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Making Conversation
The heroine, Martha, is plain, with curly hair, small eyes which she tries to enlarge in a soulful manner by stretching them in front of the looking glass, and very little chin. She is extremely clever and totally innocent. Her besetting trouble is that she either talks too much, or too little: she can never get right the balance of conversation.
The genteel school Martha goes to is run by Miss Spencer and Miss Grossmith. Martha doesn't mind them. Indeed, she doesn't really mind anything; she is a most detached girl, letting even their idiotic sarcasms slide off her back. "Now Martha," said Miss Spencer, "What is adultery?" Martha had not the faintest idea. "It is a sin," she said, "committed by adults," putting the accent on the second syllable. "That is a parrot's answer. You think you are very clever, Martha, attempting to conceal your ignorance and your lack of thought. The attempt at concealment is not better than a lie. Adultery is self-indulgence. It is the extra lump of sugar in your tea. It is the extra ten minutes in bed in the morning. It is the extra five minutes a girl wastes by dawdling up the High Street and gaping at the shop windows." Martha accepts this Chadbandery in the same way as she accepts the constant nagging that she should be keen on netball, and the gossip she hears around her concerning her preceptors.
The new Persephone Preface to Making Conversation is by Rachel Billington, who is Christine Longford's niece by marriage. She describes the menage at Tullynally Castle where the Longfords lived and describes why, despite the wonderful reviews Christine received for the book, she gave up writing.
The genteel school Martha goes to is run by Miss Spencer and Miss Grossmith. Martha doesn't mind them. Indeed, she doesn't really mind anything; she is a most detached girl, letting even their idiotic sarcasms slide off her back. "Now Martha," said Miss Spencer, "What is adultery?" Martha had not the faintest idea. "It is a sin," she said, "committed by adults," putting the accent on the second syllable. "That is a parrot's answer. You think you are very clever, Martha, attempting to conceal your ignorance and your lack of thought. The attempt at concealment is not better than a lie. Adultery is self-indulgence. It is the extra lump of sugar in your tea. It is the extra ten minutes in bed in the morning. It is the extra five minutes a girl wastes by dawdling up the High Street and gaping at the shop windows." Martha accepts this Chadbandery in the same way as she accepts the constant nagging that she should be keen on netball, and the gossip she hears around her concerning her preceptors.
The new Persephone Preface to Making Conversation is by Rachel Billington, who is Christine Longford's niece by marriage. She describes the menage at Tullynally Castle where the Longfords lived and describes why, despite the wonderful reviews Christine received for the book, she gave up writing.
288 pages, Paperback
First published January 1, 1931
About the author
Christine Longford
9 books1 followerChristine Longford (née Trew) was born in 1900 in Somerset and died 14 May 1980 in Dublin, Ireland. Following her parents' separation her mother took in lodgers while Christine attended Oxford Wells High School. She won a scholarship to study Classics at Somerville College, Oxford. There she met and in 1925 married Edward Pakenham, later 6th Earl of Longford. She moved to Ireland with her husband in 1925. They divided their time between Dublin and Pakenham Hall, now Tullynally Castle, in Castlepollard, County Westmeath.
In 1930, Christine Longford and her husband bought shares in The Dublin Gate Theatre Company. In addition to designing costumes and managing productions Christine wrote plays including Lord Edward and Patrick Sarsfield. She also adapted novels for the stage, Jane Austen's Pride and Prejudice among them. The company suffered when the Longfords withdrew their backing.
Her books include A Biography of Dublin, published as part of the Biographies of Cities series, Country Places, published by Parkside Press Dublin and Making Conversation, republished by Persephone Books in 2009.
In 1930, Christine Longford and her husband bought shares in The Dublin Gate Theatre Company. In addition to designing costumes and managing productions Christine wrote plays including Lord Edward and Patrick Sarsfield. She also adapted novels for the stage, Jane Austen's Pride and Prejudice among them. The company suffered when the Longfords withdrew their backing.
Her books include A Biography of Dublin, published as part of the Biographies of Cities series, Country Places, published by Parkside Press Dublin and Making Conversation, republished by Persephone Books in 2009.
