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it ever after rankled, yet even in its truncated form The Golden Child has much to amuse, with its egomaniacal establishment villains, and its unpromisingly named sleuth, Professor Untermensch. He, like Dilly Knox, is an expert decoder, in this case of Garamantian hieroglyphs, which Penelope draws herself, and with which she has a great deal of fun, as in their corresponding phonemes: Poo, Sog, Hak, Mum, etc.

      If the book itself has to be decoded, it is not Penelope’s fault, and it was enjoyed when it appeared in 1977, in the same year as The Knox Brothers, though it was only mentioned in round-ups of crime fiction, a category to which it does not quite belong, as it has serious points to make about fakery, and about the corruption and denaturing of art through money and politics.

      Penelope seemed to have taken the mutilation of The Golden Child philosophically, but she would have worse to contend with from Duckworth, as the correspondence with Colin Haycraft about her next book demonstrates all too clearly. With the money from The Knox Brothers she had embarked on a long-dreamt-of voyage to China. From the perspective of all that distance, she had the revelation all writers await. She saw as in a blinding light how to transmute the events of her own life into serious fiction. The first fruits of this earth-tremor was to be The Bookshop.

      No woman is a hero to her son-in-law, and yet, when I first came across this book (till then unaware of its very existence) lying in boundproof form on her kitchen table, where it had been written, and took advantage of Penelope’s temporary absence to read it in one sitting, I did have a sense of ‘What? And in our house?’ I had no doubt that this was the real thing, and still feel grateful for the stolen privilege of being one of the first people to read it. Ever after that Penelope had an extra dimension of mystery to me. I immediately wrote her a note to express my amazed and delighted appreciation; it would have been too embarrassing to confess in person. I was touched, much later, to come across the never-referred-to note among her papers in Texas.

      The Bookshop is not especially autobiographical, but it does seem to grind an axe in its depiction of Southwold as ‘Hardborough’, an exemplar of provincial mean spirit, the petty exercise of power, and philistinism. It is eloquent on the great beauty of the region, only spoilt for her by the loss, through the family’s insolvency, of ‘Blackshore’, their home, the large former oyster warehouse on the Hard, on which the bookshop was modelled. (But an earlier loss, the failure of her magazine World Review, which, in the end, ‘hadn’t been wanted’ must surely also underlie the book.) The real bookshop, in the High Street, remained open for many years, ably run by Mrs Neame, the old friend of the book’s dedication, whose assistant Penelope became, after her financial misfortunes. In reality, the family made a good many kind supportive friends there, though mainly among the intellectual bohemia of nearby Walberswick, including the Freuds, Sampsons and Fiennes. The moral atmosphere of the book, perhaps also some of the form (each chapter a scene), comes, as is mentioned in the blurb, from the Scènes de la Vie de Province of Balzac’s Human Comedy, which she studied with Tina, to help her with her ‘A’ level. The style, however, with its dry compassionate humour, could already be nobody but Penelope. It is still one of her most popular books, particularly abroad, in Europe and America, where it is seen as a very English classic. It has just been reissued in France with the misleading, but certainly striking, title L’Affaire Lolita. It was reviewed, in 1978, with respect and enthusiasm, and, with almost unheard-of good fortune for a first novel, shortlisted for the Booker Prize.

      With all of this Duckworth should have been well contented. However, with hindsight, Penelope should have thought better of entering a small pool of lady writers, all sharing some of the same traits, one of whom – Anna Haycraft (her pen-name Alice Thomas Ellis) – was also the nominal fiction editor. With Colin she got on, admiring his jovial eccentricity and classical scholarship. She had hoped he would accompany her to the Booker dinner, but he did not, adducing the improbable lack of a dinner jacket. Shortly after this it was inexplicably implied to Penelope that Duckworth had a surfeit of elegant nouvelles and she should return to crime-writing, which would sell better. Though we see Colin Haycraft hastily backtracking, the damage was done. She was deeply hurt. She would take her next novel to Collins. Here at last she fell on her feet: she had found a publishing home.

