As I've mentioned before, Ford's The Good Soldier is one of my top ten favorite novels. I find it absorbing each time I read it, for something new always emerges. It's been awhile since I last read it, and I believe I'm due for another read. I wonder what I'll discover this time.
I really enjoy the way Ford slowly introduces information throughout the novel, very quietly and so unobtrusively that I keep missing it. This is one work that must be read slowly and alertly. Something is always going on.
One example from my last reread is the first sentence of the novel: "This is the saddest story I have ever heard."
This is the fourth? fifth? time that I have read this novel, and up to now I have always focused on the words "the saddest story" as being the most important. Now, I'm not so sure. The last word in the sentence, "heard," seems also to be very significant, if not even more so.
"Heard" suggests to me that this is not something that Dowell has been a part of, but a story that someone told him and now he is going to tell us what he heard. Yet, immediately afterwards, he tells us that it is the story of him, his wife Florence, and their English friends, the Ashburnhams. In fact he tells us that they had known these people with "extreme intimacy." This would seem to contradict the implication of his opening statement--that this is something he heard rather than personally experienced. Why does he say "heard" rather than "lived through" or "experienced"?
I think this poses the basic question of the novel: What kind of relationship did Dowell really have with the Ashburnhams?
Dowell is probably one of the most unique narrators I've ever encountered. He is at the same time both a reliable and an unreliable, or really a naive narrator, and this is what creates the tension in the story. The novel is a flashback in which Dowell tells us not only what he thought his life was like, but also what it really was. In doing this he poses the problem: Is what was once thought true, now no longer true?
Looking back on the past ten years, he cries out: "No, by God it is false! It wasn't a minuet that we stepped; it was a prison--a prison full of screaming hysterics, tied down so that they might not outsound the rolling of our carriage wheels as we went along the shaded avenues of the Taunus Wald.
And yet, I swear by the sacred name of my creator that it was true. It was true sunshine; the true music; the true plash of the fountains from the mouths of stone dolphins. For, if for me we were four people with the same tastes, with the same desires, acting--or no not acting--sitting here and there unanimously, isn't that the truth? If for nine years I possessed a goodly apple that is rotten at the core and discover its rottenness only in nine years and six months less four days, isn't it true to say that for nine years I possessed a goodly apple?"
Can one change the past?
It's definitely time to dust off The Good Soldier and move it into my queue.
Showing posts with label The Good Soldier. Show all posts
Showing posts with label The Good Soldier. Show all posts
Thursday, December 17, 2009
Tuesday, January 27, 2009
Thomas H. Cook: Breakheart Hill
Thomas H. Cook's Breakheart Hill was recommended to me by a friend. This is the first one by him that I've read, and frankly, I probably wouldn't have read it without a recommendation. It's not that I have heard anything about him that would discourage me, but there are so many writers out there that he would most likely have gotten lost in the crowd, without being pointed out to me.
Therefore, when I opened the book, I had no idea of what to expect and was grabbed immediately by the very first sentence. The novel begins, "This is the darkest story that I ever heard." I was instantly reminded of one of my favorite novels, Ford Madox Ford's The Good Soldier, which begins "This is the saddest story I have ever heard." Coincidence? And, as I read the novel, I couldn't help but wonder if Cook had read Ford's novel.
Both novels are first person narratives in which the narrator looks back on his life and on the lives of those around him. Both narrators tell the story not in a chronologically coherent manner but wander back and forth, from the present to the past and then to the present again, and somehow at the end do manage to get the story told. Both writers employ the first person narrative to give the work a claustrophobic air by suggesting that there is so much more to be told, but the reader is trapped inside the head of a narrator who either doesn't understand what is going on until it is all over (Ford's novel) or chooses not to tell all he knows (Cook's novel). In addition, both novels focus on the actions of a small group of people and the way each affects the others in the group.
While there are structural similarities between the two novels, they are still quite different. Cook may have been influenced by Ford when he decided on the narrative structure and the opening sentence, but this is where the similarity ends. Dowell, Ford's narrator, knows nothing of what is going on around him. The relationships of his wife, and their best friends, the Ashburnhams, and the transient members of their little group, escape him completely. Consequently, he is unable to see the impending tragedy until he is confronted by it. On the other hand, Ben, Cook's narrator, frequently tells the reader that he alone knows the full story, and that he has spent the past 30 years making sure it never gets out, at least by him, anyway. The reader can only wonder why, and speculate.
