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Lolly Willowes or The Loving Huntsman by…

Lolly Willowes or The Loving Huntsman (original 1926; edition 2004)

by Sylvia Townsend Warner

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6812814,027 (3.89)1 / 132
Title:Lolly Willowes or The Loving Huntsman
Authors:Sylvia Townsend Warner
Info:Kessinger Publishing, LLC (2004), Paperback, 256 pages
Collections:Your library
Tags:Modern English Lit., Writing by Women

Work details

Lolly Willowes, or The Loving Huntsman by Sylvia Townsend Warner (1926)

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    Stuck-in-a-Book: This is another book which uses the fantastic to combat spinsterhood.
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    One Fine Day by Mollie Panter-Downes (GeraniumCat)
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    Stuck-in-a-Book: Another great work of the fantastic.

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Showing 1-5 of 28 (next | show all)
I really enjoyed this story of Laura who wants to learn astronomy as a school girl but is never given an opportunity for anything like that. Instead, she takes on the housekeeping duties for her father's household after her mother's death and is pushed into a brother's household once their father passes away. It isn't until she is in her thirties in the 1920s that she finds a way to push away from the conventions and find a space for herself somewhere else. ( )
  queen_ypolita | Jul 19, 2016 |
Sylvia Townsend Warner was a feminist author in England who began publishing with her first novel at about the time that Virginia Wool published her seminal essay, "A Room of One's Own"*. Warner ran in different circles and was friendly with a number of the "Bright young things" of the 1920s that were famously satirized by Evelyn Waugh in his short novel Vile Bodies. Warner's first major success was this novel, Lolly Willowes, published in 1926.

Lolly Willowes is the story of a middle-aged spinster who moves to a country village to escape her controlling relatives and takes up the practice of witchcraft. The novel opens at the turn of the twentieth century, with Laura (Lolly) Willowes moving from Somerset to London to live with her brother, Henry, and his family. Her move comes in the wake of the death of Laura's father, Everard, with whom she lived with at the family home, Lady Place. Laura's other brother, James, moves into Lady Place with his wife and his young son, Titus, with the intention to continue the family's brewing business. However, James dies suddenly of a heart attack and Lady Place is rented out, with the view that Titus, once grown up, will return to the home and run the business.

Laura finds herself feeling increasingly stifled both by the obligations of being a live-in aunt and living in London. When shopping for flowers on the Moscow Road, Laura has an epiphany and realizes she must move to the country. Buying a guide book and map to the area, she decides upon the (fictional) village of Great Mop as her new home. Against the wishes of her extended family, Laura moves to Great Mop and finds herself entranced and overwhelmed by the chalk hills and beech woods. When out walking, she makes a pact with a supernatural force that she takes to be Satan, allowing her to remain in the Chilterns rather than return to her duties as an aunt.

In the meantime, Titus, having visited Laura, has decided he wants to move from his lodgings in Bloomsbury to Great Mop and be a writer, rather than inheriting the family business. Laura is frustrated by this but is able to call upon black magic to discourage Titus to the extent that he decides to get married and retreat to London. The denouement of the story leaves Laura acknowledging that the new freedom she has achieved comes at the expense of knowing that she belongs to the 'satisfied but profound indifferent ownership' of Satan.

Warner's writing style is sublime. She demonstrates a subtle humor leavened with unexpected turns of phrase that delighted this reader. Her take on this satirical comedy of manners incorporates elements of fantasy that represent, metaphorically, the plight of women in the era before they "have a room" of their own. ( )
  jwhenderson | Apr 14, 2016 |
“One doesn’t become a witch to run around being harmful, or to run around being helpful either, a district visitor on a broomstick. It’s to escape all that – to have a life of one’s own, not an existence doled out to by others.”

I have wanted to read Lolly Willowes for ages, and yet for some unknown reason I read three other Sylvia Townsend Warner novels before tackling the one I have always assumed is her best known. It’s not an especially long book, but it wasn’t just the length which made me gobble it up in great gulps. Sylvia Townsend Warner’s writing is wonderful; she was a gifted, imaginative storyteller whose use of language is really quite lovely. Having read The Corner that Held Them, Mr Fortune’s Maggot and Summer will Show, I was already a fan of Sylvia Townsend Warner’s writing, so I had big expectations of Lolly Willowes which I know a lot of people love. Thankfully I wasn’t disappointed, hence the gobbling up of it. Even in the midst of the gobbling up however I was often stopped in my tracks by the most glorious prose, descriptions of utter perfection.

