At home with the Armitage Family …

7 Page 175At least these unexpected visitors can’t come into the house!

Joan Aiken’s imaginary family began in her stories about them as a tongue in cheek parody of her own childhood, but turned into lifelong companions, a family who always dealt with the vicissitudes of life with charm and good humour, and just a little magic…

Even when the parents are turned into ladybirds, in Armitage, Armitage Fly Away Home, or the family cat becomes a wolf, or when they are sharing their bathroom with a ghost, or their garden with unicorns, nothing seems to disturb them for long, but in these days of lockdown, or sheltering at home – how would they fare?

In one story, The Apple of Trouble, Mark and Harriet are left at home in the care of their tetchy and very old-fashioned Great Uncle Gavin while their parents are away, and he proceeds to take them firmly in hand.

“Little gels should be seen and not heard,” he boomed at
Harriet, whenever she opened her mouth. To get her out from
underfoot, he insisted on her enrolling in a domestic
science course run by a Professor Grimalkin, who had
recently come to live in the village.
As for Mark, he had hardly a minute’s peace.
“Bless my soul, boy”—nearly all Great-uncle Gavin’s
remarks began with this request—“Bless my soul, what are you
doing now? Reading? Bless my soul, do you want to grow up a
muff?”
“A muff, Great-uncle? What is a muff, exactly?” And Mark
pulled out the notebook in which he was keeping a glossary of
Great-uncle Gavin.
“A muff, why, a muff is a—a funk, sir, a duffer, a frowst, a
tug, a swot, a miserable little sneaking milksop!”
Mark was so busy writing down all these words that he
forgot to be annoyed.
“You ought to be out of doors, sir, ought to be out playin’
footer.”
“But you need twenty-two people for that,” Mark pointed
out, “and there’s only Harriet and me. Besides it’s summer. And
Harriet’s a bit of a duffer at French cricket.”
“Don’t be impident, boy! Gad, when I was your age, I’d have
been out collectin’ birds’ eggs.”
“Birds’ eggs,” said Mark, scandalized. “But I’m a subscribing
member of the Royal Society for the Protection of Birds.”
“Butterflies, then,” growled his great-uncle.

Mark is presented with a bicycle on which he is ordered to take his daily exercise, even in the pouring rain, but by a stroke of luck just when he is at the end of his tether, he meets a man who offers to exchange the bike for a golden apple.

“Nice, eh?” the little man said, giving the apple to Mark,
who nearly dropped it on the floor. It must have weighed at least
four pounds.
“Is it real gold all through?” he asked. “Must be quite valuable.”
“Valuable?” the man said impressively. “Such apple is
beyond price. You, of course, well-educated, familiar with Old
Testament tale of Adam and Eve?”
“W-why, yes,” Mark said, stammering a little. “But you—you
don’t mean to say that apple—?”
“Self same one,” the little man said, nodding his head.
“Original bite marks of Adam and Eve before apple carried out
of Eden. Then—see stain? Blood of Abel. Cain killed him for
apple. Stain will never wash off.”
“Goodness,” Mark said.

Apple

But his Uncle is not impressed when Mark relates what the little man has told him about the Golden Apple’s long and powerful history:

Great-uncle Gavin nearly burst a blood vessel when he learned
that Mark had exchanged his new bicycle for an apple, albeit a
golden one.
“Did what—merciful providence—an apple?—Hesperides?
Eden? Asgard? Never heard such a pack of moonshine in all me
born—let’s see it, then. Where is it?”
Mark produced the apple and a curious gleam lit up Uncle
Gavin’s eye.
“Mind,” he said, “don’t believe a word of the feller’s tale,
but plain that’s val’ble; far too val’ble an article to be in your
hands, boy. Better give it here at once…
Mark felt curiously relieved to be rid of the apple, as if a load
had been lifted from his mind as well as his pocket.
He ran upstairs, whistling. Harriet, as usual, was in her room
mixing things in retorts and crucibles. When Uncle Gavin, as in
duty bound, asked each evening what she had been learning that
day in her domestic science course, she always replied briefly,
“Spelling.” “Spellin’, gel? Rum notion of housekeepin’ the johnny
seems to have. Still, daresay it keeps you out of mischief.” In
fact, as Harriet had confided to Mark, Professor Grimalkin was
a retired alchemist who, having failed to find the Philosopher’s
Stone, was obliged to take in pupils to make ends meet.

