Fergus Hume's The mystery of a hansom cab

Six of us gathered to discuss this 19th century Australian detective novel and unanimously enjoyed it. It was surprising to some of us that we had not read it before as we found it such a good read with quite a modern tone in some ways. It was mentioned that this had been the best selling detective novel of Victorian times, outselling even Conan Doyle.


A striking feature of the book is the lively evocation of Melbourne of the 1880s, where the author lived for some years. It details the landmarks, streetscapes, society both high and low, and particularly the low-life of Little Bourke Street full of vivid characters showing more than a nod to Dickens. We loved the many references to the culture of the times, for example the responses to the piano pieces being played by the young ladies, the books they are reading and what is on at the opera. There were many quotes from literature, and we thought the author was enjoying showing off with this literary name dropping. We enjoyed the book's sly humour, for example the character Felix and his new wife who is determined that she will get him into parliament, and references to the English attempting to adapt to the Australian climate.

It was mentioned that the author had set out to write a popular novel, modelling the book on those of Émile Gaboriau who was very popular at the time. We felt that is was much more than just a formulaic novel though. As a crime novel or "whodunnit" we thought it was quite complex and interesting, the plot having many twists and turns with gradual revelation of more clues and an unexpected ending. We noted that there was no single detective taking us through the solution but competition between the detectives involved who each took us in a different direction, as well as Calton the "lawyer as detective". We felt that it succeeded well as a melodrama with tongue firmly in cheek, having plenty of fainting girls, Dantesque slums, noble self sacrifice, sinister dark nights and such. As "literature" we had to acknowledge some failings though, many characters being rather stereotypical, some "clunkiness" as well as some plot points being laboured.

We felt that it was the humour that gave the book a light and relatively modern tone, as well as the point of view which moved from character to character throughout the book. The attitudes of the author, while inevitably being very Victorian, seemed relatively modern and liberal for his times we thought. For example his heroine was much more feisty than those of Dickens, having a "steely determination" and the female characters were no mere victims. Another character goes to live with a "Chinaman" who treats her much better than her earlier lovers. This reminded us that Australia always has been a mixture of cultures. As well as English, Irish and Chinese there is also mention of "street arabs" in 1880s Melbourne. While the people of the slums are depicted as lesser people there is some acknowledgement that they are human and disadvantaged. We noted evidence of Victorian morality, for example many Biblical references. Another comment was on the importance and fragility of social position as revealed in this novel, where one dark secret can undo you, and the layers of society and the importance of knowing where you fit in, but how all the same there was a fluidity in the society of the new world of Melbourne.

A main theme of the novel is the role of Fate in human affairs; to what extent people (both men and women) are puppets of fate or master of their destinies. Chapter 30 "Nemesis" begins: "Men according to the old Greek "are the sport of the gods""

Finally we noted that in this pre-ANZAC society there is already a consciousness of being Australians as well as British, and we loved these predictions:

In spite of the dismal prognostications of Marcus Clarke regarding the future Australian, whom he describes as being "a tall, coarse, strong-jawed, greedy, pushing, talented man, excelling in swimming and horsemanship," it is more likely that he will be a cultured, indolent individual with an intense appreciation of the arts and sciences, and a dislike to hard work and utilitarian principles. Climatic influence should be taken into account with regard to the future Australian, and our posterity will no more resemble us than the luxurious Venetians resembled their hardy forefathers, who first started to build on those lonely sandy islands of the Adriatic.

Orhan Pamuk's The museum of innocence

This book was a challenge to us --  the realm of the book is large and the details provided are minute. This passionate love story is set in Pamuk's beloved Istanbul and the city's history and streets are described in some detail and it is really more than just background in the novel. The way people from different social classes interacted and lived was also important and impacted upon the story. Maybe it was a story of 3 loves? (Kemal and Fusan and Istanbul?)

The general feeling was that the book was enthralling on a certain level but needed a good edit. However it did engage with us. Those of us who hadn't finished the 700 pages probably will not bother to finish however now we know the denouement and the details to be overcome. One reader was adamant that the sentence that summed up her feeling about the book was : 'it was like being caught in a suffocating dream...' (page 576 in the Faber edition). He was actually describing his feeling of watching Hitchcock's 'Rear Window' on television with the Keskin family.     

We couldn't believe that the author was so obsessed himself to create an actual museum in Istanbul -- not just virtual but a reality -- how weird and obsessed! Was the reality which opened in April 2012 a way of capturing the Turkey of Pamuk's youth? 

The characters were not generally liked -- we thought Kemal was a spoilt wimp and even glib and superficial (and even a bastard) and Fusan wasn't really fleshed out sufficiently. Why did she suddenly assert herself after 8 long years of being the housewife?  We felt we didn't see enough of her side of the story. The character most admired was Sibel as she was the mature woman even though her life was badly affected by Kemal. We were pleased that she ended up well.           