“…she looked with the yearning of an outcast at the dwelling so long ago discarded. The house was like an old blind nurse sitting in the sun and ruminating past events. It seemed an act of the most horrible ingratitude to leave it all and go away without one word of love. But the gates were shut, the time of welcome was gone by.”

The story itself is tender and a little magical, and I simply adored the character of Lolly Willowes herself. Laura Willowes (to allow her, her given name) is a dutiful unmarried daughter of twenty eight when her beloved father dies. Laura had always enjoyed her quiet life in the country, sometimes gathering herbs and making distillations with them. Laura is at one with the countryside, and its yearly round of traditions. Born some years after her two elder brothers; Henry and James, Laura grew up almost as an only child, the apple of her father’s eye. Laura has run her father’s home with ease, helped by the servants, people of good old country stock, who make beeswax furniture polish and pigeon pie. Upon her father’s death Laura is devastated; everything she knows and feels secure in is lost. Her elder brothers and their wives take control, it is quickly decided – that despite Laura having a good income of her own left to her by her father – she should go away from the country to London and live with Henry and Caroline and their two young daughters. Between them; Henry, James and their wives make all the decisions, what furniture Laura will take with her, and how useful she will be. London life will be very different, but Laura submits to the decisions made for her.

Of course Laura is useful, for that is how she is made, she proves herself invaluable. It is one of Henry’s young daughters who bestow the name Aunt Lolly on Laura – and the name sticks and Laura is Laura no longer, her life no longer her own. Laura settles her things into the small spare room in the London House that she will now call her own, while her brother and sister-in-law set about introducing her to potential, suitable husbands.

For twenty years Aunt Lolly makes herself indispensable to family life in London. Holidays are taken at Lady Place, her former home where her brother James his wife and son Titus live. Aunt Lolly is taken for granted, she is so very reliable. The years slip by quickly – the girls grow up and begin to make lives for themselves. A war is fought; the world is a different place. In the 1920’s Laura finds, at forty-seven, that she wants something different for herself. She has the feeling that something is pulling her towards the countryside again, feeling herself at one with the natural world, she longs for woods, and hillsides. Laura decides to break free of the life which has been organised for her realising suddenly that she can have a life of her own. Laura’s realisation coming in a greengrocer’s shop of a quite old fashioned kind;

“Laura looked at the bottled fruits, the sliced pears in syrup, the glistening red plums, the greengages. She thought of the woman who had filled those jars and fastened on the bladders. Perhaps the greengrocer’s mother lived in the country. A solitary old woman picking fruit in a darkening orchard, rubbing her rough fingertips over the smooth-skinned plums, a lean wiry old woman, standing with upstretched arms among her fruit trees as though she were a tree herself, growing out of the long grass, with arms stretched up like branches. It grew darker and darker; still she worked on, methodically stripping the quivering taut boughs one after the other.”

Laura finds herself drawn to the countryside of Buckinghamshire, and the tiny village of Great Mop. Her family are both horrified and astonished at Laura’s announcement, and at first they don’t take her quite seriously. On finding her brother has mismanaged her money; Laura can only afford to rent a couple of rooms in the cottage of Mrs Leek. Here in two small rooms and roaming free in the countryside that surrounds the cottage, Aunt Lolly becomes Laura again, her happiness is complete, and she finds within herself the woman she should always have been. There appear to be unusual forces around the village of Great Mop and the nearby countryside, forces with which Laura is at one. Here the story does get a little odd – but I knew that before I started – the reader has to suspend belief a bit, that’s all. When Titus turns up to stay with his good old Aunt Lolly; his presence upsets the delicately balanced atmosphere of the area, and unleashes forces, that finally bring Laura to an understanding of who she really is.