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Displaying 1 - 19 of 19 reviews
October 30, 2017
Christine Longford was billed by one reviewer as "a kind of Jane Austen with shingled hair", but in my opinion, if there was a Jane Austen of the 1930s, it was Nancy Mitford. This book is a bit like an early Mitford except that it focuses on a single character and has less plot.
It's mostly dialogue, so the title fits. It follows Martha Freke, a girl growing up in a small town in England who passes from a local girls' school to Oxford without much happening to her. The ending comes out of nowhere and doesn't sit too well with the rest.
I found it enjoyable enough and certainly witty, but in a consciously clever way that isn't very attractive.
I read the Persephone edition, and I think they might have given us a footnote or two for the Greek words that appear from time to time (in Greek script). It's hard to Google when you don't have that alphabet on your keyboard.
It's mostly dialogue, so the title fits. It follows Martha Freke, a girl growing up in a small town in England who passes from a local girls' school to Oxford without much happening to her. The ending comes out of nowhere and doesn't sit too well with the rest.
I found it enjoyable enough and certainly witty, but in a consciously clever way that isn't very attractive.
I read the Persephone edition, and I think they might have given us a footnote or two for the Greek words that appear from time to time (in Greek script). It's hard to Google when you don't have that alphabet on your keyboard.
November 9, 2019
An attractive 'coming of age' novel. Smoothly written. With interesting sights of different nationalities, opinions, how we cope with one another, etc. It would have been more engrossing if there was something new to me, but nonetheless I have enjoyed the book.
Two notes:
--> I have reservations considering an eleven-year-old girl's point of view. Not all writers can write the child's thoughts.
--> Sometimes there were too many people (names) mentioned. I got confused and they were often just mentioned once (didn't appear the second time or do/say anything).
Two notes:
--> I have reservations considering an eleven-year-old girl's point of view. Not all writers can write the child's thoughts.
--> Sometimes there were too many people (names) mentioned. I got confused and they were often just mentioned once (didn't appear the second time or do/say anything).
April 11, 2015
I usually enjoy Persephone Books very much and I'm all for their mission of bringing forgotten little literary treasures back to light. I'm not sure why this one was chosen, though. The protagonist was unsympathetic AND unfunny, which is worse. I typically read for pleasure, and finishing this little book just felt like work.
May 28, 2021
Prior to reading this novel, I took a cursory peek at other reviews out of curiosity. When I read one review that mentioned a comparison to Jane Austen, I was definitely intrigued. However, I did not find anything remotely Austen-esque in this novel. It lacked humorous wit, appropriate story pacing, and honestly, a compelling story. Which so disappointed me, as the synopsis blurb really had all the plot elements I would enjoy.
The story begins with the main character, Martha, and her schoolgirl days. She's reasonably intelligent with a bit of arrogance in her intellect. Though hopelessly awkward, she endeavors to fit in to the best of her abilities. The reader begins to see how the art of conversation escapes Martha in her observations of life and relationships. Her mother takes in boarders... or "paying guests" and therefore Martha meets a wide variety of people in her young years. The stories of the Belgian refugees and clergymen were interesting but lacking in humor or memorability for me. To be honest, I would find myself dozing off during the first half of the book when Martha was young and living at home.
The real point of interest in the novel was when she went to study at Oxford. And honestly, the experiences Longford writes about for the post WWI Oxford female scholars were what piqued my interest. The reasons they were dismissed or "sent away" from study were so arbitrary sounding and based on hearsay. Basically, any insinuation of impropriety was grounds for being sent away so a more "worthy" candidate can attend. When a London visit to see a gentleman goes awry, Martha finds herself being summoned home by her mother. Her studies ending. And quite frankly, she doesn't seem to be too bothered by it. Which I found both surprising and disappointing.
The ending was keeping with the theme of Making Conversation. Though rather lackluster and it seemed like Martha was just giving up. Martha became a flat character who lets life happen to her as a bystander. Never really engaging in any meaningful or deep relationship with anyone; which extends to this reader.
