(1993) The Stone Diaries Read online

  The Stone Diaries

  Carol Shields

  For my sister, Babs

  SUMMARY:

  The Stone Diaries is the story of one woman's life; a truly sensuous novel that reflects and illuminates the unsettled decades of our century. Born in 1905, Daisy Goodwill drifts through the chapters of childhood, marriage, widowhood, remarriage, motherhood and old age. Bewildered by her inability to understand her own role, Daisy attempts to find a way to tell her own story within a novel that is itself about the limitations of autobiography.

  carol shields The Stone Diaries Introduction by penelope lively

  carol shields (1935–2000) is the author of Dressing Up for the Carnival; Larry’s Party, which won the Orange Prize; and The Stone Diaries, which won the 1995 Pulitzer Prize for Fiction and the National Book Critics Circle Award. Her other novels and short story collections include The Republic of Love, Happenstance, Swann, The Orange Fish, Various Miracles, The Box Garden, and Small Ceremonies.

  penelope lively is the author of numerous award-winning novels, including The Photograph, Consequences, and the Booker Prize–winning Moon Tiger. She lives in London.

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  80 Strand, London WC2R 0RL, England First published in Great Britain by Fourth Estate Limited 1993

  First published in the United States of America by Viking Penguin, a division of Penguin Books USA Inc. 1994

  Published in Penguin Books 1995

  This edition with an introduction by Penelope Lively published 2008

  Copyright © Carol Shields, 1993

  Introduction copyright © Penelope Lively, 2008

  All rights reserved Publisher’s Note This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental.

  LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA Shields, Carol.

  The stone diaries Carol Shields ; introduction by Penelope Lively.

  p. cm.—(Penguin classics deluxe edition)

  ISBN: 1-4295-6172-6

  1. Women—Fiction. I. Title.

  PR9199.3.S514S76 2008

  813'.54—dc22

  2008028398

  Set in Filosofia

  A number of people have read the manuscript for this book and offered encouragement and suggestions. I thank Blanche Howard, Joan Clark, Jim Keller, Anne Giardini, Catherine, Meg and Sara Shields, and, especially, Miss Louise Wyatt of London, Ontario.

  Nothing she did or said was quite what she meant but still her life could be called a monument shaped in a slant of available light and set to the movement of possible music (From "The Grandmother Cycle" by Judith Downing, Converse Quarterly, Autumn)

  INTRODUCTION

  The best fiction surprises—and withholds. Each time that I read The Stone Diaries I see it differently. It is a story, first of all—the story of a woman, Daisy Goodwill, later Daisy Goodwill Flett. It is also many stories—those of her family and her friends. You read it first as such, drawn in at once by the compelling opening pages, and then keen to know what is going to happen—to Daisy, to the rest of them. Subsequently it becomes a view of how one woman—many women—lived in the twentieth century, what they expected and what was expected of them. It can be seen as a discussion of the nature of evidence—the way in which there is no single truth about anyone’s life, but as many truths as there are observers.

  And if you are interested in how a novel is made, it turns into an exercise in narrative technique. And, perhaps, airily—a demonstration of how a novelist can successfully juggle a cast of twenty characters and more over time and space without bewildering the reader.

  Here is a story that opens in Manitoba in 1905 and ends in Florida in the 1990s. From birth to death—the parabola of a life, a North American life, with brief excursions to France, to Orkney. Daisy is born into a world that has known neither of the world wars, and in which a woman is required to be first and foremost a domestic support system. She leaves another one in which the globe has contracted and women expect to work outside the home. Her father-in-law sails the Atlantic as a young immigrant from Orkney: At the end of the century Daisy will fly the ocean to trace him. She has experienced the century in a temporal sense, but, as we learn in one of the novel’s deft commentaries, she has never known nude bathing, pierced ears, body massage, and much else that could be seen to characterize the age. Born in "the murderously hot back kitchen" of a Manitoba stone-worker’s home, she will spend her last years in a three-bedroom Florida condo, a Florida bluehead in a turquoise pantsuit.

  Kitchens are rich with significance in the novel—kitchens and what is done in them. The vivid opening chapter has the kitchen as the scene of both birth and death, with the Malvern pudding that Daisy’s mother, Mercy, is cooking as an emblem of domestic labor and achievement—the thickly cut bread, the oozing fruit juices, the sugar. Many years later, Daisy prepares supper for her family—husband, three children—in an Ottawa kitchen (summer heat once more, so a cold meal): jellied veal loaf, sliced tomatoes, potato salad, raspberries again, but in little glass bowls. There is care and attention: the formality of a tablecloth, and before her husband’s return from work Daisy "fixes" herself—housedress off, fresh clothes, earrings, lipstick. We are told that Daisy desires—deeply, fervently, sincerely—to be a good wife and mother. She is an assiduous reader of women’s magazines, in support of this ambition. In one of the novel’s many significant asides—how others see Daisy—we are given the possible contrasting reactions of a visiting friend of her girlhood, Fraidy Hoyt, herself unmarried and childless. She is perhaps grimly envious—of the distinguished husband, the big house, the beautiful children; or, is she pityingly contemptuous of this woman drowning in domesticity, child-ridden, who probably hasn’t read a book in ten years?

