The third of the European novels in this August series of older women in fiction around the world is from Hungary, where the author lived between 1917 and 2007. Her work was not published during the Stalinist years.
The title sets up the barrier between the narrator and the woman who lives behind the door. The privacy and secrecy of Emerence is closed to the efforts of the narrator to create a relationship, although their lives are intertwined for twenty years.
The Door by Magda Szabo
The novel begins with the door, the narrator facing it in a dream. She is struggling to turn the lock. The door will not give way to her efforts and no one will come to help for although she is shouting she has lost the power of speech. This is a recurring nightmare from which the narrator, who is a writer, is wakened by her own screaming.
Emerence came to clean for the writer who had moved with her husband into a new and bigger Budapest apartment. Having been disapproved of for some time, during the Stalinist era, the writer is now more successful and needs time and space for her work. She needs a cleaner and Emerence has been recommended. Emerence makes it clear that she interviews the couple not vice versa. Later she takes over their dog as well. For twenty years Emerence cleans for the couple and becomes a major presence in their lives. It is in an uneasy relationship, especially at first as Emerence dictated the terms of her employment.
The story is told in a series of scenes, each one illustrating how Emerence keeps the narrator at a distance, or indeed turns her back on her if she feels affronted. Uneasily, unevenly, gradually the writer and the older woman develop affection, although it does not prevent the writer from getting things wrong.
Emerence had a hard childhood, born into a rural area and rejected by her family and her lover, who also stole her savings. She came to Budapest with no ties, in the war, and it emerges that she helped other people survive, especially a Jewish family. She has done numerous favours for many people so that her nephew, the Lieutenant Colonel of the police, and many others all look out for her interests and protect her from the worst of life in its intrusions, especially officialdom. Emerence allows no one into her house, except the narrator just once. She has immense pride, and immense strength.
She was tall, big-boned, powerfully built for a person of her age, muscular rather than fat, and she radiated strength like a Valkyrie. Even the scarf on her head seemed to jut forward like a warrior’s helmet. (6)
At the end of The Door Emerence falls ill and is confined to her house. She needs assistance but will not unlock her door. What are the ‘lady writer’ and the community to do?
Her absence reveals that the community has come to rely upon her. The narrator has to ask the local priest to provide a church funeral, for the benefit of the local community. He opposes the request because of her well-known and rigid opposition to the church.
‘She’s not asking for it,’ I replied. ‘I am. And so is every well-disposed person. It is appropriate, as a form of homage. She may have heaped expletives on the Church as institution, but I’ve known few devout believers who were as good Christians as this old woman. … This woman wasn’t one to practice Christianity in church between nine and ten on Sunday mornings, but she had lived by it all her life, in her own neighbourhood, with a pure love of humanity such as you find in the Bible, and if her didn’t believe that he must be blind, because he’d seen enough of it himself.’ (250-1)
And after death her influence lives on, she’s still solving problems for other people.
The Door isn’t so much about the old woman as about the relationship between the narrator and Emerence. They reflect many of the themes, which are set up in tension or as opposites. Emerence stands firm for the value of manual labour, while the narrator is a writer, an intellectual. Emerence does favours for the whole community, keeps the streets clear of snow, cleans their houses, services the block of flats for which she is curator. Her selflessness means that she accepts no favours, no presents. The lady writer, on the other hand, thinks of herself and her own needs constantly, as if her sensibility were especially fragile. The writer’s Catholicism is important to her, but Emerence wants nothing to do with the Church and its rituals. And so on.
It is clear that the best of life is in the combination of these qualities, labour with intellectualism; selflessness and selfishness; faith and scepticism; privacy and public approval.
The Door by Magda Szabo, first published in 1987. Translated from the Hungarian by Len Rix and reissued by Vintage in 2005. 262 pp.
Posted by Caroline Lodge of Bookword
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