In Another View, there were only two men in Emma's lifeher father, a remote artist in Cornwall who left her in boarding school and saw her every few years, and Christo, who had been her stepbrother for a few months, and now wanted to get to know her. But until Emma can understand what she means to them, there will never be room for love.
When you read a novel by Rosamunde Pilcher you enter a special world where emotions sing from the heart. A world that lovingly captures the ties that bind us to one another-the joys and sorrows, heartbreaks and misunderstandings, and glad, perfect moments when we are in true harmony. A world filled with evocative, engrossing, and above all, enjoyable portraits of people's lives and loves, tenderly laid open for us...
|Publisher:||St. Martin's Press|
|Product dimensions:||5.10(w) x 7.90(h) x 0.80(d)|
About the Author
Hometown:Invergowrie by Dundee, Scotland
Date of Birth:September 22, 1924
Place of Birth:Lelant, Cornwall, England
Education:St. Clare's Polwithen, Howell's School Llandaff, then Miss Kerr-Sanders' Secretarial College
Read an Excerpt
By Rosamunde Pilcher
St. Martin's PressCopyright © 1968 Rosamunde Pilcher
All rights reserved.
In Paris, in February, the sun was shining. At Le Bourget Airport, it gleamed coldly from an ice blue sky, and this was reflected, with much dazzle, from the runways, still wet after a night's rain. From inside, the day looked inviting, and they had been tempted out on to the terrace, only to discover that the bright sun held no real warmth and the gay breeze that blew the wind socks out at right angles had an edge to it like a knife. Defeated, they withdrew to the restaurant to wait for Emma's flight to be called, and sat now, at a small table, drinking black coffee and smoking Christopher's Gauloises cigarettes.
Unselfconscious, absorbed in each other, they nevertheless attracted a certain amount of attention. This was inevitable, for they made an arresting pair. Emma was tall and very dark. Her hair, worn back off her forehead and held in place by a tortoiseshell band, fell in a straight black tassel to below her shoulder-blades. Her face was not beautiful—it was too clearly boned and strongly built for beauty, with a straight nose, and a square and determined chin. But these features were redeemed and given much charm by large and unexpectedly grey-blue eyes, and a wide mouth, which, although it was quite capable of drooping disconsolately if she did not get her own way, could grin, from ear to ear, like a boy's, when she was happy. She was happy now. She wore, on this cold bright day, a bitter green trouser suit and a white polo-necked sweater that made her face look very brown, but her sophisticated appearance was off-set by the mass of luggage with which she was surrounded, and which appeared, to the casual passerby, to have been salvaged from some disastrous act of God.
It was, in fact, the accumulation of six years of living abroad, but no one was to know this. Three suitcases, at enormous expense, had already been checked in. But there was still a canvas grip, a Prisunic paper carrier sprouting long French loaves, a basket bulging with books and records, a raincoat, a pair of ski-boots and an enormous straw hat.
Christopher surveyed it all, speculating, in a detached and un-bothered fashion, as to how it was all going to be conveyed into the aeroplane.
"You could wear the hat and the ski-boots and the raincoat. That would make three less things to carry."
"I've already got a pair of shoes on, and the hat would blow off. And the raincoat's disgusting. I look like a displaced person in it. I can't think why I bothered to bring it at all."
"I'll tell you why. Because it will be raining in London."
"It may not be."
"It always is." He lit another Gauloise from the stub of the first. "Another good reason for staying in Paris with me."
"We've had this out a hundred times. And I'm going back to England."
He grinned without rancour. He had been teasing her. When he smiled, his yellow-flecked eyes slanted upwards at the corners, and this, combined with his lanky, idle body, gave him a curiously feline appearance. His clothes were colourful, casual, faintly Bohemian. Narrow cord trousers, battered chukka boots, a blue cotton shirt worn over a yellow sweater, and a suède jacket, very old and shiny about the elbows and the collar. He looked French, but in fact he was as English as Emma, and even related to her in a tenuous way, for, years ago, when Emma was six and Christopher ten, her father, Ben Litton, had married Hester Ferris, Christopher's mother. The arrangement had lasted, with only the smallest degree of success, for eighteen months, before it finally fell apart, and now Emma remembered it as the only time in her life when she had ever known anything vaguely approaching an ordinary family life.
