{"id":61049,"date":"2025-10-30T10:39:03","date_gmt":"2025-10-30T15:39:03","guid":{"rendered":"https:\/\/www.publicbooks.org\/?p=61049"},"modified":"2026-01-16T20:10:05","modified_gmt":"2026-01-17T02:10:05","slug":"b-sides-rebecca-wests-the-fountain-overflows","status":"publish","type":"post","link":"https:\/\/www.publicbooks.org\/b-sides-rebecca-wests-the-fountain-overflows\/","title":{"rendered":"B-Sides: Rebecca West\u2019s \u201cThe Fountain Overflows\u201d"},"content":{"rendered":"

Do you find child narrators\u2014their perceptiveness as well as their misprisions, their loyalties, their prejudices\u2014endlessly absorbing? You are well on your way to loving Rebecca West\u2019s The Fountain Overflows <\/em>(1956) if so. It is a tour de force of child narration, able to capture the child\u2019s ability simultaneously to normalize difficult circumstances and to convey awareness of the unconventional chaos of her life.<\/p>\n

The Fountain Overflows<\/em> charts the precarious experience of the four Aubrey children as they weather the ups and downs of their highly educated but impecunious parents during \u201cthe age of plenty which ended with the first world war.\u201d It opens in medias res: \u201cThere was such a long pause that I wondered whether my Mamma and my Papa were ever going to speak to each other again.\u201d The Mamma and Papa in question are Clare Aubrey, former concert pianist, highly cultured, and long-suffering, and Piers Aubrey, a compulsive gambler and erratic political journalist who can\u2019t keep a job. Young Rose Aubrey is the narrator. She, her twin sister Mary, their slightly older sister Cordelia, and baby brother Richard Quin make up the family at the center of this novel.<\/p>\n

The children\u2019s comprehension of their parents\u2019 argument is poised between a perception of the potentially cataclysmic nature of this \u201clong pause,\u201d and the faulty child-reasoning of the next sentence: \u201cNot that I feared they had quarreled, only we children had quarrels, but they had each fallen into a dream.\u201d\u00a0Rose Aubrey\u2019s summation of their charming but highly unreliable father exemplifies her double vision: \u201cI had a glorious father; I had no father at all.\u201d<\/p>\n

Piers Aubrey\u2019s homewrecking unscrupulousness cannot be swept under the rug. In the novel\u2019s first chapter he sells the furniture in his family\u2019s flat while they\u2019re away. The black sheep of an Anglo-Irish gentry family, he is touchingly nostalgic for the genteel world of his childhood yet incapable of providing the same stability for his own children, dragging them around the globe (South Africa, Scotland, and, for most of the novel, a dingy south London suburb) from one impoverished situation to another. As irresponsible and intemperate as he is, however, he is often righteous, occasionally compassionate, capable of charming other people (even a member of Parliament he blackmails!) as well as his children, and his long-suffering wife.<\/p>\n

The children are in part able to normalize their lives with their father through their shared culture. While Rose is nominally the singular narrator, \u201cwe\u201d statements appear roughly as often as \u201cI\u201d statements. Through one family crisis after another\u2014even the final catastrophe\u2014the novel\u2019s refrain is \u201cwe always thought that everything in the end was going to be all right.\u201d They simultaneously know and don\u2019t know how awful their situation is, how their family is pitied and shunned; they are highly aware of the ordinary indignities of childhood (\u201can embarrassing state\u201d). They are at times mordantly knowing\u2014\u201cwe were experts in disillusion,\u201d Rose comments. And very occasionally, they allow themselves to feel and to express an understandable anger at their lot. In one of the novel\u2019s few allusions to its title, the reader learns that \u201cwe had become fountains of rage and pain.\u201d But at bottom they remain insanely resilient. It is \u201chumiliating\u201d being a child (\u201cadults handicapped by a humiliating disguise\u201d); it is fantastic being a child.
\n<\/p>\n

\n
\n

Rebecca West is master of that cat-like sentence structure. Her sentences are both sinuous and off-kilter, and very often very funny.<\/p>\n<\/blockquote>\n<\/figure>\n


\nThe Fountain Overflows <\/em>was the first of a projected trilogy intertwining the history of\u00a0the Aubrey family with the history of the 20th century. Drafts of the subsequent volumes were published after West\u2019s death in 1983 as This Real Night <\/em>(1984) and Cousin Rosamund <\/em>(1985). Though a best-seller in its day, it has long been overshadowed by West\u2019s slim, stunning World War I novella, The Return of the Soldier<\/em> (1918) and her massive book on the Balkans, Black Lamb and Grey Falcon <\/em>(1941). That is a pity, because it strikes me as the best evocation of an unconventional early 20th-century childhood I have ever read.<\/p>\n

