Book Review - Mary Stewart's Nine Coaches Waiting
Nine Coaches Waiting by Mary Stewart
Published by: Chicago Review Press
Publication Date: 1958
Format: Paperback, 342 Pages
Rating: ★★★★
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Linda Martin was born in France and lived their till her parents died suddenly in a plane crash and she went to an English orphanage. Years passed, filled with hard work and loneliness. When an opportunity arises to go back to France as a governess to the Comte de Valmy, the nine-year-old Philippe, Linda doesn't scruple to pretend she is English to Philippe's Aunt Héloïse in order to secure the position. The Château Valmy is located in a remote valley in the Alps and is breathtaking, despite it's seclusion, or maybe because of it. Linda and Philippe connect instantly, both being lonely souls orphaned at a young age. She is a surprisingly adept and forward-thinking companion for Philippe and saves him from a few dreadful accidents that might have happened if not for her. While she worries for Philippe's safety at the hands of his mysterious uncle and her boss, Léon de Valmy, Linda is in for a far greater predicament when she finds herself falling for Léon's rapscallion son, Raoul. Her love for Raoul blinds her to what is obviously going on in the Château and when she realizes the danger that she and Philippe are in it might just be too late... hurry, hurry, hurry —
Ay, to the devil!
For many people, including myself, Mary Stewart is known for her Merlin series. Growing up in the 90s when I did surrounded by geeks who spent all their spare time discussing The Lord of the Rings in detail or playing Dungeons and Dragons or memorizing "Jabberwocky" in German, Mary Stewart was the female T.H. White. In fact, it wasn't until years later that I learned that Mary Stewart didn't only write about Arthurian Legend. To those in the "know" Mary Stewart was a writer of contemporary Gothic romances. I didn't learn about this other side of her till after high school when I started reading Austen and Bronte and developed a passion for historical fiction. Due to the enthusiastic following of these books by Stewart and in no small part to the reviews in the Bas Bleu catalog I started to pick up a book here and there over the years as the Chicago Review Press re-released them till I have now amassed a fairly comprehensive collection of Stewart's works. But alas, they have mainly just been sitting on my bookshelves looking pretty. Every so often I would look at the books and think, soon. I've been thinking this for awhile now and still they languished. The one interesting fact of waiting this long is not just the number of people who keep recommending Stewart's books to me over and over again, but that one book was recommended more than any other. That book was Nine Coaches Waiting. So Nine Coaches Waiting is waiting no more.
What I thought was very interesting about Stewart's writing is that she is able to take an idea that might be very gimmicky and spin it into something that works. At the beginning of the book Linda thinks of the quote from the play The Revenger's Tragedy about "Nine coaches waiting — hurry, hurry, hurry —
Ay, to the devil!" Besides serving as the title of the book it serves as to how the book is broken down into chapters. Each chapter is a different "coach" with nine coaches, or chapters, in total. Though Stewart means this more literally then you might think. In each chapter Linda takes one vehicle somewhere, to Geneva or just down the road. But it's only a car that Linda has been in that counts. So the cars act as a literal driving force for the book, because unless Linda gets in a car and is getting ready to get in another there won't be another chapter to start. This is one of those ideas that hangs around that cool/looking like a dickhead place on the fashion scale, only I'd quantify it as clever/lame gimmick on the storytelling scale. It's such a clever conceit that it could easily come across as smug that the author was "oh so clever" to have thought of it in the first place. But that's what I really like about Stewart, she never comes across as smug. She gets what she's doing but does it in a way that makes it fun and self-referential. Her ability to laugh at herself and give her readers a nod and a wink makes what would be conceited actually quite endearing.
