“Foes” is a short story by American writer Lorrie Moore. The Guardian published it on the eve of the election which would see Obama to the presidency, and can be read in full here. It is also in Bark and in Collected Stories.
This is such an American story, so Americans will have a more indepth knowledge of its historical context than I do. My main interest lies in the story structure and writing techniques.
That said, if anyone anywhere has ever been at a social gathering, made smalltalk with a stranger than realised as the conversation wears on that this nice, smiling and friendly person has political views you find repugnant, you will likely identify with the character of Bake McKurtry, even if you’re not American.
A good way to create conflict is to shove the rich and poor together in the same small space, but when we put the “hedgefund” people and the “haiku” people together, that conflict works just as effectively (and is basically the same thing, I guess?)
As an English speaking child of the 80s I grew up on a heavy diet of Roald Dahl. Danny The Champion Of The World (1975) stands out in my adult memory my favourite Dahl story, perhaps only bested by the frisson of horror left by The Witches (in which I actually examined my J2 teacher, thinking she might be a witch. Fortunately she didn’t wear gloves, which absolved her.)
I have now, finally, revisited Danny The Champion Of The World as an adult, despite this being one of my favourite childhood reads. Why ‘finally’? I’m loathe to further promote Dahl’s work on the Internet, partly because an entire cottage industry has popped up around the man and the mythology, with teacher resources available, schools full of class sets of his books. My own child’s primary teachers are still teaching Roald Dahl, despite there being many, many better options for a class study.
Wealth brings out the worst in people. This is the overriding message we get from stories in general, be they for children or adults. However, sometimes by working hard a hero can become rich. In a Cinderella story goodness leads naturally to riches. This is thought to be Cinderella’s rightful place — after all, Cinderella is not a rags to riches story. It’s a riches to rags to riches again story. The high born are thought to be worthy due to their superior bloodline.
In an attempt at subversion, characters in some stories are eventually revealed to be nice people despite being rich.
The Pursuit Of Wealth As A Story Goal
Of the three principal preoccupations of adult fiction — sex, money and death — the first is absent from classic children’s literature and the other two either absent or much muted. Love in these stories may be intense but it is romantic rather than sensual, at least overtly. […] Money is a motive in children’s literature, in the sense that many stories deal with a search for treasure of some sort. These quests, unlike real ones, are almost always successful, though occasionally what is found in the end is some form of family happiness, which is declared by the author and the characters to be a “real treasure.” Simple economic survival, however, is almost never the problem; what is sought, rather, is a magical (sometimes literally magical) surplus of wealth.
Alison Lurie, The Subversive Power Of Children’s Literature
A lot of children’s literature is set in a kind of utopia where the characters never have to worry about money. Food is always there. A classic example of that is The Wind In The Willows.
Storytelling Technique: Rich and Poor Together
One technique writers use to add interest and conflict to a story is to put wealthy and poor people in the same closed arena and force them to interact with each other. You’ll find this is done at some point in almost every TV show. Movies do it too.
However, there are a few political pitfalls to avoid when doing this.
Wealth Versus Poverty In Stories For Adults
Annie Proulx makes use of the rich-poor divide a lot. She takes a rural community comprising simple, rural folk with anti-materialistic values and contrasts them with a rich blow-in. For more on that, see below.
In Freaks and Geeks, episode four, Lindsay gets her first class culture shock when she visits Kim’s house for dinner. It turns out Kim has invited her only to prove to her parents that she’s responsible and deserves her confiscated car back. Lindsey is shocked by the chaos and by the state of Kim’s house.
Katherine Mansfield herself was a daughter of the upper middle class but she tackled the rich-poor divide in several stories, most notably “The Doll’s House” and “The Garden Party“.
Angie Thomas writes about race and class in The Hate U Give. Issues of wealth and privilege come to the fore because the main character is at a private school on academic scholarship.
The Beverly Hillbillies — The farming Clampett family become suddenly rich when they discover oil in their backyard. This discovery turns a poor family to rich millionaires. They move to Beverly Hills, California. This is a good example of a fish-out-of-water story. These rustic characters clash with the people of one of the wealthiest neighborhoods in America. Rich-poor conflict is useful in Comedies of Manners.