However the Apple of Discord is soon discovered by its true owners (calling themselves The Kindly Ones, but looking most alarming with bats’ wings and snakes for hair) who arrive on the doorstep and refuse to leave without avenging their loss:

“And what did you wish to see Sir Gavin about?” Mark knew
his great-uncle hated to be disturbed once he was settled in the
evening with a glass of port and The Times.
“We attend him who holds the apple.”
“There is blood on it—a brother’s blood, shed by a
brother.”
“It cries for vengeance.”
“Oh, I see!” said Mark, beginning to take in the situation.
Now he understood why the little man had been so anxious for a
bicycle.

Then the three wolfish ladies disconcertingly burst into a
sort of hymn, shaking tambourines and beating on them with
brass-studded rods which they pulled out from among their
draperies:
“We are the daughters
Of darkness and time
We follow the guilty
We punish the crime
Nothing but bloodshed
Will settle old scores
So blood has to flow and
That blood must be yours!”

Harriet puts her home ‘Spelling’ lessons to good use to create a friendship philtre to attempt to make the ‘Kindly Ones’ see reason, while Mark makes a bow and arrows of horn to discourage the visitors – but things don’t go entirely to plan…

By the time the Armitage parents are due to return home and Great Uncle Gavin is despatched back to his life abroad, the house is more or less returned to normal, except that the three ladies seem to have enjoyed their visit and sometimes return to sleep in the coal cellar.

M&H

And Mark and Harriet and their friendly ghost

have their home to themselves at last.

*   *   *   *   *

Story from Joan Aiken’s The Serial Garden,  the complete Armitage Family stories

Illustrations by Andi Watson in the US and Peter Bailey in the UK

 

 

 

 

 

 

Joan Aiken’s Felix & Jane Austen’s Susan – Unlikely Travelling Companions?

felix-susan

Tales from different times… Joan Aiken’s hero Felix Brooke, and Jane Austen’s ‘Susan’ – or should that be Catherine Morland..?

Joan Aiken’s passion for history often led her to wonder what if things had turned out differently?  What if, for instance,  Jane Austen’s early novel, originally entitled ‘Susan’ when she sold it to a publisher in 1803, and which then languished unpublished until she furiously bought it back for £10 thirteen years later, had in fact come out, maybe without the knowledge of its author, and had been a treasured possession, carried in the pocket of a young English nobleman when he ran away to join the Peninsular wars in Spain at the beginning of the 19th century.

The young man falls in love, and marries an aristocratic Spanish girl who dies having his baby, and he watches over the boy, disguised as a groom until his own death. He leaves a letter, and his treasured book, to the boy, Felix Brooke,  with a message telling him to seek out his long lost family in the city of Bath in England, where the action of Austen’s novel had taken place.  For Joan Aiken imagined that the book was actually Jane Austen’s early novel, ‘Northanger Abbey’  written in the full enthusiasm and confidence of youth, and  a delightful parody of all the Gothic romances so popular at the time.

Austen’s novel is a description of an innocent abroad (although in her case it is a first visit to a big city) a heroine with a head full of fantasy from reading too many novels,  who finds herself alone in a dangerous society, struggling to make sense of the behaviour of unscrupulous villains – or apparently solicitous friends – with nothing but the world of fiction to guide her.  This is much the same situation in which Joan Aiken’s Spanish orphan, young Felix Brooke finds himself, but in a truly wild and Gothic landscape with terrifying brigands and murderers, mountain tribesmen looking for a human sacrifice, or even pirates who specialise in the kidnap of children…and he only has the assistance of Austen’s novel to sustain and comfort him.

