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It never fails to surprise me when I can enjoy a book but not its characters, and it always speaks to me of great writing. I absolutely HATE Alice Mellings of Doris Lessing's THE GOOD TERRORIST, but I have read my copy to literal pieces. However, I also couldn't stand Dolores Price in Wally Lamb's SHE'S COME UNDONE and have never thought once about reading it again. Now, into the first category, enter Rowland and Nina Mahler, the protagonists of THE FINISHING SCHOOL by Muriel Spark.
Rowland and Nina, a married couple in their late twenties, have hit on a great scheme, although it is never referred to as such. They run a tiny, barely legitimate "finishing" school for a handful of world weary, not college material, rich kids who really seem to be just marking time before they marry off (girls), get hired as a charity case by the family business (boys), or come into their trusts (both). Despite a popular creative writing class taught by Rowland, himself a struggling novelist, their only real draw is the fact that the school --- College Sunrise --- is a mobile one and thus changes its Western Europe location every year.
The year that we are permitted to observe, the College can be found in Lausanne, Switzerland. Rowland enjoys his role of professorial writer while Nina runs both the school and various off the cuff lectures regarding lesser known facts of international etiquette (such as if you are ever offered a plover's egg as part of a cocktail canape, be sure to eat it with your left hand), which could only be relevant for this motley crew of international "students." Nina also realizes that her marriage with Rowland is quickly coming to an end, but she accepts this and has even begun planning her next life phase.
Their assortment of students include Princess Tilly, of what she is actually Princess of no one knows; Opal, whose family is going through bankruptcy; Pallas Kapelas of Greece, whose father is most likely a spy; and then there is Chris Wiley, who for some reason thought the College would be the perfect place to write his Novel. His Novel is always discussed as if capitalized and, after reading the first few chapters, Rowland is surprised by how good it really is. Of course, due to his own writing ambitions (which are sent into a complete tailspin by the proximity of Great Young Writer Chris), he does everything within his power to play down his opinion of the fledgling book and, by the end of this short tome, has moved from subtle editorial criticism of the Novel to out and out sabotage of Chris's contacts with publishers.
Chris is completely aware of Rowland's maneuvers, as he is of the maddening jealousy Rowland feels towards him. He purposely flaunts his Novel in Rowland's nose every chance he gets. It is surprising that he leaves the school intact, especially considering the murderous fantasies his "mentor" is having by that time. It is even surprising to find out where he is two years later in the epilogue disguised as the final few pages.
This is a fast-moving book, and really more of a novella, which is why I just can't divulge much more information lest there be nothing left for you to discover on your own. It has the feel of a short story that was so intriguing you wished for just a bit more information, a bit more detail about the main characters, and got it. I wanted to slap Chris and shake Rowland, and I know I would never care to take tea with Nina. The rest of the cast, including a mysterious violin player whose nephew begins an affair with Nina, never get more than typical short story treatment. They're there but I just couldn't care, and their presence seems only to serve the devices of the main characters, which is why, I suppose, little sub-story lines keep getting interjected and then totally dropped.
I would, however, like to take tea with Muriel Spark. I have to admit, I had never read any of her books before picking up THE FINISHING SCHOOL and not because it's her first novel. This is a prolific author with over 25 books to her name, including perhaps her best-known novel, THE PRIME OF MISS JEAN BRODIE. In addition, she has penned several collections of short stories, and it is most likely her experience in that genre that largely shapes this book. Her writing is crisp and even fresh in a publishing world that likes to follow bestseller trends. I find this most amazing considering that Spark is 86 years old, although in her case, to use a terrible line, it should probably be 86 years young. Her dialogue, descriptions and properties are completely up to date if not thoroughly modern. Witty is a word that is often used to describe Spark's writing, and it fits. It is not, however, a "dear old Aunt Muriel" type of witty; rather, it is cutting, non-piteous and calculated.
I look forward to reading more of Muriel Spark and already have a hunch that I will be rereading THE FINISHING SCHOOL very soon, if only to scowl again at its inhabitants.
--- Reviewed by Jamie Layton
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