h a s i z i n g the progression of the generations, a
h a r m o n y i n w h i c h they placidly participate, the o l d m a k i n g way
for the y o u n g that they have helped to rear, the M o r t i m e r s , i n
m a r k e d contrast to a l l other characters, are seen, happy, w i t h a
g r a n d c h i l d . F o r them, age a n d death are simply parts of an
inevitable natural process; just as, for J e a n T a y l o r , they are parts
of a n inevitable supernatural one. (42)
Because J e a n T a y l o r a n d C h a r m i a n C o l s t o n are b o t h C a t h o l i c
converts, t h e i r a c c e p t a n c e of a g i n g a n d death has a religious
g r o u n d i n g w h i c h adds a d i m e n s i o n to the book's m e a n i n g b u t
does not d i s t u r b its tone.
A l t h o u g h C h a r m i a n struggles w i t h her m e m o r y a n d is des c r i b e d b y G o d f r e y as " a n o l d w r e c k " ( 1 7 6 ) , S p a r k i n a stun-
38
GERALD F. M A N N I N G
n i n g passage allows C h a r m i a n to a r t i c u l a t e a n d to act out n o t a b l y
the p o w e r of her s p i r i t . R e c e i v i n g the t r o u b l i n g message, she
c a l m l y replies: " f o r the past t h i r t y years a n d m o r e I h a v e t h o u g h t
of i t f r o m t i m e to t i m e . M y m e m o r y is f a i l i n g i n c e r t a i n respects.
I a m gone eighty-six. B u t s o m e h o w I d o not forget m y death,
w h e n e v e r t h a t w i l l b e " ( 1 3 9 ) . T h e r e follows a d e s c r i p t i o n of her
m a k i n g her o w n t e a ; this becomes a sacred r i t u a l w i t h a r i c h
resonance i n its r e p e t i t i o n of the phrase " s t r o n g a n d fearless," its
use of the s y m b o l i s m of fire, its emphasis o n the " j o u r n e y s " w h i c h
she undertakes, a n d its e v o c a t i o n of the M a s s t h r o u g h references
to the " b r o k e n biscuits, even the c r u m b s " a n d the careful p o u r i n g
b a c k of the tea i n t o the c u p . I n d e p e n d e n c e of m i n d a n d s p i r i t u a l
f o r t i t u d e are characteristic of J e a n T a y l o r as w e l l ; J e a n , h o w e v e r ,
is also used by S p a r k to e m b o d y h u m i l i t y , c o m p a s s i o n , a n d m o r a l
r i g o u r . H e r acceptance of death as one of the " f o u r last things to
be ever r e m e m b e r e d " ( 2 4 6 ) leads her to v a l u e the o l d w o m e n i n
her w a r d (most m o r e decrepit t h a n she) as her friends, a n d to
m a k e the t o u g h d e c i s i o n to i n f o r m G o d f r e y of C h a r m i a n ' s i n f i delities i n o r d e r to c o m b a t the greater e v i l of M a b e l P e t t i g r e w .
J e a n is b o t h a n expression of S p a r k ' s C a t h o l i c i s m a n d a n e x a m p l e
of wise a n d m a t u r e a g i n g .
Memento
Mori finally affirms b o t h the w i s d o m a n d the s p i r i t u a l efficacy of a h u m b l e acceptance of d e a t h . It also shows,
t h r o u g h J e a n T a y l o r ' s character, t h a t this p h i l o s o p h y also has
m o r a l s i g n i f i c a n c e : i t affects one's t r e a t m e n t of others.
Mr.
Scobie's Riddle
develops the same themes i n m o r e d e t a i l a n d
w i t h a d d i t i o n a l r a m i f i c a t i o n s . T h e characters here w h o c a r r y the
b u r d e n of m e a n i n g are H e a t h e r H a i l e y a n d M r . S c o b i e , a n d t w o
themes interpenetrate to c o u n t e r b a l a n c e J o l l e y ' s d a r k p o r t r a y a l
of e n t r a p m e n t a n d cruelty. M i s s H a i l e y ' s artistic v i t a l i t y blends
w i t h her g e n u i n e sensitivity a n d c o n c e r n for other people, t h o u g h
her life has been a series of i r o n i c frustrations; M r . S c o b i e ,
t h o u g h not fully self-reliant n o r c a p a b l e of r e a l i z i n g his dreams,
articulates a n d d r a m a t i z e s a s p i r i t u a l v i s i o n w h i c h is b o t h p o i g nant a n d symbolically powerful.