Pride and Prejudice is an early example of the Comedy of Manners. No one is poor, exactly — it’s all relative. The Bennett sisters are in danger of becoming poor in future. Their mother’s behaviour is crass in comparison to those of the mega-wealthy.
Titanic — both the real story and the various fictionalisations which have emerged since, work well as stories because, when a boat is sinking, it doesn’t matter whether you’re rich or poor. Everyone goes down with it. This makes for an evergreen metaphor about looking after our planet.
Stories with dragons (specifically Northern dragons) are metaphors for how hoarded wealth brings one no joy. Dragons have fiery or poisonous breath. They’re often curiously merry or sardonic because they consider themselves invincible. But they can be beaten or more often outwitted via some weak spot. (Eastern dragons are different beasts altogether — they are magical, influence the weather, are godlike and maternal.)
Tomato Red — the love interest with the red hair feels a grave sense of injustice that they live in a mobile shack whereas other people in their town live in mansions. This fuels her desire to get out of that town, and justifies what she does in order to achieve it.
Schitts Creek — The Rose family have already lost all their fortune by the time they hit Schitt’s Creek — a hole of a town the father bought the son for a birthday joke. They are now forced to live there among the regular folk. They may have no money but they have brought their rich tastes and attitudes with them. This makes for plenty of conflict.
Animal Kingdom — J’s druggie mother dies of an overdose. At seventeen years of age he has only ever known poverty. But now he is taken in by his grandmother and uncles, who are running a criminal empire. These are the sorts of people who leave wads of cash lying around.
Nashville — Juliette Barnes is now rich, having earned oodles of money as a country pop singer, but she has come from nothing. She grew up in a trailer park. The writers make sure the audience is taken back there, to explain some of Juliette’s back story. Juliette still has her mother in her life, which allows the audience to see rich and poor rubbing up against each other. Other characters undergo a rags to riches Cinderella story as part of the show.
Upstairs Downstairs — Is the ultimate in rich and not rich rubbing up against each other. Downton Abbey is very similar. These shows are about class differences. For some of the characters real destitution is one wrong-doing away. Even the mighty can fall.
Coronation Street — Even in a working class Northern town where everyone lives from month to month, we still have characters like Mike Baldwin who owns the factory, or Dev Alahan who owns the corner shop. Though these men are far from fabulously wealthy, there is still enough of a discrepancy in wealth to provide interest.
I Don’t Feel At Home In This World Anymore — our modest main characters make a visit to an ostentatious house with massive lawn ornaments under the guise of cops. When the lawn ornaments get broken this provides some catharsis for the audience because these rich people are not good and the main character is very sympathetic.
Fargo — our main dude has a rich father-in-law, which causes all sorts of existential male angst, and therefore the impetus to make real money of his own.
Lonesome Dove — Clara’s husband has been a successful horse wrangler. Not only this, he married the love of Gus’s life. Larry McMurtry takes us to Clara’s ranch to make sure we get a taste of The Path Not Taken. Could Gus have had all this, if only he weren’t such a wanderer, basically married to Call?
Gilmore Girls — This community offers us the full spectrum of wealth (well, right down to middle-class, anyhow). We have Emily and Richard at the top, with all their cronies. Next we have successful small business owners such as the owner of Doose’s market, and eventually Lorelai and Sooki themselves. Then there are the people who work for others.
My Summer Of Love — Tamsin is the privately educated daughter home for the holidays in her family mansion while Mona is the working class girl from the pub. A little Yorkshire village is the perfect opportunity for these girls to meet — more so than London, probably — because country villages comprise tiny rows of cottages where the poorest people live, with ticky-tacky but newer cottages where middle-class people live (e.g. Mr Fakenham’s lover), but just beyond the town’s border lie the large homes of England’s aristocracy. Rich girl and poor girl legitimately share the same country road, though one rides a white horse and the other scoots along on a motorbike with no motor.
American Honey — Star joins a ‘mag crew’ — a bus load of young people who have been recruited to sell magazine subscriptions across mid-west America. The bus takes them to wealthy suburbs and then to poor suburbs, juxtaposing them. The matriarch of the group is herself from a poor suburb but through psychopathic means has garnered enough money for herself to wear some of the trappings of wealth. She offers commentary on the people who live in these places as she drops her crew off.
