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Excellent Women (Penguin Classics) de…
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Excellent Women (Penguin Classics) (original: 1952; edição: 2006)

de Barbara Pym, A. N. Wilson (Introdução)

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2,2731084,930 (4)1 / 581
"Excellent Women" is one of Barbara Pyms richest and most amusing high comedies. Mildred Lathbury is a clergymans daughter and a mild-mannered spinster in 1950s England. She is one of those excellent women, the smart, supportive, repressed women who men take for granted. As Mildred gets embroiled in the lives of her new neighborsanthropologist Helena Napier and her handsome, dashing husband, Rocky, and Julian Malory, the vicar next doorthe novel presents a series of snapshots of human life as actually, and pluckily, lived in a vanishing world of manners and repressed desires.… (mais)
Membro:lolitafactor
Título:Excellent Women (Penguin Classics)
Autores:Barbara Pym
Outros autores:A. N. Wilson (Introdução)
Informação:Penguin Classics (2006), Paperback, 256 pages
Coleções:Sua biblioteca
Avaliação:
Etiquetas:Nenhum(a)

Detalhes da Obra

Excellent Women de Barbara Pym (1952)

Adicionado recentemente pordmofnd, NobleReader, labiblica, GeigerLibrary, ElizabethBrink, wallymeadows, ColourfulThreads, biblioteca privada, Jen_Willis, lucyg_26
Bibliotecas HistóricasArthur Ransome, Barbara Pym
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    Pride and Prejudice de Jane Austen (carlym)
  2. 51
    Hotel du Lac de Anita Brookner (Miels)
    Miels: Similar themes and a the same lovely but understated quality to the writing. Both stories are told with wry humor. Both stories have an underlying sadness. (Though Brookner's book tends more to the melancholy side.)
  3. 30
    Miss Pettigrew Lives for a Day de Winifred Watson (catherinestead)
  4. 30
    Commonplace de Christina Rossetti (KayCliff)
    KayCliff: Considers the plight of spinsters
  5. 00
    The Odd Women de George Gissing (potenza)
    potenza: Vastly different period and style, yet a similar thematic demographic
  6. 00
    An Episode of Sparrows de Rumer Godden (BeckyJP)
  7. 00
    Old Mrs. Camelot de Emery Bonett (MissWoodhouse1816)
  8. 00
    Lady on the burning deck de Catherine Heath (KayCliff)
  9. 00
    Lolly Willowes, or The Loving Huntsman de Sylvia Townsend Warner (carlym)
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Inglês (104)  Tagalo (1)  Francês (1)  Sueco (1)  Todos os idiomas (107)
Mostrando 1-5 de 107 (seguinte | mostrar todas)
If was okay. But I couldn't be bothered to read the whole thing. A bit tedious. ( )
  mjhunt | Jan 22, 2021 |
Mildred’s very ordinary spinster life. She is a “good woman” helping others and self effacing. Does not stand up for herself. Gently witty. ( )
  simbaandjessie | Dec 30, 2020 |
Barbara Pym writes a searing parody of spinsterhood in this witty yet sad novel. It reminds me a bit of Mansfield Park in that the main character cannot seem to get out of her own way, at times. It's brilliant in the dissatisfaction we feel with the character's life, but it still is discomfiting. Highly so. I liked this novel, but it's not Pym's most delightful, nor her funniest. ( )
  DrFuriosa | Dec 4, 2020 |
(2020 has become my year of rereading the novels of Barbara Pym, my favourite novelist - "favourite" in the sense of "speaks most to my soul", not as in "greatest" or "best"; I believe she would have appreciated the distinction. This is my revised review.)

Mildred Lathbury, the protagonist of Barbara Pym's most accessible novel, is - I think - often used as a stand-in for Pym herself, even though I can't quite imagine Mildred having some of Barbara's youthful indiscretions. Certainly, though, I sometimes feel I am Mildred... and I'm a thirtysomething male! Perhaps this is the success of Excellent Women.

The worlds of Barbara Pym novels are usually small; here, indeed, we centre around a youngish spinster, her vicar and his sister, and a collection of anthropologists who have spent so much time examining the practices of other cultures that they are loath to entirely commit to the standard practices of their own. Pym's insight is as sharp as a pin, and her wit stabs like one too.

I sometimes hear Pym compared to another classic 20th century Brit, Anthony Powell (whom she read frequently) but I think there is a clear difference. Powell's characters, in his legendary A Dance to the Music of Time sequence, seem to be in the process of realising that life isn't entirely the tea party privileged young white people are promised. Pym's characters, on the other hand, open the book already aware of this. It is our privilege to watch them deal with this understanding, and seek a way to move forward in spite of it. Mildred's feeling on having to share a bathroom with fellow tenants at her stage in life, for example, is not quite horror, it's just resignation with a hint of self-doubt, and an occasional flutter (usually suppressed) of hope for a better outcome in future.

