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The Price of Things by Elinor Glyn

E >> Elinor Glyn >> The Price of Things

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CHAPTER XX


It had been arranged that Denzil and his mother should spend Christmas
with Amaryllis at Ardayre. Both felt that it was going to be the most
wonderful moment when they should meet. There were no obstacles now to
their happiness and everything promised to be full of joy. The months
which had gone by since John's death had been turning Amaryllis into a
more serene and forceful being. The whole burden of the estate had
fallen upon her young shoulders and she had endeavoured to carry it with
dignity and success--and yet have time to spare for her war
organisations in the county. She had developed extraordinarily and had
grown from a very pretty girl into a most beautiful young woman. What
would Denzil think of her? That was her preoccupation--and what would he
think of the baby Benedict?

The great rooms at Ardayre were shut up except the green drawing room,
and she lived in her own apartments, the cedar parlour being her chief
pleasure. It was now filled with her books and all the personal
belongings which expressed her taste. The nurseries for the heir were
just above.

Her guests were to be there on the twenty-third of December, and when the
hour came for the motor to arrive from the station Amaryllis grew hot and
cold with excitement. She had made herself look quite exquisite in a soft
black frock, and her heart was beating almost to suffocation when she
heard the footsteps in the hall. Then the green drawing room door opened
and Colonel and Mrs. Ardayre were announced and were immediately greeted
by the great tawny dogs and then by their mistress. A pang contracted her
heart when she caught sight of Denzil--he was so very pale and thin, and
he walked painfully and slowly with a stick. It was only a wreck of the
splendid lover who had come to Ardayre before. But he was always Denzil
of the ardent eyes and the crisp bronze hair!

They were people of the world, and so the welcoming speeches went off
easily, and they sat round the tea-table with its singing kettle and its
delectable buns and Devonshire cream, and Amaryllis was gracious and
radiant and full of dignity and charm. But inwardly she felt deliciously
shy and happy.

They had neither met nor written any love letters since the April day
when they had parted in Brook Street, which now seemed to be an age away.

Her attraction for Denzil had increased a hundredfold. He thought as she
sat there pouring out the tea, of how he would woo her with subtlety
before he would claim her for his own. He was stimulated by her sweet
shyness and her tender aloofness. The tea seemed to him to be
interminably long and he wished for it to end.

Mrs. Ardayre behaved with admirable tact; she spoke of all sorts of light
and friendly things, and then asked about the baby. Was he not wonderful,
now at seven months old!

The lovely vivid pink deepened in Amaryllis' smooth velvet cheeks, and
her grey eyes became soft as a doe's.

"You shall see him in the morning--he will be asleep now. Of course, to
me he is wonderful, but I daresay he is only an ordinary child."

She had peeped at Denzil and had seen that his face fell a little as she
said they should only see the baby the next day, and she had felt a wave
of joy. She knew that she meant to take him up quietly presently--just he
and she alone!

After they had finished tea, Mrs. Ardayre suggested that she should go
to her room.

"I am tired, Amaryllis, my dear," she announced cheerily,--"and I shall
rest for an hour before dinner."

"Come then and I will show you both your rooms."

They came up the broad staircase with her, Denzil a step at a time,
slowly, and at the top she stopped and said to him:

"Perhaps you will remember that is the door of the cedar parlour at
the end of the passage--you will find me there when I have installed
your mother comfortably. Your room is next to hers," and she pointed
to two doors through the archway of the gallery. Then she went on with
Mrs. Ardayre.

Some contrary nervousness made her remain for quite a little while.

Was Cousin Beatrice sure that she was comfortable? Had she everything she
wanted? Her maid was already unpacking, and all was warm and fresh
scented with lavender and bowls of violets on the dressing table.

"My dear child, it is Paradise, and you are a perfect angel--I shall
revel in it after the cold journey down."

So at last there was no excuse to stay longer, and Amaryllis left the
room; but in the passage it seemed as though her knees were trembling,
and as she passed the top of the staircase she leaned for a second or two
on the balustrade.

The longed for moment had come!

When she opened the door of the cedar parlour, with its soft lamps and
great glowing logs, she saw Denzil was already there, seated on the sofa
beside the fire.

She ran to him before he could rise, the movement she knew was pain to
him--and she sank down beside him and held out her hands.

"Beloved darling!" he whispered in exaltation, and she slipped forward
into his arms.

Oh! the bliss of it all! After the months of separation, and the horrible
trenches and the battles and the suffering, the days and nights of
agonising pain! It seemed to Denzil that his being melted within
him--Heaven itself had come.

They could not speak coherently for some moments, everything was too
filled with holy joy.

"At last! at last!" he cried presently. "Now we shall part no more!"

Then he had to be assured that she loved him still.

"It is I who must take care of you now, Denzil, and I shall love to do
that," she cooed.

