Showing posts with label Jim Crace. Show all posts
Showing posts with label Jim Crace. Show all posts

Saturday, October 19, 2024

Jim Crace - Eden (Picador, 2022) ****


I'm a big fan of Jim Crace. I like his sytlistic lyricism and the cadence of his writing, as if all sentences have 'metre' like Ovid. Like in some of his other novels, there's a level of abstraction, a distance to the subject that lifts it to a higher plane than the actual plot. 

The story itself is simple: in the garden of eden (without capital), the angels make a group of - what? 50 or so? - humans work the fields and the pond so that they can have food within their totally enclosed little paradise. The humans are immortal and their lives are pure routine. Obviously there's no need for procreation, even if the two sexes are represented. They live in a friendly environment of endless repetition.  One day, one of the female humans, Tabi, decides to escape, despite the risk of mortality, disease, ageing and other threats that are said to be present outside the walls. 

"So this awkward and unnerving day subsides, al­though briefly on a calmer note. The masters can't have helped but smell the unease in the air - for everyone, not just the orchardman - since Tabi disappeared. The ground beneath even the angels' feet has quaked with the shock and disrespect of her departure and the fear of having to explain it all to the garden's lord when they next dare to visit him. They understand their workers, now fewer than fifty, are bereaved and must be reassured at once, before the imp of disobedience takes hold like some fast­growing tare; and first one, then another, then a crowd grow bold enough to think that, possibly, the world is more enticing than eternity. Then what of eden?· Those tares will multiply. Those fields and gardens will grow wild. The masters cannot tend them on their own. Those walls and barns and sacred roosts will age and crack like trees, weighed down by ivy, moss and vines, brought down by wind and time. And what of angels? Where will they take wing? (p. 16)

Tabi has other opinions. She reflects upon her fate and situation. She challenges the other humans with her blasphemic thoughts.  Unless you experience it yourself, you will never know. You just accept the narrative of somebody else. 

"It's possible, she likes to tell her brothers and her sisters, who all must have thought the same a thousand times but never dared to say so, that life beyond the palisades is paradise. And eden is a lesser place! The sermons teach the labourers inside to think that their estate is measure­less contentment and the outside world is little more than famine, pestilence and suffering. Great is their sorrow and fathomless their pain. But who's to say, unless they find out for themselves? Who's to say, indeed, that there is even death out there unless you are prepared, just once, to chance the moment and the toe? No, maybe death is a just a falsehood the lord has invented for fear of losing his labourers, she says. It's even possible his angels made it up themselves without his guidance. And what a fine deceit! If no one fears the world beyond the wall, everyone will leave. And then what will the angels do for sustenance and care? Angels are as helpless as a bush whose berries won't be picked and cooked except by human hands. A wing has never grasped a spade or worked a piece of dough or carried water from the well. They can't even lay an egg, can they? she asks, to shocked silence and then to laughter. What can an angel do without a little help, except expect to be obeyed? It's also possible, she finishes, that there is no lord above - Has anybody looked him in the face? - but only angels saying that there is. They claim to fly up to his firmament to tell him how his garden and his servants fare, when actually they only hide· behind a cloud and then return with lies to tell and further orders for us to obey. We're pinned down in our orchards and our fields, she says, for fear of someone who's not real. (p. 176-177)

Among the angels, there's is also a dissident, Jamin, whose wing is broken and who does not feel like the other angels. He hates the 'snitch' among the humans, the man who reports to the chief angel about all the misbehaviours of the humans, and his feelings become increasingly like human feelings too. 

