“ There was not a single ornament or book or fading photograph in Mrs Bowater's parlour that in this queer privacy did not mutely seem to cry, "Yes, here am I. This is how things go."I leant forward and looked at him. "We mustn't care what she sees, what she thinks, if only we can go on loving her.""'Can, can'?" echoed Mr Crimble, "I have prayed on my knees not to."This was a sharp ray on my thoughts of love. "But why?" I said. "Even when I was a child, I knew by my mother's face that I must go on, and should go on, loving her, Mr Crimble, whether she loved me or not. ”
Summary
Memoirs of a Midget, an anonymous work attributed to a first-person narrative, delves into the introspective journey of a diminutive protagonist navigating themes of solitude, identity, and strained relationships. Set against the backdrop of domestic and theatrical settings—ranging from Mrs. Bowater’s parlour to the spectacle of a traveling circus—the text explores the tension between personal longing and societal expectations. Central figures like Mr.
Crimble, Fanny Bowater, and Susan Monnerie embody the protagonist’s struggles with love, memory, and self-perception, while recurring motifs of "stare," "lap," and "pygmy" underscore a preoccupation with visibility and vulnerability. The narrative, rich in lyrical introspection, ultimately frames existence as a delicate balance between inner truth and external performance, as seen in the protagonist’s reflections on love and the passage of time.
Quotes from Memoirs of a Midget ()
“ Then back and back—Lyme Regis, Mrs Bowater's—and Fanny, Lyndsey, my mother and father, the garden. No sylphs of the air, no trancing music out of the waters now! It was as if the past were surrounded with a great wall; and the future clear and hard as glass. You might explore the past in memory: you couldn't scale its invisible walls.And there was Mr Crimble—an immeasurable distance away; yet he had still the strange power to arrest me, to look out on me in my path. Must the future be all of its piece? I stopped thinking again, and my eyes wandered over my silk skirt and shoes. ”
“ If Susan Monnerie's was my first stranger's kiss, Mr Anon's were my quietest tears.His crazy cart seemed more magical than all the carpets of Arabia. I poured out my story—though not quite to its dregs. "This very afternoon," I told him, "I was writing to you—in my mind. And you see, you have come." The shaggy pony tugged at the coarse grass. I could hear the trickling sands in the great hour glass, and chattered on in vain hope to hold them back."You are not listening, only watching," I blamed him.His lips moved; he glanced away. Yet I had already foreseen the conflict awaiting me. ”