This endearing quality continues into the Jane Eyre jokes. They are nicely playful without being self-satisfied and smug. As you're reading you're thinking, oh, how Jane Eyre, then Linda thinks it, and you're like spooky, but then her very Mr. Rochester boss, Léon de Valmy, says what both you and Linda are thinking and it's spooky but also amusing all at once. Like a nervous laugh that dispels the tension. Mary Stewart doesn't take herself or her narrative too seriously and you become complicit in the fun, and this, more then anything else, made the book for me. The Bronte allusions didn't hurt either. But there's one author you really can't help comparing Stewart to, and that's another fan of the Brontes, I'm talking about Daphne Du Maurier. Both are masters of the Gothic romance, but, well, Mary Stewart loses something of the Gothic sensibility in the modernity of her storytelling that Du Maurier was always able to hold onto. Nine Coaches Waiting is just not as Gothic as I expected it to be. Moreover, there are times when Stewart reaches beyond her ability as a writer and the results are painful. Stewart has problems with descriptions of her surroundings. Not only does her compass points shift and turn till you're not quite sure what the orientation of the valley and surrounding areas are, but her attempts at lyricism as to the beauty of her alpine surrounds is totally beyond her grasp. The descriptions fall flat and are just a pale imitation of Daphne Du Maurier, especially when you think of the verdant and lush growth that surrounds Manderley. Sometimes a writer needs a little reminder of what they do best and what the shouldn't attempt in the face of superior talent.
As for those Alpine surrounds, what is it about governesses and the alps that go together like a hand and a glove? While The Sound of Music wasn't a musical till a year after Nine Coaches Waiting, the Trapp family's story was well known thanks to their music, and the film The Trapp Family, as well as Maria's autobiography, The Story of the Trapp Family Singers. So I'm sure that Stewart, in her comedic self-referential style, was fully aware of the connotations she was making in her readers minds. How could it be avoided with a governess in the alps!?! What mystifies me is the hold The Sound of Music has on so many people. So many authors, especially ones who like to write about governesses, site this movie as an important touchstone. I get the cultural impact, but the love? I seriously do not see it. The songs border on the annoying and once they're in your head they just never leave. Plus, despite how well Julie Andrews can hold a tune, I really didn't see the Captain falling for this upstart with a bad pageboy haircut. I understand the lure of the romance, but still. Perhaps it's that every time I think of The Sound of Music I'm back in 6th grade laying on the couch with the chicken pox watching the movie on Christmas Day. I don't think we knew it was chicken pox yet, but I do remember being wrapped up in a blanket on the couch, watching the whole movie, being tucked into bed, and promptly vomiting all over myself. Therefore it's best if I'm not reminded of this incident, in any way, shape, or form.
Speaking of vomit... yes, interesting segue that, but some of Linda's thoughts made me want to vomit. Let's look at her actions first, she is a competent governess, doesn't let on that she speaks French fluently and in fact speaks it badly on purpose, teaches and helps Philippe, saving his life several times by her forethought, including a late night flit into the wilderness. In other words, Linda kicks ass. Yet her inner monologue is just a little too self-hating. She thinks of herself as being a "silly woman" with her fears when what she does is seriously awesome. She is willing to give up true love and safety forever to protect one little child and she does it without a pang. Yet she'll go on about her thoughts being irrelevant or herself being worthless. I'm sorry, but firstly, no. No one is worthless. Secondly, she has proven time and time again that this is totally not the case. More importantly, this is just showing how much culture has always pushed women to undervalue themselves as second class citizens. Yes, I could argue that what Linda does versus what Linda thinks makes her a more interesting character because it shows how people have self doubts even while facing down tremendous odds, but I won't argue that. Mary Stewart is a female writer who knows better. Linda is strong and should be lauded, not second guessed by her own little grey cells.
After last year I now realize that I am not along in my Gothic obsession, or should I call it predilection, because it seems I'm just drawn to the genre whether I intend to be or not. Therefore I welcome you to Going Gothic 2: The Gothining! Or perhaps I should say Going Gothic 2: The Rise of Cthulhu. Why "The Rise of Cthulhu" you might ask? Because in the last year my Gothic bent went more to the monstrous side... Because Gothic literature isn't all about a fair damsel in a dilapidated mansion, oh no, Dracula, Frankenstein, Cthulhu, these are the creatures of the Gothic genre! Because Gothic does have the tendency to slip, ever so slightly, towards horror. And horror would be a good way to categorize 2017 and my reading just went with it. Therefore we might have some more "traditional" tales, but we will also have some off the beaten path, in Antarctic wastes, with wolves howling at the gates. So join me in a month of revelry to the gods of the Gothic. 
Fiercombe Manor by Kate Riordan
The Twilight Saga: The Official Guide by Stephenie Meyer
My Unfair Godmother by Janette Rallison
The Gathering by Kelley Armstrong
The Wilder Life by Wendy McClure
The Moon-Spinners by Mary Stewart