Wealth Versus Poverty In Stories For Children
It’s interesting to see how wealth discrepancy is handled in stories for children. In picture books there is very rarely any social commentary on money. Olivia (by Ian Falconer) lives in a big New York City apartment and must therefore have mega wealthy pig parents, but because she goes through similar dramas as many (white) kids, the reader is not encouraged to mull that one over.
The work of Frances Hodgson Burnett — The phrase ‘rags to riches’ is commonly used to describe an arc in which the main character lives in poverty at the beginning of the story and in wealth by the end. But more commonly in the Victorian era the plot is one in which a disadvantaged person, often a child, is restored to the wealth and positin which are thought to be his/her natural birthright. Even Cinderella isn’t a genuine rags to riches tale — Cinderella must have been at least middle class to begin with or she would not have had those middle class relatives.
Ivy + Bean — Ivy seems to come from a richer family. She has a big bedroom with a craft table set up. Money is not mentioned. It may just be that Ivy’s mother is super organised and particular, and likes to dress her little girl in fancy frocks. But an adult reader assumes some discrepancy in income between the households. Ivy is originally depicted as a prissy, unsympathetic character, but after the first book the two girls realise they have a lot in common and become firm best friends. Not only that, Ivy is revealed to be every bit as devious as Bean. The message: Some kids are rich, others not so much, but they’re all just kids in the end.
Wimpy Kid, Dog Days — Holly Elizabeth Hills is one of Greg’s classmates and also an unrequited love interest. Greg tries to impress her but can’t. Her family is shown to be wealthy, playing on the old folk tales in which lovers are kept apart due to differences in class and status. The sister is portrayed as tyrannical, spoiled and selfish. The message: While being rich doesn’t necessarily make a girl undesirable, the existence of the sister conveys the idea that the riches themselves have contributed to her personality.
“I have dreams about those shoes. Black high-tops. Two white stripes.”
All Jeremy wants is a pair of those shoes, the ones everyone at school seems to be wearing. But Jeremy’s grandma tells him they don’t have room for “want,” just “need,” and what Jeremy needs are new boots for winter. When Jeremy’s shoes fall apart at school, and the guidance counselor gives him a hand-me-down pair, the boy is more determined than ever to have those shoes, even a thrift-shop pair that are much too small. But sore feet aren’t much fun, and Jeremy comes to realize that the things he has — warm boots, a loving grandma, and the chance to help a friend — are worth more than the things he wants.
Harry Potter — It’s impossible to consider the ideology of wealth in the Harry Potter series without thinking of the rags to riches tale undergone by the author herself. In the Harry Potter universe the Black family is one of the mega wealthy. But Sirius Black was not born wealthy — he inherited 12 Grimmauld Place and this made him rich. He is fairly generous with his wealth. Gilderoy Lockhart is worth quite a bit. Harry Potter himself is also rich, especially for a twelve year old. He has inherited. It is extrapolated that after the series ends Harry goes on to become very rich. The Malfoy family and Bellatrix Lestrange are also wealthy. A lot of these rich characters are intermarried and related, keeping wealth in the family, in aristocratic tradition. The message: You don’t have to be all that great of a person to be born rich, but if you’re good like Harry you may well become rich through hard work, humility and dedication to a cause.
The Hundred Dresses — This book is about a modest, middle-class town whose children are strangers to poverty. Until one day, that is. These days it’s hard to tell the poorest children (in real life) by looking at them — clothing has come down in price and decent chainstore clothing is available cheaply from second hand stores. But in earlier eras clothing was prohibitively expensive and it was easy to tell the poor children at a glance. The message: Don’t judge people on their appearance. There is always more going on than you realise. Show compassion for those less fortunate.
Strays Like Us — Molly Moberly has been poor all her life and is even now living in poverty with a great aunt, but it turns out she has a rich grandmother who will now be her benefactor, of sorts. The grandmother is a lonely hypochondriac who won’t leave her bed. The message: If you have a destitute personality, money can’t buy happiness. You’re better off being modestly poor but mentally well.
Best friends Sofia and Maddi live in the same neighborhood, go to the same school, and play in the same park, but while Sofia’s fridge at home is full of nutritious food, the fridge at Maddi’s house is empty.
Disenfranchised people with little power make easy targets.
The main character of classic children’s book Heidi is rewarded by material wealth for moral virtue, with the following implicit message: If you are good, wealth will come your way. Ergo, if you’re not wealthy, you obviously are not good enough.
