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The Price of Things by Elinor Glyn

E >> Elinor Glyn >> The Price of Things

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Denzil laughed aloud.

"You are hard on us, Stepan, but I dare say you are right."

"It is just custom and convention which make us think ourselves such
gods. Had woman had the same chance always, who knows what she might not
have become by now! Everything is ticketed, it is called by a name and
put down under such and such a heading--women are 'weak' and 'illogical'
and 'unreliable' and men are 'brave' and 'sound' and 'to be
trusted'--tosh! in quantities of cases--and if so, why so? Women are
wonderful beings in many ways--of a courage! The way they bear things so
gladly for men--think of their suffering when they have children. You
don't know about it probably, men take all this as a matter of
course--but I saw my sister die--after hours of it--"

Denzil moved his arm rather suddenly and upset the glass of lemon squash
on a little table near.

Verisschenzko observed this, but went on without a break:

"It is agony for them under the best conditions, and sometimes they
become divine over it. Amaryllis will be divine--I hope John will take
care of her--"

A look of concern came into Denzil's face, and Verisschenzko watched him.
Could any one be more attractive as a splendid mate for Amaryllis, he
thought. He crushed down all feeling of human jealousy. His intuition
would probably reveal all the mystery to him presently, and meanwhile if
he could forward any scheme which would be for the good of Amaryllis and
the security of the family, he would do so.

"I must leave you now, old man," he said, looking at his watch. "I have a
rendezvous with Harietta. I shall have to play the part of an ardent
lover and cannot yet wring her neck."

When Denzil was alone, he stood gazing into the fire.

"That John should take care of her?"--but John was going out to
fight--and so was he--and they might both be killed--What then?

"Stepan knows, I am certain," he thought, "and he is true as steel; he
must stand by her if we don't come back."

And then his thoughts flew to the vision of her sitting opposite him at
the table, with her sweet eyes turned to his now and then, the faint
violet shadows beneath them and the transparent exquisiteness of her skin
telling their own story by the added, fragile beauty. Oh! what
unutterable joy to hold her in his arms and whisper passionate love words
in her little ears, to live again the dream of her dainty head lying
prone there on his breast. Every pulse in his being throbbed to bursting,
seeming almost to suffocate him.

"Amaryllis--Sweetheart!" he whispered aloud, and then started at his
own voice.

He paced up and down the room, clenching his hands. The family might go
on, but the two members of it must endure the pain of renunciation.

Which was the harder to bear, he wondered--his part of hopeless memory
and regret, or John's of forced denial and abstinence?

In all the world, no situation could be more strange or more cruel.

He had felt deeply about it before he had seen Amaryllis. He thought of
the myth of Eros and Psyche. His emotions had been much as Psyche's
before she lit the lamp. And now the lamp had been lighted--his eyes had
seen what his arms had clasped, the reality was more lovely than his
dream, and passion was kindled a hundredfold. It swept him off his feet.

He forgot war and the horror of the time, he forgot everything except
that he longed for Amaryllis.

"She is mine, absolutely mine," he said wildly. "Not John's."

And then he remembered his promise, given before any personal equation
had entered into the affair.

Never to take advantage of the situation--afterwards!

And what would the child be like? A true Ardayre, of course--they would
say that it had harked back, perhaps, to that Elizabethan Denzil whom
his father had told him was his exact portrait in the picture gallery
at Ardayre.

He could have laughed at the sardonic humour of everything if he had not
been too overcome with passionate desire to retain any critical sense.

Then he sat down and forced himself to realise what it meant--parenthood.
Not much to a man, as a rule. He had looked upon those occult stirrings
of the spirit of which he had read as romantic nonsense. It was a natural
thing and all right if a man had a place for him to wish to have a
son--but otherwise, sentimentality over such things was such rot!

And yet now he found himself thrilling with sentiment. He would like to
talk to Amaryllis all about it, and listen to her thoughts, too. And then
he remembered the many discussions with Verisschenzko upon the theory of
re-birth and of the soul's return again and again until its lessons are
learned on this plane of existence, and he wondered what soul would
animate the physical form of this little being who would be his and hers.

And suddenly in his mental vision the walls of the room seemed to fade,
and he was only conscious of a vastness of space, and knew that for this
brief moment he was looking into eternity and realising for the first
time the wonder of things.

* * * * *

Meanwhile Verisschenzko had returned to the Carlton and was softly
walking down the passage towards the Boleskis' rooms. The ante-room door
was at the corner, and as he was about ten yards from it a man came out
and strode rapidly towards the lift down the corridor at right angles,
but the bright light fell upon his face for an instant, and Verisschenzko
saw that it was Ferdinand Ardayre.

He waited where he was until he heard the lift doors shut, and even then
he paced up and down for a time before he entered the sitting-room. There
must be no suspicion that he had encountered the late visitor.

"Darling Brute, here you are!" Harietta cried delightedly, rising from
her sofa and throwing herself into his arms. "I've packed Stanislass off
to the St. James' to play piquet. I have been all alone waiting for you
for the last hour--I began to fear you would not come."

Verisschenzko looked at her, with his cynical, humorous smile, whose
meaning never reached her. He took in the transparent garments which
hardly covered her, and then he bent and picked up a man's handkerchief
which lay on a table near.

"_Tiens_! Harietta!" he remarked lazily. "Since when has Stanislass taken
to using this very Eastern perfume?" and he sniffed with disgust.

The wide look of startled innocence grew in Madame Boleski's hazel eyes.

