I wish I had found this book years ago, when I was twelve, and writing endlessly in a diary, and wishing I lived in the pastoral British countryside, or that my life were in other ways more exciting and romantic than it was. Or perhaps my first encounter should have been at sixteen, when I began writing novels about love affairs, though I had never had a love affair of my own. I would have identified instantly with Cassandra, the heroine of this novel, a charming writer and a sharp observer of life. I would have loved everything about the novel whole-heartedly, without the ability to critical, and the book could have been a comfort and a recourse and a haven to me, like all my other alternative identities (just call me Jane Eyre) that sustained me through those crucial formative years.
Instead, I discovered the book this summer when I was stranded in yet another airport and worried I would run out of reading material (a fear that plagues me in airports; that and the fear that I will run out of pens, and so for that reason usually stash half a dozen in various zippers of my bag, along with refills). I remember being all alone in the bookstore, a little cubby in a long concourse dotted with coffee vendors and fast-food stores, and feeling glad to be able to indulge, in an airport of all places, in one of my favorite activities: browsing the literary fiction shelves, gleaming under the golden lights, and touching all the pretty covers whose names were as yet unfamiliar to me. Better yet, this cubby had its designations of Fiction and then two whole shelves preening under the name of Classics, which made it easy for me first and nonchalantly to act as though my literary tastes of course veer to the classic (for the benefit of myself and the saleslady) and second to trust that I would encounter a book I could actually enjoy, or at least love, or at least deeply appreciate–because along with the fear of running out of reading material is the fear of being stuck on a plane for three-plus hours with a bad book, and then what will I do? I can’t write on planes for fear that the person next to me is slyly glancing at my page, and judging me.
Part of the scholarly quietude of the cubby was due to the fact, much to my gratitude, that the saleslady was neither chatting on a phone, nor chatting to a co-worker (she had none), either of which activity makes me feel embarrassed and awkward about approaching the cash register, interrupting a private conversation. No, this saleslady was reading, and this lent such an encouraging atmosphere to the whole place that I took my time browsing, smiling with familiarity as well-known and well-loved works met my eyes. It is a truth universally acknowledged by all bibliophiles that just being near books is therapeutic, with its promise of delicious pleasures and uncharted territories in store.
The difficulty was, those works with the eminence to be marked Classics were, by and large, works I was already familiar with, or I was sure I did not want to undertake (hello, War and Peace, I am passing over you once again) while on a plane and forced into an uncomfortable position, not just cramped but also queasy (this trip coincided, as it would later turn out, with my first month of pregnancy). Smith’s book jumped out at me for several reasons: the title was attractive, it was not a recent book and therefore not subject to the same degradation of taste, or of prose, that so many contemporary novels suffer from, and all the reviewers said, with an air of reverent astonishment, “I absolutely love this book.” I knew I had to have it. And when I shyly slid it onto the counter by the cash register, the saleslady noted with surprise and delight that she had never heard of it, either, but we both agreed that it looked eminently readable. Sharing my treasure–because that is the other thing bibliophiles do–I informed her that there was a second copy on the shelf, if she wished.
The final verdict: I loved this book. I loved everything about it: the sly and precocious voice of seventeen-year-old Cassandra, who is quite wise in some ways and endearingly naive in others. I loved the premise that she is keeping a diary and reporting on things that happened, so she is allowed reflection and commentary on her own experience while, at the same time, Smith manages to craft vivid and absorbing scenes. In fact it’s quite wonderful the way Smith maintains the device of the diary while still delivering so much of a novel: suspense and foreshadowing, brilliant and vivid characterization, lively and pitch-perfect dialogue, and a roundness, a sense of fullness and completion, to each entry/scene. Not only did this book completely absorb me, but it actually made me resigned to the news that my flight was canceled, I would have to be rebooked for the next day, and the airline was putting me up in a creaky, cramped, and musty hotel room, as airport hotels inevitably are. There is no greater testament to the power of a book than to be able to say of it, when I learned my travel plans were unfortunately extended, I immediately though, “Oh, goodie, I’ll have time to read.”
The story charts the fortunes, of lack of, the Mortmain family, whose patriarch wrote one brilliant book some time ago and has moved the household–three lively children, their eccentric and artistic stepmother, and a morally upright, defiantly generous, and incidentally very wonderful young man named Stephen–to a decaying old castle where he can pretend he is writing again, though everyone knows he isn’t. The two princesses, locked in their tower, have different responses to their fate of poverty and obscurity: lovely Rose is defiant and moody, while Cassandra cheerfully resigns herself to making art, being the sly observer, and also serving as the self-nominated linchpin of sanity that holds everyone else together. Stephen nobly sacrifices himself for the family, the petted son Thomas contributes the occasional line, and the eccentric Topaz, who loves the idea that she gave up her own modeling career to devote herself to an unacknowledged genius, takes advantage of the time to prance naked about the countryside and to paint.
Enter the princes, one for each girl: Simon and Neil, the new landlords of the nearby estate–incidentally very rich landlords, both appealingly good-looking in their own way, and who introduce the novelty of sexual tension into the proceedings. The plot unfolds with mystery, suspense, love affairs secret and overt, midnight bathing, some dancing around a fire, overheard conversations, the swilling of liquor, picnics, more dancing, music, dinners and balls, beautiful clothing, and a long-awaited engagement which turns out to create more complications that solutions. Throughout the characters, and the writing, is lively, charming, curious, interesting, sometimes surprising, and never dull.
In fact my only quarrel with the book–one endorsed by my twelve-year-old self, but formulated by the inner incurable romantic–is that (spoiler alert!) the tangled love affairs never resolve themselves as they should. That the book should come in the end to be about little more than the observation that the human heart is a rebellious animal and a fragile thing misses the beautiful opportunities opened by all the other threads the clear-eyed and witty Cassandra had been weaving into the stories she tells: history, fashion, art, longing and desire, class, wealth, dreams, and how to make sense of it all. My chief complaint, I suppose, is that Cassandra in particular does not end up with character I was fully in love with throughout, and thought was destined to be hers. I presume Smith wanted to leave me with a slightly ashen taste in my mouth, to resemble the hard truths that Cassandra learns, and the heartbreak she is left with. But I had a harder time swallowing this truth because it seemed to me that the Cassandra I had grown to love would never be so silly as to hang her heart on the moon for a man clearly not right for her. It was a disappointing character turn, and a disappointing end to the book.
Nevertheless, the story as a whole is so compelling–and the writing, really, so good–that I still love the book. I will keep it, I have and will recommend it to others, and someday when my daughter is twelve and scribbling all the time in her diary and not to be found without a book (that is to say, if she inherits any of the tendencies of her mother) I will hand it to her and say, “Read this.” Better than raising her on Disney princesses, any day.
Incidentally, the 2003 film I Capture the Castle is one of the few book-to-film adaptations that actually does the book justice. It was worth watching it to have the looks and mannerisms of the characters I had conjured in my head overlaid and replaced with that of the actors’ in order to soak in the beautiful cinematography, the lushness of the presumed English landscape, and the delicious costumes of the times. Plus, the film offers the benefits of Marc Blucas, Henry Thomas, Rose Byrne, Romola Garai, and Bill Nighy–all stellar actors, in my opinion, and quite a joy to watch. It did not appease me to see that movie stuck with the book’s ending rather than giving it the romantic rewrite for which I longed, but that I suppose means my imagination will have to step in. It was quite a habit of mine, when I was younger, to refashion beloved books and stories as I wished. Being able to revisit that former power, which I thought forgotten, leaves my current and my twelve-year-old self quite content.