  Teasingly, we are not told which view Fraidy holds, but this is 1947, and it is tempting to see Fraidy as the voice of the future, ahead of her day, already with the assumptions of the postfeminist woman.

  Throughout the novel, the authorial voice alternates with those other voices, creating a deliberate ambiguity. We know what happens to Daisy, and frequently she speaks for herself, but we see her also as others see her, and no two people see her in the same way. Was she happy as a domestic goddess? Maybe not, for in the next, and crucial section of the book—significantly called "Work, 1955–1964"—she is shown, entirely obliquely, through a sequence of letters written by others, as immersed in a new role as Mrs. Green Thumb, gardening correspondent for the local paper, and eventually devastated and plunged into a lengthy episode of depression when she gets the sack. So was domestic life not work? This section is one of the most powerful in the novel—clever and funny—and it gives much pause for thought, as we se
e Daisy’s life of that time shimmer behind the words of other people, and it becomes clear that this is the point at which Daisy has achieved some kind of fulfillment and discovers in herself a capacity of which she had been unaware. She strove to be a good wife and mother, but was she in fact stifled by that role?

  The whole novel is a cunning tapestry of evidence. Any novelist is of course in the happy position of being omniscient—of knowing everything about everybody, and deciding just how much information to release to the reader. The Stone Diaries is a virtuoso discussion of the nature of evidence itself, of the ways in which it is unreliable and conflicting. In a revealing sequence, we are given a whole slew of opinions about Daisy—those of her children, of her cousin, of Fraidy Hoyt once more. Fraidy believes her to have suffered from sexual starvation—citing her own fifty-four lovers as though this were a more normal record. Her cousin thinks the children drained her. Her daughter Alice sees her—from the viewpoint of a young woman of the 1960s—as without self-esteem in her domestic days: "She functioned like a kind of slave in our society." This analysis is taking place during Daisy’s period of depression after she loses her journalistic job, and as a coda to the alternative views we are given an authorial glimpse into Daisy’s own state of mind: "Sleeping inside her like a small burrowing creature is the certainty that she’ll recover." Nobody else has mentioned resilience, the capacity to survive. Maybe this is the key to Daisy’s personality.

  After Daisy’s death these conflicting voices are once again heard, but interwoven now with another kind of evidence—the cool and indisputable facts of her life: the sequence of addresses at which she has lived, the illnesses from which she has suffered, the organizations to which she has belonged, the list of her bridal lingerie at her 1927 wedding. These flat lists are indeed evidence of a kind—a biographer could make good use of them—and they serve as a neat indication of the times in which she has lived, but they are also bland and uninformative without the color of an accompanying voice. They are there to demonstrate that facts alone can be both revealing and uncommunicative.

  One of the novel’s most arresting features is the attention to detail, the use of detail to evoke time and place, from the ingredients of the Malvern pudding in that Manitoba kitchen to the account of Daisy’s sparse possessions in the hospital room of her last days: a toothbrush, toothpaste, a comb, a notebook, a ring of keys. . . . Physical objects are made to provide another kind of evidence, to conjure up the backdrop to Daisy’s life, and they are meticulously chosen and placed within the narrative. Detail is made to define a character: Daisy’s husband, Barker Flett, a senior civil servant with an expertise in botany, is devoted to taxonomy, to the ordering of the botanical world, and we are first introduced to him as a young man with a passionate dedication to the western lady’s slipper, genus Cypripedium, on which he is writing his dissertation: "Dorsal sepal, column, lateral sepal, sheath, sheathing bract, eye and root." Somehow, this litany brings Barker Flett more sharply to life than any detached account: We see the way in which he saw things. When we learn what Daisy is wearing as a baby—a tucked nainsook day-slip topped by a plain flannel barrowcoat, which in turn was topped by a buttoned vest in fine white wool, the archaic terms are perfectly evocative of an early twentieth-century infant, and also say something of the person responsible for clothing her. One of the funniest passages in the novel is also one of the most telling, when we hear the bossy, instructing voice of Mrs. Hoad, mother of Daisy’s first husband, lecturing the young bride-to-be: "When you set the table, be sure the knife blade is turned in. In. Not out.

  Salad forks, of course, go outside the dinner fork . . . Grape-nuts are a necessity, also a very economical food . . . I wonder if you have discovered Venitian Velva Liquid for your own skin . . . For bath powder I suggest Poudre de Lilas. Some powders can be overwhelming. Men are offended by strong odors . . ." This torrential discourse not only tells us all we need to know about Mrs. Hoad, but serves also as a window into the lifestyle of the prosperous social circles of Bloomington, Indiana, in 1927. And on top of such set-piece instances of deliberate accuracy there is the occasional gift of a piece of throwaway detail that acts as a kind of marker, a reminder of the basic prompt of the novel; the stone with which Daisy’s young mother weighted her Malvern pudding contained three fused fossils of an extremely rare type. We are, after all, reading The Stone Diaries.

