Doris Langley Moore – författare

Fanny Burney would not approve of some of my chapters, but it was my affection for the novels of her school, in which the heroine goes through all kinds of distresses but emerges in a sweeping triumph at the end, that made me long to try my hand at the same theme—treating it, however, in our down-to-earth twentieth-century way.

This brilliant homage to the 19th century novel begins with two young women—Lucy, sturdy and unflappable, and Daisy, charming but self-interested—performing with a theatre company in Egypt after World War I. The show closes, and Daisy stays on with a well-to-do businessman while Lucy eagerly plans her return to England. But then she falls seriously ill, then in debt to Daisy’s lover. She finds that Daisy, anxious not to alienate her meal ticket, has rashly promised that Lucy will remain in Egypt and work for him until he’s repaid.

Thus in Egypt they remain, over the course of nearly 20 years, while Moore’s intricate, lovely plot unfolds. Frivolous Daisy, the cause of Lucy’s woes, ascends the ladder of wealth while Lucy, downtrodden but diligent, slaves and toils. Misunderstandings, deceptions, and self-deceptions abound, and finally the stage is set for Lucy’s “sweeping triumph”, as giddy and satisfying a climax as any a 19th century master could have conceived. A Game of Snakes and Ladders may remind readers of Fanny Burney or George Eliot, or even Jane Austen, but it’s always, definitively and incomparably, Doris Langley Moore. This new edition includes an introduction by Sir Roy Strong.

“I don’t mind being alone at all. I was often here alone in the blitz, and I was so frightened of the bombs that I quite stopped being frightened of burglars.”

World War II has ended, residents are flooding back to London, and the housing shortage creates strange bedfellows. Elinor MacFarren—middle-aged spinster, botanical writer, and collector of prints and objets d’art—decides to rent part of her house to Antonia Bankes, whose American husband is with the Occupation Forces in Europe. While Miss MacFarren prefers to live alone, Mrs Bankes seems a perfect tenant. She admires Miss MacFarren’s beautiful things (“It’s the prettiest room I’ve ever seen in my life!”), promises quiet and care (“You’ll find me madly careful”), and seems an ideal homemaker (“I like housework. I’ve got quite a ‘thing’ about it.”).

Inevitably, however, it’s not so easy. Mrs Bankes proves to be exasperating and helpless, skilled only in charm, manipulation, and blithely promising anything to get her way. What follows is an intricately plotted, gloriously entertaining saga of domestic warfare, as Miss MacFarren tries to cope, tries to cajole, and finally tries to rid herself of her meddlesome tenant, all while taking up whiskey—and all with unpredictable and delightful results. This new edition includes an introduction by Sir Roy Strong.

“There are some embroidered waistcoats . . . They are very old. A museum might be glad of them. . . . There are some pictures too,” Mrs. Hovenden brought out with a fresh effort, “oil paintings that were in the rector’s family.”

The kindness of Dr George Sandilands towards an elderly patient, and her insistence on repaying him with the detritus of her attic, sets in motion a comedy of errors that rocks the art world. Dr Sandilands finally accepts a stack of begrimed paintings, to the horror of his eldest daughter, a stern housekeeper. But his younger daughter is prepared to be swept up in the romance of old treasures, and her boss, an amateur art connoisseur, develops a theory about the artworks and clings to it like a dog with a bone. Enter an art expert who’s not above some shady maneuvers, his adoring secretary, the director of the local art museum, and a sleazy London dealer.

Doris Langley Moore has packed her unpredictable, compulsively readable plot with subtlety, wit, and insight, and with an array of characters both lovable and so delectably nefarious that they’re begging for their just deserts. All Done by Kindness is a rollicking masterpiece of tight plotting and unexpected machinations. This new edition features an introduction by Sir Roy Strong.

“My finest, ferocious Caravaggio style”—that was his own phrase for his later manner; and that was the style I was aiming at, an interplay of light and shadow that would rivet the attention and, ultimately, draw the eye to darkness.

At the beginning of Doris Langley Moore’s deliriously entertaining final novel, bookseller and author Quentin Williams has just received the royalties (just over £4) from his two published biographies. In his resulting doldrums he perversely tries to impress a smug American manuscript dealer, hinting that he may have unearthed a copy of Lord Byron’s lost memoirs, famously burned by his friends just after his death. Buying time with elaborate tales about the manuscript’s location, he sets about an audacious forgery, focusing on the scandalous style of Byron’s later writings.

Quentin is also trying to impress his girlfriend, a smart, beautiful model who may very well be out of his league and whose savvy intellect, when Quentin piques her interest in Byron, becomes his biggest obstacle. The unforeseen complications of his deception culminate at a gathering of elite Byron scholars—including none other than Doris Langley Moore herself! This new edition features an introduction by Sir Roy Strong.