      It is impossible to overstate Penelope’s energy and creativity in the late 1970s. There would be five novels in as many years, as well as an enormous amount of work on two biographies, each dear to her heart as projects, both of which she had to abandon, one from scruple, the other in the face of determined resistance from publishers. Although she would say little to friends or editors about her fiction (and that little misleading, for the novels must speak for themselves), the letters are full of fascinating detail about the unwritten biographies.

      ‘The Poetry Bookshop’ was the first conceived of these, and its intended theme is, if anything, more compelling and urgent today: the loss, through the unforeseen side-effects of modernism, of the lyric voice of English verse – the voice that spoke to the ordinary reader’s heart, the loss therefore (by now almost complete) of the mass audience for serious poetry. The book would have concerned itself with the rehabilitation of the Georgians, whose headquarters was at Harold and Alida Monro’s poetry bookshop in Devonshire Street (now Boswell Street) in Bloomsbury. Yeats, Frost, Edward Thomas, Lawrence, Wilfred Owen, even Eliot, all passed through its portals, but Penelope was especially interested in the minor figures: Monro himself, Anna Wickham, F. S. Flint and Charlotte Mew, with their, as she discovered, often tragic and tormented lives, who never quite made it, but each produced a handful of perfect lyrics. How one regrets this book, which she did not abandon until all four of her publishers had turned it down in succession. Yet fragments of it survive, first in the story of Harold Monro, in her introduction to J. Howard Woolmer’s scholarly bibliography of publications of the Poetry Bookshop, especially of its beautiful illustrated rhyme sheets, a treasured childhood memory of Penelope’s. Her letters to Woolmer trace the development of a warm transatlantic relationship between bookseller (albeit a very grand one) and collector, which becomes a meeting of minds as we see them sharing the details of their research. He most generously gave her some of the precious rhyme sheets when he realised she couldn’t afford them, and put her in the way of more money, most necessary to impecunious authors, by persuading her to sell her papers to Texas, and thus no doubt saving many of them, for she was modestly careless in such things.

      To Richard Ollard, her great support and ally at Collins over the next years, we owe the eventual publication of the other fruit of ‘The Poetry Bookshop’ research: her wonderful dark biography Charlotte Mew and Her Friends, which reads so much like one of her novels. Ollard, like Raleigh Trevelyan also a distinguished writer, was senior literary editor at Collins, and perhaps the last of the ‘gentleman publishers’. They suited each other; she could rely on him. ‘You can always consult Richard if anything worries you,’ his assistant, Sarah, told Penelope. They became friends, as they remained to the end of her life. With him (as with several other correspondents, notably Francis King who gave her much encouragement) she discussed, in a spirit of high comedy, her difficulties and adventures in the preparation of her life of Leslie (L. P.) Hartley. The book, which sounded more promising than ‘The Poetry Bookshop’ to publishers, was still promised to Colin Haycraft, despite their rift.

      What became of it? She had to overcome the implacable opposition of Lord David Cecil, Hartley’s literary executor, even to begin it. Cecil had been the love of Hartley’s life. Long married, he didn’t perhaps wish to acknowledge the basis of their youthful friendship. Anthony Powell kindly intervened to persuade him that Penelope would be the ideal person to tell Hartley’s story with the tact needed, and she worked hard on the book for three years from 1977. It wasn’t so much the gondoliers, the murderous, manipulative man-servants, the oceans of gin, the snobbery (all those duchesses), the extreme right-wing politics, the pot-shots at swans from his house on the River Avon, that dissuaded her from proceeding, but the affection she developed for his loving sister, Norah. How could she present the dissipation of his achievement of the ‘40s and ‘50s, the coarsening of his clear, careful voice (an echo of it is audible in The Bookshop, as Haycraft points out) in a good light? Could she betray the memory of their own friendship, of his support during her first literary career, her editorship of World Review, when she often published him, by the honest depiction

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