The author was apparently an early pioneer of TV for and about working people, and it shows. The book is clear-sighted and tough minded but never cruel. Everyone's foibles and weaknesses and stupidities are clear, but not condemned: they're all human and there's compassion for everyone. Even the two characters who seem the most ludicrous comic relief are given intensely moving deep POV and powerful story elements. Life goes on: Mr Josser retires from his city office and wants to remove to the country; Doris Josser, the daughter of the house, leaves home to live with her posh (well, posher) friend Doreen; Connie’s Mayfair night club is raided (fourteen days without option); pursued by the threadbare Squales, the landlady Mrs Vizzard consoles herself with the thought that ‘it wasn’t as though he were a failure ... he just hadn’t succeeded yet’ and succumbs to his manifestly romantic, but latent materially conniving, advances – at least until he abandons her (almost on the eve of their wedding) for the wealthier Mrs Jan Byl, one of his clients whom he meets at a séance. As Glinert observes, it would scarcely last him a week and, regrettably, the wall-mounted vessel encompassing this gallery of delights slips her moorings, thus precipitating one of the novels’ finest comic moments. When the medium Mr Squales trips over a stray tin of salmon on the stairs, the adenoidally challenged Puddy explains apologetically: Stanley, Rod (2006). "Saint Etienne: Foxbase Alpha". In Dimery, Robert (ed.). 1001 Albums You Must Hear Before You Die. Universe Publishing. p. 668. ISBN 978-0-7893-1371-3. The ambitious narrative follows the residents of a South London boarding house: the widowed landlady; a couple and their daughter, a failed actress well past her prime, an overweight widower, another widow with the mechanic son as the apple of her eye and a newly arrived spiritualist. Starting at Christmas 1938, it ends on the same occasion in 1940. As such it takes in the growing threat of Hitler, the start of the War, Dunkirk and the Blitz, all while examining the minutiae of these Londoner’s lives. An actual précis of the plot would be hard to pull off as there’s just so much of it, but it does include young romance, old romance, politics, mental illness, murder, nightclubs, police raids, unsuitable flatmates, breach of promise suits and communion with the dead. There are also a lot of visits to Lyon’s Tea Houses, which I particularly like, as we don’t have those anymore and they do seem a perfect symbol of lost London.

One thing I absolutely loved about this novel was the feeling it exudes. Though the main character seemed to have more lows than highs, her relationship with her friends and family really brighten the story. I was really concerned about Alex in the beginning of the novel. Okay, I was seriously frustrated with her, but I’m so proud of the person she became by the end of the novel. I would elaborate more, but you’ll just have to read it to see what I’m talking about! Haha! I left this novel feeling like I had lived with all these people and been a part of their lives. This is a novel that captures London and its working class and makes them come alive. Satin and tat, threadbare and frayed at the edges. The scale is small, the voicing changes as the episode shifts to the next angle, an adroit mix of interwoven stories that keep the reader enchanted. Collins has advanced considerably in vision & craft since "Penang Appointment", but lost none of the enthusiasm or fizz. Connie was an annoying busybody beyond compare, Mrs Josser was mean, Mr Puddy's comedy fat-man voice grated and Percy deserved what he got. Though I have to say, even as a non-native english speaker I did find some typos, but meh, who cares.Christgau, Robert. "Robert Christgau: CG: Saint Etienne". robertchristgau.com . Retrieved 7 January 2023. The novel was also adapted for Thames Television as a series, broadcast in seven one-hour episodes from 6 September to 18 October 1977. [9] The cast included Derek Farr as Mr Josser, Madge Ryan as Mrs Vizzard and Patricia Hayes as Connie Coke. All in all, it is such a sweet and heartwarming story about a girl finding her place in the world and I think many can relate to that. I loved how the focus wasn't on the romance (although that was a lovely part of it) but on Alex's growth, how she became stronger with the right people around her. I loved how the characters celebrated their geekiness and enjoyed it without being embarrassed.

