“The Englishman”
by Douglas Stuart
from the September 14, 2020 issue of The New Yorker
Douglas Stuart’s debut novel, Shuggie Bain, was long listed for this year’s Booker Prize. It’s the only one I have finished from that list (it’s excellent). It did leave me excited to see where Stuart’s next work would take us. I did not expect to see that next work pop up so soon! When I read Shuggie Bain, I had forgotten that The New Yorker published Stuart earlier in the year; here is a link to our thoughts on “Found Wanting.”
Here we have “The Englishman.” Since today is a holiday in the United States, and I have been doing some resting and gardening, I have not looked at it yet and don’t know what it’s about, though the photograph that accompanies the article gives me some idea.
Here is how it begins:
The Englishman reminded me of my mother’s lemons. When I was a boy, she would catch the far ferry to the distant mainland to stock up on dried goods. It was a daylong pilgrimage that she made four times a year. Once, while gathering the flour and the dried milk, she had been so surprised, so charmed, by these golden suns that she bought a little sack full of Sicilian lemons. My brothers and I hid together in our narrow pantry and clawed at the waxy flesh, sniffing our claggy fingernails in delight, taken aback that they smelled so green and oily and not a bit like sunshine. My mother made each of us suck one, and then shook with muffled laughter as we winced. We were happy until my father caught us.
I really need to get on here and share my thoughts on Shuggie Bain — it really is a tremendous book — but in the meantime I hope everyone checks out Stuart’s work! Please feel free to share your thoughts below.
Having finished the story, I shared a brief comment/reaction below, but here is a bit more of an introduction to the story.
“The Englishman” is narrated by a young man named David. It’s the 1990s (I think), and David has spent his life on Scotland’s western isles. The first time he really leaves home is in answer to an advertisement to be a “house boy” in London for the titular Englishman, a banker named William.
Though at first there is a pretense to have David cook and clean, it’s clear to David and to us exactly what William has hired David to do. David finds William watching him often. William also calls David by a different name: “Casper! Bit better than dull old David, don’t you think? I’ve grown tired of Davids.”
William also grows a bit impatient when nothing else seems to be happening. This is where Stuart excels I think. William is not particularly sympathetic. He feels he has paid for David’s time and attention, including sexual gratification — and he’s done this for years with several other young men — but we still feel his loneliness. In other words, much like the characters in Shuggie Bain William is not simply a monster, though he is that. But William can plead plausible deniability: when he tells David he is tired of how things are going — in other words, he’s ready for their sexual relationship to begin — David tells him that he was hired for something else. But William says, “The advert was in the back pages of a gay magazine. For a houseboy. It’s hardly the employment office.”
But William is not a fool. He is not willing to allow William to make this that kind of transaction, much to William’s disappointment.
I thought this was pretty excellent. Like Shuggie Bain and “Found Wanting,” the story itself is not exactly unique, but Stuart’s perspective and ability to uncover compassion and depth in a line are unique.
One of my favorite aspects of this story was one barely touched on when it comes to time on the page: the narrator’s relationship with his father. It comes up here and there, but it’s clearly more central to how the narrator sees so much of what’s going on.
I added just a bit of an introduction to the story above in the main post, but here I want to point out a few of the lines that really struck me.
Here is David talking about his family, in particular his mother:
“I am the youngest of five brothers, each son fading slightly, becoming paler, more laxen. It was as though our mother were a rubber stamp that was running out of ink—and she was. She always seemed to be weary.”
Here is David talking about his relationship with his father:
“I could sense that my father was disappointed in me. If he told you that you’d done a fair job then he meant it; his praise could be enough to send you floating for days. But he said nothing when I told him that I was going to London. I love him, but perhaps he does not love me. How could he? I am careful never to be myself around him.”
I love how uncertain this is. There’s a tenderness that comes up despite the bad relationship and the frank likelihood that David is right.
Reading Shuggie Bain I was often struck by how, despite all of the horrors going on, there was so much tenderness, so much compassion. It was amazing, and this story shows so many of the same strengths.
There is also a lot of class relationships coming out, all while Stuart continues to explore being a young gay man in a masculine culture before the internet.
Trevor —
I am not commenting 0on The Englishman. Havent read it. I want to ask where the discussion of “Flashlight” is. I dont see it.
Weird — it’s not posted. I have been having just a heck of time here, and that’s one way this shows! I’ll get that posted :-)
(Okay, William, here is the link to “Flashlight” — sorry for the negligence!!)
Trevor-
The relationship between David and his dad was also my favorite part. I loved how little need be said to understand how much of presence the father has, quite intimidating.
I was surprised by how much I disliked William by the end of this story. I usually have sympathy for a lonely character, but by the end I was glad he had no one to call his own, he deserved that.