The Last September

The Last September

Company type	Novel
Industry	Literature
Founded	1929
Founder	Elizabeth Bowen

The Last September is a 1929 novel authored by Anglo-Irish writer Elizabeth Bowen. The narrative unfolds in Danielstown, County Cork, during the Irish War of Independence, centering on life within a country manor. John Banville transformed the novel into a screenplay, with the film adaptation released in 1999.

Plot

Preface

Although initially published in 1929, a subsequent preface was included in the second American edition to provide clearer insight into the Irish War of Independence's historical backdrop. Bowen discusses her creative approach and the political unrest that informs the story. She regards The Last September as her most cherished work, created more from instinct and youthful emotion than from scholarly understanding. While her family estate, Bowen's Court, was spared during these turbulent years, the preface emphasizes the era’s violence—ambushes, arrests, and retaliations—that defined the period. Bowen reflects on imagining her own home engulfed in flames, lending authenticity to the novel’s dramatic finale despite her personal experience being less direct.

Part One

The Arrival of Mr. & Mrs. Montmorency

The narrative opens with Sir Richard and Lady Naylor receiving Hugo and Francie Montmorency at their Danielstown residence amid escalating political unrest. Despite the challenges posed by these "Troubled Times," the Naylors, Montmorencys, and their relatives Lois and Laurence endeavor to uphold their social customs—such as tennis matches, visits, and dances—frequently involving British Army officers stationed nearby. A key focus is Lois’s ambiguous relationship with Gerald Lesworth, a British officer, as she balances her personal feelings against societal expectations in post-World War I Ireland.

Part Two

The Visit of Miss Norton

Lois’s hesitation is disrupted by the arrival of Miss Marda Norton, a family friend whose presence irritates Lady Naylor and Hugo Montmorency, who secretly harbors unreturned affection for her. The developing friendship between Lois and Marda contrasts sharply with intensifying violence beyond Danielstown: tensions escalate between British forces—including the Black and Tans—and Irish insurgents. Gerald’s arrest of Peter Connor, son of a local Irish family allied with the Naylors, exacerbates hostilities. During a walk in the countryside, Lois and Marda face danger but manage to escape with only minor injuries. Marda’s departure back to England marks a shift as characters turn inward amid national upheaval.

Part Three

The Departure of Gerald

Following Marda’s exit, Lois refocuses on Gerald and attends social gatherings arranged by wives of British officers. Nevertheless, Lady Naylor’s interference postpones Lois’s choices, and Gerald’s subsequent death—possibly connected to associates of Peter Connor—abruptly ends their relationship. Shortly after, Laurence, Lois, and the Montmorencys leave Danielstown. The Naylors stay briefly before their estate along with other grand homes are set ablaze in February—likely by those responsible for Gerald’s demise—symbolizing the downfall of the traditional Anglo-Irish landed gentry lifestyle.

Major characters

• Sir Richard Naylor, the head of the family and proprietor of Danielstown, is acutely conscious of the Troubles' immediacy, although he rarely voices his apprehensions openly. Bowen’s account frequently exposes his unease about the intensifying strife occurring on his property.
• Lady Myra Naylor embodies a resolute woman anchored in conservative post-war ideals, especially concerning societal and matrimonial norms within her social rank.
• Lois Farquar, Sir Richard’s niece and principal storyteller, is an eighteen-year-old navigating her sense of self and her relationship with Gerald Lesworth amid the evolving post-war social landscape.
• Laurence, a cousin visiting Danielstown, feels hesitant about social functions and is limited by financial constraints, often wishing to be elsewhere despite familial expectations.
• Hugo Montmorency, a long-standing family acquaintance returning after a twelve-year absence, carries complicated emotions toward Lois and recollections of her late mother, Laura Naylor Farquar.
• Frances Montmorency, regarded as physically frail but mentally astute, perceives household interactions with a depth others lack.
• Gerald Lesworth, a British subaltern from Surrey attracted to Lois, represents conventional British masculinity yet struggles with the imperialistic attitudes prevalent among the Anglo-Irish.
• Marda Norton, a guest admired by Hugo and cherished by Lois but disfavored by Lady Naylor, is secretly engaged to stockbroker Leslie Lawe—news that astonishes Danielstown’s inhabitants.