  Stone is the foundation of the narrative—the dolomitic limestone quarries of Manitoba in which work both Daisy’s father and the father of her future husband, Barker Flett. In time, Cuyler Goodwill is to become a wealthy public figure, a position dependent upon his initial skill with stone. Magnus Flett will eventually return to his native Orkney, solitary and resigned, alienated from his family and requiring the reassurance of that stony landscape from which he came. There is a sense in which Daisy’s own life has been conditioned by stone—her birth in Manitoba, her subsequent youth in Bloomington, Indiana, to which her father’s skills have taken him and where he is prominent and well regarded, her eventual marriage to and life with Barker Flett, himself a child of the quarries. The narrative rests upon stone, as it were, but its driving force is work.

  Work is too often glossed over in fiction, put aside. The Stone Diaries pays proper attention to work, without ever becoming tedious. Most people’s lives, after all, are dominated by what they do, and here is a fiction which recognizes that fact, and gives it due respect. We are told about people’s working lives, with the greatest economy, from the daily time-table of the Manitoba quarrymen to Barker Flett and his lady’s slippers, and, later in the century, Daisy’s daughter Alice with her rarefied academic studies of Chekhov. And there is also, of course, the central issue of Daisy herself, her brief burst of journalistic employment, and the question of whether or not being a good wife and mother can be called work or not. The Stone Diaries is a novel full of activity, sometimes center-stage (those hot kitchens), sometimes in the background, but very much evident. Everybody is grounded—we know how they have spent their days, whether they are conjured up by the authorial voice or made to speak for themselves.

  This matter of voices directs the novel, makes it distinctive and arresting. Carol Shields has used a complex and fascinating series of narrative devices with which to tell the story, from the detached authorial voice to the voices of the various characters, by way of letters, lists, and newspaper entries. It is a bold technique that is here entirely successful. The various shifts in narrative form act as small surprises, keeping the reader intrigued.

  Sometimes Daisy is allowed to speak for herself; more often, someone else is talking about her, or we hear of her in detachment, as we look over her creator’s shoulder. And then there is the sudden jolt of a letter, or the intervention of a friend or family member. This is a narrative style that lends itself to the most effective kind of economy—Carol Shields can say most by saying least. She never tells us that Alice is a somewhat prickly and difficult woman; we learn this from an aside by Fraidy Hoyt: "Alice looked gorgeous—my, she’s mellowed." And the letter sequence from which we learn about Daisy’s period as Mrs. Green Thumb, and its dismaying conclusion, is wonderfully deft. It covers a handful of pages, where a conventional narrative form probably would have gone on a great deal longer and carried far less punch.

  This narrative technique has allowed Carol Shields to escape the straitjacket of a long plod through the years. She can home in on a particular event, a particular period, and bring that to life.

  She can relay an important piece of information such as the death of Barker Flett, through the content of a solicitor’s letter—far more cogent than a plain statement of what has happened. She can ignore long stretches of time, but loop back to them later, as when we learn of Daisy’s college studies in nineteenth-century Italian history, revealed by her son Warren, who came across a box of old essays in the storeroom of the family home: There is a glimpse of an earlier Daisy and light is perhaps thrown on the frustrations of her later life. An
d the technique allows for an effective form of distancing, so that we see some events at a slant, from a throwaway comment—that Fraidy Hoyt has been widowed, that Beans (Daisy’s other girlhood friend) has been abandoned by her husband.

  But perhaps the most significant effect of this technique is the way in which it can be seen to mirror the processes of memory.

  Memory is not linear, chronological; neither is it a narrative.

  Memory is like a series of slides, any of which may flash up at any time, in no particular order, and without links between them.

  The Stone Diaries respects chronology, it gives us the arc of Daisy’s life from birth to death, but within that structure the contrasting entries—long, short, expansive, terse—seem to mimic the way in which memory also makes a nonsense of time. In the mind, some entire years vanish into a black hole of oblivion, while a few minutes may hang there forever, brilliant with detail and effect. A childhood moment swims up when we have just been remembering an event of last month. A technique that abandons conventional narrative and plays with different voices, different ways of getting information across, seems to echo the contents of the mind, where what is seen, heard, and felt is all jumbled up—a card-index that has lost its indexing system.

  But a novel requires system, above all. A novel that genuinely reflected the processes of memory would possibly be interesting and arresting but would also be pretty unreadable. We tolerate our own chaotic memories because we hold the key to the private code. While the structure of The Stone Diaries hints at the operation of memory, it also respects the requirements of fiction, the first of which is to remember the reader. Readers demand coherence; confuse them and you have lost them. An adventurous narrative form is only effective so long as it sweeps the reader along, and The Stone Diaries scores high. In fact, the switches from one voice to another, from detached overview to immediate account, from dialogue to letters, serve to keep the reader involved and expectant. You want to know what will happen next, and what has happened, but you are also drawn in by the presentation—the switches require attention.