M i s s H a i l e y , initially caught (like M i s s J e a n Brodie i n another
of M u r i e l S p a r k ' s novels) b y a n u n f o r t u n a t e a n d perhaps n a i v e
over-fondness for a p u p i l a n d t h e n t r a p p e d i n the destructive
N U R S I N G H O M E AS M I C R O C O S M
39
s a n c t u a r y offered b y H y a c i n t h P r i c e , is o n l y p a r t l y able to look
after herself. Nevertheless, i n her w o n d e r f u l m i x t u r e of b i z a r r e
thoughts a n d actions, not to m e n t i o n her hats, she plays a v e r y
i m p o r t a n t role as the wise fool i n J o l l e y ' s t r a g i c o m e d y . A s J o a n
K i r k b y says i n a recent discussion of J o l l e y ' s fiction, " M i s s
H a i l e y ' s v i s i o n , energy a n d r e c e p t i v i t y to the life a r o u n d her are
p o t e n t i a l l y r e d e m p t i v e . S h e is alive, l i k e other of J o l l e y ' s artists,
to the i m m e n s e possibilities o f t r a n s f i g u r a t i o n a n d n e w w a y s of
l i v i n g " ( 4 9 0 ) . " R e d e m p t i o n " is n o d o u b t the r i g h t w o r d ;
H e a t h e r H a i l e y is a f a s c i n a t i n g b l e n d of the artistic a n d the
religious i m a g i n a t i o n . N o t o n l y is she the " n o v e l ' s n o v e l i s t , " l i k e
C h a r m i a n i n Memento
Mori, a n d therefore a n eager q u o t e r of
literature, she is also constantly a l l u d i n g to m u s i c ; she spends one
r e m a r k a b l e afternoon i n the p a r k s i n g i n g W a g n e r w h i l e she waits
for M r . S c o b i e w h o has escaped u n n o t i c e d . I t is p a r t of J o l l e y ' s
skill to m a k e the literary, m u s i c a l , a n d religious references significant, as they a l w a y s are. T h a t M r . S c o b i e a n d M i s s H a i l e y are
k i n d r e d spirits is c o n t i n u o u s l y d e m o n s t r a t e d b y the w a y they live
( a n d c o m m u n i c a t e ) t h r o u g h their i m a g i n a t i o n s a n d m e m o r i e s .
W h e n he first settles i n R o o m O n e , M r . S c o b i e puts o n a cassette,
s o u n d i n g the memento mori t h e m e w i t h the s o m b r e beauty of
B r a h m s ' s German
Requiem : " L o r d m a k e m e to k n o w m i n e
e n d . . . . " M i s s H a i l e y shocks M r . S c o b i e b y a p p e a r i n g i n her
p a r t l y - o p e n e d dressing g o w n a n d b a b b l i n g t h a t she n o r m a l l y
doesn't " h a v e intercourse w i t h m e n . . . I m e a n not w i t h a n y m e n
here. O f course, y o u u n d e r s t a n d , I a m u s i n g intercourse i n its
o l d e r a n d m o r e d i g n i f i e d m e a n i n g " b u t goes o n to urge that he
leave the m u s i c o n : " I h a v e n ' t h a d a n y s p i r i t u a l refreshment for
years" ( 2 2 - 2 3 ) . T h e h u m o u r distances us a l i t t l e f r o m the seriousness of the b o n d b e i n g f o r m e d between M i s s H a i l e y a n d M r .
Scobie.
L a t e r i n the n o v e l M i s s H a i l e y a g a i n asks M r . S c o b i e not to
t u r n off the m u s i c : " W h e r e I ask y o u , i n this s p i r i t u a l wilderness,
is there a n y h o p e of s a l v a t i o n b u t i n this m u s i c of y o u r s ? " ( 9 9 ) .
