Norah Lange’s short novel, People in the Room is told from the perspective of an unnamed seventeen-year-old girl living with her family in Buenos Aires in the early part of the twentieth-century. The reader senses in the early pages that this is an imaginative narrator eager to escape the stultifying experiences of her family life. She’s afforded an escape of sorts when a lightning storm suddenly brings together the flash of the girl’s reflection in a mirror with her awareness of three women seen through the sheer curtains of their drawing room in the house across the street. This initiates in the girl a sustained obsession with spying on the three women over a period of weeks.
Very little happens – the women seem to always be at home, sitting in the same chairs and doing little more than lifting a cigarette or glass of wine to their lips – but there is palpable tension in the protagonist’s account of what she observes and imagines regarding the women, and she eventually intervenes in their lives by intercepting a telegram addressed to them and is soon paying them daily visits. Some of the more unusual and enigmatic scenes include: the narrator hearing her own voice come from one of the three women who is speaking to a clerk at the post office; watching through the window as a mysterious stranger arrives at the women’s house and is handed a package (presumably of letters) by the eldest only to immediately transfer it to the youngest; and the narrator’s panic when she wakes to a passing funeral procession for three neighborhood children who had died in a house fire, and mistakenly assumes the caskets contain the bodies of the three women.
The narrator at times is quick to assign fault or blame to the women, claiming they didn’t deserve this or that, and she also vacillates between feelings of intense love for them and wanting to see them dead, or imagining them as criminals, as wayward, or as having something to hide. She makes statements that imply she holds a certain agency over the women; that it is her imagination and inventiveness that gives them their lives, gauzy and understated though they are. Particular objects (such as a spider, or a blue dress) can trigger a kind of associative transfer in which the objects take on importance beyond themselves, or are charged with evocative power – for example, causing the narrator to think of faded letters, or instilling in her the urge to travel in the dining car of a train. There are also scenes and expressions of loneliness, anxiety, forebodings of something tragic, and talk of the slit wrists of suicides.
Finally, there is something like a psychic blending or assimilation of the three women who are “collected” and combined with the world of the narrator, as can be seen in this passage in which her mostly inattentive family notices how she has changed: ““It must be her age” others would whisper, while the three faces settled into my own, becoming accustomed to strange conversations, forever leaving their mark on my seventeenth winter.”
Lange has indicated that she started writing this novel after seeing a reproduction of a portrait of the Brontë sisters painted by their brother Branwell, who originally included himself in the portrait but later painted himself out (though leaving a ghostly trace). Given this inspiration, People in the Room could be considered a very imaginative, extended, and daring work of ekphrasis, and it’s interesting to see the protagonist also frequently referring to the three women as lifeless sculptures, or portraits, or even eerie ceramic dolls.
People in the Room, first published in 1950, appears to be the first English language translation of a work by Norah Lange, an Argentine author who was related to Jorge Luis Borges and was influenced by him and other ultraísta writers and poets with whom she associated in Buenos Aires. Readers, however, may well find the influence of Henry James’s The Turn of the Screw at least as evident in this atmospheric tale that to some degree resembles an oneiric, gothic, ghost story.
But let’s not limit by comparison a work as captivating, unsettling, and poetic as this. Readers of English will want to discover this long-neglected novel, and we are fortunate now to have access to it in this nuanced translation by Charlotte Whittle.