Ivy Compton-Burnett

Both Burnetts and Comptons had in fact been farm labourers not many generations back, and Mrs Spurling thinks that Ivy must have been about thirty before seeing the inside of an English country house.In fact "she had moved with her family four times before she was 14, living on housing estates or in brand new suburban developments, hearing practically nothing about her Compton Burnett relations.According to the scholar Patrick Lyons, "In widowhood Compton-Burnett's mother provided her with an early model for the line of outrageous domestic bullies that appear in her novels, anticipating the grief-stricken and over-demanding Sophia Stace (Brothers and Sisters, 1929) and the more shamelessly lucid Harriet Haslem (Men and Wives, 1931), who declares candidly: "I see my children's faces, and am urged by the hurt in them to go further, and driven on to the worse."Ivy successfully managed the family trust, consisting of both parents' estates and largely taking the form of tenanted property, after her mother's death.[15] Apart from Dolores (1911), a traditional novel she later rejected as something "one wrote as a girl", Compton-Burnett's fiction deals with domestic situations in large households which, to all intents and purposes, invariably seem Edwardian.Her fiction relies heavily on formal dialogue (in strong contrast to the often melodramatic plots),[20] and demands constant attention on the reader's part: there are instances in her work where important information is casually mentioned in a half sentence, and her use of punctuation is deliberately perfunctory."[22] In her essay collection L'Ère du soupçon (1956), an early manifesto for the French nouveau roman, Nathalie Sarraute hails Compton-Burnett as "one of the greatest novelists England has ever had."Elizabeth Bowen said of the wartime Parents and Children, "To read in these days a page of Compton-Burnett dialogue is to think of the sound of glass being swept up, one of these London mornings after a blitz.