The story begins with the main character, Martha, and her schoolgirl days. She's reasonably intelligent with a bit of arrogance in her intellect. Though hopelessly awkward, she endeavors to fit in to the best of her abilities. The reader begins to see how the art of conversation escapes Martha in her observations of life and relationships. Her mother takes in boarders... or "paying guests" and therefore Martha meets a wide variety of people in her young years. The stories of the Belgian refugees and clergymen were interesting but lacking in humor or memorability for me. To be honest, I would find myself dozing off during the first half of the book when Martha was young and living at home.
The real point of interest in the novel was when she went to study at Oxford. And honestly, the experiences Longford writes about for the post WWI Oxford female scholars were what piqued my interest. The reasons they were dismissed or "sent away" from study were so arbitrary sounding and based on hearsay. Basically, any insinuation of impropriety was grounds for being sent away so a more "worthy" candidate can attend. When a London visit to see a gentleman goes awry, Martha finds herself being summoned home by her mother. Her studies ending. And quite frankly, she doesn't seem to be too bothered by it. Which I found both surprising and disappointing.
The ending was keeping with the theme of Making Conversation. Though rather lackluster and it seemed like Martha was just giving up. Martha became a flat character who lets life happen to her as a bystander. Never really engaging in any meaningful or deep relationship with anyone; which extends to this reader.
November 2, 2009
A dry and witty look at English Martha growing up in the early 1900s and attending Oxford shortly after WWI. It's subtle humor and I'm sure some of it went over my Anglophilic-but-still-American head, but I did chuckle at quite a few passages, especially those involving Miss Spencer.
It's a quick read with an abrupt ending. I didn't warm to any of the characters, but I doubt Longford would have expected me to.
It's a quick read with an abrupt ending. I didn't warm to any of the characters, but I doubt Longford would have expected me to.
"Watch me, next time you have the opportunity. It is never too early for a woman to learn to be graceful. One day, when you grow up, you will catch sight of yourself unexpectedly in a long mirror, in a shop-window, for instance, and you will have no one but me to thank if you find you have a decent shape."
February 23, 2014
Interesting period piece but not something to crow about - has a lovely introduction by Rachel Billington, Longford's niece, which suggests that this is one of those re-discovered treasures from the golden age of the early 20th century but don't you believe it - while certainly a disappointment, Longford's novel is pleasant enough especially if you can overlook the racism, anti-semitism, general bigotry and sexism - Billington found this deliciously funny but I never did find it as laugh-out-loud funny as all that - try Barbara Pym before you waste time on Longford
September 11, 2018
A funny and entertaining book. Published in 1931, by a member of the bright young things like Nancy Mitford, Evelyn Waugh etc, it takes a backward look at growing up not quite right . Martha has an eventful time at school and Oxford - in her innocent efforts to fit in she often says things which shock her audience. Making conversation is such a bugbear that she is willing to say anything. She mixes with Belgian refugees, dissenting clergy, shy and bumptious young men, clever and judgemental young women. I was very amused by her performance.
June 19, 2010
Making Conversation is an immensly readable novel about a young girl Matha Freke, growing up, during and just after the first world war. To start with she lives with her mother and thier often slightly eccentric collection of paying guests. Later Martha goes to Oxford to study classics, where she meets a host of different people both male and female. Throughout the novel, Martha struggles with the art of conversation, she is often unsure of herself, and feels that hollow awkwardness that we have all felt from time to time, especially during those early fledgling years when we so desperatly want to be taken seriously. Written with a deceptively light touch, Making Conversation has both humor and depth, and unsurprisingly in a novel about conversation, the dialogue is excellent.
August 21, 2018
I wasn't overly impressed with this book though I enjoyed the introduction and the insight into the life of a 1930s college student. I hurried to finish it so I could move onto my next book and, honestly, I hardly remember anything about it after only finishing it a week ago.
August 7, 2023
This is quite an amusing book but it is a little surprising that contemporaries raved about it so much. It doesn't seem to me to have aged well and comparisons with Jane Austen and even Nancy Mitford seem far-fetched.
