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An unconventional parlor maid upends the lives of an aristocratic family in New York Times-bestselling author Margery Sharp's delightful comedy of manners set in England before the onset of World War II Cluny Brown has committed an unforgivable sin: She refuses to know her place. Last week, she took herself to tea at the Ritz. Then she spent almost an entire day in bed eating oranges. To teach her discipline, her uncle, a plumber who has raised the orphaned Cluny since she was a baby, sends her into service to be a parlor maid at one of England's stately manor houses. At Friars Carmel in Devonshire, Cluny meets her employers: Sir Henry, the quintessential country squire, and Lady Carmel, who oversees the management of her home with unruffled calm. Their son, Andrew, newly returned from abroad with a Polish migr writer friend, is certain that the world is once again on the brink of war. Then there's Andrew's beautiful fiance and the priggish pharmacist. While everyone around her struggles to keep pace with a rapidly changing world, Cluny continues to be Cluny, transforming the lives of those around her with her infectious zest for life.… (altro)
In the late 1930s, the family of working-class Londoner Cluny Brown decide that she needs to learn to "know her place" and send her off to be trained as a domestic servant at the country pile of the Carmel baronets in Devon. Shenanigans ensue.
Much of Cluny Brown is the kind of light, witty comedy you find many women authors producing in interwar Britain, with our namesake character's naive honesty highlighting many of the absurdities and assumptions of the class system. Some of the characters act in ways that I didn't find entirely convincing—there's a bit of that Wodehousian tendency towards abrupt engagements and so on—but I could roll with it as part of the style of the period. Since Margery Sharp wrote this in the late 40s, however, there's a little bit of melancholy foreshadowing of the war to come which provides an acid that leavens some of the giddier elements.
Where the book worked less well for me was the ending. I can see why Cluny didn't end up with the chemist, because Sharp did her work to show how there was a fundamental incompatibility with their characters. But Cluny being paired off right at the end with Adam Belinski in what we're told is a true love match just didn't convince me at all, and felt dated in a way that many other parts of the book avoided. Yes, I can see that throughout, Sharp is positioning both of them as outsiders in many ways—but you need something beyond thematic similarity to make a couple convincing. Moreover, Belinski is shown throughout the novel to be a relentless womaniser who comes this close to sexually assaulting Betty. Despite what the epilogue says, I think that if Cluny Brown does have a happily-ever-after, it won't be with him.( )
Hace mucho que estaba con ganas de leer esta novela y ya la iba a leer en francés cuando salió esta edición de Hoja de Lata que es una delicia.
Recomendable desde todos los puntos de vista. De hecho, Hoja de Lata acaba de sacar otra novela de Sharp que he apuntado para comprarme, también en traducción de Raquel García Rojas.
La Cluny, una noia orfe i peculiar, entra a servir a una casa senyorial on hi ha allotjat un escriptor i aviat hi arriba, també, el fill amb una amiga molt bella. La noia surt a passeig i coneix el farmacèutic del poble i comencen una relació. Novel·la divertida, a estones no tant, que mostra una manera de viure a les grans famílies angleses de principis del segle XX i amb un final una mica sorprenent. En alguns moments, la traducció no m'ha agradat, per artificiosa. ( )
Año 1938. Arnold Porritt, un próspero fontanero londinense, ya no sabe qué hacer con las extravagancias de su sobrina Cluny. Después de frecuentar el Ritz como una gran señora y de dejarse seducir alegremente por un cliente, su tío decide mandarla como sirvienta a Friars Carmel, una encantadora mansión campestre. Allí la esperan, entre otros, lady Carmel, su patrona, siempre metida entre sus flores; su hijo Andrew, que acaba de traerse de Londres a Adam Belinski, un prometedor escritor polaco supuestamente perseguido por los nazis; o el comedido Titus Wilson, boticario del pueblo y perfecto polo opuesto de Cluny. En ese apacible rincón de Inglaterra, el mundo se abre maravillosamente para Cluny Brown, y ella está más decidida que nunca a seguir haciendo lo que no se espera de ella. ( )
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To Geoffrey Castle
Incipit
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Thinking of Cluny Brown, Mr. Porritt, a successful plumber, allowed himself to be carried past his 'bus stop and in consequence missed the Sunday dinner awaiting him at his sister's.
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"Good-bye, Uncle Arn!" thought Cluny with a last flicker of regret; and sat down beside Miss Beebee, and opened her heart to the United States.
An unconventional parlor maid upends the lives of an aristocratic family in New York Times-bestselling author Margery Sharp's delightful comedy of manners set in England before the onset of World War II Cluny Brown has committed an unforgivable sin: She refuses to know her place. Last week, she took herself to tea at the Ritz. Then she spent almost an entire day in bed eating oranges. To teach her discipline, her uncle, a plumber who has raised the orphaned Cluny since she was a baby, sends her into service to be a parlor maid at one of England's stately manor houses. At Friars Carmel in Devonshire, Cluny meets her employers: Sir Henry, the quintessential country squire, and Lady Carmel, who oversees the management of her home with unruffled calm. Their son, Andrew, newly returned from abroad with a Polish migr writer friend, is certain that the world is once again on the brink of war. Then there's Andrew's beautiful fiance and the priggish pharmacist. While everyone around her struggles to keep pace with a rapidly changing world, Cluny continues to be Cluny, transforming the lives of those around her with her infectious zest for life.
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Much of Cluny Brown is the kind of light, witty comedy you find many women authors producing in interwar Britain, with our namesake character's naive honesty highlighting many of the absurdities and assumptions of the class system. Some of the characters act in ways that I didn't find entirely convincing—there's a bit of that Wodehousian tendency towards abrupt engagements and so on—but I could roll with it as part of the style of the period. Since Margery Sharp wrote this in the late 40s, however, there's a little bit of melancholy foreshadowing of the war to come which provides an acid that leavens some of the giddier elements.
Where the book worked less well for me was the ending.