THE MYTH OF MERITOCRACY
Institutional classism cannot be confronted without dealing with its accompanying myth of meritocracy, which suggests that if a person has a lower social class than they would like, they can “pull themselves up by their bootstraps,” because “anybody can get ahead if they try.” This mentality leads to faulty assumptions that people who have a lot earned it and people who don’t have a lot haven’t tried enough. Debunking this myth presents a challenging dialogue in that it intersects with class privilege, and os those who do have wealth may get defensive that they deserve what they have and have “earned it”.
Reframing Difference in Organisational Communication Studies by Dennis K. Mumby
My schooling gave me no training in seeing myself as an oppressor, as an unfairly advantaged person, or as a participant in a damaged culture. I was taught to see myself as an individual whose moral state depended on her individual moral will.
A Bluebeard retelling like Rebecca feels outdated now because the entire revelation rests on the ‘surprise’ that a genteel, upper-class member of the aristocracy could possibly be a murderer. The ship has sailed if you were hoping to tell that kind of story.
Writers—especially comedy writers—are often told: when mining character for comedy, always punch up.
This bit of advice means, in effect, that the underdog must win. The underdog has the last laugh. Ideally, the poor underdog is also likeable. That papers over a lot.
But in real life, the underdog often loses. What if you don’t want to create comedy? What if you want to create a realist setting in which rich folk often win, precisely because of their resources? What if you need to say something a bit more… true?
Annie Proulx’s short stories make for an excellent case study in how to create a rounded cast of downtrodden characters who neither win nor lose, but who plod along in their lane, no more or less enlightened than the rich bastards who blow in to their natural worlds. Proulx’s fatalistic world view definitely helps her convey the idea that we are all products of our environment, and that wealth or lack thereof is part of what shapes us. Her rugged, harsh landscapes also lead the reader toward an egalitarian view of humankind, in which everyone is the size of the ant in comparison to the mountains and plains, and everyone is therefore equal.
The Beverly Hillbillies gets a pass precisely because the rich milieu is satirised: The culture and society of Beverly Hills is depicted as obsessive and superficial. The locals have an unhealthy obsession with money, social-climbing, and the latest fashions. The Beverly Hillbillies are, in contrast, straight talking honest folks, who never wear a mask. They know exactly who they are, and are therefore happy in themselves, free from pecking-order pressures.
I’ve never given poor people credit for having noble souls, on the pretext that they are poor and only too well acquainted with life’s injustices. But I have always assumed that they would be united in their hatred of the propertied classes. Gegene has set the record straight on that score and taught me this: if there is one thing that poor people despise, it is other poor people.
The Elegance Of The Hedgehog, Muriel Barbery
The psychological effect of poverty is what lasts. You can send in rice to heal them and for energy but beware of giving energy to desperate people. They’re going to use it…. The hunger is bad but then you’d need about nine million therapists, who’d never be equipped anyway.
Header painting: Arthur Dixon – The King’s Daughter
The bestselling, comprehensive, and carefully researched guide to the ins-and-outs of the American class system with a detailed look at the defining factors of each group, from customs to fashion to housing. Based on careful research and told with grace and wit, Paul Fessell shows how everything people within American society do, say, and own reflects their social status. Detailing the lifestyles of each class, from the way they dress and where they live to their education and hobbies, Class is sure to entertain, enlighten, and occasionally enrage readers as they identify their own place in society and see how the other half lives.
To The Manor Born is a British romantic comedy series written by Peter Spence which aired from 1979 to 1981. The actors reunited for a Christmas special in 2007. The writer is also known for Rosemary & Thyme and Not The Nine O’Clock News. Spence is educated in politics and American studies, which come across in his one-liners — these English characters have a contempt for all things American and there is a stark division between the blue bloods and the Labour government. He married into the family that runs this estate, so I can’t imagine anyone better positioned to write from an outsider’s perspective about a small English community set around a parish than Peter Spence.
SETTING OF TO THE MANOR BORN
Characters Who Stand In For Subcultures
Oftentimes when two characters clash in fiction, those individuals stand in for the clash between groups of people irl. This elevates an otherwise simple comedy or domestic drama. In Hud we have a clash between old values and new (1960s) values of the American South. In 2017 we saw a similar clash in Three Billboards Outside Ebbing, Missouri, in which certain characters exemplified racist, insular attitudes. Others struggle to deal with the new, kinder culture. Still others display progressive values. In To The Manor Born we have a very British clash between aristocracy and the nouveau riche — two very different kinds of rich, but both rich all the same, and therefore foreign to the vast majority of the audience.