T h e waste l a n d m o t i f is a m a j o r t h e m e i n the n o v e l ; J o l l e y
incorporates it so t h o r o u g h l y t h a t i t w o r k s o n the personal level
(the loneliness a n d sense of homelessness of i n d i v i d u a l c h a r a c ters) , o n the sociological level (the emptiness of the n u r s i n g h o m e
40
GERALD F. M A N N I N G
e n v i r o n m e n t ) , o n the p o l i t i c a l level (the a l l e g o r i c a l p o r t r a y a l of
A u s t r a l i a discussed b y A . P . R i e m e r ) , a n d o n the s y m b o l i c level
(the h u m a n quest for a s p i r i t u a l h o m e a n d a m e a n i n g f u l l i f e ) .
H e a t h e r H a i l e y , t h i n k i n g of the a n g u i s h i n Beethoven's late
quartets, reflects t h a t she "was n o t at h o m e a n d yet this place
was her h o m e a n d h a d been for m a n y years. S h e h a d n o t been
at the p l a c e she h a d once c a l l e d h o m e for a v e r y l o n g t i m e "
( 1 3 3 ) . Y e t as a result of her strange encounters w i t h M r . S c o b i e
she stumbles u p o n a n i m p o r t a n t t r u t h : " I t o c c u r r e d to M i s s
H a i l e y that one of the true m e a n i n g s of f r i e n d s h i p w a s protect i o n " ( 1 7 6 ) . I t is a k i n d of protectiveness t h a t J e a n T a y l o r feels
t o w a r d s the other grannies w h e n she decides to r e m a i n at M a u d
L o n g N u r s i n g H o m e , a n d i t is this feeling w h i c h leads H e a t h e r
H a i l e y to say, shortly before M r . Scobie's d e a t h : " y o u k n o w , o l d
b e a n , I r e a l l y d o care w h a t h a p p e n s to y o u " ( 1 8 9 ) . T h i n k i n g of
m u s i c a l p e r f o r m a n c e , M r . S c o b i e realizes t h a t the r e a l t r u t h of
h u m a n life lies i n " p r o m i s e a n d i n p e r f o r m a n c e a n d i n the seeki n g between people for w h a t was needed i n the k e e p i n g of the
promise" (181-82).
E l i z a b e t h J o l l e y conveys the significance of this t h e m e t h r o u g h
a focus o n w o r d s l i k e s a n c t u a r y a n d t h r o u g h images associated
w i t h n a t u r e a n d " h o m e . " A l l three of the o l d m e n at St. C h r i s t o p h e r a n d St. J u d e are dispossessed, M r . P r i v e t t a n d M r . S c o b i e
i n p a r t i c u l a r h a v i n g been p r e v e n t e d b y y o u n g e r relatives f r o m
r e m a i n i n g i n their homes. A l l three associate h o m e w i t h the
n a t u r a l e n v i r o n m e n t , M r . H u g h e s r e c a l l i n g his f a r m a n d shed,
M r . P r i v e t t his d u c k H e p a n d c h i c k e n H i l d e g a r d e , a n d M r .
S c o b i e his s m a l l house beneath a h i l l w i t h its " r o w of p i n e trees
p l a n t e d b y h i m s e l f " ( 5 0 ) . P a s t o r a l images o c c u r f r e q u e n t l y i n
the n o v e l to reinforce the l i n k s between n a t u r e a n d basic h u m a n
needs for shelter, i n d e p e n d e n c e , a n d self-worth, needs w h i c h are
either d e n i e d or served o n l y p e r f u n c t o r i l y i n a n i n s t i t u t i o n . J o l l e y
refers often to doves, c o n t r a s t i n g t h e m w i t h crows, cockatoos,
magpies, a n d h a w k s . L i k e the domestic f o w l so v a l u e d b y P r i v e t t
a n d H u g h e s , the doves represent t r a n q u i l l i t y a n d peace for
M a r t i n Scobie, " e v e n t h o u g h he k n e w they h a d n o m e r c y a n d
were c r u e l w h e n the need arises" ( 1 1 2 ) . M a t r o n P r i c e , u n a w a r e
of the i r o n y , r e m a r k s : " I f y o u p u t doves together i n a cage they
41
NURSING H O M E AS MICROCOSM
w i l l peck e a c h other to d e a t h " ( 1 1 9 ) . M r . S c o b i e k n o w s t h a t the
cruelty derives f r o m h u m a n beings, not doves. D u r i n g the C h r i s t mas p a r t y he hears the doves: " a contented s o u n d , p e r h a p s a
l a n g u a g e of reason a n d of acceptance a n d of r e s i g n a t i o n " ( 7 3 ) .
