Florence Green is a middle-aged widow living in the coastal town of Hardborough, in Suffolk, England, 1959. She has been a resident there for some years but stays close to herself. While not being an outsider per se, her life in Hardborough has been unnoticeable, that is, until her plan of opening a bookshop begins to materialize.
Florence acquires and moves into a dilapidated building called The Old House. The front operates as a bookshop while she lives in the back. Innocuous enough, until she is confronted by the rich and powerful Mrs. Violet Gamart, “the natural patroness of all public activities in Hardborough.” Mrs. Gamart makes it clear that she’d always wanted to turn the Old House into an arts centre. For seven years it has remained empty and now that Florence has purchased it to open her bookshop does Mrs. Gamart want to replace it with her own plan.
Mrs. Gamart’s wilful obstruction of Florence’s bookshop draws out the infirm recluse Mr. Brundish, a book lover and whose family has roots in Hardborough for generations. In nothing short of an heroic act, he ventures out to confront the powerful socialite.
The Bookshop was shortlisted for the Booker Prize in 1978, only one year after Fitzgerald’s debut novel, and in 1979, she won the prize with Offshore. Hermione Lee in her biography of Penelope Fitzgerald writes in the intro:
She was first published at sixty and became famous at eighty. This is a story of lateness, patience and persistence: a private form of heroism.
In just 118 pages, Fitzgerald tells a story that’s as calm as the surface of this inert fishing town, while underneath the quiet facade are bubbling currents of emotions and wilful malice. Not that Mrs. Gamart doesn’t like books, she wants an arts centre with speakers giving talks and live music playing. What’s brewing inside her could well be the urge for power play, to control, or just plain malice.
Fitzgerald is an astute observer of human foibles. Take Milo, a writer (or merely aspiring?) who seems to be helpful to Florence, Fitzgerald has these words for him:
Gentleness is not kindness. His fluid personality tested and stole into the weak places of others until it found it could settle down to its own advantage.
Even in such a small community, there’s acute disparity, the rich and the poor, the powerful and the powerless, the grammar school and the Technical, and consequently, success and failure. Take Christine, the eleven year-old who helps Florence in her shop. As her mother says, failing to enter grammar school and heading to the Technical would mean the difference between rising above her lot or ‘pegging laundry all her life’.
But this is also a comedy of manners. Fitzgerald reveals her characters with refreshing and amusing ways. At the beginning of the book, Florence encounters Mr. Raven, who needs help with his horse’s teeth. Here’s the excerpt:
‘Now, Mrs. Green, if you’d catch hold of the tongue. I wouldn’t ask everybody, but I know you don’t frighten.’
‘How do you know?’ she asked.
‘They’re saying that you’re about to open a bookshop. That shows you’re ready to chance some unlikely things.’
So, how does a relatively uneventful story about a small-town widow opening a bookshop transpose onto the screen? Spanish director Isabel Coixet wrote the screenplay and took the liberty to create some dramatic moments for the visual medium.
First off, she lets a narrator tell the story in the form of voiceover. The immediate effect is a more intimate storytelling, but the most crucial effect comes at the end. I’m withholding any revealing, for I don’t want to spill out spoilers; I can say that is quite effective.
Coixet has an experienced cast on her hands. Emily Mortimer plays Florences Green with a respectful loyalty to the book protagonist. And the added scene by the sea with old Mr. Brundish offers a moving moment. Bill Nighy’s portrayal of Mr. Brundish is poignant. Unfortunately, he’s not given much screen time. Neither is Patricia Clarkson, who aptly delivers Mrs. Gamart’s snobbery with chilling resolves.
The single plot line focuses more on Florence and her young helper Christine (Honor Kneafsey) rather than having Florence establish deeper relational interplay with the adult characters. While the aesthetics are appealing, the overall story needs some spicing up. The twist at the end is effective but the spark comes just a little too late. However, if you’re a fan of period dramas, or anyone in the cast, check this out as it can offer two calm and relaxing hours.