TO THE MANOR BORN STORY STRUCTURE
Structure Of A Transgression Comedy
Each episode of To The Manor Born conforms to the transgression comedy. This is a perfect structure for two characters whose modus operandi — and main character attribute — is to pretend they are something they are not.
Discontent: someone is unhappy about something
Transgression with a mask: peculiar to comedy (and, incidentally, to noir thrillers)
Transgression without a mask: midpoint disaster when the mask is ripped off
Dealing with consequences
Spiritual Crisis: happens in almost every story
Growth Without a Mask
The stand-out example of this comedy structure is Tootsie, but can be seen all over comedy, including many episodes of The I.T. Crowd.
Returning to To The Manor Born after a long time (it was a series I grew up with), I was slightly surprised to see that Richard DeVere is set up as an equal insofar as screentime and empathy goes. My memory is that this is a story about Audrey. We actually meet Richard first, as he pulls into the village, setting him up as the viewpoint character. Like Richard, we are amused as outsiders by the eccentricities of the vicar. Richard comes across as very reasonable — we sympathise with him.
We soon see that Richard wants what he wants and stops at nothing to get it. He’ll even crash a funeral gathering to get his dream house. Richard reveals himself to be a trickster, though we don’t know the extent of this until episode two, when we learn that he is part Czechoslovakian, part Polish. (This is the perfect example of transgression comedy in which ‘the mask’ comes off. Richard DeVere is revealed to have a Czech birth name. )
Richard’s shortcoming is that he uses people to advance himself socially, and this makes him blind to whatever else is going on peripherally. He demands to be treated with respect, and in the business world he no doubt gets it, but here in blue blood territory he is starting from the bottom and must earn respect in a foreign environment.
Audrey fforbes-Hamilton is presented immediately as a trickster. The trickster is a very popular archetype with audiences, and we needn’t sympathise with them at all because they are so interesting. Tricksters make plans and follow them through. All we need in order to sympathise with a character is right there. We don’t even have to agree with their morality, and we wouldn’t agree with Audrey’s if we knew her in person — Audrey is a pragmatic, gold-digging schemer who will happily use people to get what she wants.
Audrey is also part of a long British tradition of comedic, socially aspiring women, which were very popular sit-com fodder in the 1970s and 80s, and which may be making a comeback.
These women care about no one but themselves and Audrey is probably on the sociopathic spectrum, treating all people as tools, failing to even recognise the emotion of sadness after her blue blood husband dies of double pneumonia and good living. An older, American analogue would be Scarlett O’Hara in Gone With The Wind, in that Peter Spencer uses the same trick — he surrounds Audrey with people who do like her. This tells the audience that bad characters can’t be all bad.
Audrey and Marjory are among the second-to-last generation of toff women who were never expected to work, trained only in social manners and managing domestic staff. The very last of that class included women such as Princess Diana, born 1961. Audrey and Marjory would have been born around 1940, same as Penelope Keith. Audrey’s other shortcoming is that she’s just not fit for integration into regular life, even though that is exactly what is demanded of her now that England changed markedly after the war. Audrey has no marketable skills. Unless she marries rich again there is no place for someone like Audrey, and this is a very real problem for her. We could dig more deeply and it says something serious about upper-class women, and how a sexist dichotomy imprisoned them, in its own way.
Richard wants the dream house to impress his business pals, and also to pass himself off as old money. Audrey and Marjory’s xenophobia shows us that Richard has been up against racism his entire life, and we can see why he might want to offload his continental heritage to make life easier for himself.
Audrey wants to continue living in Grantleigh Manor, which has been in the family (her former husband’s family?) for 400 years. I doubt this heritage factor is important to her in the least — Richard pulls her up when she claims certain traditions are ancient when they’re really only new. Audrey wants to stay in the house to maintain her prestige in her community. It is a huge comedown for an aristocratic woman to be ousted from the family manor.
