Perhaps first, though, I should say a bit about the book. Published in 1962, it opens as Berkeley University graduate student Cassandra sets out for home in the foot of the Sierra hills and the wedding of her identical twin, Judith. For Cassandra Judith is her alter ego, and it soon becomes clear that she is struggling psychologically with her sister's imminent marriage. The book is narrated chiefly by Cassandra, but a short yet not inconsequential section is narrated by Judith.
HERE'S JOHN'S REPORT:
Mark chose this book, and mentioned its solipsism when he put it forward.
Spoilers are required. The title gives the game away a
little, it’s no surprise that someone gets married, but if you want to come fresh
to this book don’t read this, or the blurb, or the biographical notes on the
author.
At the meeting Mark introduced the book almost with an
apology. He admitted he had tried to read it some years earlier. He had quite
liked it, but had not reached past 20 or 30 pages. His attitude was that the
first section of the book seemed very subtle.
However, the author was well known at the time of
publication, 1962. And probably most people reading at the time did
know a thing or two about the author, and perhaps came to the book with very
different expectations than our own. In terms of events, the book was judged by the group in
general to be slow moving, and retrospectively, at least in the first half, too
subtle. There is a sense, if you don’t recognize the context, and the when and
the why of the events, that not much is happening. Later, speaking for myself,
I realized how much subtle information was being introduced. It was generally
agreed that, in terms of its prose however, the book was an easy read, too easy in that it was a quick read, making
it too easy to miss important information, and did not seem deep.
One of blurbs called the book tragicomic. There was
agreement that there are some good one-liners, but it certainly isn’t
hilarious.
Ann said, bluntly, that she found the book very dated. I
suppose I agreed in a sense. It was to me about a strange distant world. There’s
a grandmother figure with traditional values, and as someone said, to general
agreement, the others are rebelling against her – but it’s a pretty
‘middle-class’ rebellion. The father is retired, an ineffectual intellectual, but
who also owns what they call a ranch. If it is a ranch it’s presumably run and
managed by someone else – but perhaps they just mean a ranch house. A couple (from
over the border) are living in a gatehouse and function as servants. The main family
seemed more English than American. The wife is dead, and he seems to be
drifting, and likes an occasional drink. None of them relate to the people in
their town, and are like English gentry in this way. Doug said he found all the
characters very strange. Someone said one of the main characters is ‘nuts’ – but others pointed out that all the other characters know this person
is nuts.
Doug said the writing was brilliant, but he didn’t like it. One
member of the group didn’t finish it, but said they had wanted to, just didn’t
have the time. Everyone agreed that this meant missing the best bit.
The book is in three sections, divided between the voices of identical twins Cassandra and Judith. It
was agreed that Judith, who comes in late, has ‘a real voice’, a different more
factual voice, and gets on with the story. Whereas Cassandra is
self-involved, living in her own head.
There are two outsiders, both doctors, and both, in their
own ways, more part of the ‘real world’, the world outside the family.
Significant things happen, but early on I didn’t know they
were happening. I don’t know much about weddings. I got it that the bride had a
white wedding dress, but (spoiler alert) I didn‘t know that other female guests
weren’t supposed to wear white, and couldn’t see what the fuss was about.
Another important event seems to be that a glass gets broken – I still don’t
know what all that’s about. Perhaps they had a set of two dozen and with one
broken they’ll have to throw them all away.
I imagine this book was well known at the time, and it’s useful
to know the context. Dorothy Baker was well known, and could be said to be part
of the Hollywood elite. She was married to a well-known poet. In 1938 she
published Young Man with a Horn (about Bix Beiderbecke, a (real-life) jazz
trumpeter, and one of the first famous early white jazz musicians.) This was made into a film starring Kirk
Douglas. In 1942 she published a book Trio, that proved too scandalous for the times,
and a play based on it, produced by her and her husband, was quickly shut down
because of protests. It is in this light, perhaps, that the subtlety of the
present book should be viewed. The author was clearly a modern woman, had
lived, and knew about the modern world but wrote the book in the early sixties, before the 60s really got
started, and perhaps did not want to (again) create too much of a fuss. She
died fairly young in 1968.
There was some agreement that the book was interesting, but
not all that enjoyable. I said I thought the women in the group might have got
more out of it, understood the mores better, but they didn’t seem to feel
strongly about this.
The group in general liked the book in the end. I must admit
I read the first half or so with some enjoyment, it did feel modern (considering
the author was born in 1907) and interesting, but I started to wonder if
anything much was ever going to happen. Plenty does happen; I just wasn’t alert
to the clues.
If you’ve read this account I don’t know whether you might,
or might not want to read the book. It is about women’s lives. The two women
are very different. These women could exist today, though, as someone said,
the characters reactions, and their society in general, would have been very
different.
One member, Jenny, said she thought it was clear from very
early on what was going to happen – quite the opposite of my own reaction. This
certainly isn’t a gentle book in the end. When the new husband comes in towards
the end there are some very dramatic and peculiar goings on...
EB: I have to say that I do agree with the rest of the group that the book (perhaps, as John says, because of the author's previous troubles) may be too subtle for its own good. I too missed some of the clues early on in the novel as to what was propelling Cassandra, thus missing some of the subtext, so that conversations and events seemed more mundane than I could see in retrospect they were meant to be, and nothing much seemed to be happening. I missed a crucial clue on the second page when Cassandra says that the bridge she can see from her Berkeley window 'took on the appeal of a bright exit sign in an auditorium that is crowded and airless'. Since up to this point she has talked, in a zippy, witty tone, only about leaving early for her sister's wedding, I took this to mean she just wants to get out of Berkeley to the wedding as soon as possible, and even though in the next few lines she says 'my guide assures me I'm not a jumper; it's not my sort of thing', it didn't occur to me that she is suicidal. The realisation only came to me later, and when it did her behaviour seemed much more explicable, and she seemed a more sympathetic character. (I don't think this is plot-spoiling, as I'm sure the author intended us to realise this from the start.) In this context, the deliberate (and dangerous) smashing of the glass by Cassandra that John mentions is understandable, and the fallout of the incident indicative of the push-me-pull-you relationship between the sisters that is at the heart of the book. With reference to this last, I disagree with John that the book is about anything so anodyne as 'women's lives'. As I see it, it is rather about the more unusual symbiotic relationship between a particular pair of biologically identical yet psychologically different twins, and their difficulty in achieving individuation in adult life.
Our archive discussions can be found here and a list of the books we have discussed, with links to the discussions, here
