“And the good things kind of glide past you. You can take them for granted. But the bad things, the regrets. They fuckin’ sting.”
After reading Roddy Doyle’s wonderful novel, The Woman Who Walked Into Doors, I turned to the book’s sequel: Paula Spencer. We met Paula in The Woman Who Walked Into Doors on the day she heard about her estranged husband’s death, and most of the novel, told in the first person was a retrospective look at Paula and Charlo’s violent marriage. Fast forward almost a decade, and Paula is a widow, still living in the same house she lived in with Charlo, still making a marginal living as a cleaner. The lives of Paula’s children have changed: Nicola is successful, Leanne is an alcoholic, Jack, a teenager still lives at home, and John-Paul, who was mostly just a memory in the first book, is a recovering heroin addict.
So between the spousal abuse, the alcoholism and the drug dependency we have two novels that tackle some tough issues, but in spite of the weighty issues, Paula’s story is told with a light humour.
When this ultimately optimistic sequel novel begins, Paula is now 47 and dry. That’s not to say that she doesn’t think about drinking … she does .. all the time, but accompanying the longing for a drink are shameful memories of her vomiting, passing out dead drunk in the house, and even being drunk in the supermarket.
She remembers going through the supermarket with a trolley full of six-packs and mixers and the rest. She couldn’t make the trolley go straight. Jack was in the carrier part. She was afraid the whole thing was going to topple over. Leanne was pulling on the other side of it, asking for every biscuit and family pack they passed. And she actually-did she?-she smacked Leanne, until she let go of the trolley.
One of the interesting aspects of the novel is the question raised about guilt: Paula feels guilty for the sort of mother she was, but occasionally she chafes against the guilt. She knows she’s right to feel guilty about being a drunk, but at times her children seem to forget or ignore the fact that Paula was driven to douse her fears in alcohol. Is there ever to be an end to the guilt? And what of Charlo whose absence, violence and irresponsibility somehow has removed him from the guilt equation?
Paula Spencer is set during the Celtic Tiger, so we see a different Ireland. Paula’s sister who owned a caravan on the coast in the first book is now talking about about buying a place in Bulgaria. Paula, however, is still on the bottom of the economy, still stuck as a cleaner–although now she’s a manager, managing foreign workers who seem to pop up everywhere.
That’s another big change, maybe the biggest. The men do the cleaning work. Nigerians and Romanians. She’s not sure if they’re legal. she doesn’t want to know. She’s not paying them. They come and go. They’re grand. They’re polite. She feels sorry for them. It’s not work for a man; she’ll never think different. The African lads come in dressed to kill, like businessmen or doctors. They change into their work clothes and back into their suits before they go home. Ashamed.
The world is changing and Paula makes the decision to move along too. She makes the gigantic move of opening a bank account, has a television, a giant fridge, and in one wonderful scene she makes a list with “a mad woman’s pen.”
It’s a good fridge, though. It takes up half the kitchen. It’s one of those big silver, two-door jobs. Ridiculous. twenty years too late. She opens it the way film stars open the curtains. daylight! Ta-dah! Empty. What was Nicola thinking of? The stupid bitch. How to make a poor woman feel poorer. Buy her a big fridge. Fill that, loser. The stupid bitch. What was she thinking?
The Woman Who Walked Into Doors was told in the first person, so we entered Paula’s mind. For some reason Paula Spencer is told in the third person so we lose that intimacy, and Doyle’s elliptical style is quite marked here. On the down side, Paula Spencer is quite disjointed. Time and space can leap from one sentence to the next, so the sequencing of events is disorienting at times. One minute we’re in Paula’s house, and in the next sentence, she’s in a caravan going nuts, pacing up and down obsessing about a drink. But that aside, it was well-worth revisiting Paula’s life and her problems.