In episode one we are shown Audrey’s history — she had an ‘arranged’ first marriage (arranged by herself), and we’ve not surprised to learn in episode two that she has designs on Richard DeVere, not for him but for the manor. It’s also no surprise because it’s right there in the title. The title is so good because there is irony in it. Audrey is no more deserving of that manor than anyone else. I feel like this show gave modern culture the phrase ‘to the manor born’ but it goes back much further — To The Manner Born is a play on the phrase “to the manner born,” from Shakespeare’s Hamlet.
The desire-line ‘to marry Richard and move back into Grantleigh Manor’ will sustain the entire series. And because this is a romantic comedy we know the two will get together eventually.
What keeps them apart over the course of three seasons are mini-desires that are either fulfilled or stymied in the course of one half-hour episode.
01: Richard wants to buy Grantleigh whereas Audrey wants to continue living there as a happy widow. (The sustaining desire-line is established.)
02: Richard wants to find a social secretary to help him integrate into the village without impacting on his role as CEO of his supermarket chain. Audrey is not at all happy about being ousted into the much smaller property across the meadow, but wants to reclaim some dignity of sorts by tricking Richard into embarrassing himself by thinking someone else has moved in instead — someone he can use. In this episode Audrey gets what she wants in a small way, while Richard has already got what he wants in a big way — the manor.
03: Audrey wants to turn Richard into a church-going man. This is one concrete improvement she can make to a man she wants to turn into marriageable material. (Marriageable in her own eyes, that is.) Peter Spence is sure we know that this is part of a larger scheme by having Audrey tell Marjery so.
04: Audrey continues on her Richard improvement strategy. He must learn to protect the nation’s heritage. Instead, he has replaced an ugly but culturally significant mantel with a safe full of cash. Audrey wants him to feel bad about this. (It backfires when she ends up with the ugly mantel in her lodge.)
05: Audrey wants Richard to come to her on “bended knee” to ask for help in organising an annual ball. She wants to maintain her former status in the community and also impress Richard with her organising skills.
06: In episode six, Mrs Poo is the character whose desire sets the story going — she is bored at the Manor and wants a party. But because Mrs Poo is a minor character, her desire is also minor, and can be considered a McGuffin desire. It is only once Audrey attends the party that her own story-worthy desire kicks in — she wants to show the village that she is doing well financially. For that she must go on her usual overseas holiday. But as she explains to Brabinger, it’s appearing to go on holidays that is the main thing, not going on the holiday itself. It makes sense for Audrey’s character that she doesn’t enjoy overseas holidays in the slightest. This is shown via her reading a holiday journal from the previous year, in which she was bored. Outside her own very specific environment, the xenophobic Audrey flounders. This harks back to the wider, enduring desireline of Audrey — regain her former position or die. Audrey is the human equivalent of an insect which can only survive on one single blighted species of grain.
07: At the beginning of the episode it is revealed that Audrey has been having cash flow problems. Ordinarily, a real life person would ‘want money’, but because this is a comedy and because Audrey is a comic archetype, Audrey doesn’t really want money. (For her, such a desire is crass.) She is ironically upbeat about the late bills and wants to bounce a cheque at one of Richard’s supermarkets to get her own back. He took her house, after all. Then she wants to know what’s going on at the Manor, because Richard has a clearer desire in this episode — in an attempt to appear more English he is staring in an advert for Fontleroy’s Old English Tonic. When this is revealed to Audrey she has an about turn and her desire changes — she wants to star in the advert herself, considering herself more genuinely suitable for the job.
Romances are so difficult to write because the main opponents are the lovers, to each other. This series follows the fight-fight-kiss-kiss tradition of romance, where the audience sees from the very beginning that two characters are perfect for each other, and now we must (hopefully) enjoy watching them come to the same realisation, swapping witty banter (and it had better be witty).
A mistake some romance writers make when writing these fight-fight-kiss-kiss stories is simply creating personalities that clash. That’s not enough. Their agendas need to clash. Agenda = desire + plan, so their desires and their plans must clash as well.
The manor provides a very solid goal (desire) for both of them, but they can’t both have it.
Audrey and Marjory have a longterm, sisterly relationship in which Marjory is often the voice of reason, speaking for an audience who would otherwise question Audrey’s motives. A staple of British comedy is the stupid sidekick. In The Vicar of Dibley we have Alice, in Only Fool’s and Horses we have Rodney Trotter, and so on. This dynamic is also utilised frequently in cop and buddy comedies, where one guy is wily and the other dimwitted, getting them into trouble.