Collins left the British education system aged eighteen, and began his career as an editorial assistant at the Oxford University Press in London. He left this job in 1930 after a dispute over his low salary. He went on to work under Robert Lynd as a literary editor on the London News Chronicle newspaper and also had a spell as literary editor of the Daily News. [3] At the age of 23 he joined Victor Gollancz's publishing firm that was founded in 1927, where he became deputy chairman. In 1941 he joined the BBC as an assistant in the Overseas Talks Department, and then as a producer for BBC Radio. [4]

You might also like

Collins, Norman Richard". Oxford Dictionary of National Biography (onlineed.). Oxford University Press. doi: 10.1093/ref:odnb/30955. (Subscription or UK public library membership required.)

Secondary characters are always hard to do; you either get too little or too much of them, but I think Middleton has nailed it here. Freddie, Lucy, Mark, Tom and even Olivia were fully rounded characters that could easily have novels of their own (which I'm still hoping for!) While I'm not generally a fan of random chapters in other characters' POVs, the one chapter from Olivia was actually really helpful in understanding her motivations, which I think was necessary for her character.The other characters in this book are, unfortunately, similarly one-note and terrible. You’ve got Lucy, the far-more-interesting best friend who graciously focuses every waking moment on devoting herself to the privileged Alex; Freddie, the obligatory gay friend who is conveniently more interested in Alex’s love life than his own; loutish Tom who likes booze and sex and not much else; poorly drawn Harry, whose friendship with Alex apparently wasn’t extensive enough for him to have discussed, and later recognized, her last major playwriting project; and Mark, the milquetoast love interest whose main personality traits seem to be having an Irish accent and owning a Vespa.

Spatially the novel is enclosed largely by the boundaries of SE5 –‘Number 10 ... in cross section, opened like a doll’s house, you’d have seen how narrowly separated the family existences (are)’– almost all of the action takes place in an area delimited by a broad ellipse drawn between the Underground stations of Chalk Farm and The Oval with occasional forays into the City (to work as typists or clerks), to Wimbledon Common (for a spot of unpremeditated murder), or to Brighton and its satellites (holidays, and an escape from the war). Dulcimer Street remains as the fulcrum of the social and the spatial throughout – but, where, then is Dulcimer Street? An instant connection to the main character of any book always wins me over. Alex Sinclair is no exception. A nerd, a fangirl, in love with London, eats all the cheese, and struggles with anxiety, yup I can certainly relate. The fact that she is also a playwright is really interesting. We often see characters who write books or are actresses, but the playwright aspect is more unique and I liked all the theater nods and history. The diverse cast that makes up this book are each in their own way a fun addition to the book. Without Lucy or Freddie this story would not be the same. Lucy is so spunky and unfiltered that she brings a raw element to the book. Freddie is too funny and I love seeing what he has to say next. Not to mention Mark who may just be a new book boyfriend for me, swoon! Add into the mix the girl who resembles a high school enemy that you love to hate and I think you have your bases covered.There's also a great cast of characters, ordinary people, who reside at No.10 Dulcimer St in Kennington. Each major character and a fair few minor ones are fully rounded and easy to get hold of - Connie, the ageing actress with a heart of gold and a mischievous sense of adventure, was probably my favourite, whilst the landlady Mrs. Vizzard has a wide snobby streak and (in my head at least) that gorgeous, long-lost 'shabby genteel' accent and manners. But even she is sympathetic, and most of them are, except perhaps for the Nazi spy and deceitful, hilarious Mr. Squales. Collins took on the role of Deputy Chairman of ATV, but was effectively sidelined by the force of personality of the company's other senior directors, Prince Littler and Lew Grade. Carroll, Jim (28 December 2016). "Saint Etienne – Foxbase Alpha album review: Still brilliant 25 years on". The Irish Times . Retrieved 22 February 2017. Lynskey, Dorian (17 May 2009). "Pop review: St Etienne, Foxbase Alpha: Deluxe Edition". The Observer . Retrieved 22 February 2017. The film concerns the residents of a large terraced house in London between Christmas 1938 and September 1939. Among them are the landlady, Mrs Vizzard (played by Joyce Carey), who is a widow and a believer in spiritualism; Mr and Mrs Josser ( Wylie Watson and Fay Compton), and their teenage daughter Doris ( Susan Shaw); the eccentric spiritualist medium Mr Squales (Sim); the colourful Connie Coke ( Ivy St. Helier), the young motor mechanic Percy Boon (Attenborough) and his mother ( Gladys Henson).