In Joan Aiken’s Go Saddle the Sea Felix tells us about it as he is recounting his story:

“The book, Susan, was an odd tale about a young lady and her quest for a husband; to tell truth, I wondered what my father had seen in it, that he had even carried it with him into battle; I found it rather dull, but since it had been my father’s I kept it carefully (his bloodstains were on the cover).”

Later in his adventures, having escaped various perils by the skin of his teeth and the use of his not inconsiderable wits, Felix has time to look into the book again, and reconsiders:

  “I had opened it at the place where Miss Susan, going to stay with her great friends in their abbey-residence, is terrified at night by a fearful storm and the discovery of a paper,hid in a closet in her bedroom, which she takes to be the confession of some wicked deed of blood – only to find, next day, that the mysterious paper is naught but a washing bill!  For the first time, this struck me as very comical; yet, reading it through again, I could see that the writer had represented the poor young lady’s terrors very skilfully; just such a nightmarish terror had I felt myself among those unchancy people in that heathen village – and yet for all I knew, my fears were equally foolish and unfounded!  I began to see that this was not such a simple tale as I had hitherto supposed, but must be attended to carefully; and I gave my father credit for better judgement than I had at first…wondering what kind of man my father had been..and hoping that some person in England would be able to tell me more about him.”

In an article for the Jane Austen Society, Joan Aiken describes with relish the content of  Mrs. Radcliffe’s bestseller, The Mysteries of Udolpho, which Austen had gleefully satirised:

“If we take a look at the works of Mrs. Radcliffe, we can easily see what tempted the youthful Jane Austen to poke fun at them…[they were] enormous historical canvases splashed over with forests and beetling fortresses and dark crags in the Appennines.  Mrs. Radcliffe went in for immense casts of characters on a positively Shakespearian scale (she was in fact much influenced by Shakespeare for whom she had great admiration); she had stabbings and shootings, suicides and assassinations, immensely complicated family relationships, long-lost relatives in every possible connection, suggestions of incest, mysterious resemblances, and, besides all this, a large number of startling, apparently supernatural occurrences..”

 

From this we can see that these earlier writers had an equally powerful influence on Joan Aiken’s own work, and by setting her novel,  Go Saddle the Sea in a rip roaring Gothic world of her own imagination in 19th century Spain, and with a nod to Austen’s own parody, she could have the best of all worlds!

~  ~  ~  ~  ~  ~  ~  ~  ~

Go Saddle the Sea 1

Go Saddle the Sea is the first of the three ‘Felix’ Novels in EBook editions in the UK

For more details visit the Joan Aiken page at Random House

or visit the Felix pages at The Wonderful World of Joan Aiken

*****

Bridle 2 -Pat Marriott

Joan Aiken’s Gothic imagination is wonderfully matched in this trilogy

by the illustrations of Pat Marriott

Save

Save

A Joan Aiken Heroine for Our Times

Ribs of Death & Fortune Hunters

Feminists of the 1960’s were breaking the mould writing a new kind of fiction that appealed to a wide audience, and Joan Aiken’s early thrillers which are now being reissued as EBooks and paperbacks have lost none of their appeal since they were first written.

Fellow novelist Amanda Craig is a fan who has championed Joan Aiken not just for her award winning children’s books, but also for ‘the imaginative vitality that makes all her fiction so unmistakable, interesting and delightful.’

Writing a stirring foreword to these new editions from Orion’s Murder Room imprint, Amanda Craig describes what makes an Aiken heroine tick in these modern Gothics:

  “An Aiken heroine is observant, shrewd, often witty and always slightly out of place. Unlike the traditional Gothic heroine, she isn’t an innocent – though she is usually vulnerable. Often she is watching the behaviour and actions of people much richer, more flamboyant and more famous than herself, and drawing her own shrewd conclusions about them. She’s naive, but no fool, and when the climax comes, fights back with unexpected courage and determination. She won’t, in other words, be defined by love, but by her own choices and talents.”