It was Hester who had insisted on buying the cottage at Porthkerris. Ben had owned a studio there for a number of years, since long before the war, but its conveniences were nonexistent, and after one look at the squalor in which she was expected to live Hester went straight out and acquired two fisherman's cottages, which she proceeded, with taste and charm, to convert. Ben was disinterested in any such activity, so it became very much Hester's house, and it was she who insisted on a kitchen that would work, and a boiler that would heat water, and a big fireplace blazing with driftwood, a heart to their home, a focal point around which the children could gather.
Her intentions were splendid, her methods of carrying them out not so successful. She tried to make allowances for Ben. She had married a genius, and she knew his reputation and she was prepared to turn a blind eye to his love affairs, his disreputable companions and his attitude towards money. But in the end, as so often happens in quite ordinary marriages, she was defeated by the small things. By meals, forgotten and uneaten. By trivial bills left unpaid for months. By the fact that Ben preferred to drink in the local pub, rather than in a civilized fashion, at home, with her. She was defeated by his refusal to have a telephone, to own a car; by the stream of apparent derelicts whom he invited to sleep on her sofa; and finally by his total inability to show at any time any sort of affection.
She left him at last, taking Christopher with her, and sued almost immediately for a divorce. Ben was delighted to let her have it. He was delighted, too, to see the back of the small boy. The two of them had never got on. Ben was jealous of his male priority, he liked to be the only man of importance in his household, and Christopher, even at ten years old, was an individual who refused to be ignored. Despite all Hester's efforts, this antagonism endured. Even the boy's good looks, which Hester truly believed would charm Ben's painter's eye, had the very opposite effect, and when Hester tried to persuade Ben to do a portrait of him, he refused.
After their departure, life at Porthkerris slid easily back into its old seamy routine. Emma and Ben were cared for by a series of messy females, either models or student painters, who moved into and through and out of Ben Litton's life with the monotonous regularity of a well-ordered cinema queue. The only thing they had in common was an adulation of Ben, and a lofty disregard for housekeeping. They took as little notice of Emma as possible, but, in fact, she did not miss Hester as much as people thought she would. She had become weary—as Ben was—of being organised, and perpetually buttoned into clean clothes, but Christopher's going left a great void in her life which refused to be filled. For a little, she had mourned for him, tried to write him letters, but had not dared to ask Ben for his address. Once, in the desperation of loneliness, she ran away to find him. This entailed walking to the station and trying to buy a ticket to London, which seemed as good a place as any to look for him. But she had only one and ninepence in the world, and the stationmaster, who knew her, had taken her into his office which smelt of paraffin lamps and the black railway coal he burnt in his grate, and had given her a cup of tea out of an enamel pot, and walked her home. Ben was working, and had not noticed her absence. She never tried to look for Christopher again.
When Emma was thirteen, Ben was offered a teaching fellowship at the University of Texas for two years, which, without thought of Emma, he instantly accepted. There was a small hiatus while Emma's future was discussed. When taxed with the question of his daughter, he announced that he would simply take her to Texas with him, but someone—probably Marcus Bernstein—persuaded Ben that she would be better off away from him, and she was sent to a school in Switzerland. She stayed in Lausanne for three years—never returning to England, and then went to Florence to study Italian and Renaissance Art, for another year. At the end of this time, Ben was in Japan. When she suggested that she should join him, he replied by telegram. ONLY SPARE BED OCCUPIED BY CHARMING GEISHA GIRL WHY DONT YOU TRY LIVING IN PARIS.
Philosophically, for she was now seventeen and life was no longer surprising, Emma did as he suggested. She found herself a job with a family called Duprés who lived in a tall scholarly house in St. Germain. The father was a Professor of Medicine, and the mother a teacher. Emma cared for their three well-behaved children, taught them English and Italian, and took them, in August, to the modest family villa at La Baule, and all the time waited patiently until Ben should return to live in England. He stayed in Japan for eighteen months, and when he did return it was by way of the United States, where he spent a month in New York. Marcus Bernstein flew out to meet him there, and it was typical that Emma learned the reason for this reunion, not from Ben himself, nor even from Leo, who was her usual source of information, but from a long and fully illustrated article in the French Réalités, which dealt with a newly built Museum of Fine Arts in Queenstown, Virginia. This museum was a memorial created by his widow, to a rich Virginian called Kenneth Ryan, and the opening of the Art Section was to be a retrospective exhibition of the paintings of Ben Litton, ranging from his pre-war landscapes, right through to his latest abstractionisms.