"I have not thought much of the hurt," he answered her, "for all these
months I have just been living for this day, and now it has come,
darling one, and I can hardly believe that it is true, it is so
absolutely divine--"

They could not talk of anything but themselves and love for an hour,
they told each other of their longings and anxieties--and at last they
spoke of John.

"He was so splendid," Denzil said, "unselfish to the very end," and then
he described to Amaryllis how he actually had died, and of his last
words, and their thought for her.

"If he could see us, I think that he would be glad that we are happy."

"I know that he would," but the tears had gathered in her eyes.

Denzil stroked her hand gently; he did not make any lover's caress, and
she appreciated his understanding, and after a little she leaned
against his arm.

"Denzil--when we live here together, we must always try to carry out all
that John would have wished to do. It meant his very soul--and you will
help me to be a worthy mother of the Ardayre son."

She had not spoken of the child before--some unaccountable shyness had
restrained her, even in their fondest moments. And yet the thought had
never been absent from either. It had throbbed there in their hearts. It
was going to be so exquisite to whisper about it presently!

And Denzil had waited until she mentioned this dear interest. He did not
wish to assume any rights, or take anything for granted. She should be
queen, not only of his heart, but of everything, until she should herself
accord him authority.

But his eyes grew wistful now as he leaned nearer to her.

"Darling, am I not going to be allowed to see--my son!"

Then, with a cry, Amaryllis bent forward and was clasped in his arms. All
her wayward shyness melted, and she poured forth her delight in the
baby--their very own!

"You will see that he is just you, Denzil,--as we knew that he would be,
and now I will go and fetch him for you and bring him here, because the
stairs up to the nursery are so steep they might hurt you to climb."

She left him swiftly, and was not long gone, and Denzil sat there
by the fire trembling with an emotion which he could not have
described in words.

The door opened again and Amaryllis returned with the tiny sleeping form,
in its long white nightgown and wrapped in a great fleecy shawl.

She crept up to him very softly. The little one was sound asleep. She
made a sign to Denzil not to rise, and she bent down and placed the
bundle tenderly in his arms.

Then they gazed at the little face together with worshipping eyes.

It was just a round pink and white cherub like thousands of others in the
world; the very long eyelashes, sweeping the sleep-flushed cheeks, and
minute rings of bronze-gold hair curling over the edge of the close
cambric cap; but it seemed to those two looking at it to be unique, and
more beautiful than the dawn.

"Isn't he perfect, Denzil!" whispered Amaryllis, in ecstasy.

"Marvellous!" and Denzil's voice was awed.

Then the wonder and the divinity of love and its spirit of creation came
over them both and a mist of deep feeling grew in both their eyes.

* * * * *

At dinner they were all so happy together. Mrs. Ardayre was a note of
harmony anywhere. She had gradually grown to understand the situation in
the months of her son's recovering from his wounds and although no actual
words had passed between them Denzil felt that his mother had divined the
truth and it made things easier.

Afterwards, in the green drawing room, Amaryllis played to them and
delighted their ears, and then they went up to the cedar parlour and sat
round the fire and talked and made plans.

If it should be quite hopeless that Denzil could ever return to the
front, or be of service behind the lines, he meant to enter Parliament.
The thought that his active soldiering was probably done was very bitter
to him, and the two women who loved him tried to create an enthusiasm for
the parliamentary idea. The one certainty was that his adventurous spirit
would never remain behind in the background, whatever occurred.

They would be married at the beginning of February, they decided. The
whole of their world knew of John's written wishes, and no unkind
comments would be likely to arise.

And when Beatrice Ardayre left them alone to say good-night to each
other, Denzil drew Amaryllis back to his side!

"I think the world is going to be a totally new place, darling--after the
war. If it goes on very long the gradual privation and suffering and
misery will create a new order of things, and all of us should be ready
to face it. Only fools and weaklings cling to past systems when the
on-rolling wave has washed away their uses. Whatever seems for the real
good of England must be one's only aim, even if it means abandoning what
was the ideal of the Family for all these hundreds of years. You will
advance with me, Sweetheart, will you not, even if it should seem to be a
chasm we are crossing?"

"Denzil, of course I will."

He sighed a little.

"The old order made England great--but that cycle is over for all the
world--and what we shall have to do is to stand steady and try to
direct the new on-rush, so that it makes us greater and does not sweep
civilisation into darkness, as when Rome fell. It may be a fairly easy
matter because, as Stepan says, we have got such fundamental common
sense. It would be much less hard if the people at the top were really
courageous and unhampered by trying to secure votes, or whatever it is,
which makes them wobble and surrender at the wrong moment. If the
politicians could have that dogged, serene steadfastness which the
Tommies, and almost every man has in the trenches, how supreme we
should be--!"

