By Oddvar Holmesland
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Extra info for A Critical Introduction to Henry Green’s Novels: The Living Vision
Problems are redoubled by the fact that old Mr Dupret, the elderly owner of the factory, has become bed-ridden and has handed over the management to his son, Dick, who is a disturbing influence in the foundry. Problems and intrigues are paramount in the consciousnesses of Bridges and Walters. 'And I've served 'im faithfully for fifteen years. It's a nightmare. Where am I, eh? ' 48 Henry Green's Novels Mrs Eames put cold new potato into her mouth. 'Ain't they good' said she. 'They are' he said. 231-2) A sudden shift of focus from the factory to the placid domestieity of the Eameses, who are savouring crops from their garden, creates a conflict of planes.
A central question is whether Green's symbolic equation of Lily and the pigeons signals the tone of the plot. The correlation between Lily's movement and that of the pigeons suggests Lily as the central character of Living. It is her movement that holds the central focus in the second half ofthe novel. Like the pigeons, Lily returns to Craigan's house after disappointment in love. This fact might suggest a reconciliation with her former role as housekeeper, and a submission to Mr Craigan's mandates.
She fed hirn. ' And Mr Eames, listening to his wife's monologue, then remarks that 'it always did rain in this town though garden would benefit' . e. garden) not envisaged as drab and monotonous. Despite the blackness ofthe surroundings, they are able to perceive and cultivate organic values. Mr Eames stresses the positive aspect of bad weather; the rain is a prerequisite for growth in the garden. Rather than committing themselves to the 'continuum', the Eameses are divided between the need to find some compatibility with life in the factory and in the private world where the garden is seen as a vital force.
A Critical Introduction to Henry Green’s Novels: The Living Vision by Oddvar Holmesland