It contains two broad plot lines.
Once concerns the suspicions of Laurence Manders that his elderly grandmother Louisa Jepp is heavily involved in a diamond-smuggling operation. The other focuses on his on-off girlfriend Caroline Rose, a writer who is a recent convert to Catholicism. While working on a book about 20th-century fiction called “Form in the Modern Novel” she is visited by what she calls a “Typing Ghost”, an invisible being that repeats and remarks upon her thoughts and actions.
Every time Caroline has a thought, it gets echoed by the Typing Ghost. One day she writes: On the whole she did not think there would be any difficulty with Helena.
“Just then she heard the sound of a typewriter. It seemed to come through the wall on her left. It stopped and was immediately followed by a voice remarking her own thoughts. It said: On the whole she did not think there would be any difficulty with Helena.”
Most of the novel is connected to the differing reactions of Laurence and Caroline to these mysteries. Laurence is excited and intrigued when he discovers jewels hidden in a loaf of bread at his grandmother’s cottage and finds her in a conflab with three mysterious figures. Mr Webster the baker and the Hogarths, a father and his crippled son could, he surmises be “a gang … maybe Communist spies”.
Caroline on the other hand is is frightened by her mystery. Her friends cannot hear the noises of typewriter keys being tapped and a voice that sounds “like one person speaking in several tones at once”. Nor do they manage to record them on tape. Caroline thus fears the worst, that the visitations mean she is going mad. This adds to the isolation she feels because of her religious beliefs and the fact other converts she encounters are either distasteful or a bit dense.
With the aid of Laurence, her friends, and her priest, Caroline comes to see that another writer, “a writer on another plane of existence” is writing a story about her. She, and everyone around her, exist as characters within a fictional realm of an unknown author’s imagination. The Comforters is thus about the question of reality versus truth using a variation on the device of a novel within a novel.
I’m conscious that this summary of the plot doesn’t truly convey how complex and convoluted this is as a novel. As it progressed I found it more and more confusing. I reached the final third hoping all the pieces would fall into place but they never did so I abandoned the book.
I noticed that The Comforters was lauded by Graham Greene and Evelyn Waugh, both of whom saw a manuscript of the novel and encouraged Muriel Spark to find a publisher. Greene called it “One of the few really original first novels one has read for many years” while Evelyn Waugh deemed it ‘Brilliantly original and fascinating.’ Waugh did however seem to suggest that the first part of the book worked better than the latter sections.
That was also my reaction.
I enjoyed the light comedy opening where we’re introduced to Granny Louisa and Laurence, a young man which a lively imagination who sees nothing wrong in opening letters addressed to other people or rummaging through the drawers of their cupboards.
There were times when I thought this part of the novel wouldn’t have been out of place in an Ealing comedy film. We get a part-gypsy old lady who relies on pigeons for communicating with her ‘gang’ members, diamonds smuggled inside plaster casts of saints and transported to a London-based fence in granny’s home-made pickles. Stanley Holloway would have been perfect as a gang member with Katie Johnson (from The Ladykillers) as Granny Louisa.
The plot line involving Caroline’s hallucinations was an interesting meta-fictive element but the rest of the book was way too jumbled. I couldn’t work out the point Spark was making through the Baron (a bookseller friend of Caroline’s) who is obsessed by a man he thinks is England’s leading Satanist or the oppressive, malevolent figure of Mrs Georgina Hogg, a former servant to Laurence’s family. Other, more astute readers, will probably have understood the significance but it went over my head, and I wasn’t so deeply engaged with the novel otherwise that I wanted to expend any more energy in trying to work it all out.
About the book: Muriel Spark finished writing The Comforters in 1955 but it was not published until 1957. It quickly became a commercial success, though not to the same extent as The Prime of Miss Jean Brodie, published in 1961.
Why I read this book: Ann at Cafe Society has embarked on a project to read something from every year of her life. I’m dipping my toe in these waters too. Since 2018 is Muriel Spark’s centenary and her first novel was published in my first year on this planet, I thought The Comforters would be as good a place to begin as any. I’ve also enjoyed the two other Muriel Spark novels I’ve read (Prime of Miss Jean Brodie and The Girls of Slender Means) so expected I would be similarly entertained by this one. Hmm.