"I hope so, but one must have vision as well so that one can look right
ahead and not stumble over retained old prejudices; people so often want
a thing and yet have not will enough to eliminate qualities in themselves
which must obviously prevent their obtaining their desire."

Denzil was not looking at her now, he was gazing ahead with his blue
eyes filled with light, and she saw that there was something far beyond
the physical magnetism which drew her to him, and a pride and joy filled
her. She would indeed be his helpmate in all his undertakings and
striving for noble ends. They talked for some time of these things and
their plans to aid in their fulfilment, and then they gradually spoke of
Verisschenzko and Amaryllis asked what was the latest news--he was in
Russia, she supposed.

"Stepan will be arriving in London next week. I heard from him to-day.
Won't you ask him down, darling, to spend the New Year with us here--it
would be so good to see the dear old boy again."

This was agreed upon, and then they drifted back to lovers' whisperings,
and presently they said a fond good-night.

* * * * *

Christmas Day of 1915, and the weeks which followed were like some happy
dream for Denzil and Amaryllis. Each hour seemed to discover some new
aspect which caused further understanding and love to augment. They spent
long late afternoons in the cedar parlour dipping into books and a
delicious pleasure was for Amaryllis to be nestled in Denzil's arms on
the sofa while he read aloud to her in his deep, magnetic voice.

Beatrice Ardayre at this period was like a pleased mother cat purring in
the sun while her kittens gambol. Her well-beloved was content, and she
was satisfied. She always seemed to be there when wanted and yet to leave
the lovers principally to themselves.

Another of their joys was to motor about the beautiful country, exploring
the old, old churches and quaint farmhouses and manors with which North
Somerset abounds; and they went all over the estate also and saw all the
people who were their people and their friends. The union was thoroughly
approved of, and although the engagement was not to be officially
announced until after the New Year it was quite understood, as the
tenants had all heard of John's instructions in his will. But perhaps the
most supreme joy of all was when they could play with the baby Benedict
together alone for half an hour before he went to bed. Then they were
just as foolish and primitive as any other two young things with their
firstborn. He was a very fine and forward baby and already expressed a
spirit and will of his own, and it always gave Denzil the very strangest
thrill when he seized and clung firmly to one of his fingers with his
tiny, strong, chubby hand. And over all his qualities and perfections his
parents then said wonderful things together!

Every subtle and exquisite pleasure, mystical, symbolical and material,
which either had ever dreamed of as connected with this living proof of
love, was realised for them. And to know that soon, soon, they would be
united for always--wedded--not merely engaged. Oh! that was
glorious--when passion need be under no restraint--when there need be no
good-night!

For in this the chivalry of Denzil never failed--and each day they grew
to respect each other more.

Verisschenzko was to arrive in time for dinner on the last day of
the old year. That afternoon was one of even unusually perfect
happiness--motoring slowly round the park and up on to the hills in
Amaryllis' little two-seater which she drove herself. They got out at the
top and leaned upon a gate from which they seemed to be looking down over
the world. Peaceful, smiling, prosperous England! Miles and miles of her
fairest country lay there in front of them, giving no echo of war.

"If we had been born sixty years ago, Denzil, what different thoughts
this view would be creating in our minds. We would have no
speculation--no uncertainty--we should feel just happy that it is ours
and would be ours for ever! The world was asleep then!"

"Stepan would say that it was resting before the throes of struggle must
begin. Now we are going to face something much greater than the actual
war in France, but if we are strong we ought to come through. We have
always been saner than other peoples, so perhaps our upheaval will be
saner too."

"Whatever there is to face, we shall be together, Denzil, and nothing
can really matter then--and we must make our little Benedict armed
for the future, so that he will be fitted to cope with the conditions
of his day."

"Look there at the blue distance, darling, could anything be more
peaceful? How can anyone in the country realise that not two hundred
miles away this awful war is grinding on?"

Denzil put an arm round her and drew her close to him and clasped
her fondly.

"But just for a little we must try to forget about it. I never dreamed of
such perfect happiness as we are having, Sweetheart,--my own!"

"Nor I, Denzil,--I am almost afraid--"

But he kissed her passionately and bade this thought begone. Afraid of
what? Nothing mattered since they would always be together. February
would soon come, and then they would never part again.

So the vague foreboding passed from Amaryllis' heart, and in fond
visionings they whispered plans for the spring and the summer and the
growing years. And so at last they returned to the house and found the
after-noon post waiting for them. Filson had just brought it in and
Amaryllis' letters lay in a pile on her writing table.

There happened to be none for Denzil and he went over to the fireplace
and was stroking the head of Mercury, the greatest of the big tawny dogs,
when he was startled by a little ominous cry from his Beloved, and on
looking up he saw that she had sunk into a chair, her face deadly pale,
while there had fluttered to the floor at her feet a torn envelope and a
foreign looking postcard.

What could this mean?