Amidst the barbs and sighs of Pym's characters, we are witnessing a fantastic cultural document, an entire world unfolding before our eyes. And in every interaction, the missed moments, the unintentional disparagement, the self-doubt amplified into pain and suffering. Unusually for a Pym novel, Excellent Women is in the first person, meaning that we miss out on one of her most sublime talents, an almost post-modern approach to point-of-view, where the author flits disarmingly between characters, allowing us to adapt to one way of thinking before we are rudely reminded that what is logical to one person is absurdity to another.

"Bittersweet" is an easy adjective to describe the end of most of Pym's novels, but perhaps - like the post-war rationing English cuisine that fills her early books - the taste is better described as "tasty but practical". Not overly rich, sometimes making do with a substitute ingredient, and a cheap bottle of wine from the store down the street to go with one's solitary meal. But you know (most of the time) that things will feel a bit better in the morning, with crumpets and tea by the fire. ( )
  therebelprince | Nov 15, 2020 |
Published on 1952, this novel looks at Mildred Lathbury, one of the “excellent women” that post-War England so depended on. Single and often with private income, they kept the churches and other volunteer organizations and schools going—and the men in charge of these organizations depended on them. But these women are not considered marriage material—Mildred thinks it is because they are so capable. And she spends a lot of time thinking about marriage. Yet even with 3 prospects nothing moves forward. Meanwhile, she has a lot of not-nice thoughts about her spinster friends and their spinster traits (which she seems unaware that she shares).

This is supposed to be comedic, but I found it more dull and sad than anything. It is very dated, but does give an interesting snapshot of post-War London. ( )
  Dreesie | Oct 10, 2020 |
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» Adicionar outros autores (7 possíveis)

Nome do autorFunçãoTipo de autorObra?Status
Barbara Pymautor principaltodas as ediçõescalculado
Ashizu, KaoriTradutorautor secundárioalgumas ediçõesconfirmado
Ford, JessieArtista da capaautor secundárioalgumas ediçõesconfirmado
Halligan, GeriNarradorautor secundárioalgumas ediçõesconfirmado
Houweling, DjukeTradutorautor secundárioalgumas ediçõesconfirmado
Kiely, OrlaDesigner da capaautor secundárioalgumas ediçõesconfirmado
McFarlane, DebraIlustradorautor secundárioalgumas ediçõesconfirmado
Porte, SabineTradutorautor secundárioalgumas ediçõesconfirmado
Schuman, JackieDesigner da capaautor secundárioalgumas ediçõesconfirmado
Smith, Alexander McCallIntroduçãoautor secundárioalgumas ediçõesconfirmado
Uras, ElifTradutorautor secundárioalgumas ediçõesconfirmado
Wilson, A. N.Introduçãoautor secundárioalgumas ediçõesconfirmado
Winkler, DoraTradutorautor secundárioalgumas ediçõesconfirmado
Zulaika, JaimeTradutorautor secundárioalgumas ediçõesconfirmado
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"Ah, you ladies! Always on the spot when there's something happening!" The voice belonged to Mr Mallet, one of our churchwardens.
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"'Dear Mildred, you must learn to feel like drinking at any time. I shall make myself responsible for your education.'" (Rocky Napier to Mildred Lathbury)
I suppose an unmarried woman just over thirty, who lives alone and has no apparent ties, must expect to find herself involved or interested in other people's business, and if she is also a clergyman's daughter then one might really say that there is no hope for her.
Let me hasten to add that I am not at all like Jane Eyre, who must have given hope to so many plain women who tell their stories in the first person, nor have I ever thought of myself as being like her.
I was helping Winifred to sort out things for the jumble sale. "Oh, I think it's DREADFUL when people send their relations to jumble sales," she said. "How CAN they do it?" She held up a tarnished silver frame from which the head and shoulders of a woman dressed in Edwardian style looked out. "And here's another, a clergyman , too." ... "It might almost be somebody we know," lamented Winifred. "Imagine if it were and one saw it lying on the stall! What a shock it would be! I really think I must take the photographs out - it's the frames people will want to buy." "I don't suppose their own relatives send them," I said comfortingly. "I expect the photographs have been in the boxroom for years and nobody knows who they are now." "Yes, I suppose that's it. But it's the idea of being unwanted, it's like sending a PERSON to a jumble sale - do you see? You feel it more as you get older, of course. Young people would only laugh and think what a silly idea."
Virtue is an excellent thing and we should all strive after it, but it can sometimes be a little depressing.
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"Excellent Women" is one of Barbara Pyms richest and most amusing high comedies. Mildred Lathbury is a clergymans daughter and a mild-mannered spinster in 1950s England. She is one of those excellent women, the smart, supportive, repressed women who men take for granted. As Mildred gets embroiled in the lives of her new neighborsanthropologist Helena Napier and her handsome, dashing husband, Rocky, and Julian Malory, the vicar next doorthe novel presents a series of snapshots of human life as actually, and pluckily, lived in a vanishing world of manners and repressed desires.

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