The engagement party was a pivotal moment in the story. Up to that point the pace was good, after that we felt that the story slowed down and became more introspective just like Kemal himself. 

Despite the difficulties with this book we did agree that it was beautifully written and was a real page turner. His writing is very heavily influenced by European writers such as Proust and Flaubert among others. Also Nabakov's Lolita was mentioned as a parallel? And maybe the nostalgia and melancholy felt by Kemal and Pamuk were directly linked to these writers and their take on the world?  

What was it really about ? Was it just obsession or was there more?  Was it highlighting the changes being made in Turkey in the last quarter of the 20th century from a relatively poor country to one trying to become more Westernised and improve the economy for all of its population? Was it tracking the mood of melancholy as it lost some of the old ways and its acceptance of all things European? This was evidenced by one of the few mildly amusing features when Kemal is talking about the housewives buying the latest gadgets for their kitchens but not knowing how to use them properly. Or the little china dogs etc which were made and sold universally. Also the love of Paris in particular for all the rich girls.

 We also commented on the secular state established after the First World War and the admiration in the West for these changes. Pamuk artfully conveyed the feeling of the ordinary people (as shown by Fusan's Mum and Dad) that Turkey is neither West nor East but a mixture and will always be at the crossroads. The amount of traffic increased on the Bosphorus from the cold war days when 'Soviet ships passed through the Bosphorus at night and the American submarines plied the Marmara'. (pg 547) to big oil tankers etc in the latter part of the story, no detail is neglected.   The rise of the Turkish cinema was another interesting side issue. The sitting around the television endlessly reminded us of old fashioned English TV shows such as Til death us do part.      

It is an extremely complex book and we would probably benefit from a reread but there is no way any of us are going to bother! It was fascinating to see that Turkish readers generally gave him excellent reviews but Westerners were less keen. The original could be better than the translation? It does happen. 

 We suggest that we draw a line under Pamuk for quite a few years -- we have had enough!  

Susan Johnson's Life in seven mistakes

Written by Sylvia ...

Only a few people in our group had read Susan Johnson's Life in 7 mistakes so it was a limited conversation with quite a few questions more than answers. Such as, what was the title about? What are the 7 mistakes?  Why is it considered 'ironic'? Is Bob a believable character or just over the top? Is it just middle-age chick lit? What are the titles of the chapters relating to? Was the love between Bob and Nancy the only model? Was it all about Bob?  

However the book was reasonably enjoyed by the majority although one reader felt it was puerile and irritating. I liked the feeling of being unable to talk about matters of importance. This was something that rang true for me. It was also a quick read. 

The balance of the present day -- a Christmas vacation (or stressful period with the oldies) for the adult children and their families at the penthouse apartment of their elderly parents in Surfer's Paradise -- is compared chapter by chapter with the story of the marriage of Bob and Nancy and the early lives of their 3 children. The parents are Australians of the 1960s with many conservative attitudes. They have limited education and limited expectations for their children's lives. Business and self control are the dominant features of their lives. Although Nancy would like to sing in musicals, even this activity is strictly curtailed by Bob. Johnson draws a Bob who is a raw Australian -- a man with little tolerance and no empathy. For instance, it was only when the children were seen as part of his background for an American boss to appreciate that he realised that they were his and he would be forever their father. He had loved them when they were really young but something changed as they became individuals. I think he is quite believable, very similar to many men of my father's generation.  

When 2 of the 3 children don't live up to these expectations, the parents find it impossible to understand and behave accordingly. The present day story is told through Elizabeth, the eldest child (now 49),  who often feels that she reverts to being a child the moment she enters her parent's environment. They even call her by her childish nickname, Lizzybub!!! There is little love between Elizabeth and her parents and no overt displays of affection, and that is one of the few character developments that occurs towards the end of the holiday and the story. Also her marriage seems to enter a better phase as her third husband rallies around when he sees her so unhappy about her father's serious illness. 

The group liked the descriptions of Bob and Nancy's life in Cooma and the work on the Snowy Mountains, and the holiday in a caravan at Lake Eucumbene.  We also liked the symbolism of the Great Dividing Range with Bob at the top and the prisoner son, Nick, at the bottom. 

It is not great literature but it does relate to the condition of many Australian families -- trying to cope with different generations and different beliefs and life experiences. This book has a hopeful ending so life does look more positive and more loving for some of the characters.

 

  

      

Schedule for the second half of 2012

The schedule for the second half of 2012 has been added to the Current Schedule (2012) section in the sidebar.