***
The Bookshop by Penelope Fitzgerald, first edition published in the UK by Gerald Duckworth, 1978, 118 pages. I read the ebook via OverDrive.
Check out what others are reading in this Novellas in November 2021 event at Rebecca’s and Cathy’s blogs.
NOVNOV posts on Ripple Effects:
My List of Novellas in November and their Screen Adaptations
Ripple Effects 
I considered putting this on my reading list for this year, and I still might read it if I can find the time. Sounds diverting at least!
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I’ve also thought of another one after posting my list. If I have time, and that’s Virginia Woolf’s Mrs. Dalloway. There’s a movie adaptation too but a while back and which I haven’t seen yet.
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Ooh interesting. I’ve seen a great theatre adaptation of Mrs Dalloway, but not the movie.
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Well, there was The Hour which I’d seen and read some years ago, but haven’t seen the 1997 Mrs. D movie with Vanessa Redgrave. And NovNov is a good time to reread the book.
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I read Mrs. Dalloway and unfortunately, I can’t say that I loved it. It was okay but I think that is in large part due to the fact that this was the first Virginia Woolf fiction I have read. I had only read A Room of One’s Own previous to that. This was the first stream of consciousness novel I’ve read and it was quite an adjustment for me. I want to watch the Mrs. Dalloway movie though!
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I want to watch that movie too especially with V. Redgrave. I have a post on A Room of One’s Own. If you like, you can search it on the side bar. Thanks for your comment, Karen.
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As it happens, there’s an 80-year-old woman running an independent bookshop in an old house not far from me. Between that association and your description of the plot, I’m putting this one on my winter reading list.
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Just the other day, I came across an 82 year-old woman taking violin lessons. So much confirmation of our cherished values of slowness and late (and continual) blooming. I included that quote from biographer Hermione Lee, for it sounds like an inspiring motto. 🙂
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Amen to that!
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I enjoyed reading this review, and I like the way you compared the film version with the book.
It’s interesting to me that the novella that I just read (The River by Rumer Godden) was also rendered more dramatic in film than in the book. It’s as if the medium of film demands interference with the book because an audience must have dramatic moments, whereas we readers are content with calm reflections…
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Lisa, much appreciate your comment. I’ve learned to approach book and film as two totally different art forms. You’re right to point out it seems the latter needs to be dramatized for viewers while readers are more content with calm reflections.
Books speaks directly to the reader with words, while film connects with the audience by the visual. Just pointing the camera to a close-up face doesn’t tell you exactly what’s going on inside the person’s mind, unlike reading, which explicitly tells you the character’s thoughts. To convey meaning, more additional or dramatized scenes may be needed than the literal source. There are films that are deep with reflective moments too, of course… and slow pace doesn’t mean it’s boring. But for this movie, I’m afraid I feel there isn’t ‘dramatic’ depth to pull me in to engage emotionally.
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I didn’t think it was a great film either, even though I was disposed to like it just because it was about books.
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I started reading The Bookshop a few months ago, and enjoyed it for a while, but lost patience — that’s what happens to this old lady quite frequently! Probably I would like the movie better, and I will hope to see it.
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Gretchen, I find the book uneventful too, only the way Fitzgerald describes her character that’s quite interesting, prodding me to read on. I can fully understand what you mean by ‘lost patience’. The plot line has no surprises or twists, and the ending isn’t one for the movies. That’s why the director/screenwriter needs to make some alterations. I watched this on Kanopy.com in Canada, not sure if the U.S. carries this one or not.
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I could see it coming, people were going to be unkind, and I didn’t want to plod along in that direction. In a movie we could get the nasty business over with more quickly 😉
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You’ll be surprised by the movie ending. 🙂
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I think I definitely want to read this — and see the film. From where I sit, that cast doesn’t usually pick a bad movie script, but I think the written text is always better.
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Will be interested to know what you think after you have read/watched them. Also, coming on Netflix Nov. 10 is “Passing”, Rebecca Hall’s directorial debut. Don’t miss it. That will be my next NovNov post.
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I’m looking forward to reading this novella!
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