October 6, 2014
The countless references to things I didn't know made me feel stupid and uneducated, and the abrupt ending made me wonder if the book was incomplete, which made me feel I had missed something, which made me feel dumb all over again. Maybe I was in the wrong place mentally to read this book, or just not british enough, but I really struggled with this novel, which didn't (in my opinion) age well, unlike other books written about the time intbetween the wars (which I typically adore). It was funny in places, and the characters were engaging and thought provoking, but I found myself flipping back and forth from beginning to end, wondering how old Martha was supposed to be, and trying desperatly to relate to her. At times that was easier than others.
Since I've finished the book, I've found myself thinking about it, and remembering parts that made me snicker, but I don't think it's a book I'll go back to. I'll forever look at it on my shelf as the book that made me feel dumb. Sorry. I really really wanted to love it.
Since I've finished the book, I've found myself thinking about it, and remembering parts that made me snicker, but I don't think it's a book I'll go back to. I'll forever look at it on my shelf as the book that made me feel dumb. Sorry. I really really wanted to love it.
May 19, 2015
I don't know what it is about Persephone blurbs but I always get a very different impression of the book than how they describe it and Making Conversation was no exception. It was a quick, pleasant read, a lot more fun than I expect from Persephone books (there are notable exceptions) but while I could see how it would be funny in 1931, I'm sorry to admit that it only amused me. Still, I would definitely recommend this as an enjoyable read.
May 8, 2023
If I'd known there wasn't going to be a plot, I think I would have enjoyed this more.
It feels like a memoir, and from the great nieces foreward, maybe it is?
There are a lot of great quips, and it's a good study of that awkward part of adolescence where you don't know if you're saying something stupid or clever, and you're not sure whether the other person wants to hear something stupid or clever.
I'm sure I'd hate reading it at the age of 18, it works because it's a look back.
It feels like a memoir, and from the great nieces foreward, maybe it is?
There are a lot of great quips, and it's a good study of that awkward part of adolescence where you don't know if you're saying something stupid or clever, and you're not sure whether the other person wants to hear something stupid or clever.
I'm sure I'd hate reading it at the age of 18, it works because it's a look back.
January 18, 2011
Meh. This is supposed to be a comic novel as great as Cold Comfort Farm, but I just didn't get it. Maybe I would have appreciated it more if I were British? I think there were a lot of cultural references I just didn't understand. I didn't feel any attachment to the heroine or her story at all. A disappointment.
June 10, 2016
I'm sure I liked this more than others because the protagonist reads Classics. I liked those bits a lot (esp. "Pindar is not educational."). I discovered on WorldCat that Christine Longford also published a bit in Classics journals and wrote a book about Vespasian which could be an interesting bit of ephemera to look at.
October 12, 2016
I adore this book. It's just so FUNNY. I really don't get why other people dislike it so much. (I think part of the reason I like it is because Martha reminds me of myself, but funnier, unintentionally or not.)
November 21, 2013
Not my favourite Persephone. Some amusing moments, but was hoping for more from the novel than I got (although I did enjoy the descriptions of Oxford societies...).
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March 20, 2018The plot of this short novel is simply told: young Martha Freke, her background fairly ordinary if a little eccentric (her mother takes in an odd assortment of PGs – ‘paying guests’ – lodgers, in other words), wins a scholarship to Oxford University just after the First World War. The story follows Martha to Oxford, where – as always – she is hampered by her difficulty in making conversation (she says too much, or too little, or simply the wrong thing).
The book is eminently readable, with some lovely comic set pieces, the whole thing driven along by Longford’s dry wit and knowingly innocent tone. It’s a quick read, and a very engaging piece of light entertainment, although the lack of any real plot made it less appealing to me than it might have been. The characters are fairly broadly drawn, and even Martha is more of a cipher than a fully realised person. Overall, a pleasant way to pass a few hours, but at the end of it I did find myself wishing there had been a little more substance to the story.
The book is eminently readable, with some lovely comic set pieces, the whole thing driven along by Longford’s dry wit and knowingly innocent tone. It’s a quick read, and a very engaging piece of light entertainment, although the lack of any real plot made it less appealing to me than it might have been. The characters are fairly broadly drawn, and even Martha is more of a cipher than a fully realised person. Overall, a pleasant way to pass a few hours, but at the end of it I did find myself wishing there had been a little more substance to the story.
Displaying 1 - 19 of 19 reviews