Note that three of the books - A difficult young man, The mystery of a Hansom Cab and The Plains - have recently been published in the new Text Classics series. They have new introductions and are only $12.95 each. If you are a Friend of the NLA you get a discount - and the NLA Bookshop is carrying the full range. These classics are also available as eBooks. Let's support Aussie classics!

We agreed that we would do Hilary Mantel's Bring up the bodies next year, when it is in paperback, and that we would consider Frank Moorhouse's epic Cold light for our summer read.

We hope those who weren't present approve. You missed a great dinner to farewell Susan, too!

Miles Franklin Award 2012 shortlist

Posting the shortlist for this year's Miles Franklin award just in case it might provide more options for our schedule deliberations:

• Tony Birch's Blood
• Anna Funder's All that I am
• Gillian Mears' Foal's bread
• Frank Moorhouse's Cold light
• Favel Parrett's Past the shallows

Click on this link for a page linking to a description of the books and the judges' comments.

We've read one already - woo too. Go us! And at least one of us has read Anna Funder I believe.

Do any strike your fancy for us?

Text Australian Classics

This month, Text Publishing has published a collection of 30 Australian classics.

You can check them out by clicking this link. The collection is the brainchild of Text's Pubisher, Michael Heyward, who has said, among other things, that

... it takes just a generation or two, sometimes less, for us to lose the plot . We put our books and writers on the high shelf of the past, where we forget about them. Imagine if our art galleries decided to banish the works of Brett Whiteley or Fred Williams to their darkened basements for a decade or two. That’s what we routinely do to so many significant writers whose books are out of print.

Hmmm ... hadn't thought of it this way, but he has a point.

Anyhow, these new editions all have new introductions, lovely bright yellow coloured covers, and are all on sale for, I think, $12.95 each. A steal, really! The National Library Bookshop has them - and hopefully other shops around town too.

You know where this is leading ... I'm thinking we might like to choose one or two for our second half of 2012 schedule, that we will be deciding at our May meeting.

So, have a look at the link above and see if any grab your attention ... and let us know what you think.

Julian Barnes's The Sense of an Ending

For its size, this short novel provoked a surprisingly wide variety of strong responses from the seven of us who met to discuss it. While a couple really enjoyed it, quite a few of us found it either mundane, over intellectual or downright annoying, with one of us wanting to dropkick the characters off the page! We were nearly all startled by the book's ending where we were left wondering what the heck had actually happened. For some this was further annoyance while others had enjoyed rereading from the beginning looking for the clues.

The feeling that we must have all read different books made more sense as we discussed the novel further. One of the main themes is foreshadowed even before we first meet Tony as a schoolboy along with the intellectually precocious Adrian who joins his group of friends. Our narratives about ourselves and our lives change with each telling so that our memories become a construct. This makes Tony an unreliable narrator and he has forgotten and omits crucially important things from the story, such as a viciously cruel letter he wrote to Adrian not long before his suicide. Was his university girlfriend Veronica really the heartless snob he remembered, or an insecure, inhibited girl, undermined by her own mother, who had relaxed enough with him one evening to be able to dance for the first time in her life? No wonder we were confused.

We found much to admire. The novel is beautifully plotted, compactly and cleverly written so that every idea expressed is there for a purpose, even the poem about barn owls and mention of the theme from "A man and a woman". It was noted that the author is skilled at "bringing together threads using small moments". The book is full of pithily worded  and profound ideas and we enjoyed reading out several memorable quotes which I can't reproduce here as my copy had to go back to the Library. Schooldays and the pretentions and insouciance of youth were beautifully evoked, some of the later reflections on ageing all too recognisably true. We noted that Julian Barnes is about our age and thought this helped us to relate to Tony. We wondered how much wiser Tony really was at the end of the book.

We tried to work out exactly what had happened and why. Why had Veronica's mother wanted to will Adrian's diary to Tony? Why did she even have his diary? Why did Adrian kill himself? Some of us felt that no matter how carefully we reread the book we might never be sure. Adrian had remarked with typical precosity “History is that certainty produced at the point where the imperfections of memory meet the inadequacies of documentation.”  By the end of the book it seems that Tony's memories are seriously flawed, maybe even the opposite of the truth, and we never get to see Adrian's diary (except for a tantalising fragment) to evaluate its adequacy as documentation. But what exactly was the "history" here? Or is that the point? You could easily talk about this book all night.

 "Instead of telling Tony that he'd never "get it", why couldn't Veronica just explain!" was the exasperated exclamation as we moved on to our well-earned and delicious supper.

I got too involved to take proper notes, but this is my (naturally unreliable) memory of the discussion. Please add corrections or whole important points that I've omitted etc.