"No, Jamin detests the go-between. It's not angelic, but he does. And he would like to see his fall from grace. He can imagine a not too distant day when the man, no longer anybody's eyes and ears, is just a common labour­er, a digger in the mud, a beast of burden in the fields, a toiler in the moil, another pair of hands who'll work his bully fingers to the bone and have to spend a so-called day of rest and recovery at the stock pond under Jamin's command. 0 how the gentle angel will torment him then. How hard he'll make him work amongst the mud and weed. He'll have him clearing stones from the deepest parts. He'll have him picking out the duckweed with his fingertips. The go-between will be as damp and lowly as a worm. It is meanly satisfying to imagine him, dangling from a master's beak, as supper for the fish" (p. 38)

 Tabi's friend Ebon wants her back, then decides to go and save her, a risky endeavour for him too, to leave the garden of eden. But the interest is ignited on the other side too, among the mortals, whose curiosity is increasing with the sudden arrival and the visibility of the angel. One of the mortals climbs on the ramparts of the garden of eden. 

"What now? His family and neighbours are asking him to describe what he can see. They've no idea what to ex­pect; but, now that they have somebody - their very first, their pioneer - up on the wall and within sight and smell and hearing of the truth, they're hoping that there is nothing they should fear. All the stories they have told themselves when they have gathered round their fires and heard the night wind beating on the barbican and shak­ing its great gates have never truly been believed but have nevertheless always had a tighter hold on them in the darkness than any daylight logic ever could. A yarn that's spun and woven out of midnight flames is always stronger than the silks of day. But standing in the shadow of the wall this morning they have their fingers crossed that fire­side stories don't come true and that the world beyond the wall will turn out to be not so very different from their own. Something dull and unremarkable would not be a surprise. After all, the great trees that reach out across the rampart are no different from the branches that reach in. The birds that come and go across the wall - the pies, the jacks, the peckers and the tits, the rooks and starlings, and the doves - are all familiar. As are the plumes of smoke when winter fires are lit." (p. 217). 

I will not disclose more about the plot, but both sides are full of disbelief about their own narratives, they are hungry for the truth. This is the universality of Crace's themes: the timeframe and geography are fabulous and fantastic, yet the humanity if all too real. His style is that of wonder and lyrical light-footedness, as if telling a fairy tale on something that happened long ago and far away. I added some long excerpts to demonstrate the wonder of his writing too. 

Enjoy!




Sunday, July 22, 2018

Jim Crace - The Melody (Picador, 2018) **


The retired singer and widower Alfred Busi is attacked by a further undefined creature in his home. This brings him into contact with his deceased wife's sister and his son, a real estate agent, and the neighbours whose villa will be sold soon. Busi has become a lonely and sad figure, still performing as a singer, but now for smaller crowds of elderly people, and even if was once immediately recognised and famous, he is now reduced to a life on the edge, somewhat outside the bustle of society, outside of where the action is.

Jim Crace's stylistic lyricism is as good as ever, and most sentences are a real pleasure to read, the story itself is somewhat lacking in real tension. The theme is about solitude and of no longer being center-stage, about justice, both personal and political, about greed and compassion. Even if it is sad, it somehow lacks tension, or the captivating and compelling literary and memorable universes he created in "Quarantine" or "Harvest".

If you don't know Crace, I would recommend to start with these two novels.

Saturday, January 9, 2016

Jim Crace - Quarantine (Picador, 1997) ****


Wanneer Jezus veertig dagen gaat vasten in de woestijn, is hij niet alleen, ook een aantal anderen hebben hun toevlucht gezocht of gevonden op deze onherbergzame plek. Een handelaar en zijn vrouw, een Griekse jongeling, een onvruchtbare vrouw, een zonderlinge gek en een man die lijdt aan kanker. In deze kleine omgeving doet ieder wat hij doet : de handelaar licht de anderen op, de vrouwen zoeken troost bij elkaar, Jezus verricht een wonder, en ze leven allen tussen hoop, wantrouwen en ontreddering.

In zijn typische, bijna naïeve maar poëtisch dromerige vertelstijl, maakt Crace een klein meesterwerkje van dit gegeven.

