Summary:
Ali Smith is a
Scottish writer. If she lived in the U.S., hopefully (a word I will come back
to at the end) she would be a household name. She is 75% through a quartet of novels that are named for the seasons. Each captures the beauty and
lightness of Vivaldi’s famous concerto and the heft of T.S. Eliot’s poetic
quartets. Spring seamlessly blends brutal reality and a dream-like state. Anchored in the current world, it unfolds in a Brexit obsessed United Kingdom, and yet it incorporates artists, live and dead, ranging from Katherine
Mansfield to Rainer Maria Rilke to Tacita Dean. The scope and inventiveness of
the writing are staggering.
The plot will
sound very odd in a brief summary. Like many modern novels, it incorporates two
separate narrative strands that come together somewhat unexpectedly but
satisfactorily in the climactic scenes. In the opening pages, we are introduced
to Richard Lease, a modestly famous filmmaker who produced some well-regarded
highbrow TV shows in the 1970s and 80s. He is considering an offer for a new film
project about an imaginary crossing of paths by Rilke and Mansfield in
Switzerland in 1922. But Richard is unable to rouse his enthusiasm partly
because of misgivings about who he would have to work with. More importantly,
he is still not over the recent death of his screenwriter, Patricia Neal or
Paddy, who was more than just his artistic partner for four decades. Richard
mulls over memories of their work and life together, reliving conversations and
episodes that invoke Charlie Chaplin, Beethoven and Shakespeare. He aimlessly
boards a train to Scotland. There, in an act of despair, he lowers himself onto
the train track in an attempted suicide
.
Richard is
saved by a magical 12-year old girl, Florence. Although the description is
scant, she is preternaturally bright, articulate, and endowed with an
inexplicable power to move people to do what she wants. She supposedly was able
to enter a restricted Immigrant Retention Center unaccompanied and persuade the
supervisor to order a cleanup of the bathrooms for all the detainees. One
morning, Florence encounters Brittany Hall, who is on her way to work as a security
guard in one of the notorious British detention centers. Her dehumanizing work with
the inmates is grinding her down, the degrading surroundings are destroying her
soul. Florence and Brittany end up at a
train station and in an impulsive act, Brittany follows Florence onto a
departing that is heading off to Scotland. The warm interaction with Florence
on the ride awakens Brittany’s submerged feelings of humanity. They end up at
the same destination as Richard, and there Florence persuades him to climb back
on to the platform and saves his life. A reinvigorated Richard, Florence and Brittany meet up with another mysterious character, a woman operating a mobile refreshment stand.
The four travel in her crowded truck to Culloden, the site of the disastrous clash
during the Jacobite Rebellion in 1746 when the Scots were annihilated by the English
army. There the story reaches its climax which I will not divulge in full. But
simply said, in full sight of all the tourists attracted to the Culloden
battlefield site, it does not end up well for Florence or her mother who suddenly
appears on the scene.
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