{"id":61129,"date":"2025-11-13T10:00:55","date_gmt":"2025-11-13T16:00:55","guid":{"rendered":"https:\/\/www.publicbooks.org\/?p=61129"},"modified":"2026-01-16T20:10:04","modified_gmt":"2026-01-17T02:10:04","slug":"b-sides-j-l-carrs-a-month-in-the-country","status":"publish","type":"post","link":"https:\/\/www.publicbooks.org\/b-sides-j-l-carrs-a-month-in-the-country\/","title":{"rendered":"B-Sides: J. L. Carr\u2019s \u201cA Month in the Country\u201d"},"content":{"rendered":"

In J. L. Carr\u2019s quietly entrancing A Month in the Country<\/em> (1980), narrator Tom Birkin gazes back across several decades to the summer of 1920, when he was a penniless, psychologically damaged veteran of the Western Front whose wife has run off with another man. The novel begins with the arrival of the Londoner Birkin at the remote Yorkshire village of Oxgodby, where he has been hired to restore a 14th-century wall painting in the parish church, whitewashed over for centuries. During his six weeks in the countryside, Birkin forms several relationships. These include the camaraderie of another former soldier conducting an archaeological dig in the churchyard, a warm friendship with a local family, and a near affair with the beautiful wife of the insufferable Anglican priest at Birkin\u2019s church. Most of all, though, he works on that painting.<\/p>\n

Birkin\u2019s summer helps heal the trauma he has endured: \u201cOxgodby\u2019s just about ironed you out,\u201d his fellow veteran remarks late in the narrative, referring first but not only to the face twitch the narrator \u201ccaught\u201d at Passchaendaele, one of World War I\u2019s bloodiest battles. But how full and lasting is this healing? We don\u2019t know. Birkin finishes his job, the summer ends, he leaves Oxgodby. Birkin states that he remained \u201chaunted\u201d by the \u201chappiness\u201d of his time in Oxgodby \u201cfor many years afterwards,\u201d but that he never returned and never had any further contact with anyone he met that summer. Why not? How has he spent the following decades? What prompts the sustained act of recollection that is the narrative? Again, we don\u2019t know. This reticence is one of the work\u2019s most striking features, as haunting to the reader as his month in the country is to Birkin.<\/p>\n

The impact of the novel\u2019s silences and enigmas is amplified by the enigma that is Carr himself. A teacher from the North of England, James Lloyd Carr (1912\u201394) wrote several novels, but A Month in the Country<\/em> is the only one still in print\u2014indeed, the only one even in my university\u2019s library. Like A Month in the Country<\/em>, Carr\u2019s next novel, The Battle of Pollocks Crossing<\/em>, was shortlisted for the Booker Prize, but once I managed to get ahold of a copy I found it entirely lacking in A Month in the Country<\/em>\u2019s beauty and its resonance. When we try to account for A Month in the Country <\/em>in terms of the author\u2019s oeuvre\u2014just as when we try to integrate Tom Birkin\u2019s time in Oxgodby into his life as a whole\u2014we are left wondering.
\n<\/p>\n

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Carr\u2019s novella is offering up an allegory of the historical replacement of religion by art as a source of meaning.<\/p>\n<\/blockquote>\n<\/figure>\n

<\/p>\n

As a short novel by an otherwise obscure author, with few characters and few events, A Month in the Country <\/em>practically exudes minorness. For me, though, much of the novel\u2019s appeal lies in the way it combines this seeming modesty with an interest in big questions, even Big Questions: What\u2014if anything\u2014gives a life meaning? What makes it worth living? How have the answers to these questions changed over time?<\/p>\n

In A Secular Age<\/em>, philosopher Charles Taylor\u2019s monumental account of modernity, Taylor lists \u201cthe meanings of ordinary life\u201d as \u201cthe satisfactions of love, of work, the enjoyment of the natural world, the riches of music, literature, art.\u201d This brief catalog captures almost everything Tom Birkin takes solace in while at Oxgodby. Taylor emphasizes that these sources of meaning take on heightened importance in our modern, disenchanted age, when people no longer take for granted the intrinsic meaningfulness of life: \u201cwhat worried\u201d people in earlier times \u201cwas, if anything, an excess of \u2018meaning,\u2019 the sense of one over-bearing issue\u2014am I saved or damned?\u2014which wouldn\u2019t leave them alone.\u201d<\/p>\n

