Muriel Spark
“Remember that you must die” potentially reeks of morbidity, so one would assume a novel entitled Memento Mori would be pretty bleak. But one would be mistaken. For in the capable hands of Muriel Spark, this is far from being a macabre or depressing reading experience. Although set in the 1950s and published in 1959, the novel feels fresh in its treatment of an enduring subject—how do we come to terms with our own mortality?
The novel’s lively cast of elderly characters are from the upper echelons of society. With ages ranging from the mid 70s to the late 80s, they are in various stages of physical and mental decline. They are connected to each other either as siblings, through marriage, as previous lovers, or as caregivers. Among them is Dame Lettie, a recipient of the OBE; Charmian, her sister-in-law and famous novelist; Guy Leet, Charmian’s former lover and a literary critic; Godfrey, Charmian’s disgruntled husband and brother to Dame Lettie; and Jean Taylor, Charmian’s friend and previous caregiver who now resides in a home for the elderly.
Unexpectedly, this close-knit coterie finds itself victimized by harassing phone calls. An anonymous caller has the unmitigated gall to remind them of their impending death. The calls are initially dismissed. Dame Lettie, the first victim, is accused of imagining things. But when the culprit broadens his circle and calls all members of the group individually, a police investigation is launched, a detective is consulted. But to no avail. The harassing phone calls continue.
Each character responds to a reminder of the inevitability of death in a manner that conforms with his/her world view. Their coping mechanisms vary. Some are in denial and desperate to catch and silence the culprit who reminds them of their mortality; others take a more philosophical and religious approach. Added to the mix are the elderly women who reside in the Maud Long Medical Ward with Jean Taylor. These women, affectionately referred to as “the Grannies,” act as a chorus of those refusing to go gently into that good night. Depicted as unique, authentic individuals with different interests and temperaments, they are resilient and frequently cantankerous. Their interactions are both comic and poignant.
Using the third person omniscient point of view, Spark turns her astute lens to observe her characters. Their behavior and interactions are rendered realistically, with even minor details revealing a great deal about a character’s disposition. The indignities that come with aging, including the loss of mobility and bodily functions, are presented authentically and, in many cases, with compassionate amusement. The quirky characters with their foibles and humorous interactions serve as potent reminders that the conflicts, deceptions, and intrigues of one’s wild and woolly youth diminish in significance when confronted with the ravages of aging and the inevitability of death.
Highly recommended for its inspired and inspiring treatment of an otherwise bleak subject.