Such an exhibition was an honour and a tribute, but inevitably suggested a painter to be revered, a Grand Old Man of the arts. Emma, studying one of the photographs of Ben, all angles and contrasts, dark-tanned skin and jutting chin and snowy hair, wondered how he felt about such veneration. He had been a rebel all his life against convention, and she could not imagine him tamely submitting to being a Grand Old anything.
"But what a man!" said Madame Duprés, when Emma showed her the photograph. "He is very attractive."
"Yes," said Emma, and sighed, because that had always been the trouble.
With Marcus, he returned to London in January, and went straight back to Porthkerris to paint. This was confirmed by a letter from Marcus. The day the letter arrived, Emma went to Madame Duprés and gave in her notice. They tried to coax, cajole, bribe her into changing her mind, but she was adamant. She had scarcely seen her father for six years. It was time they got to know each other again. She was going back to Porthkerris, to live with him.
In the end, because they had no option, they agreed to letting her go. Her flight was booked, and she started to pack, throwing out some of the accumulated possessions of six years, and cramming the rest into a variety of battered and much-travelled suitcases. But even these were sadly inadequate, and Emma was eventually driven to going out and buying herself a basket, a huge French marketing basket that would accommodate the number of awkwardly-shaped objects that refused to go into anything else.
It was a grey and cold afternoon, two days before she was due to fly home. Madame Duprés was at home, so Emma, explaining her errand, left the children with her, and went out alone. To her surprise, she found that it was raining, lightly, in a chill drizzle. The cobbled pavements of the narrow street shone with wet, and the tall bleached houses stood quiet and closed against the murk, like faces which give nothing away. From the river a tug hooted, and a solitary gull hung, high above, in the mist, screaming dismally. The illusion of Porthkerris was suddenly more real than the reality of Paris. The resolve to return, which had for so long been in the back of her mind, was crystallised now into the impression that she was already there.
This street would lead—not to the busy Rue St. Germain, but out onto the harbour road, and it would be flood tide, the harbour full of grey sea and bobbing boats, and a heavy swell running out beyond the north pier, the Atlantic crested with white horses. And there would be familiar smells—fish from the market, and hot saffron buns from the baker's; and all the little summer shops would be shuttered and closed for the season. And back at the studio Ben would be working, hands mittened against the cold, the brilliance of his palette a scream of colour against the sweep of grey cloud that was framed by his towering north window.
She was going home. In two days, she would be there. The rain was wet on her face and all at once she felt that she could not wait, and this sense of happy urgency made her run, and she ran all the way to the little épicerie in the Rue St. Germain, where she knew she would be able to buy the basket.
It was a tiny shop, fragrant with fresh bread and garlic-flavoured sausage meat, with onions strung like white beads from the ceiling, and jars of wine, which the local workmen bought by the litre. The baskets hung at the door, strung together and suspended by a single piece of rope. Emma did not dare untie it and choose herself a basket in case the whole lot fell to the pavement, so she went into the shop to find someone to do it for her. There was only the fat woman with the mole on her face, and she was busy with a customer, so Emma waited. The customer was a young man, fair haired, his raincoat streaked with damp. He was buying a long loaf and a pat of country butter. Emma eyed him and decided that, from the back at least, he looked attractive.
"Combien?" he said.
The fat woman did a sum with a stub of pencil. She told him. He felt in his pocket and paid, turned, smiled at Emma and made for the door.
And there he stopped. With his hand against the edge of the door, he swung slowly around, to take a second look. She saw the amber eyes, the slow, incredulous smile.
The face was the same, the familiar, boy's face on the unfamiliar man's body. With the illusion of Porthkerris so near and so strong, it seemed that he was simply an extension of that illusion, a figment of her own highly-stimulated imagination. This was not him. This could not be ...
