The Doves of Venus Hardcover – 9 Dec 1974
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"Olivia Manning has a wonderful and unfailing flair for describing both the atmosphere and the furniture of the world in which her people move" (Listener)
"Manning writes always with a poet's care for words and it is her usual distinction of style and construction that lifts the novel- far, far above the average run" (Observer)
"The most considerable of our women novelists" (Anthony Burgess) --This text refers to the Paperback edition.
The dramatic and intense depiction of a love triangle set against the fashionable background of 1940s London. --This text refers to the Paperback edition.See all Product Description
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Top Customer Reviews
Quintin, to be fair, has his own issues. A lifestyle and an income which don't match up, resentment at a father who managed to make a fortune and then lose it and a wife, the beautiful but self obsessed Petta, who flits in and out of his life. Petta is the social butterfly, aware she still has her looks, but not sure for how much longer she will be able to use them successfully and desperate to try to keep Quintin to maintain her lifestyle. Into this triangle are interwoven a cast of characters, all attempting to make a life in bleak, post war Britain. Olivia Manning evokes this society with wonderful vividness - a place where women who work are expected to have a private allowance to allow them to be paid less than men, for whom a job is an amusement until marriage and not a career to pay the bills. Jobs are scarce, everything drab and dull and postwar London a place to escape from.
Ellie's original joy of living is expressed in her initial optimism.Read more ›
A young woman, Ellie Parsons, escapes her dull suburban home to experience the excitement and bright lights of London in the mid-1950s.
Except, of course, that there are no bright lights and all she experiences is an unhappy love life.
Nearly all the characters are unsympathetic; Ellie is emotionally neurotic; her lover, Quintin, is a shallow cad; her lover's wife, Petta, vengeful and self-pitying; her boss, Mrs. Primrose, bitter and unfulfilled.
There is an emptiness, a phoniness about the characters' lives. Even the firm where Ellie works deals with fakery - a place where old furniture is antiqued.
This firm also employs a couple of gay men, though, because of the era in which the novel was published, Manning cannot state this explicitly. However, the ambiguity of their relationship is interesting and even more so their acceptance by their peers as part of the group who meet up for drinks in the pub.
The characters move seamlessly between their dingy rooms in West London and the upper class milieu of their employers. Everyone is short of money, living from hand to mouth. (The Second World War had only been over ten years and there were still housing shortages. What did strike me was the easy interplay between the classes - a feature of other novels published in the 1950s which I have read; again, this may reflect the breakdown of class attitudes brought about by the War).
If the rooms which the characters inhabit are dingy, then so is the weather - all fog and rain. The novel is typographically precise and clearly has strong autobiographical elements.
Very enjoyable and a good snapshot of bohemian life in 1950s London.
As a sworn lover of London (Londonphile?) it always fascinates me to read of other people's experiences in moving to the capital, and the day-to-day struggles of adjusting to metropolitan life, which haven't really changed over time - namely financial worries, dealing with isolation and trying to carve some kind of niche for yourself in this massive, teeming, hectic place.
The story follows a handful of characters in the 1950s based in and around SW3 over the course of a year or so. They are all related to / having relationships with one another in some way. Olivia Manning sensitively details their private struggles and often piercing insights into one another's flaws and failings. These are often sad, but I ultimately felt a sense of hope for most of the characters.
The two middle-aged male characters aren't particularly engaging and boringly easily manipulated by the women around them, but there are some fascinatingly strong female characters here that I would have loved to see more of - namely the calculating Maxine, hilarious Dahlia, enigmatic Nancy and also Ellie Parsons' mother and sister, who both seemed to have hidden depths during their limited appearances. I found them both more interesting that Ellie herself!
Ellie, the needy and naive protagonist, isn't always sympathetic but is completely relatable. This is a vivid and absorbing read, with some beautiful descriptions of London, and I was thankful for a much happier outcome than I expected.
A thought-provoking, amusing and memorable read.
Most Helpful Customer Reviews on Amazon.com (beta)
As Isobel English notes in her introduction, Manning's painterly interests are expressed in her prose; she paints very concrete images in a simply style. Similarly, she is detailed in depicting the details of her characters' thoughts and emotions. Ellie Parsons is totally convincing as an earnest naïf who slowly becomes more worldly without ever permanently losing her youthful zest for life. She stands out amongst a set of remarkably egoistical characters as at least having a conscience and trying to be a good friend. Egoistical as the secondary characters may be, it is easy to relate to them. The characters are all inter-connected, although the connections only gradually emerge.
Parons's reflections on the funeral of a friend were certainly novel (p.307, paperback). "This death ....bringing her own death nearer and into perspective. That, she supposed, was how people came to accept death. Friends died and their presence there made a home for one in the grave."
The threat of wartime invasion has been replaced by a much more irresistible enemy, the next generation.
Youth is embodied by a girl who has fled her provincial origins to make her way in the decaying world of art and its associated players, most of them disillusioned by the prospect of life ending suddenly in nuclear catastrophe.
The decline of the dissolute is pervasive and depressing, as yesterday's young try to confront the fact that living in fashionable poverty loses its appeal after the bloom of youth has departed.
Everywhere in the book there is the menace of wealth and the mean lengths to which its shrinking holders will go to see off the insistent invasion of new money.
In the end, old money hangs on, but youth triumphs. It brings with it a new morality.