The Aubrey children are capable of finding magic and wonder even amid their endlessly embarrassing state. On the one hand, the novel is committed to the children\u2019s perception of their dingy ordinary: the flakes on their leather furniture are described in loving detail. But uncanny supernatural occurrences happen without a break in the fabric of the narrative! The house of the children\u2019s cousin Rosamund is beset with violent poltergeists. While Rose marvels at \u201call this possessed ironmongery,\u201d she doesn\u2019t seem categorically surprised or disbelieving that such a thing should happen. Rose herself experiences a brief interlude of supernatural power, when at her friend Nancy\u2019s house she discovers (but again, seems not a bit surprised) that she can read minds. Effortlessly: she asks a friend to think of a number, puts her hands on the friend\u2019s face, and \u201cup it came, slowly and clumsily, like a wheelbarrow being trundled out of a dark stable, fifty-three.\u201d<\/p>\n

The natural and the supernatural are countenanced in this book as equal. More sordid and sensational things happen too: Nancy\u2019s mother is murdered by her father, involving the whole Aubrey family in the outcome of the trial (as well as occasioning an introduction to \u201cthe first fountain pen we had ever seen\u201d). Again, there is no rending of the fabric of the novel; one doesn\u2019t feel that the novel has violated a generic code. We take our cue from the child-narrator\u2019s embrace of the weird but normal-to-them life they lead, from a father who sells the furniture from under them, to poltergeists who wreck the house, to murder, to magical imaginary animals in a real stable.<\/p>\n

I marvel at Rebecca West\u2019s ability to hold together the double vision of the Aubrey children\u2019s world. West\u2019s prose yokes grittiness and magic together. Her fountain pen overflows with arresting similes. Rose\u2019s mind-reading \u201clike a wheelbarrow \u2026 out of a dark stable\u201d is one such moment. Another is this description of cousin Rosamund: \u201cThere was a golden heaviness about her face, to look on it was like watching honey drop slowly from a spoon.\u201d West\u2019s sentence structure also captures beautifully the transitions in the children\u2019s perceptions. Almost every sentence in the novel seems perfect, even when\u2014especially when\u2014they feature (like the one just quoted) awkward run-on structures, commas stringing together complete independent clauses.<\/p>\n

In an essay on James Joyce\u2019s Ulysses<\/em> (1922) called \u201cThe Strange Necessity\u201d (1928), West declares that sentences are the fundamental \u201carchitecture\u201d and origin of language: \u201cThey, and not words, are the foundations of all language.\u201d Here\u2019s her proof: \u201cYour cat has no words, but it has a considerable feeling for the architecture of the sentence.\u201d (I love my cat, but I do not think he has this feeling.) In The Fountain Overflows<\/em>, Rebecca West is master of that cat-like sentence structure. Her sentences are both sinuous and off-kilter, and very often very funny.<\/p>\n\n

\n\n
Related readings<\/div>\n\n
\n\n
\n
\n \"\"<\/a> <\/figure>\n <\/div>\n\n
\n\n
\n Reviews<\/a>\n <\/div>\n\n
\n B-Sides: Leonard Woolf\u2019s \u201cThe Village in the Jungle\u201d<\/a>\n <\/h5>\n\n
\n \n \"\" <\/a>\n \n Priyasha Mukhopadhyay <\/a>\n <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n\n \n

Does everything turn out all right in the end, as the children constantly tell each other? In keeping with the rest of the novel, they are both aware and unaware of the ways they\u2019ve matured by its final pages. Rose is acutely aware of how Rosamund has changed, yet she cannot really notice change in herself. Rather than the novel ending with an epiphany that reveals the protagonist\u2019s destiny as an artist (James Joyce style), Rose suddenly realizes \u201cthat for me it would be impossible \u2026 it was idiotic that I should become a musician. I had no musical gift save those which had been transmitted to me by my mother. \u2026 I did not want to be a musician.\u201d<\/p>\n

Nonetheless, there are epiphanies and then there are epiphanies: two paragraphs later, after playing some Schumann duets with her sister, Rose admits \u201cI was a musician in my own right, though I could not yet say to what degree.\u201d Rose\u2019s fierce willingness to chuck the whole thing resonates with the exhilaration of letting go of a script that\u2019s been written for you, that you\u2019ve been holding onto closely, even for a moment. It is a scary\u00a0part of growing up; it is a natural part of growing up.<\/p>\n","protected":false},"excerpt":{"rendered":"

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