She heard herself say "Christo," and it was the most natural thing in the world to call him by the name that only she had ever used. He said, quietly, "I simply don't believe it," and then he dropped his parcels and held out his arms and Emma fell into them, pressed close against the shiny, wet front of his raincoat.
They had two days to spend together. Emma told Madame Duprés, "My brother is in Paris," and Madame, who was kind-hearted, and had, anyway, resigned herself to being without Emma, set Emma free to spend them with Christopher. They used up these two days in slowly walking the streets of the city; hanging over the bridges to watch the barges slip away below them, bound for the south and the sun; sitting in the thin sunshine and drinking coffee at the small, round iron tables, and when it rained, taking refuge in Notre Dame or the Louvre, perched on the stairs beneath the Winged Victory and always talking. They had so much to ask and so much to tell. She learned that Christopher, after a number of false starts, had decided to become an actor. This was much against his mother's wishes—after eighteen months of Ben Litton she had had enough of artistic temperaments to last her for the rest of her life—but he had stuck to his guns and even managed to get a scholarship to R.A.D.A. He had worked for two years in a repertory theatre in Scotland, had moved, unsuccessfully, to London, done a little television work, and then had been diverted by an invitation from an acquaintance, whose mother owned a house in St. Tropez.
"St. Tropez in the winter?" Emma could not help asking.
"It was then or never. We'd never have been offered it in the summer."
"But wasn't it cold?"
"Freezing. Never stopping raining. And when the wind blew all the shutters rattled. It was like some ghastly film."
In January he had returned to London to see his agent, and had been offered a twelve-month contract with a small repertory company in the south of England. It was not the sort of work he wanted, but it was better than nothing, and he was running out of money, and it was not too far from London. The job, however, did not start until the beginning of March, and so he had returned to France, finished up in Paris, and finally met Emma. Now, it irked him that she was returning so soon to England, and did everything he could to make her change her mind, postpone her flight, stay in Paris with him. But Emma was adamant.
"You don't understand. This is something that I have to do."
"It's not even as though the old boy asked you to go. You're just going to get in his way, and interfere with all his amorous adventures."
Excerpted from Another View by Rosamunde Pilcher. Copyright © 1968 Rosamunde Pilcher. Excerpted by permission of St. Martin's Press.
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Most Helpful Customer Reviews
As always, Rosamund Pilcher's books are a joy to read. I highly recommend this book to readers who want to read someting for the pleasure of reading. A very satisfying read.
Ms. Pilcher gives wonderful insight into each character, the setting, and life in that time and place. No one at all has the kind of insight that this author does. The only trouble with books by her is that there are too few! The title for this book is absolutely perfect.
I first read this in the early 1970s when I picked it up at Heathrow airport and was so thrilled when finally could get her books in the United States. Here I am again re-reading Rosamund Pilcher's books again and again. No one writes the way she did, her son, though okay, doesn't come close. I have searched and read others and the only one who comes close is Marcia Willett and Maeve Binchy
Emma knew only two men in her life - her absentee father, an artist who had left her in a boarding school and only visited her every few years and Christo - her stepbrother of a few months who now wanted to get to know her better. Emma needs to know where she stands with these two men before love can bloom. I gave this story an A!
I’m not sure if I can even adequately describe how charming Rosamund Pilcher’s writing is. She has this way with words that makes me feel as if she’s saying, “Come here, let me tell you a story” and proceeds to melt away my stress and anxiety. After finishing Another View, I literally had to let out a nice long breath because the book was just so… charming. It’s like chivalry; you just don’t see it anymore that often and when you do, it’s so refreshing. Her imagery techniques are exceptional. There’s this blank canvas and Rosamunde Pilcher slowly paints us a picture. Cigarettes are featured often in this book. It may provoke a reaction in certain readers but it is worth noting that during the time setting of this novel, cigarettes are culturally acceptable and significant. I would say it’s equivalent to coffee (or tea) in today’s culture. You offer it to someone (“What about some coffee?”) wherever you might be meeting up whether it be at home or out and about. Meeting up over coffee acts like a crutch in awkward or unfamiliar situations, and just plain welcome in presence of pleasant company.
Reminds me of a play script.