Breakheart Hill is aptly named. It is the story of the events leading up to and resulting from a murderous attack on a teen-aged girl which took place on the appropriately named Breakheart Hill, just outside of the small town of Choctaw, Alabama. It is this event that has haunted the narrator and his friends for the past thirty years, and it is clear that her life wasn't the only one that was ultimately destroyed, or damaged in some way. At the end, I could only wish that she hadn't submitted that poem, or that Ben had not agreed to become the editor of the school paper, for it is a story about small and seemingly insignificant events and their unintended and unimagined consequences.
I'm not giving anything away when I say that the central question throughout the work is the narrator's involvement in the crime. It is, to me, the most significant element of the novel. This question arises in the first chapter:
"And yet there are times when I do hear certain things very distinctly: her body plunging through the undergrowth..."
"From time to time, though rarely, I actually hear her voice. It is faint, but persistent. Sometimes it comes in the form of a question: Why are you doing this to me?"
Elsewhere, he says that he can see her eyes raised to him in confusion and bewilderment.
And, it is clear that others, including Luke, his best friend of 30+ years, look at him suspiciously. Or, is that only his guilty conscience at work?
Throughout the work, I considered three possibilities: 1) he is guilty; 2) he is indirectly responsible; or 3) he has deluded himself into blaming himself for it. Cook skillfully encourages this by Ben's numerous, ambiguous reflections on past events that could support all three possibilities, and probably a fourth that I didn't see.
Breakheart Hill is not an action-oriented, page-turner. It moves deliberately, as the narrator slowly unveils the events that inexorably lead up to Breakheart Hill. It is not to be read in small portions--a page or two hastily in a few spare moments--but in large chunks, free from distractions.
Overall Rating: Highly recommended.
Therefore, when I opened the book, I had no idea of what to expect and was grabbed immediately by the very first sentence. The novel begins, "This is the darkest story that I ever heard." I was instantly reminded of one of my favorite novels, Ford Madox Ford's The Good Soldier, which begins "This is the saddest story I have ever heard." Coincidence? And, as I read the novel, I couldn't help but wonder if Cook had read Ford's novel.
Both novels are first person narratives in which the narrator looks back on his life and on the lives of those around him. Both narrators tell the story not in a chronologically coherent manner but wander back and forth, from the present to the past and then to the present again, and somehow at the end do manage to get the story told. Both writers employ the first person narrative to give the work a claustrophobic air by suggesting that there is so much more to be told, but the reader is trapped inside the head of a narrator who either doesn't understand what is going on until it is all over (Ford's novel) or chooses not to tell all he knows (Cook's novel). In addition, both novels focus on the actions of a small group of people and the way each affects the others in the group.
While there are structural similarities between the two novels, they are still quite different. Cook may have been influenced by Ford when he decided on the narrative structure and the opening sentence, but this is where the similarity ends. Dowell, Ford's narrator, knows nothing of what is going on around him. The relationships of his wife, and their best friends, the Ashburnhams, and the transient members of their little group, escape him completely. Consequently, he is unable to see the impending tragedy until he is confronted by it. On the other hand, Ben, Cook's narrator, frequently tells the reader that he alone knows the full story, and that he has spent the past 30 years making sure it never gets out, at least by him, anyway. The reader can only wonder why, and speculate.
Breakheart Hill is aptly named. It is the story of the events leading up to and resulting from a murderous attack on a teen-aged girl which took place on the appropriately named Breakheart Hill, just outside of the small town of Choctaw, Alabama. It is this event that has haunted the narrator and his friends for the past thirty years, and it is clear that her life wasn't the only one that was ultimately destroyed, or damaged in some way. At the end, I could only wish that she hadn't submitted that poem, or that Ben had not agreed to become the editor of the school paper, for it is a story about small and seemingly insignificant events and their unintended and unimagined consequences.
I'm not giving anything away when I say that the central question throughout the work is the narrator's involvement in the crime. It is, to me, the most significant element of the novel. This question arises in the first chapter:
"And yet there are times when I do hear certain things very distinctly: her body plunging through the undergrowth..."
"From time to time, though rarely, I actually hear her voice. It is faint, but persistent. Sometimes it comes in the form of a question: Why are you doing this to me?"
Elsewhere, he says that he can see her eyes raised to him in confusion and bewilderment.
