Christopher Tilghman has written three historical novels chronicling the Mason family and its Queen Anne’s County estate on the Eastern Shore. The Right Hand Shore (2012) takes place during Reconstruction and ends in the 1920s. His newest novel, Thomas and Beal in the Midi (2019), recounts the exile to France of a Mason heir and his life-long friend and wife, a black daughter of the plantation. The two become vintners in the countryside. Mason’s Retreat (1997) tells of the 1936 return from Manchester, England of another heir, Edward Mason, his wife, Edith, and their sons Sebastien and Simon. The Masons return to the ancestral home, fleeing business loss and wanting to restore revive family and marriage. Like The Right Hand Shore , Retreat is a frame tale, this one told by Simon Mason’s grown son Harry.
Perhaps not a trilogy, the three novels are surely unified by the estate (begun in the seventeenth century) and its past, and the family members’ efforts to live independently of the past. The line from Faulkner’s Requiem for a Nun comes to mind immediately: “The past is not dead. In fact, it’s not even past.”
In Manchester, England, Edward Mason’s machine-tooling factory is failing slowly, in part because of the Depression and perhaps also because of Edward’s weak management. While in England, Edward had two admitted affairs, more or less forgiven by his wife Edith. The heir’s fresh start attempt on the farm is troubled because of his mismanagement and failure to take advantage of the knowledge and experience of those who managed the farm well during their absence. However, the elder son, Sebastien, immediately becomes deeply engaged in the farm work, readily learning from the locals. Early in the plot, he becomes an obvious and qualified heir to the estate.
One reading of the novel sees a story of father and son conflict. Father Edward is interested in engineering and manufacturing, and wants to return to England. Son Sebastien prefers, as noted, farming, and wants mightily to remain. Their conflict, begun before their arrival, intensifies quickly. Edward’s parenting is weak; when difficulties arise, he can become unjustifiably angry. When maturing Sebastien needs acceptance and understanding, in this, his father fails him. Elder son Sebastien is quite close to his mother; younger son Simon nearly worships his father and wants very much to return to England when Edward is called back.
Mother and son relations in Mason’s Retreat , however, count as well. Sebastien and Edith have a strong relationship based on close conversation and trust. Edith observes and encourages Sebastien’s maturity. She favors his friendship with Alice, a neighbor his age, who teaches him to ice skate and to sail. Sebastien’s perceptive and intimate understanding of his mother allows him to first to suspect and then to know of his mother’s affair with a younger neighboring man. That betrayal, while Edward is back at the factory, comes because of her sexual need, her freedom, and her deep loneliness. Her husband Edward learns of the affair from an anonymous letter.
Not knowing of the English factory’s growth, Edith slides into a conversation with Edward about “a few decisions [management] must make at Machine Tool.” Unprepared, perhaps temperamentally, for an important exchange, he reveals his call to resume mill management. He is happily surprised when she approves of his return. But she does so “leading their lives in a new direction of her own choosing.” She assertively decides for her sons and herself to remain.
Sebastien tells his mother that he knows of her affair. He’s angry that she’s been deceitful. Later, he overhears mother and father discussing his fate, and he eventually makes a rational but dangerous plan to keep his mother, himself and his younger brother Simon in America. Had the father been a more capable, less self-centered parent, reconciliation might have come. In a climactic, chaotic scene at the end of the action, Edward returns to England alone.
Tilghman’s frame-tale technique does not make an essential envelope, though it does allow some closure. To some degree the frame tale ending is neutral on whether the past is still alive and affecting the family. Simon Mason’s son Harry takes his father back to the Mansion house. Simon has hopes of some restoration, some relief from the past. Yet none comes.
Title image: Pond at Pickering Creek Audubon Center, Talbot Co. Photo: Jan Plotczyk