CHAPTER XXI


Verisschenzko had come straight through from Petrograd to England. He had
been delayed and had never returned to Paris since September. He knew
nothing of Harietta's sacrilege as yet. But he had at last accumulated
sufficient proof against her to have her entirely in his hands.

He thought over the whole matter as he came down in the train to Ardayre.
She was a grave danger to the Allies and had betrayed them again and
again. He must have no mercy. Her last crimes had been against France,
her punishment would be easier to manage there.

The strain of cruelty in his nature came uppermost as he reviewed the
evil which she had done. Stanislass' haunted face seemed to look at him
out of the mist of the half-lit carriage. What might not Poland have
accomplished with such a leader as Boleski had been before this baneful
passion fell upon him! Then he conjured up the? imaged faces of the brave
Frenchmen who were betrayed by Harietta to Hans, and shot in Germany.

A spy's death in war time was not an ignoble one, and they had gone there
with their lives in their hands. Had Harietta been true to that side, and
had she been acting from patriotism, he could have desired to save her
the death sentence now. But she had never been true; no country mattered
to her; she had given to him secrets as well as to Hans! Then he laughed
to himself grimly. So her _danseur_ at the Ardayre ball was the first
husband! The man who used to beat her with a stick--and who had let her
divorce him in obedience to the higher command!

How clever the whole thing was! If it had not all been so serious, it
would have been interesting to allow her to live longer to watch what
next she would do, but the issues at stake were too vital to delay. He
would not hesitate; he would denounce her to the French authorities
immediately on his return to Paris, and without one qualm or regret. She
had lived well and played "crooked"--and now it was meet that she should
pay the price.

Filson announced him in the green drawing room when he reached Ardayre,
but only Denzil rose to greet him and wrung his hand. He noticed that his
friend's face looked stern and rather pale.

"I'm so awfully glad that you have come, Stepan," and they exchanged
handshakes and greetings. "You are about the only person I should want to
see just now, because you know the whole history. Something unprecedented
has happened. A communication has come apparently from John to Amaryllis
from a prisoners' camp in Germany, and yet as far as one can be certain
of anything I am certain that I saw him die--"

Verisschenzko was greatly startled. What a frightful complication it
would make should John be alive!

"The letter--merely a postcard enclosed in an envelope--came by this
afternoon's post--and as you can understand, it has frightfully upset us
all. It is a sort of thing about which one cannot analyse one's feelings.
John had a right to his life and we ought to be glad--but the idea of
giving up Amaryllis--of having all the suffering and the parting
again--Stepan, it is cruelly hard."

Verisschenzko sat down in one of the big chairs, and Euterpe, the lesser
tawny dog, came and pushed her nose into his hand. He patted her silky
head absently. He was collecting his thoughts; the shock of this news was
considerable and he must steady his judgment.

"John wrote to her himself, you say? It is not a message through a third
person--no?"

"It appears to be in his own writing." Denzil stood leaning on the
mantelpiece, and his face seemed to grow more haggard with each word.
"Merely saying that he was taken prisoner by the enemy when they made the
counter attack, and that he had been too ill to write or speak until now.
I can't understand it--because they did not make the counter attack until
after I was carried in--and even though I was unconscious then, the
stretcher bearers must have seen John when they lifted me if he had been
there. Nothing was found but his glasses and we concluded another shell
had burst somewhere near his body after I was carried in. Stepan, I swear
to God I saw him die."

"It sounds extraordinary. Try to tell me every detail, Denzil."

So the story of John's last moments was gone over again, and all the most
minute events which had occurred. And at the end of it the two solid
facts stood out incontrovertibly--John's body was never found, but Denzil
had seen him die.

"How long will it take to communicate with him, I wonder? We can through
the American Ambassador, I suppose, because he gives no address. It must
be awful for him lying there wounded with no news. I say this because I
suppose I must accept his own writing, but I, cannot yet bring myself to
believe that he can be alive."

Verisschenzko was silent for a moment, then he asked:

"May I see my Lady Amaryllis?"

"Yes, she told me to bring you to her as soon as I should have explained
to you the whole affair. Come now."

They went up the stairs together, and they hardly spoke a word. And
when they reached the cedar parlour Denzil let Verisschenzko go in in
front of him.

"I have brought Stepan to you," he told Amaryllis. "I am going to leave
you to talk now."

Amaryllis was white as milk and her grey eyes were disturbed and very
troubled. She held out her two hands to Verisschenzko and he kissed them
with affectionate worship.

"Lady of my Soul!"

"Oh! Stepan,--comfort me--give me counsel. It is such a terrible moment
in my life. What am I to do?"