She goes on to draw a parallel between Joan Aiken and her own heroines:

  “At the heart of Aiken’s stories there is often a question about creativity, expressed in poetry, music, painting or storytelling, and whether it makes someone more or less vulnerable in negotiating the world and its dangers.

It’s not much of a stretch to see this as coming from Aiken’s own experience of life. An astoundingly productive author who wrote over a hundred books in a wide variety of genres, she finished her first novel at sixteen and was published at seventeen, with a story about a man who cooks his wife’s head in a pressure cooker. She published her first collection of magical stories for children, All You’ve Ever Wanted, in 1953 but did not begin writing for a living until her husband died in 1955, leaving her with two young children. To make ends meet she joined the magazine Argosy, and then the advertising agency J. Walter Thomson, writing jingles for Dairylea cheese by day and stories by night.”

It was at Argosy magazine that Joan Aiken began to publish short stories to supplement her salary; she then went on to sell romantic fiction to Woman’s Journal, Vogue, Good Housekeeping and more, which were then developed into these first thrillers.

Amanda Craig continues:

“Yet as the daughter of the famous Conrad Aiken, Pulitzer Prize-winner and Poet Laureate of America, with an elder brother and sister who were both novelists, she knew more about the writer’s life than most. ‘I don’t aspire to be the second Shakespeare. I want to be the first Carreen Gilmartin,’ says the young playwright in The Silence of Herondale, and the bestselling Tuesday in The Ribs of Death is also not content to rest on mere precocity. Although Aiken published so much that she makes creative writing seem easy, Tuesday comes closest to what actual writing is like when she complains that ‘if you think it’s not hard work scraping out your thoughts from inside you and putting them on paper, that just shows how crass you are’.”

These heroines are very much women of their own time, struggling against the elements to stay afloat.

  “The landscape and weather through which Aiken’s heroines travel are always bound up with the plot. Fans of The Wolves of Willoughby Chase will recognise her fictional Yorkshire village of Herondale as the same remote place where Bonnie, Sylvia and Simon hole up after the cousins’ escape from the terrifying orphanage. More often, heroines go to Cornwall, where Aiken lived and often holidayed herself, and are exposed to its changeable weather and storm-lashed cliffs. The mood is always one of threat and gloom, even on the rare occasions when, as in the funniest of these novels, Trouble With Product X, the sun shines; ultimately, it’s the damp that does for everything, whether it’s a top-secret formula or a serial killer. This very British version of pathetic fallacy is one of the things that make Aiken such fun, as is the familiarity of the ordinary struggle to stay warm, dry and fed.”

Joan Aiken puts her heroines through the kind of difficulties she faced herself  (with the odd murderer or evil fanatic thrown in their way as well!) but as Amanda Craig concludes:

“The essential struggle of an Aiken heroine is always to hang onto her kindness and innate sense of who she really is. We follow her through thick and thin, because the author’s deceptively fluent, witty, atmospheric style tells us a good deal more about human nature than we expect, while never forgetting to give us a thoroughly entertaining story.”

*    *    *    *    *

1st three Silence,Sunday Product X

 

Read more about Joan Aiken’s Modern Gothics on the JOAN AIKEN website

And find them all HERE at Hachette’s SFGateway

 

 

 

 

 

 

 

Joan Aiken’s Haunting Garden…

Fruhstuckgarten

   A haunting moment from Joan Aiken’s childhood was turned into one of the most memorable stories she ever wrote – ‘The Serial Garden’.

Do you remember, as a child, coming home to find that your room has been rigorously turned out, and some of your much loved, if dusty treasures tossed in the bin, only to have your mother say in reply to your outrage and anguish: “Oh you didn’t want that did you? I thought you’d finished with it.” And this (spoiler alert!) was the terrible memory that inspired one of the saddest stories Joan Aiken ever wrote.

