A heart-warming stand alone novel about the life-affirming powers of music and company during a time of war, from the best-selling and beloved author of The No.1 Ladies' Detective Agency.
When Lavender, La to her friends, moves to the Suffolk countryside, it’s not just to escape the London Blitz but also to flee the wreckage of a disastrous marriage. But as she starts to become a part of the community, she detects a sense of isolation. Her deep love of music and her desire to bring people together inspire her to start an orchestra. Little did she know that through this orchestra she would not only give hope and courage to the people of the community, but also that she would meet a man, Feliks, a shy upright Pole, who would change her life forever.
|Publisher:||Knopf Doubleday Publishing Group|
|Product dimensions:||7.14(w) x 11.70(h) x 0.69(d)|
About the Author
Alexander McCall Smith is the author of The No. 1 Ladies' Detective Agency series, the Isabel Dalhousie series, the Portuguese Irregular Vers series, and the 44 Scotland Street Series. He is professor emeritus of medical law at the University of Edinburgh and has served on many national and international bodies concerned with bioethics. He lives in Scotland.
Date of Birth:August 24, 1948
Place of Birth:Zimbabwe
Read an Excerpt
Two men, who were brothers, went to Suffolk. One drove the car, an old Bristol drophead coupé in British racing green, while the other navigated, using an out-of-date linen-backed map. That the map was an old one did not matter too much: the roads they were following had been there for a long time and were clearly marked on their map—narrow lanes flanked by hedgerows following no logic other than ancient farm boundaries. The road signs—promising short distances of four miles, two miles, even half a mile—were made of heavy cast-iron, forged to last for generations of travellers. Some conscientious hand had kept them freshly painted, their black lettering sharp and clear against chalk-white backgrounds, pointing to villages with names that meant something a long time ago but which were now detached from the things to which they referred—the names of long-forgotten yeoman families, of mounds, of the crops they grew, of the wild flora of those parts. Garlic, cress, nettles, crosswort—all these featured in the place-names of the farms and villages that dotted the countryside—their comfortable names reminders of a gentle country that once existed in these parts, England. It still survived, of course, tenacious here and there, revealed in a glimpse of a languorous cricket match on a green, of a trout pool under willow branches, of a man in a flat cap digging up potatoes; a country that still existed but was being driven into redoubts such as this. The heart might ache for that England, thought one of the brothers; might ache for what we have lost.
They almost missed the turning to the village, so quickly did it come upon them. There were oak trees at the edge of a field and immediately beyond these, meandering off to the left, was the road leading to the place they wanted. The man with the map shouted out, “Whoa! Slow down,” and the driver reacted quickly, stamping on the brakes of the Bristol, bringing it to a halt with a faint smell of scorched rubber. They looked at the sign, which was a low one, almost obscured by the topmost leaves of nettles and clumps of cow parsley. It was the place.
It was a narrow road, barely wide enough for two vehicles. Here and there informal passing places had been established by local use—places where wheels had flattened the grass and pushed the hedgerows back a few inches. But you only needed these if there were other road-users, and there were none that Saturday afternoon. People were sleeping, or tending their gardens in the drowsy heat of summer, or perhaps just thinking.
“It’s very quiet, isn’t it?” remarked the driver when they stopped to check their bearings at the road end.
“That’s what I like about it,” said the other man. “This quietness. Do you remember that?”
“We would never have noticed it. We would have been too young.”
They drove on slowly to the edge of the village. The tower of a Norman church rose above a stand of alders. In some inexplicable mood of Victorian architectural enthusiasm, a small stone bobble, rather like a large cannonball, had been added at each corner of the tower. These additions were too small to ruin the original proportions, too large to be ignored; Suffolk churches were used to such spoliation, although in the past it had been carried out in a harsh mood of Puritan iconoclasm rather than prettification. There was to be no idolatry here: Marian and other suspect imagery had been rooted out, gouged from the wood of pew-ends and reredoses, chipped from stone baptismal fonts; stained glass survived, as it did here, only because it would be too costly to replace with the clear glass of Puritanism.
Behind the church, the main street, a winding affair, was lined mostly by houses, joined to one another in the cheek-by-jowl democracy of a variegated terrace. Some of these were built of stone, flinted here and there in patterns— triangles, wavy lines; others, of wattle and daub, painted either in cream or in that soft pink which gives to parts of Suffolk its gentle glow. There were a couple of shops and an old pub where a blackboard proclaimed the weekend’s fare: hotpot, fish stew, toad-in-the-hole; the stubborn cuisine of England.
“That post office,” said the driver. “What’s happened to it?”
The navigator had folded the map and tucked it away in the leather pocket in the side of the passenger door. He looked at his brother, and he nodded.
“Just beyond the end of the village,” said the driver. “It’s on the right. Just before . . .”
His brother looked at him. “Just before Ingoldsby’s Farm. Remember?”
The other man thought. A name came back to him, dredged up from a part of his memory he did not know he had. “The Aggs,” he said. “Mrs. Agg.”