"It is indeed difficult for you--we must think it all out--"

"Poor John--I ought to be glad that he is alive, and I am--really--only,
oh! Stepan, I love Denzil so dearly. It is all too awfully complicated.
What so greatly astonishes me about it is that John has not written
deliriously, or as though he has lost his memory, and yet if we had
carried out his instructions and wishes we should be married now, Denzil
and I,--and he never alludes to the possibility of this! It is written as
though no complications could enter into the case--"

"It sounds strange--may I see the letter?"

She got up and went over to the writing table and returned with a packet
and the envelope which contained the card. It was not one which prisoners
use as a rule; it had the picture of a German town on it and the
postmark on the envelope was of a place in Holland. Verisschenzko read it
carefully:

"I have been too ill to write before--I was taken prisoner in the counter
attack and was unconscious. I am sending this by the kindness of a nurse
through Holland. Everyone must have believed that I was dead. I am
longing for news of you, dearest. I shall soon be well. Do not worry. I
am going to be moved and will write again with address.

"All love,--

"JOHN."

The writing was rather feeble as a very ill person's would naturally be,
but the name "John" was firm and very legible.

"You are certain that it is his writing?"

"Yes"--and then she handed him another letter from the packet--John's
last one to her. "You can see for yourself--it is the same hand."

Stepan took both over to the lamp, and was bending to examine them when
he gave a little cry:

"Sapristi!"--and instead of looking at the writings he sniffed strongly
at the card, and then again. Amaryllis watched him amazedly.

"The same! By the Lord, it is the work of Ferdinand. No one could mistake
his scent who had once smelt it. The muskrat, the scorpion! But he has
betrayed himself."

Amaryllis grew paler as she came close beside him.

"Stepan, oh, tell me! What do you mean?"

"I believe this to be a forgery--the scent is a clue to me. Smell
it--there is a lingering sickly aroma round it. It came in an envelope,
you see,--that would preserve it. It is an Eastern perfume, very
heavy,--what do you say?"

She wrinkled her delicate nose:

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Stranger than fiction: the true story behind Kidnapped

It is a satirist's dream come true. John Crace looks back over a decade of poking fun at clunky plots and dodgy dialogue

I could be the only person who has never forgotten William Sutcliffe's Love Hexagon. It was the first book I ever digested and I'd like to be able to say I'd spent a lot of time selecting it. But it wasn't like that.

A few days earlier I'd been stopped in the corridor by the new editor of the Editor, the Guardian's standalone digest of the week's news (RIP), and asked if I'd like to take over a little-noticed column called the Digested Read. She wandered off before I had time to answer, but she didn't need to hang around. The ­Digested Read is a dream job for any satirist and I would have done it for almost nothing. Come to think of it, I did. But I still needed to choose a book and as I hadn't yet got the hang of ringing publishers, asking to bite the hand that feeds, I went to see the literary editor, who poked around in her cupboard for something she didn't want. So Love Hexagon it was.

I doubt it's much consolation to Sutcliffe now, but I soon realised it was a poor choice. The Digested Read works best with authors who are getting the most media attention in any given week – be they Ian McEwan, JK Rowling, Nigella Lawson or Katie Price – and since that first week, it is a principle to which I have tried to stick.

It's not infallible. Publishers tend to keep their big names for the spring and summer; in these months there's often too much choice and it can be a straight toss-up between JM Coetzee and AS Byatt. At other times of the year, particularly January, the publishing lists are thin and books squeeze in that normally wouldn't get a reading. It happened once with the brother of a well-known author, a mistake for which I've clearly never been forgiven by the victim; a year ago someone kindly directed me to his blog where he continues to regularly rubbish me seven or eight years on. Books do also just get missed. I never gave The Da Vinci Code a second thought when it came out.

Over the last 10 years, the Digested Read has changed locations several times – from the Editor to the main paper to G2 – but the format has remained the same; rewriting a book in 700 words in the style of the author. The primary goal is to entertain – something the book itself has often failed to do – but it's also intended as a (semi-) serious critique, for much of the fun is derived from clunky plot devices that don't work, pretentious stylistic tics, risible dialogue and an absence of big ideas. Literary criticism does not have to be dull to be serious.

Some people object to its cruelty. I have no defence. Satire often is cruel, especially when it's accurate. Here's the thing. I read every word of every book I digest, scribbling notes on the pages as I go along. I can't afford not to because if I get something wrong, I'm stuffed. So you could argue that I show rather more respect for the integrity of an author's work than a reviewer who gives a book the thumbs up after a skim read. And that does happen. I've read reviews of books I've ­digested and can see the critic has only read the blurb, the first few chapters and the ending. But who cares so long as it's a positive review? Certainly not the author or the publisher. You might, though, if you fork out £10 to buy it.