Supporting characters

• Livvy Thompson, a confident friend of Lois and fiancée to David Armstrong
• David Armstrong, a soldier affiliated with the British regiment
• Laura Naylor Farquar, Richard’s sister and Lois’s late mother; once romantically involved with Hugo Montmorency
• Mrs. Vermont, an English socialite focused on building connections; spouse of Captain Vermont
• Captain Vermont, officer in the British military
• The Hartigans, neighboring Anglo-Irish family known for their five unmarried daughters
• Daventry, a British Intelligence soldier suffering from shell shock
• Smith, a minor British soldier character without an identified first name
• Viola, friend and occasional confidante of Lois
• Mrs. Fogarty, one of the few Irish Roman Catholics supporting close relations with Britain
• The Connors, an Irish Roman Catholic family maintaining a nominally friendly relationship with the Naylors
• Peter Connor, son of the Connors captured by Gerald’s group; although absent in person during the narrative, his political significance profoundly influences Danielstown

Barrenness

The theme of barrenness permeates the novel, evident in both its characters and environment. The striking lack of children—apart from Hercules, the youngest and sole boy among four sisters—underscores this motif. Neither the Naylors nor the Montmorencys have offspring, while the Hartigan sisters remain unmarried spinsters. Lois feels emotionally barren when scrutinized by figures such as Mr. Montmorency or Laurence. She nurtures affections for both Hugo Montmorency and Gerald Lesworth but ultimately retreats inwardly. Marda Norton recounts an anecdote that leaves her emotionally depleted. This human sterility mirrors the Irish backdrop where notions of sexuality and vitality appear diminished or irrelevant. Sir Richard expresses concern over potential harm to his estate caused by soldiers searching for hidden weapons, highlighting his plantation's vulnerability amid persistent turmoil.

The grand residence

Danielstown, the central location in the novel, is an expansive estate that profoundly affects both its residents and visitors. According to Maud Ellmann, Bowen’s writing demonstrates how architecture can influence personality just as powerfully as personal experience. Lois senses the house almost as a living entity—isolated and uneasy within its surroundings:

To the south, beneath them, Danielstown’s demesne trees formed a dark, orderly square resembling a rug laid on the green countryside... The house seemed to press downward in anxiety, concealing its face... drawing its trees close in fear and astonishment at the vast, bright, beautiful yet indifferent landscape.

Laurence labels it "a dreadful house," whereas Gerald finds its mirrors soporific. Marda Norton associates the place with an aura of inevitability, remarking that despite her usual efficiency, she only misplaces things there. Upon the Montmorencys’ arrival, the house appears to silently resist their presence. The film version was filmed at Dowth Hall in County Meath near the River Boyne.

Oriental and colonial influences

The presence of the exotic is evident early within Anglo-Irish society: Lois frequently stumbles over a tiger’s jaws, and locked bookcases hold ebony elephants imported from India. Oriental antiques decorate Danielstown, while Betty Vermont describes Gerald as "Bedouin," alluding to Eastern sexual symbolism, though Gerald himself remains "nice-minded." Gerald personifies colonial ideology; he regards the British Empire as uniquely capable of bringing civilisation and naively believes in a clear division between "good guys" and "bad guys." He also treats colonisation as a profession, criticizing Mr. Armstrong for his lack of ambition.

Suspended youth

The story underscores a static timeframe through expressions such as "In those days…" and "cancelled time," reflecting a stasis typical of Bowen’s narratives. Andrew Bennett and Nicholas Royle observe that Bowen’s novels resemble "still lives," burdened by mental inertia from their outset. The protagonist Lois views her existence as enclosed and frozen, embodying solitude and absence of future prospects, frequently envisioning herself trapped in an idealized, perfect no-place—a metaphor for suspended time and inactive being.

Cultural identity

The Anglo-Irish community experiences divided loyalties, uncertain whether to side with Ireland or England. This conflict is personified by Lois, torn between Holyhead [Wales] and Kingstown [Ireland], representing a "nonentity" belonging to neither place. Ellmann points out this paralysis: Lois is unable to fall in love, just as the Naylors avoid taking a stand in their political conflict, both resulting in disengagement—romantic and political alike.

Renee C. Hoogland highlights the doomed relationship between Irish and Anglo-Irish groups against the sociohistorical context of the Troubles. This struggle signifies the decline of the Anglo-Irish landed class and their obsolete social order, rendering them nearly irrelevant. Lois's and Laurence's apathy toward political turmoil reflects their detachment from a "historical present" that ultimately destabilizes their lifestyle.