Published three years before Virginia Woolf’s A Room of One’s Own, Lolly Willowes is Sylvia Townsend Warner’s assertion that all single women should have their own liberty and lives of their own not dictated for them by others. ( )
  Heaven-Ali | Dec 12, 2015 |
A pleasant enough story at the beginning, but ending in a mystico-psychological way that annoyed me. ( )
  JRuel | Mar 18, 2015 |
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Author nameRoleType of authorWork?Status
Sylvia Townsend Warnerprimary authorall editionsconfirmed
Waters, SarahIntroductionsecondary authorsome editionsconfirmed
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First words
When her father died, Laura Willowes went to live in London with her elder brother and his family.
Preference, not prejudice, made them faithful to their past. They slept in beds and sat in chairs whose comfort insensibly persuaded them into respect for the good sense of their forbears. Finding that well-chosen wood and well-chosen wine improved with keeping, they believed that the same law applied to well-chosen ways.
So Laura read undisturbed, and without disturbing anybody, for the conversation at local tea-parties and balls never happened to give her an opportunity of mentioning anything that she had learnt from Locke on the Understanding or Glanvil on Witches. In fact, as she was generally ignorant of the books which their daughters were allowed to read, the neighboring mammas considered her rather ignorant. However they did not like her any the worse for this, for her ignorance, if not so sexually displeasing as learning, was of so unsweetened a quality as to be wholly without attraction.
Being without coquetry she did not feel herself bound to feign a degree of entertainment which she had not experienced, and the same deficiency made her insensible to the duty of every marriageable young woman to be charming, whether her charm be directed towards one special object, or in default of that, universally distributed through a disinterested love of humanity.
She had thought that sorrow would be her companion for many years, and had planned for its entertainment.
After some years in his house she came to the conclusion that Caroline had been very bad for his character. Caroline was a good woman and a good wife. She was slightly self-righteous and fairly rightly so, but she yielded to Henry's judgment in every dispute, she bowed her good sense to his will and blinkered her wider views in obedience to his prejudices. Henry had a high opinion of her merits, but thinking her to be so admirable and finding her to be so acquiescent had encouraged him to have an even higher opinion of his own.
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Book description
From the book cover:
"When I think of witches, I seem to see all over England, all over Europe, women living and growing old, as common as blackberries, and as unregarded. . . and they think how they were young once."

Lolly Willowes is a twenty-eight-year-old spinster when her adored father dies, leaving her dependent upon her brothers and their wives. After twenty years of self-effacement as a maiden aunt, she decides to break free and moves to a small Bedfordshire village. Here, happy and unfettered, she enjoys her new existence nagged only by the sense of a secret she has yet to discover. That secret--and her vocation--is witchcraft, and with her cat and a pact with the Devil, Lolly Willowes is finally free. An instant and great success on its publication in 1926, Lolly Willowes is Sylvia Townsend Warner's most magical novel. Deliciously wry and inviting, it was her piquant plea that single women find liberty and civility--and her pursuit of the theme Virginia Woolf later explored in A Room of One's Own.
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Amazon.com Amazon.com Review (ISBN 0940322161, Paperback)

Sylvia Townsend Warner began her literary career as a poet, and her first novel is as nimble and precise as poetry and reads as if it might have been composed to a meter. Like some of Jane Austen's fiction, Lolly Willowes is a comedy about the perils, pleasures, and consolations of spinsterhood, and the predicament of its heroine is at first deliberately and deceptively commonplace. "Aunt Lolly, a middle-aging lady, light-footed upon stairs, and indispensable for Christmas Eve and birthday preparations," is nevertheless troubled by vague, indefinable longings, a hankering after the solitude of woods and dark rural places. At last a revelation in a greengrocer's leads her to abandon her outraged London family and take rooms in an obscure hamlet, Great Mop.

Here her neighbors keep curiously late and noisy hours, but otherwise allow her to pass the time "in perfect idleness and contentment." She is eventually pursued into her idyll, however, by her nephew, and Titus's familiar small demands drive her to rage and despair: "No! You shan't get me. I won't go back. I won't.... Oh! Is there no help?" She is promptly visited by a mysterious black kitten, who fastens its claws upon her hand and draws blood. At once she understands. The kitten is her familiar, and has been sent by dark forces. "She, Laura Willowes, in England, in the year 1922, had entered into a compact with the Devil."

She has, in short, become a witch--or, rather, she has rediscovered her own slumbering diabolical potential, in the unlikely setting of a Buckinghamshire hamlet that--as she now realizes--is peopled entirely by witches. Laura soon attends a rollicking but ultimately rather disappointing midnight Sabbath; she is visited by Satan in the shape of a pleasant-faced man in a corduroy coat and gaiters who rids her of Titus and restores her to privacy and peace. She is left with a vision of the women "all over England, all over Europe ... as common as blackberries, and as unregarded" to whom he has offered the promise of adventure, "the dangerous black night to stretch your wings in." It is this vision that lends the novel its subversive edge, that ultimately allies it less with the work of Austen than with that of Virginia Woolf, and with later feminists. They "know they are dynamite," says Laura of Satan's women, "and long for the concussion that may justify them." --Sarah Waters

(retrieved from Amazon Thu, 12 Mar 2015 18:15:22 -0400)

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Sylvia Townsend Warner's first novel, published in 1926, is magical and subversive, anticipating the ficton of writers like Angela Carter and Jeanette Winterson.

(summary from another edition)

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