And many authors do seem to "get" the Digested Read. I'm continually delighted – and astonished – by the number of writers who are more generous about my work than I am about theirs and get in touch to say how much they enjoy the column. Especially when it's someone else's books. Some even email to say they've liked what I've done to their own book. That I don't understand. Publishers are also surprisingly complimentary; some authors would be surprised to discover how much their egotism gets up the noses of their editors and publicists. My favourite compliment is this from the New York Times: "The best book-related feature in any of this planet's English-language newspapers." That will go on my gravestone.

No writer has yet – and I'm not keen for a precedent to be created – emailed to tell me they hate me. It would be nice to imagine this was because they all thought I was so wonderful, but I suspect this is wishful thinking. More likely they are maintaining a dignified ­silence, or have their minds on higher matters.

Not that authors don't have their strops. Jilly Cooper moaned to the Daily Telegraph that I had given away the plot of her book. I hadn't been aware there was one; the ­ending was blindingly obvious from about page 20. One award-winning young author had a complete strop after I digested their partner's book, and threatened never to write for the Guardian again; a threat that hasn't been kept.

One last thing. Sometimes I am asked if I enjoy reading. How could I not? Do you ­really imagine the last 10 years have been an extended exercise in masochism? Especially now that I also digest a classic each week. Few books are as good as their publicity – and it's more often than not the difference between hype and reality I try to exploit – but there haven't been many that have had no redeeming qualities.

Reading is, and remains, a pleasure. As does digesting. Edith Wharton's The Age of Innocence is a great book. It's also great to satirise. The two aren't mutually exclusive. So here's to ­another 10 years digesting. If you'll have me.

A complete archive of John Crace's Digested Reads guardian.co.uk/digestedread


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The greatest Russian writer you've never read

From Huck Finn to Holden Caulfield and Humbert Humbert, the novelist provides an entirely trustworthy guide to some of literature's slipperiest characters

Henry Sutton was born in Norfolk in 1963. After training as a journalist he worked for a number of national newspapers and magazines. He is the author of five previous novels, including Gorleston, Flying and Kids' Stuff, and a collection of short stories, Thong Nation. He also teaches creative writing at UEA and lives in Norwich with his family. His new novel, Get Me Out of Here, is published by Harvill Secker.

Buy Henry Sutton books at the Guardian bookshop

"Something strange happened to unreliable narrators in the mid-20th century: they became a little more reliably unreliable, and a lot nastier. In the late-19th century they tended to be untrustworthy either because they were hiding something about themselves or had failed to recognise the truth, generally because of some kind of psychological weakness. However, as modernism shifted into post-modernism and we all became that much more cynical, most narrators were expected to be complicated. Unreliability became inextricably linked with malevolence – not to mention duplicity, delusion, even derangement. Of course, as the parameters stretched, unreliable narrators also became a lot more fun, with humour often countering the blackness. The challenge was to make tricksy first-person characters both intriguing and entertaining."

1. Lolita by Vladimir Nabokov (1955)

Never straight with himself, let alone the ladies and gentlemen of the jury to whom he is ultimately addressing his words, Humbert Humbert arrived halfway through the 20th century, intent on justifying his appalling crime. Nabokov's syntactical genius is the one true triumph.

2. The Turn Of The Screw by Henry James (1898)

Is it a ghost story, or the tragic tale of a young woman undergoing a breakdown? Believing her two young charges are communing with the spirits of her two dead predecessors, the prim governess of Bly House becomes increasingly panic-stricken and erratic, until she's left with a dead boy in her arms.

3. The Heart Of Darkness by Joseph Conrad (1902)

Right at the start we're told that Marlow likes to spin yarns. However, his tale of journeying up the Congo, in search first of ivory, and then the infamous Kurtz, is one of the most powerful stories in literature. Whether his story is strictly faithful becomes irrelevant, as Marlow ends up highlighting the moral corruption at the heart of all humans.

4. Money by Martin Amis (1984)

John Self is one of literature's most repulsively addictive narrators. The book might be subtitled "A Suicide Note", but it is in fact a love story, with Self dreaming up ever more extravagant ways to shed his wedge while pursuing entirely corruptible Selina Street, among others. The fact that Self might never have actually existed, revealed towards the end, is Amis's sly take on the death of the self.

5. American Psycho by Bret Easton Ellis (1991)

Patrick Bateman makes John Self look even more out of shape, when it comes to commenting on the big brands and applying his murderous hands to the unsuspecting and the vulnerable. Yet Ellis's great comment on consumerism and the death of high culture could just be a mirror to our own deluded thoughts, and Bateman nothing more than a sickly funny fantasist.

6. The Killer Inside Me by Jim Thompson (1952)

It was Jim Thompson, not James M Cain, who put the hard into hard-boiled, the noir into roman noir. He was also one of the first crime writers to take us into the heads of seriously twisted killers, if not out-and-out psychopaths. Deputy Sheriff Lou Ford is regarded as a pillar of the small Texan community he serves. Yet he's in possession of a secret he doesn't even admit to himself. When the bodies start to appear, the net slowly tightens.

