Author, Bloomsbury, Book review, Fiction, literary fiction, New York, Patricia Highsmith, Publisher, Setting, USA

‘Carol’ by Patricia Highsmith


Fiction – paperback; Bloomsbury; 320 pages; 2010.

Most of us know the late Patricia Highsmith as a writer of psychological thrillers, such as Strangers on a Train and The Talented Mr Ripley. But the second novel that Ms Highsmith wrote was a romance.

Sadly, because it focused on a lesbian relationship, her then publisher, Harper, did not want it, but it was picked up by a smaller press and published in 1952 under the pseudonym Claire Morgan. Titled The Price of Salt (later to be changed to Carol on subsequent reprintings), it became hugely popular for a short period of time (it sold nearly 1 million paperback copies in 1953), and then fell out of print. It was reprinted again in 1991 by Naiad Press, and just this year, with a very nice introduction by Val McDermid, by Bloomsbury. I picked it up by chance while book browsing in The Riverside Bookshop, attracted by the gorgeous cover design with its striking use of bold orange.

The story is set in Manhattan in the early 1950s, a locale and time period that I find particularly attractive and interesting. The Second World War is still very much a recent memory, and all the mod-cons we take for granted today simply do not exist. The characters that populate this novel work long hours, they smoke, they drink beer (even the women), they dine out in cheap restaurants, buy meals to make at home from street corner delicatessens, worry about paying the rent and alleviate boredom by going to movie theatres, musical performances, hockey games or take long strolls through the park.

The central figure in the novel is Therese, a 19-year-old “orphan”, who has taken a Christmas sales job working on the doll counter of Frankenberg’s department store. The job is just a temporary arrangement in order to pay the bills while she looks for something in her real line of work, which is a stage designer.

One day she serves an attractive woman in her early 30s, and finds herself completely smitten by her.

She was tall and fair, her long figure graceful in the loose fur coat that she held open with a hand on her waist. Her eyes were grey, colourless, yet dominant as light or fire, and, caught by these, Therese could not look away.

Under normal circumstances you would expect Therese, who already has a steady boyfriend — the ever-dependable if somewhat dull Richard — to forget this customer. But Therese is determined to befriend her and armed with her address (garnered by arranging to have her purchases home delivered), she sends her a Christmas card. What follows is a burgeoning friendship in which Therese slowly manages to ingratiate herself into Carol’s life.

And while Therese is clearly obsessed by Carol, the feelings are not reciprocated because Carol is too caught up in her own problems: a bitter divorce and a potential custody battle over her young daughter. But the dynamic between them soon changes when the pair disappear on a road trip across the United States…

For a novel that is billed as a “lesbian romance” there isn’t really much romance in this book. Nor is there any sex. This is more a novel about a young woman’s coming of age, of her finding her place in the world and of broadening her horizons beyond her closeted life in Manhattan. On another level it also focuses on the power plays between people — who has more to lose, who has more to gain — and of the ways in which our “lifestyle choices”, particularly in 1950s America, determine our fate.

It’s an incredibly atmospheric story, because Highsmith is able to build a sense of impending doom and menace without really spelling anything out. There’s not much detail here, though, and there are frustrating moments when you realise you have to do a lot of reading “between the lines” to understand what is fully going on. I found Therese particularly annoying at times, but perhaps that’s because Highsmith has painted such a faithful portrait of someone incredibly naive and unexperienced about affairs of the heart that she feels all too real.

Highsmith is also excellent at maintaining momentum. With its clipped prose and choppy sentences, it feels like a suspense novel, because everything moves so quickly, including the conversations between characters. I found it difficult to put down, if only because I wanted to know how the relationship between Therese and Carol panned out.

On that note, I should point out that if you are considering reading this book, it’s best not to read other reviews online, including the wikipedia entry, because they all make a big point of revealing the ending. And if you buy this Bloomsbury edition, leave the introduction by McDermid until last, because it too features a major spoiler. The blurb, I’m happy to report, gives nothing away.

7 thoughts on “‘Carol’ by Patricia Highsmith”

  1. I have had this book on my shelf for four years (hence not the stunning cover above but a vibrantly burgundy Vintage ed.) ever since my friend wrote her thesis on Highsmith whilst we were doing our Master’s degree together. I really must read it.
    I have read an AMAZING short story by Highsmith about snails; it’s in her Thirteen collection.


  2. I think you’d like this one, Claire. I haven’t read The Group, but I imagine it’s quite similar in feel…
    This is actually my first ever Highsmith… I will have to look up her Thirteen collection. If she can make a story about snails amazing it must be worth a read!


  3. It’s actually called Eleven, now that I’ve looked up at my short story shelf (the story itself it called “The Snail-Watcher”).
    If it’s anything like The Group then I’m in, although I’ve been wanting to read it anyway … just never managed to yet.


  4. I do really like the cover of this edition, I have an older one somewhere in my many boxes and bought it after a recommendation from Stella Duffy at a talk she was one of the authors at… and still havent read it.
    Why do they give away endings in introductions? I kind of understand with Wikipedia, kind of, but not with introductions, whats the point of reading the book afterwards? Its a small pet hate of mine.


  5. I’ve just read this (and reviewed it) and really enjoyed it. I sort of knew the ending before I started but I don’t know that it took that much away from my reading enjoyment. There’s an ambiguity there and her writing is so good that I was swept along with the emotions. What I found particularly interesting after I’d finished was to read an extract of The Talented Miss Highsmith (by Joan Schenkar) and to compare her crime fiction with this simple, fairly feel-good romance. I’ve not read any of the Ripley novels but having seen the film, it doesn’t appeal to me as much as this one.


  6. I’ve just found your review, Kim – I’ll add a link to the comments in my post. It’s interesting to see your commentary about the need to read between the lines of Highsmith’s prose. I would agree with that, especially during the scenes at Carol’s house and the subsequent road trip. Carol is much more complex than she appears at first sight.

    I love this era as well – I’m often drawn to novels set in 1950s America.

    Liked by 1 person

  7. Extraordinary how common it is for introductions to give away endings. I quite share Simon’s irritation with that.

    I came here from Jacqui’s review, and you also make a very good case for it. I’ll check it out. The evocation of time and place sounds particularly effective, but then it is Highsmith…


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