Lynne Johnson, Wartime with the Tram Girls, Hera books, 3 March 2021 (provided by Net Galley)
I found the description of Wartime with the Tram Girls immediately enticing: a young middle-class woman with a suffragette past takes up wartime work as ‘clippie’ on the trams during the First World War.
Constance Copeland is the daughter of a businessman who, having sold his Manchester business, moved to The Potteries in 1909. Her mother had been a Workhouse Friend and has brought Alice into their home as a servant, together with a gardener, cook, and another young maid. It is now 1913 and Constance and her family are to travel to London in a first-class carriage to celebrate Constance’s nineteenth birthday at the Epsom Race Course. The planned treat begins an argument between Edwin and Agatha Copeland about money, creating the perfect tone for the theme throughout the novel: the roles appropriate to women and men. The dispute about the handling of finances impacts on Constance’s eventual entry to the world of paid work – Mr Copeland insists that financial matters are his province alone, despite his wife’s belief that ‘as a modern woman’ she should have some input.
Staffordshire and the potteries provide a backdrop to women’s work choices pre-war, and the poor quality of life lived by many in such locales. In contrast, the Copelands are wealthy. Edwin Copeland is keen for Constance to marry well, and this provides the early debate around marriage and its importance to women, and their role in a marriage. Firstly, Constance’s romantic story revolves around a man deemed very suitable by Constance’s father; a later romantic storyline takes an intriguing turn when a possible suitor, like Constance, has a past that needs explanation.
The dispute about Constance’s desire for paid work, and the nature of that work continues to highlight the broader debate about women’s role. On the domestic war front Constance is replacing, temporarily, the men who have gone to fight. At the Potteries Tram Depot she meets two women from an entirely different class and men who have suffered the ravages of war; experiences the precarious nature of work for women who adopted ‘men’s jobs’; and the pleasure in earning wages. Although her activity with the suffragettes is behind her, as they changed tactics to support the war effort, some of the principles they imparted remain with Constance. She is prepared to adapt to changing circumstances relishing the way in which women and men’s roles are forced to change and questioning the expectation that she should fulfil traditional women’s roles at the cost of her independence.
Constance’s demand for more freedom from pre-war ideas challenge her parents and past, and her choice opposes the dictates of class and gender. She shortens her name to Connie to hide her class background when she becomes a clippie. This has ramifications that she could not envisage, adding to the development of both the feminist and romantic threads of the story. Her friendships with two women who join the trams at the same time, bring into the novel details of their stories, past and present. The descriptions of the women’s work experiences on the trams are delightful, we can almost feel the heaviness of the money bag and ticket machine draped around the women’s bodies. At the same time as the difficulty of the work is shown, the joy of comradeship and developing new capabilities are as real. Romantic attachments are part of the experience and the way in which this is dealt with again shows Johnson’s solid research and understanding of the imperatives of women’s lives in a period where women’s paid work was temporary, limited in prospects and often a life of drudgery. Johnson also shows that romance can burgeon in the least likely of places with seemingly plain characters. Connie’s enduring relationships with women in service again emphasises the way in which the war at times broke down class barriers at home as well as on the battlefield.
The melding of the various romances and the way in which women in this period deal with a different social environment requires clever characterisation, story line and writing. The deftness with which Lynn Johnson combines research about the suffragettes’ and suffragists’ interaction and the burgeoning white feather movement versus conscientious objectors, together with romantic alliances is a credit to her: she makes the reader looking for a feminist story as satisfied as one wanting romance.
Where I think that the writing is less engaging, leading me to give this novel three (how I wish there was a half star available) rather than four stars, is in the last chapters. These are not as cleverly written, with a lot of detail which I found superfluous. However, it is possible that Johnson is using this as a device to set the scene for a third novel (Wartime with the Tram Girls is her second with some of the same characters). In this case the chapters provide a thorough grounding in the post war circumstances of the characters and their possible futures.
That criticism aside, I found this an appealing story, with well-drawn characters. Although Constance’s father appears unwarrantedly keen to have her married off this is a clever device. Where initially Mr Copeland’s behaviour seems too strong for the circumstances with which the reader is familiar, there is a mystery behind his zeal. This is only resolved near the end of the novel, creating a satisfactory tension from beginning to resolution. Similarly, Mrs Copeland is a complex character. She shows the way in which women were forced to manoeuvre between changing societal demands during the war, her commitment to her marriage and her desire to satisfy her daughter’s needs. Connie is a character who keeps the plot alive, with her early resentfulness at the boundaries that impact on women, to her challenging them and finding a way to lead a resourceful and satisfying life on the trams. Despite having to leave that work when the men come home, Connie’s experiences and her new friendships have changed her life. To be with her on that journey makes a thoroughly satisfying read.
Thank you to NetGalley for providing me with this novel and the opportunity to review it.