Jane Gardam, the esteemed British novelist who passed away at the age of 96 on April 28, often defied simple categorization throughout her extensive and varied career. Despite this, her work resonated deeply, reflecting her understanding of human nature and complexity.
Gardam was far from idle. Although she began her writing journey in her thirties—reportedly starting on the morning she left her youngest child at his first day of school—she went on to produce 22 novels, spanning adult and young readers alike (a distinction she found somewhat arbitrary), alongside 10 collections of stories and a nonfiction work, in addition to numerous essays and critiques.
While Gardam captured American attention later in life through her celebrated 'Old Filth' trilogy, she had long been recognized in the UK literary scene. She was shortlisted for the Booker Prize in 1978 for 'God on the Rocks,' a nuanced tale of interwar family tensions, and earned prestigious accolades such as the Whitbread Award twice for 'The Hollow Land' and 'The Queen of the Tambourine.' Her stature in British literature was significant, though she might have greeted such acclaim with a characteristic wry skepticism.
Gardam's extensive oeuvre resists broad generalization, yet it offers something for nearly every reader. Fans of 'Old Filth'—an acronym for 'Failed in London, Try Hong Kong,' inspired partly by her husband's legal career—might find its sequels, 'The Man in the Wooden Hat' and 'Last Friends,' either challenging or rewarding. The former spotlights a deliberately unsympathetic protagonist, while the latter presents a spare and unsentimental conclusion to the trilogy. Other works like 'Faith Fox' explore 1990s themes with spiritual undertones, 'Crusoe’s Daughter' concludes intriguingly with dramatic dialogue, and 'The Flight of the Maidens' offers a straightforward historical narrative.
Gardam did not conform to literary trends, nor was she a nostalgic throwback. She transcended labels such as English novelist, women’s writer, experimental author, or traditionalist, often embodying elements of all these identities at different times.
Born Jean Mary Pearson in 1928 in North Yorkshire to a respectable yet modest family—like the protagonist in her novel 'Bilgewater,' she was a headmaster’s daughter—Gardam grew up immersed in reading and writing, often in solitude. 'Robinson Crusoe' was among her favorite stories. After earning an English scholarship, she worked for a London magazine and participated in literary circles, though without the time or resources for a bohemian lifestyle.
Following her marriage to barrister David Gardam, she settled in Kent and raised three children. Her 1971 autobiographical novel 'A Long Way From Verona,' which depicts a 13-year-old girl’s coming-of-age, reveals her enduring empathy for youth—themes also central to the 'Old Filth' trilogy.
Despite exploring themes of loss and sorrow, Gardam’s personal life was relatively drama-free, and her combination of openness and reserve contributed to both her privacy and prolific output. Her quiet iconoclasm and genuine modesty defined her character.
A memorable encounter with Gardam occurred five years ago under difficult personal circumstances. Arriving at her home in the picturesque village of Sandwich after receiving distressing news, the decision to proceed with the interview was driven by the recognition that she was 90 and the opportunity might not come again.
Gardam’s residence, parts of which dated back to the Middle Ages, was filled with character and overlooked a well-tended garden bordered by ancient fruit trees. A horsehair wig belonging to her late husband rested near the entrance, adding a poignant touch.
Gardam welcomed her guest warmly, accompanied by her assistant who offered sherry. Seated by firelight in chintz-covered wing chairs, their conversation began gently but soon became deeply personal, touching on themes of life, grief, writing as escape, and Gardam’s quiet spirituality. Her compassionate presence provided solace during a moment of vulnerability.
While it is difficult to recommend a single Gardam work unreservedly, the late popularity of the 'Old Filth' trilogy—a subtle, acerbic reflection on human frailty and the bittersweetness of existence—captures the essence of her literary voice. Her stories remind us that kindness, often unexpected and strange, remains a profound human gift.