7. The Catcher in the Rye by JD Salinger (1951)

Classic unreliability when first published in the early 1950s which now looks almost tamely reliable. Of course young Holden Caulfield is anything but clear about what his short, privileged life has already led him to believe – he's a teenager. Naturally everything's phoney, except his beloved sister Phoebe. Though even she is abandoned as Holden loses his fragile grasp on reality.

8. The End Of Alice by AM Homes (1996)

Narrated in the first person by a hyper-intelligent paedophile, and from the third person perspective of a 19-year-old girl with an unhealthy fixation on a much younger boy, Homes's homage to Nabokov didn't just question the nature of desire, but that of literary taste and acceptability. A brutally brave and truly experimental novel that, over here, fell very foul of the Daily Mail.

9. We Need to Talk About Kevin by Lionel Shriver (2003)

Shriver's Orange Prize-winning novel is a postmodern masterclass in unreliability, as the principal theme of nature versus nurture trickles through the slow revelations of exactly what Kevin has done. Told in a series of letters by Kevin's mother, Eva, to her estranged husband, Franklin, the reader is never quite sure of whether it was Eva or Kevin who exhibited the most disturbing behaviour. Franklin, meanwhile, is guilty of chronic denial.

10. The Adventures of Huckleberry Finn by Mark Twain (1884)

In his search of freedom, as he floats down the Mississippi, Tom Sawyer's best friend "Huck" Finn finds himself travelling out of his rational mind. First published in 1884, Twain himself described his controversial masterpiece, as "... a book of mine where a sound heart and a deformed conscience come into collision and conscience suffers defeat".


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Diagram prize pits worm hunter's afterthoughts against Nazi spoons

An anti-Stalinist author who died in obscurity in 1951 may be the greatest Russian writer of the last century, his English translator Robert Chandler explains to Daniel Kalder

Stalin called him scum. Sholokhov, Gorky, Pasternak, and Bulgakov all thought he was the bee's knees. But when Andrei Platonov died in poverty, misery and obscurity in 1951, no one would have predicted that within half a century he would be a contender for the title as Russia's greatest 20th-century prose stylist. Indeed, his English translator Robert Chandler thinks Platonov's novel The Foundation Pit is so astonishingly good he translated it twice. Set against a backdrop of industrialisation and collectivisation, The Foundation Pit is fantastical yet realistic, funny yet tragic, profoundly moving and yet disturbing. Daniel Kalder caught up with Chandler to talk about why more people should be reading Platonov.

Why did you translate Platonov's Foundation Pit twice?

No other work of literature means so much to me. I translated it together with Geoffrey Smith in 1994 for the Harvill Press, and again in 2009, together with my wife Elizabeth and the American scholar Olga Meerson, for NYRB Classics. There were two reasons for retranslating it. First, the original text was never published in Platonov's lifetime, and the first posthumous publications – on which our Harvill translation was based – were severely bowdlerised. One crucial three-page passage, for example, is entirely missing.

Second, Platonov is hard to translate: in the early 1990s we were working in the dark. During the last 15 years, however, I have regularly attended Platonov seminars and conferences in Moscow and Petersburg. One indication of how deeply many Russian writers and critics admire him is the extent of their generosity to his translators; I now have a long list of people I can turn to for help. Above all, I have the good fortune to have my wife, who shares my love of Platonov, and the brilliant American scholar, Olga Meerson, as my closest collaborators. Olga was brought up in the Soviet Union; she has a fine ear, knows a great deal about Russian Orthodoxy, and has written an excellent book on Platonov. She has deepened my understanding of almost every sentence.

You've argued that Russians will eventually come to recognise Platonov as their greatest prose writer. Given that he's up against titans such as Gogol, Tolstoy and Chekhov this is quite a claim.

Well, it probably sounds less startling to Russians than it does to English and Americans. I've met a huge number of Russian writers and critics who look on Platonov as their greatest prose writer of the last century. In my personal judgment, it was confirmed for me during the last stages of my work on Russian Short Stories from Pushkin to Buida, an anthology of short stories I compiled for Penguin Classics. I worked on this for several years, did most of the translations myself and revised them many times. I read through the proofs with enjoyment – I was still happy with the choices I had made – but there were only two writers whom I was still able to read with real wonder: Pushkin and Platonov. Even at this late stage I was still able to find new and surprising perceptions in Pushkin's The Queen of Spades and Platonov's The Return. This didn't happen with any other writers. 
 
Readers who encounter Platonov for the first time are often struck by his surreality: in the Foundation Pit, for example, a bear staggers through a village denouncing kulaks [supposedly wealthy peasants]. But you've said that almost everything he writes is drawn from reality.