Satire/comedy

Critics such as Hoogland and Corcoran recognize elements of satire and humor aimed at Anglo-Irish and English society. Hoogland categorizes The Last September as a social comedy that critiques the customs and ethics of the Anglo-Irish landed aristocracy alongside the English upper-middle class. She highlights Myra Naylor's social elitism and nationalist prejudice as tools Bowen employs in her social satire, particularly targeting the English upper-middle classes:

"In England, the main thing seems to be having plenty to say... They are certainly very practical and decisive, but it is unfortunate that they talk so much about their activities."

Corcoran interprets the novel’s humorous tone as closely linked with a sense of decline and obsolescence experienced by the Anglo-Irish community. He points out how characters’ procrastination and evasions metaphorically represent a wider societal stagnation. The comedic aspect remains evident throughout; for instance, Laurence’s fanciful notion of Hugo and Laura’s marriage amusingly imagines their children being "quickly sent off to toughen up in Canada," underscoring social quirks within the Anglo-Irish context.

Feminism

Through a feminist perspective, Hoogland views Lois's character as resisting full submission to marriage due to its perceived ineffectiveness:

By conforming to expected roles, Lois’s friends uphold compulsory heterosexual norms and phallogocentrism. Although Lois desires acknowledgment, she cannot completely embrace her assigned position within this power dynamic. Witnessing the barrenness of nearby marriages, she becomes aware of the institution’s constraints on individuals. To avoid exclusion by the older generation, she finds purpose in imagining a future beyond their influence. Nevertheless, she remains connected to her contemporaries, depending on them for validation. Though hesitant, she feels compelled to appear "agreeable" and appealing to men, which leads her to reluctantly accept Gerald Lesworth's courtship.

Lady Naylor cautions that early engagements and marriages frequently interrupt career paths, asserting that modern women possess futures extending beyond matrimony. This theme highlights women's empowerment while critiquing "the institution of heterosexuality," consistent with Hoogland’s interpretation.

Ellipsis

A pivotal instance of ellipsis in the novel occurs during the mill scene where Marda Norton is shot. Corcoran emphasizes its importance:

The dilapidated mill stands as a symbol of the lingering shadow of Anglo-Irish history, expressed through its desolation. Hugo begins to voice national grievances but is interrupted by ellipsis—Lois insists on moving on—illustrating how Bowen introduces critical topics only to postpone them, thereby heightening their haunting absence.

Maud Ellmann observes that much of the narrative unfolds offstage in a manner reminiscent of Greek tragedy, with numerous dialogues marked by pauses and incomplete thoughts. The exchange between Gerald and Laurence regarding civilization serves as an example where meaning is conveyed more through interruptions than direct statements, reinforcing how The Last September utilizes ellipsis to deepen its thematic impact.

The destruction of Danielstown by fire

The story reaches its climax with the incineration of Danielstown, an event that is hinted at throughout the plot. Laurence expresses a desire to witness the house aflame: "I should like to be here when this house burns." Although the Montmorencys contemplate constructing a bungalow, Lady Naylor rejects this plan, anticipating eventual ruin. This conclusion mirrors the historical actions of the IRA, who targeted and demolished country estates in Ireland during the period from 1919 to 1923.

Cinematic adaptation

In 1999, a film version was produced featuring a screenplay written by John Banville, with Yvonne Thunder as producer and Deborah Warner directing. The musical score was created by Zbigniew Preisner, while Slawomir Idziak was responsible for cinematography.

The ensemble cast includes Maggie Smith, Michael Gambon, Keeley Hawes, David Tennant, Lambert Wilson, Jane Birkin, and Fiona Shaw.

References

• Bennett, Andrew and Nicholas Royale: Elizabeth Bowen and the Dissolution of the Novel. New York: St. Martin's Press, 1995.
• Bowen, Elizabeth. The Last September. 1929. New York: Anchor Books, 2000.
• ---. “Preface to The Last September.” Seven Winters: Memories of a Dublin Childhood & Afterthoughts: Pieces on Writing. New York: Knopf, 1962.
• Corcoran, Neil: Elizabeth Bowen: the Enforced Return. Oxford, Clarendon Press, 2004.
• Ellmann, Maud: Elizabeth Bowen: The Shadow Across the Page. Edinburgh: Edinburgh UP, 2003.
• Hoogland, Renee C.: Elizabeth Bowen: A Reputation in Writing. New York: New York UP, 1994.
• Williams, Julia McElhattan. “‘Fiction with the Texture of History’: Elizabeth Bowen's The Last September.” MFS Modern Fiction Studies 41.2 (1995): 219–242.

External links

• Complete text of The Last September at HathiTrust Digital Library