From Charlotte Brontë’s Norton Conyers to Alan Hollinghurst’s Canford Court – the little known locations that inspired the most famous homes in literature
Howards End, Manderley, Brideshead – some fictional houses are as unforgettable as the characters who inhabit them. They can provide a sense of identity, as in the novels of Walter Scott, which were set in a time when a man was distinguished by the land and house from which he got his name. They can convey ideas of personality, as Charles Dickens’s living spaces reflect the quirks of his characters. They can offer us symbols of social status, as with Jane Austen’s Pemberley, or some tangible link to the past, as so ardently forged by writers such as Evelyn Waugh.
The house that commands the fictional centre of a story exerts a power over the characters: their behaviour, aspirations and fate. In my research into houses in British literature, I wanted to find out what drove authors, from Austen to Alan Hollinghurst, to home in on a particular house or type of house as the focus of their fictional worlds. The British may not have the monopoly on house-centred stories, but the literature is filled with thinking, writing, and imagining houses in ways that betray a particular consciousness of house and home. Some of the most celebrated novels, such as Howards End or Brideshead Revisited, signal this from the title, while others sneak us in through the back door, as it were, so that we understand the importance of the house only once we’re ambling along the passageways, scrutinising the furnishings. But once over the threshold, fictional houses have us in their spell. As Daphne du Maurier said of Menabilly, the house that inspired her characters’ devotion to Manderley, it possessed her “even as a mistress holds a lover”.