Sunday, May 4, 2014

Jim Crace - Harvest (Picador, 2013) ****½


Jim Crace is ongetwijfeld een van de beste Britse schrijvers van het moment, en zijn "Harvest" behoort dan nog tot het beste van wat hij heeft geschreven. In een niet nader omschreven dorpje dat afgelegen tussen de velden ligt, in een niet nader omschreven tijd, bouwen twee rondtrekkende mannen en een vrouw een tijdelijke hut langs een veld, en verstoort hierdoor het leven in het boerendorp. Dat kleine dorp bleek zelf stijf te staan van spanningen en intriges en vermoedens en onduidelijke lijnen van macht, lust en onderdanigheid.

Ook de ik-figuur is ambigu. Hij hoort niet bij het dorp, maar maakt er wel deel van uit. Zijn bewogen verleden en het overlijden van zijn eigen vrouw komen gaandeweg naar boven, maar blijven ook hangen in een mist van ongezegde vermoedens. Crace brengt de pijn en de gruwel van het leven zelf, op een samengebalde, bijna mythische manier samen in deze van sfeer doordrenkte roman, maar zijn absolute kracht is zijn lyrische, ritmische en some middeleeuws aandoende stijl.

"And it was spring. The longpurples had hardly come to blade. But there were tall-necked cowslips nodding on the banks and king-cups, fenny celandines and irises in the mire. The trees were imping with infant leaves that seemed as attentive and pert as mice ears. So I was struck and 'humbled' by the beauty too, and only later by the carnal stench. I was an innocent. In that first season I tumbled into love with everything I saw. Each dawn was like a genesis; the light ascends and with the light comes life. I wanted to immerse myself in it, to implicate myself in land, to contribute to fields. What greater purpose could there be? How could I better spend my days? Nothing I had seen before had me happier. I felt more like an angel than a beast".

Ondanks alle schoonheid en zuiverheid van het land, van het gemeenschappelijk werken op het veld, is de uiteindelijke catastrofe van in het begin aanwezig, en gaandeweg komt al het slechte in de mens naar boven, in een oogst van vernietiging en geweld.

Een sterke aanrader.


Saturday, December 28, 2013

Jim Crace - Six (Viking, 2003) ****½


Tot nu toe had ik enkel "Arcadia" van Jim Crace gelezen, en vond het maar zo-zo. Van "Six" heb ik echt genoten, en met volle teugen.

Het is het verhaal van een man die bij elke vrouw met wie hij een relatie aangaat, ook een kind verwekt, namelijk zes, vandaar ook de titel. De achtergrond is een stad in politieke rep en roer, die ook onderhevig is aan overstromingen.

Het perspectief is dat van de alwetende verteller, maar die, net zoals in de romans van Kundera, zich vragen stelt bij het gedrag van zijn personages, of er bij momenten zelfs door verrast wordt. Crace geeft commentaar en spaart zijn kritiek niet, hoewel die altijd warm is voor alle karakters in het boek, de man én de vrouwen. Zijn humor is uitermate fijnzinnig en scherp, net zoals zijn stijl. De zinnen zijn kort en hebben het ritme van poëzie, en in alle eerlijkheid kwamen herinneringen aan Ovidius opnieuw naar boven.

"He wants to say he feels besieged. Another child? He only has himself to blame. To be so fertile is a curse".

Lix, de hoofdfiguur, is een succesvol acteur, voor toneel, televisie en film, inclusief de televisie-soap "Don Juan Among The Feminists", maar ondanks de heldenverering die daarmee gepaard gaat, blijft hij onzeker in het echte leven, een anti-held eigenlijk die eerder weet wat hij niet wil dan wat hij wel wil.

"O yes, he was ashamed. How had he let the moment pass those many years ago? He should have said, 'Your pregnancy. Your body, yes. Your private life. But this is not your private kid! I have responsibilities and needs".

Het is lyriek van de beste soort, een mijmering over de liefde, kunstzinnig en verfijnd uitgebalanceerd over verschillende soorten relaties, van de meest vluchtige tot het langdurige huwelijk. Een kleinood om opnieuw te lezen.

Zijn nieuwe roman, "Harvest", genomineerd voor de Man Booker Prize, ligt klaar op het schap.