D o v e s , s u n l i g h t , p i n e trees, the scent of hayfields, a n d flowers —
these are the images w h i c h l i v e i n M r . Scobie's i m a g i n a t i o n a n d
m e m o r y a n d , a l o n g w i t h his m u s i c a n d b i b l i c a l passages,
offer
h i m a k i n d of s a n c t u a r y .
T h e r e is n o t r u e p h y s i c a l sanctuary, of course, n o r c a n
the
realities of a g i n g a n d d e a t h be c i r c u m v e n t e d . F i n a l l y the quest
for m e a n i n g a n d for s a n c t u a r y here, as i n Memento
Mori,
is of
the h u m a n spirit. M r . S c o b i e asks: " W h o w i l l l o o k for m e o n this
path. W h o can k n o w where I a m going . . . " ( 1 2 4 ) . M r . Privett,
visited at his d e a t h b y the d a r k stranger, is t o l d o f "the
path
w h i c h n o f o w l k n o w s a n d w h i c h the v u l t u r e ' s eye has not seen"
( 1 0 8 ) , the p a t h
( J o b 2 8 . 7 ) w h i c h M r . S c o b i e has i n m i n d .
A l t h o u g h E l i z a b e t h J o l l e y ' s n o v e l yields n o easy answers to the
human
dilemmas it
describes,
M r . S c o b i e is p e r m i t t e d
the
patience a n d insight to feel t h a t he c a n a n s w e r J o b ' s q u e s t i o n
w i t h P s a l m 139. " B e f o r e s u c h beauty I h a v e to w e e p " ( 1 9 4 ) , he
e x c l a i m s o n his d e a t h b e d .
B o t h novels i n c l u d e answers of sorts to t h a t other question of
J o b ' s , a u n i v e r s a l question w h i c h perplexes y o u n g a n d o l d a l i k e
b u t w h i c h is especially p e r t i n e n t to the e l d e r l y : " B u t w h e r e s h a l l
w i s d o m be f o u n d ? a n d w h e r e is the p l a c e of u n d e r s t a n d i n g ? "
( J o b 2 8 . 1 2 ) . A s w e l l as i n v o k i n g religious beliefs a n d m e t a p h o r s ,
these books present the reader w i t h the v i t a l i t y a n d energy of the
h u m a n s p i r i t i n t h e i r characters a n d i n t h e i r o w n i m a g i n a t i v e
achievements as w o r k s of art. I n a c u r i o u s w a y M r . Scobie's h o m e
lives o n , t r a n s m u t e d i n t o a c o m m u n e for the y o u n g people a n d
the c h i l d w h o is, " i n a sense, M r . Scobie's g r a n d c h i l d " ( 2 1 0 ) .
The
cycle goes o n :
w e r e c a l l Inspector M o r t i m e r tossing his
g r a n d c h i l d i n t o the b l u e sky i n Memento
Mori
(209).
Miss
H a i l e y becomes o u r interpreter, seeing (as he does himself [143] )
M r . Scobie's house, h i l l , a n d the tents w h i c h n o w s u r r o u n d i t as
s y m b o l i c of the "three t a b e r n a c l e s " of the story of Jesus' transf i g u r a t i o n ( M a r k 9 . 5 , L u k e 9 . 3 3 ) . F i t t i n g l y she
42
GERALD F. M A N N I N G
d a n c e d a pine tree dance, . . . a dance of the majesty of the pines
and of their transfiguration i n the changing light of the m o r n i n g
sun. She i n c l u d e d i n her dance a mysterious h i l l . . . . She changed
her d a n c i n g to a k i n d of hornpipe d e p i c t i n g three coloured tents
nestling close to the house.. . . She danced a celebration of the
new life, that of the c h i l d , a n d of the people engaged i n their
new found way of l i v i n g .