Platonov's stories work on many levels. When I first read his account of the kulaks being sent off down the river on a raft, I thought of it simply as weird. Then I realised that it's one of many examples of Platonov's way of literally realising a metaphor or political cliché; the official directive is to "liquidate" the peasants – and this unfamiliar word is interpreted as meaning that they must be got rid of by means of water.

Many years later I found out that this scene is also entirely realistic. The Siberian Viktor Astafiev wrote in his memoir: "In spring 1932 all the dispossessed kulaks were collected together, placed on rafts and floated off to Krasnoyarsk, and from there to Igarka. When they started loading the rafts, the whole village gathered together. Everyone wept; it was their own kith and kin who were leaving. One person was carrying mittens, another a bread roll, another a lump of sugar." Any educated Russian reading these lines today would at once imagine that they were written by Platonov.

As for the bear, he's drawn from many sources. He is the generally helpful but somewhat dangerous bear of Russian folk tales; he is a representative of the proletariat – strong but inarticulate. As a hammer in a forge, he is linked both to Stalin, whose name means "man of steel" and to Molotov, whose name means "hammerer". He is the tame bear often employed by a village sorcerer. Platonov's bear "denounces" kulaks by stopping outside a hut and roaring; in the late 1920s an ethnographer working in the province of Kaluga recorded the belief that "a clean home, outside which a bear stops of his own accord, not going in but refusing to budge – that home is an unhappy home". And one of Platonov's brothers has written that there really was a tame bear who worked in a local blacksmith's.

Platonov started off as a committed communist, but was appalled by collectivisation and the excesses of Stalinism. Uniquely – unlike others who adopted an oppositional stance, or wrote critiques for the desk drawer – he tried to negotiate a space within Soviet culture in which he could write honestly about what was going on. Is it fair to say that he failed?

I don't think so. Some of the stories he managed to publish – The River Potudan, The Third Son and The Return – are as great, in their more compact and classical way, as the novels he was unable to publish. The Return was viciously criticised, but it was published in a journal with a huge circulation and may well have been read by hundreds of thousands of people. And there is no knowing how important Platonov's example was to younger writers. Vasily Grossman, for example, was a close friend. They met frequently during Platonov's last years and read their work out loud to each other. Grossman gave the main speech at Platonov's funeral. His last stories are very Platonov-like. And Platonov's very last work – the moving, witty versions of Russian folk tales he composed after the war – was included, without acknowledgment, in millions of school textbooks. Platonov was not widely known, but he was widely read. Here again he is in a similar position to Grossman, whose words are carved in granite, in huge letters, on the Stalingrad war memorial, without acknowledgment of his authorship.

Platonov's language is often extremely intimate yet also strange: alienated and alienating. Is he exceptionally difficult to translate? And does he sound more "normal" in the original than in translation?

He is certainly difficult to translate. On the other hand, I've sometimes been surprised by how much of him evidently survives even in a poor translation. I've met people who have been deeply moved after first encountering him in a very poor translation indeed. As for your second question, you need to ask someone who is entirely bilingual and not involved in the work. All I can say myself is that all languages have norms that can be infringed, and that we do our best to infringe English norms just as Platonov infringes Russian norms. It is for you and other readers to judge how much we have succeeded!
 
Sometimes I think you have a secret plan to steer readers away from familiar authors such as Chekhov towards more angular, difficult work such as Platonov, thus reshaping perceptions of 20th-century Russian literature.
 
Well, I'd put it at least a little differently! I love Chekhov's stories as much as anyone, and would especially love to translate The Steppe and A Boring Story. But then Chekhov isn't so very easy or smooth either, though many of his complexities and contradictions are smoothed over in translation. What's certainly true is that I think we have a distorted view of Soviet literature. For many decades it was impossible for a Soviet writer to achieve fame in the west except through a major international scandal. This is what happened with both Pasternak and Solzhenitsyn. Both are important writers, but they are not greater writers than Grossman, Platonov and Shalamov.

Things are changing, however. Grossman is far better known in the west now than he was 10 years ago. Platonov is at least beginning to be noticed – Penelope Fitzgerald and John Berger are two of the English writers who have been quickest to realise his genius. And there is a chance that the Yale University Press will soon be commissioning a complete translation of Shalamov's Kolyma Tales. One more point: we have found it easier in the west to learn to appreciate the 20th-century writers who wrote from outside the Soviet experience. Bulgakov reached adulthood long before the revolution. He was never taken in by it; he looks down on everything Soviet. Grossman, Platonov and Shalamov, however, belong to a generation 10 to 20 years younger. All of them, at least for a while and to some degree, shared the hopes of the revolution. They write from inside the Soviet experience. This perhaps gives them a greater depth and complexity; their work contains no ready-made answers.

• Robert Chandler's new co-translation (in collaboration with his wife and Olga Meerson) of The Foundation Pit will be published in the UK by Vintage Classics later this year.   
 


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