What is Audrey’s overall plan? After the wedding she plans to stay in the Manor, living life as before, only without her husband. This plan is soon dashed when she is told she is in debt. She has a plan to raise funds, but has no idea about how hard money is to come by, so these plans fail and she is required to leave her family manor.
Her plan switches and she intends to win over Richard. She’s planned this before the other characters realise — she has purchased the lodge, very nearby. Audrey understands Richard completely and knows that in order to win his heart she has to prove herself as wily and socially aspirational as he is himself. All of these trickster stories are flirtation. And the audience loves to see them fall. These are powerful people we’re laughing at, which makes it satire.
The big struggle scene in each episode of To The Manor Born involves witty back-and-forth dialogue between Richard and Audrey, often with an audience such as Marjory, sometimes alone. Spence started out as a gag writer for radio, but as he explains in the special features, Penelope Keith told him she’s not a gag actor. Also, gags would not be in keeping for a lady of the manor, so that explains why the big struggles happen in dialogue.
The writer kept the winning and losing about even, to show the audience that these two characters are made for each other. Audrey succeeds in getting Richard to church, but in the next episode she succeeds in conveying the importance of historical buildings but fails at the same time — she didn’t want the old mantel in her house. In “The Grapevine” episode, both Audrey and Richard are victims, discovered by the whole village coming out of the woods at night. They’ve been observing badgers.
In “A Touch Of Class”, Audrey attempts to trick Richard into eating a terrible mean, but she has been outfoxed by her drunkard temporary butler, who serves up a delicious meal, cooked by a renowned good cook as a favour.
A look at the structure of a transgression comedy (above) maps the ‘anagnorisis’ phase onto the ‘coming off of the mask’.
Over the course of the first series of To The Manor Born we see Richard realise that he has to learn a new culture and make a big effort to fit in, as custodian of the land he now owns. The whole village now knows that he’s not old money, so he’ll have to try extra hard to fit in. He realises in episode two that when you’re living among blue bloods, they’re not always happy to do what you want them to do, e.g. be your social secretary.
As for Audrey, she starts off resenting Richard, then realises she might be able to marry him and return to her manor, then she realises she’ll have to mould him into the sort of man she would want. Finally by the end of season one it is clear both of these characters are more similar than they are different, and Audrey realises she likes him as a person.
The back-and-forth one-upmanship and the discovery that each of them is duplicitous as the other will culminate at the end of season three in a wedding. The wedding episode drew huge viewer numbers in 1981. It was the only episode not written by Spence, for some reason. Perhaps Spence felt more comfortable writing transgression comedy than in tidying up a romance with a happy ending. These are two different skills, and two different sensibilities.
Strays Like Us is a 1998 middle grade novel by American author Richard Peck. (155 pages)
Peck not only understands the fragile emotions of adolescents, he also knows what kind of characters will pique their interest. In this tender novel, he paints a richly detailed portrait of Molly, a drug-addict’s daughter sent at the age of 12 to live with a great-aunt she has never met. Molly soon discovers others like her in this small town full of secrets.
In March 1907 Katherine Mansfield’s mother, Annie Beauchamp, held a garden party at their residence, 75 Tinakori Road, Wellington, New Zealand. On the same day, a poverty-stricken neighbour was killed in a street accident.
In 1921, on her 32nd birthday, Katherine Mansfield finished writing “The Garden Party”. She had taken a month to recover from her previous story, “At the Bay“. She felt that “The Garden Party” was better than “At The Bay”, “but that is not good enough, either…”
CRY AGAINST CORRUPTION
Commentators have said that “The Garden Party” is one of Mansfield’s ‘cry against corruption’ stories. These stories convey outrage at a society with great inequalities, and where the privileged ignore the injustice, getting on with their own lucky lives in a self-imposed bubble. ‘Self-imposed bubble’ describes the anti-epiphanies and half-epiphanies which characterise Mansfield short stories. Mansfield expects readers to bring quite a bit to the ending of this one. You will be left wondering, “Wait, what am I to make of that?” That’s the plan. A Modernist writer expects every reader to bring something a little different to a story, because of the belief that there’s no such thing as ‘The Truth’, there are only different versions of it. Every reader is meant to experience this story slightly differently.