"If it was not for death and marriage, I don’t know what the average novelist would do.” E. M. Foster
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:: October 2006 |
Howards End (E. M. Forster, 1910) |
"The boy, Leonard Bast, stood at the extreme verge of gentility. He was not in the abyss but he could see it, and at times people whom he knew had dropped in, and counted no more. He knew that he was poor, and would admit it; he would have died sooner than confess any inferiority to the rich. This was splendid of him. But he was inferior to most rich people, there is not the least doubt of it. He was not as courteous as the average rich man, nor as intelligent, nor as healthy, nor as loveable." |
| Howards End is the last of the four novels Forster published before World War I, and felt to be his masterpiece. In it, Forster explores the way that money and social class affect the ability of human beings to sympathise with and love one another. The liberated and artistic Shlegel sisters become involved with Henry and Charles Wilcox, a haughty father and son, after Henry's wife dies and leaves the sisters her beautiful country cottage, Howards End. The house comes to represent the unfettered potential of the human soul, beyond intellectual prejudices and narrow class divisions. It also served as the muse for Zadie Smith's wonderful 2005 homage, On Beauty. |
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:: August 2006 |
The Turn of the Screw (Henry James, 1898) |
"'He sat down at the old piano and played as he had never played; and if there were those who think he had better had been kicking a football I can only say that I wholly agree with them. For at the end of a time that under his influence I had quite ceased to measure I started up with a strange sense of having literally slept at my post. It was after luncheon, and by the schoolroom fire, and yet I hadn't really in the least slept; I had only done something much worse - I had forgotten. Where, all this time, was Flora? When I put the question to Miles he played on a minute before answering, and then could only say: 'Why, my dear, how do I know?' - breaking, moreover, into a happy laugh which immediately after, as if it were a vocal accompaniment, he prolonged into incoherent extravagant song." |
| James was a bit strapped for cash in 1898 when he wrote this decidedly commercial little shocker. A love-struck governess is hired to care for two precocious children in a spooky old house in the countryside, only to discover they are under the evil, sensual, spell of the former butler and maid. Are the children possessed? Were they molested? Do Miss. Jessel and Peter Quint exist or are they figures of the governess’s tormented, Freudian imagination? Are Miles and Flora 19th century precursors of The Omen? Or is the governess bonkers? For once James’s elliptical prose style complements the plot rather than confusing it… |
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:: May 2006 |
Brighton Rock (Graham Greene, 1938) |
"'That's a boy,' Ida said.'You nearly had me scared there for a moment. Nice thing it would have been for me if you'd passed out in this taxi...But men are funny with me that way. Always trying to make out there's something wrong, money or the wife or the heart. You aren't the first one who said he was dying. Never anything infectious though. Want to make the most of their last hours and all the rest of it. It comes of me being so big, I suppose. They think I'll mother them. I'm not saying I didn't fall for it the first time. 'The doctors only give me a month,' he said to me - that was five years ago. I see him regular now at Henekey's. 'Hullo, you old ghost,' I always say to him, and he stands me to oysters and a Guinness.'"
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| I know we've had Greene before, but when you have a writer this good, you can't stop at one book. Pinkie, the sadistic teenage gangster, stars in Greene's chilling examination of gang-warfare in Britain, prior to the Second-World-War. Pinkie is a Catholic who beliefs himself invincible to all but God, and nothing prepares him for irrepressible, compassionate, bolshy Ida Arnold. Classic Greene - short, witty, smart, and spiritual. |
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:: March 2006 |
The Dubliners (James Joyce, 1994) |
"The turkey was no longer moist. This conclusion was unavoidable. Above all, she and Benjamin agreed on the necessity of moist turkey...One had to guard against dryness in leftovers. One had to reheat gravy. And Elena had failed here. She knew if she ever suffered a real and debilitating mental illness, its onset would not be the result of a failed marriage or because of some twentieth-century spiritual impoverishment; it would be caused instead by these details, by a pen mark on a designer suit, by the slight warp in her Paul Simon album, or by the acrid taste of old ice cubes. These small things led to a bottomless pit of loneliness beside which even Cambodia paled." |
| Every needs a little Jimmy Joyce in their lives, but there's is no doubt that flicking casually through his novels can send you screaming to the hills, so don't bother your head trying to get through Ulysses or go googly-eyed and demented with Finnigan's Wake , just stick to his short stories. Like D. H. Lawrence, James Joyce is a phenomenal short story writer whose talent in this short form has been somewhat overshadowed by his fame (or infamy) in the longer. The separate stories within The Dubliners combine to a form a definitive portrait of Ireland between the wars. |