Until Mary Haynes in The Women (1939) decides to reunite with her estranged husband Stephen, her face is suffused with a sorrow that no number of diamond bracelets on her graceful wrist can erase. The delicate flute on Track 3 nearly has mist gathering in my eyes when I think of Mary's ache as she gently tells her child about Daddy's disappearance. And the same flute pipes poignantly as friends gather near for the spring brunch she bravely hosts amidst her secret pain.
When Lottie Wilkins and Rose Arbuthnot in Enchanted April step forth into the Italian countryside after their rainy English winter, my heart sighs along with theirs. Track 6 plays on as I almost smell the hibiscus and bougainvillea that embrace them along with the reaching arms of the sun. But it is solitary Caroline Dester I root for in the end as she changes the most - just as the winds and husbands blow in, she transforms from femme-fatale to generous friend. And love finds her yet.
All my April heroines have things in common besides being exquisitely fashionable: they are determined, hardy survivors who come back to life in spring. They suffer and lose and then create new worlds to inhabit and flourish in. Just as the earth renews itself alongside them. The very spindles that prick their dainty fingers have the power to take them out...but it only serves to make them stronger.
Track 10's triumphant chords are perfect for the final scenes when we discover that new beginnings often don't come at the beginning at all...sometimes, they come at last. In April.
CD: The Silent Path ~ Robert Haig Coxon (Thank you Kay!)