( 211 -12 )
H e r e i n i m a g i n a t i v e v i s i o n a n d artistic expression is a n answer
to the various k i n d s of homelessness d r a m a t i z e d i n this n o v e l .
T h e d a n c e is at once a c e l e b r a t i o n of n e w life i n A u s t r a l i a , of the
h u m a n i m a g i n a t i o n , a n d of the n a t u r a l cycle of life.
S i g n i f i c a n t l y for b o t h novels, M i s s H a i l e y notices the omission
of one i m p o r t a n t element i n h e r d a n c e :
" I shall have to d o that dance again," she thought, " I left out,
completely, a whole lot of things. I left out the p a i n t i n g of sunsets
and the sewing of clothes a n d the m a k i n g of furniture but, above
all, I left out the sunsets," she sighed. T h e r e w o u l d be sunsets
and sunrises, one after the other, day after day, people w o u l d
paint them a n d she w o u l d write about them. (212)
NOTES
1
The growth of interest in gerontology during the 1970's, at least in
North America, is well documented and is demonstrated by the emergence, during this period, of Schools and Departments of Gerontology at
many institutions, and by the burgeoning of books and periodicals in the
field. Edna Alford, Kingsley Amis, Paul Bailey, May Sarton, Susan Hill,
and Elizabeth Taylor, among others, have also written fiction with
nursing-home or retirement-home settings, and Kehl, Loughman, Shaw,
Sohngen, and Wyatt-Brown have written articles relating literature and
gerontology. Sohngen contains a bibliography of relevant fiction.
2
Two critics have briefly noted this issue. The Australian novelist Helen
Garner writes: "Because Mr. Scobie's Riddle is about an old people's
home, some critics have taken a sociological approach to it, as if Jolley
were making an impassioned plea to the general public to soften its heart
towards the aged. She's much tougher than that and more of an artist.
What she says about old people reminds me that one day I shall be one
of them : she provokes not condescending sympathy but 'pity and terror' "
(157). Peter Kemp says about Memento Mori: "The book is finally
exhilarating, no mere black record of humanity ground down by age,
disintegrating into death. The fact that this material, so difficult to contemplate, has been brought under the control of intellect, worked into
art — sifted, scrutinized, given pleasing order — represents achievement
of some mental fortitude" (48).
N U R S I N G H O M E AS M I C R O C O S M
WORKS
43
CITED
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Amis, Kingsley. Ending Up. London: Jonathan Cape, 1973.
Bailey, Paul. At the Jerusalem. New York: Atheneum, 1967.
Garner, Helen. "Elizabeth Jolley: An Appreciation." Meanjin 42 (1983):
153-57Hill, Susan. Gentleman and Ladies. London: David and Charles, 1984.
Jolley, Elizabeth. Mr. Scobie's Riddle.
1983. Harmondsworth: Penguin,
1983Kehl, D. G. "Thalia Meets Tithonus: Gerontological Wit and Humor in
Literature." The Gerontologist 25 (1985) : 539-44.
Kemp, Peter. Muriel Spark. London: Elek, 1974.
Kirkby, Joan. "The Nights Belong to Elizabeth Jolley." Meanjin 43 (1984) :
484-92.
Loughman, Celeste. "Novels of Senescence." The Gerontologist 17 (1977):
79-84Riemer, A. P. "Between Two Worlds: An Approach to Elizabeth Jolley's
Fiction." Southerly 43 (1983) : 239-52.
Sarton, May. As We Are Now. New York: Norton, 1973.
Sohngen, M . "The Experience of Old Age as Depicted in Contemporary
Novels." The Gerontologist 17 (1977): 70-78.
Spark, Muriel. Memento Mori. London: Macmillan, 1959.
Stevens, Wallace. Poems by Wallace Stevens. Ed. S. F. Morse. New York:
Vintage, 1959.
Taylor, Elizabeth. Mrs. Palfrey at the Claremont. London: Chatto and
Windus, 1971.
Wyatt-Brown, A. M . "The Loathly Lady and the Edwardian Statue: Life in
Pensioner Hotels." The Gerontologist 26 (1986) : 207-10.