And, it is clear that others, including Luke, his best friend of 30+ years, look at him suspiciously. Or, is that only his guilty conscience at work?
Throughout the work, I considered three possibilities: 1) he is guilty; 2) he is indirectly responsible; or 3) he has deluded himself into blaming himself for it. Cook skillfully encourages this by Ben's numerous, ambiguous reflections on past events that could support all three possibilities, and probably a fourth that I didn't see.
Breakheart Hill is not an action-oriented, page-turner. It moves deliberately, as the narrator slowly unveils the events that inexorably lead up to Breakheart Hill. It is not to be read in small portions--a page or two hastily in a few spare moments--but in large chunks, free from distractions.
Overall Rating: Highly recommended.
Wednesday, December 17, 2008
Ford Madox Ford: December 17, 1873 – June 26, 1939
Born on this day in 1873 is one of my favorite novelists, Ford Madox Ford. His novel The Good Soldier is permanently installed in my top ten favorite novels list. His WWI tetralogy Parades End is one that I have read several times and will continue to reread regularly.
His importance or effect on English literature is not limited to the works he himself wrote. The following is a quote from the Wikipedia entry:
"In 1908, he founded The English Review, in which he published Thomas Hardy, H. G. Wells, Joseph Conrad, Henry James, John Galsworthy, and William Butler Yeats, and gave debuts to Wyndham Lewis, D. H. Lawrence, and Norman Douglas. In the 1920s, he founded The Transatlantic Review, a journal with great influence on modern literature. Staying with the artistic community in the Latin Quarter of Paris, France, he made friends with James Joyce, Ernest Hemingway, Gertrude Stein, Ezra Pound, and Jean Rhys, all of whom he would publish (Ford is the model for the character Braddocks in Hemingway's The Sun Also Rises). In a later sojourn in the United States, he was involved with Allen Tate, Caroline Gordon, Katherine Porter and Robert Lowell (who was then a student). Despite his deep Victorian roots, Ford was always a champion of new literature and literary experimentation."
His collaboration with Joseph Conrad produced two novels, Inheritance, a novel about aliens from another dimension who are gradually taking control of England, and Romance, a swashbuckling novel set mostly in the Caribbean and features pirates, buried treasure, damsels in distress, and last minute rescues. Apparently it was made into a film in 1927 under the title of The Road to Romance, starring Ramon Navarro. Ford and Conrad also collaborated on a shorter work, The Nature of a Crime, a work I believe neither could have written alone. In fact, Conrad later denied having even heard of the work and was convinced of his part in it only when Ford showed him drafts in Conrad's handwriting.
If you haven't read it yet, I would strongly recommend reading at least Ford's The Good Soldier. I would also recommend Parades End and various works by Conrad, including their collaborations.
His importance or effect on English literature is not limited to the works he himself wrote. The following is a quote from the Wikipedia entry:
"In 1908, he founded The English Review, in which he published Thomas Hardy, H. G. Wells, Joseph Conrad, Henry James, John Galsworthy, and William Butler Yeats, and gave debuts to Wyndham Lewis, D. H. Lawrence, and Norman Douglas. In the 1920s, he founded The Transatlantic Review, a journal with great influence on modern literature. Staying with the artistic community in the Latin Quarter of Paris, France, he made friends with James Joyce, Ernest Hemingway, Gertrude Stein, Ezra Pound, and Jean Rhys, all of whom he would publish (Ford is the model for the character Braddocks in Hemingway's The Sun Also Rises). In a later sojourn in the United States, he was involved with Allen Tate, Caroline Gordon, Katherine Porter and Robert Lowell (who was then a student). Despite his deep Victorian roots, Ford was always a champion of new literature and literary experimentation."
His collaboration with Joseph Conrad produced two novels, Inheritance, a novel about aliens from another dimension who are gradually taking control of England, and Romance, a swashbuckling novel set mostly in the Caribbean and features pirates, buried treasure, damsels in distress, and last minute rescues. Apparently it was made into a film in 1927 under the title of The Road to Romance, starring Ramon Navarro. Ford and Conrad also collaborated on a shorter work, The Nature of a Crime, a work I believe neither could have written alone. In fact, Conrad later denied having even heard of the work and was convinced of his part in it only when Ford showed him drafts in Conrad's handwriting.
If you haven't read it yet, I would strongly recommend reading at least Ford's The Good Soldier. I would also recommend Parades End and various works by Conrad, including their collaborations.
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