In this deeply memorable story, one of the many she wrote during her lifetime about the wonderfully eccentric Armitage Family,  Joan Aiken has the son, Mark discover that a cut out garden from the back of a series of cereal packets comes to life when he whistles or sings a certain tune. When he goes into the magic garden he meets the Princess of Saxe Hoffen-Poffen und Hamster, and learns that the garden comes from an old book of pictures belonging to her, and that she herself is imprisoned in the book, in the garden (thanks to a bit of parlour magic) still waiting to be rescued by her long lost love,  the Court Kapellmeister and music teacher who her father forbade her to marry.

As the haughty princess explains:

“All princesses were taught a little magic, not so much as to be vulgar, just enough to get out of social difficulties.”

– which was just what she used it for, concealing herself in the book, so that she could run away with her suitor.

Serial PicThe original illustration of the cut out ‘cereal’ packet garden was by Pat Marriott

   But the maid who was supposed to give the book to her beloved Kapellmeister never delivered it, and the book is lost.  Only when the pictures are reproduced on the back of a Brekkfast Brikks cereal packet many years later, and found by Mark, can the garden be re-created, and the tune which has unwittingly been passed on to Mark by his music teacher, turns out to be the one which can bring it to life – is there an amazing last chance of happiness for the long estranged lovers?

But while Mark is out, urgently fetching his music teacher, Mr Johansen, his mother, Mrs Armitage has been spring cleaning….

The brisk, no nonsense character of Mrs Armitage,  was based on Joan’s own mother,  Jessie Armstrong, who re-married after her divorce from Joan’s father, the poet Conrad Aiken, to her second writer husband, Martin Armstrong.  When Joan was young, Armstrong was famous for his own series of children’s stories for the BBC radio Children’s Hour, about a rather polite 1940’s family in thrall to their various talking pets: Said the Cat to the Dog, and Said the Dog to the Cat. Joan’s own ‘Armitage’ family stories, the first of which she also sold to the BBC, had begun as a tongue in cheek parody of his, and were based very much on the family’s life in their remote Sussex village where Joan lived until she was twelve; but the Armitage family’s ongoing magical adventures went on to become her lifelong passion.

The story of ‘The Serial Garden’ was originally published in Jessie’s lifetime, in a collection of Joan Aiken’s fantasy stories called A Small Pinch of Weather ; the book was even dedicated to her mother, but in later years Joan came to be haunted by the sad ending of the story. Perhaps she felt it was  unjust to her mother’s memory; she certainly was taken aback by the many letters she got from readers protesting against its rather shocking ending.  Joan wanted a chance to make amends, and although she couldn’t undo the dreadful ending of the first story, she thought she could perhaps give Mark and poor Mr Johansen another chance to find the vanished garden and the lost princess.

So just before she  died Joan  was preparing a last book –  a collection of all the Armitage Family stories she had written over the years, including four new ones  and a sequel to ‘The Serial Garden’ story, giving the chance of a hopeful solution to the estranged lovers.  She planned that the book would be published under the title of The Serial Garden to alert anyone still waiting for their long promised happy ending to the sad story, that it might finally be on the way.

If you missed it, and are one of the people still haunted by that unforgivable ending, all is not entirely lost – the complete book has come out, and perhaps hope can spring again…and you can also enjoy the entire collection of these witty and wonderful stories!

*  *  *  *  *  *  *

See a picture Timeline showing the history of this haunting story

and the family and village that inspired it

in The Guardian newspaper online

3.Farrs

Joan’s childhood village home

 

Read more about Joan’s childhood in the village that forms the magical background to The Armitage Family stories

Read about the Prelude to the stories

which tells how the family come to have their magical Mondays

* * * * *

Visit the Joan Aiken Website to find UK & US copies of The Serial Garden

Serial Gdns Webpage