The Nutmeg Tree
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15
Ratings1
Average rating4
The Nutmeg Tree was first published in 1937. It is probably the first of Margery Sharp’s novels that made her work a commercial success.
It is a marvelous piece of storytelling that also happens to be extremely funny. The lead character, Julia Packett, is not a typical heroine, by any means...A charming ne’er do well with a talent for song and dance, a passion for burlesque theatre, and a sincere but ephemeral attachment to any male with a come-hither look, she has the ill fortune to get pregnant, hastily married, then widowed in a brief space of time during the hectic days of World War I. She tried being a mom for awhile, but then left her baby daughter with the (very deserving) grandparents and went back to her life in theater.
But there's something about Julia...she won the hearts of readers then, and now. The real story opens twenty years later, when she finds her daughter Susan needs her to help sort out a messy romantic entanglement. Every last bit of maternal instinct is then mustered, and Julia Packett goes rushing off--somewhat theatrically, but sincere, nonetheless--to help her daughter. What ensues, both in the romantic angle and the soul-searching angle, is a delight.
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Originally reviewed at www.emeraldcitybookreview.com
In The Nutmeg Tree, our heroine is Julia Packett, a very different but equally idiosyncratic character. Summoned to the south of France by an impulsive message from the daughter she hasn't seen since infancy, who is seeking approval of her intended marriage, Julia immediately identifies the young man in question as a “wrong one,” but how can she convince her besotted daughter? And how can a former showgirl pull off the role of a respectable member of a very proper family, when in fact she is nothing of the sort?
Julia's “misbehavior” (leaving her daughter to be raised by the father's family, taking up with a series of male companions, and ending up having to sell off furniture to pay the rent) might not seem utterly damning today, but on the novel's publication in 1937 this lifestyle would have raised some eyebrows. Julia is portrayed with so much sympathy and humor, though, that we embrace her follies as part of her inimitable verve and zest for life. In her outer and inner battles, we root for her and forgive her many lapses, which if we are honest may remind us of our own efforts to “be good.”
But can Julia forgive herself? In contrast to Cluny Brown, whose youthful imperviousness to criticism is part of her charm, the more world-worn Julia is struggling toward a new level of self-knowledge. Because this is a comedy, this is symbolized by the possibility of union with a man who can complement and appreciate her. And because this is Margery Sharp, their story is told in a way that is both larger-than-life funny, and relevant to deeper human concerns. How can Julia “marry” the experience that has given her insight and compassion for other people (but left her a bit worse for wear), with what remains unspoiled in her, still worthy of love and honor? It's a question we all have to resolve in our own way – though we may not all do it through dealings with acrobats met on trains.