She had been waiting for them, they thought, because she opened the door immediately after they rang the bell. She smiled, and gestured for them to come in, with the warmth, the eagerness of one who gets few callers.
“I just remember this house,” the driver said, looking about him. “Not very well, but just. Because when we were boys,” and he looked at his brother, “when we were boys we lived here. Until I was twelve. But you forget.”
His brother nodded in agreement. “Yes. You know how things look different when you’re young. They look much bigger.”
She laughed. “Because at that age one is looking at things from down there. Looking up. I was taken to see the Houses of Parliament when I was a little girl. I remember thinking that the tower of Big Ben was quite the biggest thing I had ever seen in my life—and it might have been, I suppose. But when I went back much later on, it seemed so much smaller. Rather disappointing, in fact.”
She ushered them through the hall into a sanctum beyond, a drawing room into which French windows let copious amounts of light. Beyond these windows, an expanse of grass stretched out to a high yew hedge, a dark-green backdrop for the herbaceous beds lining the lawn. There was a hedge of lavender, too, grown woody through age.
“That was hers,” said the woman, pointing to the lavender hedge. “It needs cutting back, but I love it so much I can’t bring myself to do it.”
“La planted that?”
“I believe so,” said the woman.
“We played there,” said one of the brothers, looking out into the garden. “It’s odd to think that. But we played there. For hours and hours. Day after day.”
She left them and went to prepare tea. The brothers stood in front of the window.
“What I said about things looking bigger,” one said. “One might say the same about a person’s life, don’t you think? A life may look bigger when you’re a child, and then later on . . .”
“Narrower? Less impressive?”
“I think so.”
But the other thought that the opposite might be true, at least on occasion. “A friend told me about a teacher at school,” he said. “He was a very shy man. Timid. Ineffectual. And children mocked him—you know how quick they are to scent blood in the water. Then, later on, when he met him as an adult, he found out that this same teacher had been a well-known mountaineer and a difficult route had been named after him.”
“And La’s life?”
“I suspect that it was a very big one. A very big life led here . . .”
“In this out-of-the-way place.”
“Yes, in this sleepy little village.” He paused. “I suspect that our La was a real heroine.”
Their hostess had come back into the room, carrying a tray. She put it down on a table and gestured to the circle of chintzy sofa and chairs. She had heard the last remark, and agreed. “Yes. La was a heroine. Definitely a heroine.”
She poured the tea. “I assume that you know all about La. After all . . .” She hesitated. “But then she became ill, didn’t she, not so long after you all left this place. You can’t have been all that old when La died.”
Reading Group Guide
1. Who are the two brothers in the beginning of the novel? Why are they visiting La's former house in Suffolk? And why does Alexander McCall Smith commence the novel with them? Why does he purposely make their background vague?
2. Why does La marry Richard? Are they compatible in any way? How does time and place influence their decision to get married? Do you think they would have gotten married if they were dating in 2009? At one point later in the novel, La says to Mrs. Agg, "People are the products of their time." What does this mean? Do you agree?
3. In this novel, what are the differences, both obvious and subtle, between life in the city and life in the country in the days before and during World War II? Where would you have preferred to live?
4. Why is Suffolk life so therapeutic for La when she's single again? Do you think she really likes gardening? How is a wartime garden different from a peacetime garden, according to La?
5. There are many references in the novel to suffering in life and the power of music to heal and to provide hope and joy. What is it about music that gives it these properties—and in this novel, particularly classical music? How is different music good for different things, according to the novel? Do you agree?
6. How is music the antithesis of war?
7. How does La's orchestra raise morale and provide a diversion and hope to those playing instruments as well as to the townspeople in the audience?
8. What is the importance of Henry Madden in the novel? Why is he so stubborn and bitter? After being blamed by his wife for the death of his son, why does he, in the absence of any proof, accuse Feliks of being a thief?
9. What do you think the author is saying about xenophobia— the suspicion and hatred of foreigners and "others"—especially during wartime? How do you think things have changed from the 1940s to the present?
10. How did the war transform lives in this novel, turning some upside down in a negative way and others in a positive way?
11. Do you think this is an antiwar novel or do you think it says that war is inevitable?
12. Why does La betray Feliks although she acknowledges that she is in love with him? Do you think she was scared of her feelings for him and this exacerbated her suspicions?
13. Why is La also suspicious of Lennie (who is different from most boys his age), and why does she accuse him to the police with no proof? Does the heightened atmosphere of war cause her to not trust anyone?
14. Describe La's relationship with her Cambridge tutor, Dr. Price. Why is it so fraught with tension? Do you think if La hadn't married, she would have turned out more like Dr. Price?
15. Why does the author, near the end of the book, suddenly switch from the third person to the first person, so that we suddenly hear the story in La's voice? How does this affect your reading of the novel?
16. In the book, "people took pleasure where they could find it, and with gratitude." How are people able to do this, especially when things are in short supply?
17. By the end of the novel, how does music bring love back into La's life?
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