Despite its tight temporal focus, A Month in the Country<\/em> is as attuned to this historical shift as Taylor. In fact, A Month in the Country<\/em> looks back to the premodern past Taylor describes as preoccupied with the question of salvation and damnation\u2014looks back precisely at this preoccupation. For Birkin quickly discovers that the painting he is restoring is a Final Judgment, complete with \u201cSt. Michael weighing souls against Sin, Christ in Majesty refereeing and, down below, the Fire that flameth evermore.\u201d Although Birkin has no hesitation in describing Passchaendaele as \u201chell,\u201d he is quick to distinguish it from \u201cBible hell,\u201d which is \u201ctimeless.\u201d \u201cTheirs was a different hell from ours,\u201d he reflects about the original viewers of the painting, and \u201cit\u2019s not all that easy to find your way back to the Middle Ages.\u201d<\/p>\n

Across this chasm, the painting speaks powerfully to Birkin. \u201cBringing back that long-dead man\u2019s apocalyptic picture into daylight obsessed me,\u201d he recalls, and his work helps bring Birkin himself back into daylight, back to life, as well. It does so not because of its subject matter but because of its artistry. As Birkin uncovers the painting bit by painstaking bit, he comes to realize that \u201cI had a master-piece on my hands,\u201d including, in its depiction of an individual with \u201ca crescent shaped scar on his brow,\u201d \u201cthe most extraordinary detail of medieval painting that I had ever seen.\u201d \u201cWhatever else had befallen me during those few weeks in the country,\u201d Birkin reflects on his last day in Oxgodby, \u201cI had lived with a very great artist, my secret sharer of the long hours I\u2019d labored in the half-light above the arch.\u201d<\/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: Rebecca West\u2019s \u201cThe Fountain Overflows\u201d<\/a>\n <\/h5>\n\n
\n \n \"\" <\/a>\n \n Adela Pinch <\/a>\n <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n\n \n

In its understated way, then, Carr\u2019s novella is offering up an allegory of the historical replacement of religion by art as a source of meaning. We might even read its refusal to provide more of a sense of Birkin\u2019s life as a whole as a form of resistance to the lingering hold of the Judgment model, which insists on evaluating a life as a totality. Ultimately, though, what makes A Month in the Country <\/em>so memorable and affecting is the way it engages with these big questions through its commitment to finding meaning in the \u201cextraordinary detail[s]\u201d of the material world. When Birkin uncovers \u201cChrist in Majesty\u201d at the painting\u2019s apex, for example, he notices that there is \u201cno cinnabar on the lips,\u201d which he takes as \u201ca measure of my painter\u2019s caliber: excitingly as cinnabar first comes over, he\u2019d known that, given twenty years, lime would blacken it.\u201d It is when Birkin is discovering and describing the artist\u2019s craftsmanship that the world is most pregnant with meaning\u2014and he and his narrative most alive.<\/p>\n

This dedication to immanent materiality reaches its own apex with Birkin\u2019s discovery of traces of the medieval artist\u2019s own body: \u201che was fair-headed; hairs kept turning up where his beard had prodded into tacky paint, particularly the outlining in red ochre which he\u2019d based in linseed oil. There was no mistaking it for brush hair which was recognizable from its length, an inch, never more than an inch and a half. Sow\u2019s bristle for the rough jobs, badger\u2019s gray for precision.\u201d Wielding his own badger\u2019s gray brush, Carr shows the distance across centuries being bridged by literally the thinnest of strands. At moments like this, A Month in the Country<\/em> reminds us that art may not be in the business of saving our souls, but it can salve them, and take our breath away.<\/p>\n","protected":false},"excerpt":{"rendered":"

The impact of the novel\u2019s silences and enigmas is amplified by the enigma that is Carr himself.<\/p>\n","protected":false},"author":31,"featured_media":61135,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[258,2483,712],"pbpartner":[],"section":[],"pbseries":[2274],"class_list":["post-61129","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays","tag-b-sides","tag-british-literature","tag-world-war-i","pbseries-b-sides"],"acf":[],"yoast_head":"\nB-Sides: J. L. 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