This is the third in the series of posts about De Vries. It explores the role of ‘Sausage Hall’ in the novel, particularly whether the house itself can have influenced the course of events that take place.
Buildings fascinate because they are so much part of the era in which they were built – which means that, to a greater or lesser extent, almost everyone lives within some construct of the past. Buildings are also the backdrop to the events that take place within them. Can they remember these events, perhaps even absorb some quintessential miasma from them? It hardly seems fanciful to think so – such a belief is sometimes even embraced by officialdom. Thus, Gloucestershire Council in 1996, shortly after the conviction of Fred and Rosemary West, razed to the ground 25 Cromwell Street, scene of many horrific murders, ostensibly to stop souvenir hunters but also because its continued existence gave local people ‘the creeps’; and the council house where Myra Hindley lived with her grandmother and Ian Brady, where they murdered Edward Evans, was also demolished, though, curiously, only twenty-two years after Hindley and Brady were imprisoned. Manchester Council eventually found it impossible to let the house because successive tenants complained of a ‘dreadful sense of brooding’ there. Imagination or fact?
As a child, I visited Hardwick Hall – built by Bess of Hardwick, the ancestress of the Dukes of Devonshire – before it was taken over by the National Trust. Despite the famous adage ‘Hardwick Hall, more glass than wall’, the house at that time was dark and chilly and neither very clean nor in a good state of repair. There weren’t many visitors on that day – I think it was in early spring, probably just after the house had been opened up after the winter – and I was dawdling behind my parents. They had disappeared beyond the top of the shallow-stepped stone staircase that led to the first floor by the time I began to climb it myself. I glanced back over my shoulder and saw that I was quite alone. I carried on up the steps – I was looking to my right at a large faded tapestry on the wall, apparently woven in greys and browns – when something brushed against my shoulder and my leg. It was soft, a fabric of some kind. In less than a second it had passed me. When I looked back at the foot of the staircase again, I caught a glimpse of a woman in a long, dark dress smartly walking away. Although subsequently no-one believed me, I was convinced that I had seen Bess herself. Had some essence of her survived, fostered perhaps by the sheer force of her personality? Had her spirit been left free to roam when her descendants decamped to the even grander house they built at Chatsworth? Since the National Trust took over the property, I have visited the house several more times, but never again felt any inkling of an uncanny presence there. Is that because in the process of undertaking much necessary restoration work, the National Trust has ‘sanitised’ it? (Like every other NT house, it now has a tea-room, a gift shop, cordons to keep you off the furniture and attendants everywhere.) Or is it because children really can see and feel almost imperceptible elemental forces that adults can no longer detect? I still don’t believe I imagined the whole thing.
When Kevan de Vries leaves Sutterton in a hurry at the end of Sausage Hall, he has come to detest the house, the location of some of the unhappiest events in his life. Even more sinisterly, he has discovered that it was the scene of much evil-doing in the past. Yet when he returns to it incognito seven years later, as well as his quest to discover his father’s identity it is the house itself that draws him. His fascination is in part empirical: he knows there is a large number of papers and artefacts stored within the house that are likely to yield clues about his paternity. But there is more to it than that: at some level, he feels that the house, scene of his childhood, youth and married years, carries a part of himself, however much he may have tried to deny it during his exile in St Lucia.
Perhaps that is the great collective secret shared by all buildings once they have been inhabited: like light years, they don’t just exist in the present, but within a continuum reaching right back to their foundation. They face both forwards and backwards: they absorb and are shaped by the loves, fears and hatreds of those who have occupied them. They have characters, sometimes charming, sometimes terrible. As they grow older, their personality changes: they possess their own powerful kind of DNA, incremental rather than fixed. They become companions, not just enclosures of living space. Kevan de Vries is the central human character in De Vries; but in every step he takes he is shadowed, perhaps even influenced, by Sausage Hall.