"I believe Stanislass must have got a mistress, Stepan. I have
noticed lately these scents on his things--as you know, he never used
any before!"

"The handkerchief is marked with 'F.A.' I suppose the _blanchisseuse_
mixes them in hotels. Let us burn the memento of a husband's straying
fancies then; the taste in perfumes of his inamorata is anything but
refined," and Verisschenzko tossed the bit of cambric into the fire which
sparkled in the grate.

"I've lots of news to tell you, Darling Brute--but I shan't--yet! Have
you come to England to see that bit of bread and butter--or--?"

But Verisschenzko, with a fierce savagery which she adored, crushed her
in his arms.




CHAPTER XI


On the Tuesday morning after the Carlton dinner, fate fell upon Denzil
and Amaryllis in the way the jade does at times, swooping down upon
them suddenly and then like a whirlwind altering the very current of
their destiny. It came about quite naturally, too, and not by one of
those wildly improbable situations which often prove truth to be
stranger than fiction.

Amaryllis was settled in an empty compartment of the Weymouth express at
Paddington. She had said good-bye to John the evening before, and he had
returned to camp. She was going back to Ardayre, and feeling very
miserable. Everything had been a disillusion. John's reserve seemed to
have augmented, and she had been unable to break it down, and all the
new emotions which she was trembling with and longing to express, had
grown chilled.

Presumably John must be pleased at the possibility of having a son since
it was his heart's desire; but it almost seemed as though the subject
embarrassed him! And all the beautiful things which she had meant to say
to him about it remained unspoken.

He was stolidly matter-of-fact.

What could it all mean?

At last she had become deeply hurt and had cried with a tremour in her
voice the morning before he left her:

"Oh! John, how different you have become; it can't be the same you who
once called me 'Sweetheart' and held me so closely in your arms! Have I
done anything to displease you, dearest? Aren't you glad that I am going
to have a baby?"

He had kissed her and assured her gravely that he was glad--overjoyed.
And his eyes had been full of pain, and he had added that he was stupid
and dull, but that she must not mind--it was only his way.

"Alas!" she had answered and nothing more.

She dwelt upon these things as she sat in the train gazing out of the
window on the blank side.

Yes. Joy was turning into dead sea fruit. How moving her thoughts had
been when coming up to meet him!

The marvel of love creating life had exalted her and she had longed to
pour her tender visionings into the ears of--her lover! For John had been
thus enshrined in her fond imagination!

The whole idea of having a child to her was a sacred wonder with little
of earth in it, and she had woven exquisite sentiment round it and had
dreamed fair dreams of how she would whisper her thoughts to John as she
lay clasped to his heart; and John, too, would be thrilled with
exaltation, for was not the glorious mystery his as well--not hers alone?

Now everything looked grey.

Tears rose in her eyes. Then she took herself to task; it was perhaps
only her foolish romance leading her astray once more. The thought
might mean nothing to a man beyond the pride of having a son to carry
on his name. If the baby should be a little girl John might not care
for it at all!

The tears brimmed over and fell upon a big crimson carnation in her coat,
a bunch of which John had ordered to be sent her, and which were now
safely reposing in a card-board box in the rack above her head.

Fortunately she had the carriage to herself. No one had attempted to get
in, and they would soon be off. To be away from London would be a relief.

Then her thoughts flew to Verisschenzko; he had told her that
circumstances in his country might require his frequent presence in
England for the next few months.

She would see him again. What would he tell her to do now? Conquer
emotion and look at things with common sense.

The picture of the dinner at the Carlton then came back to her, and the
face of Denzil across the table, so like, and yet so unlike John!

If Denzil had a wife would he be cold to her? Was it in the nature of
all Ardayres?

At the very instant the train began to move the carriage was invaded by a
man in khaki who bounded in and almost fell by her knees, and with a
cheery 'Just done it, Sir!' the guard flung in a dressing-bag and slammed
the door, and she realised with conscious interest that the intruder was
Denzil Ardayre!

"How do you do? By Jove. I am awfully sorry," and he held out his hand.
"I nearly lost the train and I am afraid I have bundled in without asking
leave. I am going down to Bath to say good-bye to my mother. I say, do
forgive me if I startled you," and he looked full of concern.

Amaryllis laughed; she was nervous and overstrung.

"Your entrance was certainly sudden and in this non-stop to Westbury we
shall have to put up with each other till then--shall you mind?"

"Awfully--Must I say that the truth would be that I am enchanted!"

Fortune had flung him these two hours. He had not planned them, his
conscience was clear, and he could not help delight rushing through him.
Two hours with her--alone!

There are some blue eyes which seem to have a spark of the devil lurking
in them always, even when they are serious. Denzil's were such eyes.
Women found it difficult to resist his charm, and indeed had never tried
very hard. Life and its living, knowledge to acquire, work to do, beasts
to hunt, had not left him too much time to be spoiled by them
fortunately, and he had passed through several adventures safely and had
never felt anything but the most transient emotion, until now looking at
Amaryllis sitting opposite him he knew that he was in love with this
dream which had materialised.

Amaryllis studied him while they talked of ordinary things and the war
news and when he would go out. She felt some strong attraction drawing
her to him. Her sense of depression left her. She found herself noticing
how the sun which had broken through a cloud turned his immaculately
brushed hair into bronze. She did a little modelling to amuse herself,
and so appreciated balance and line.

Everything in Denzil was in the right place, she decided, and above all
he looked so peculiarly alive. He seemed, indeed, to be the reality of
what her imagination had built up round the personality of John in the
weeks of their separation. Denzil believed that he was talking quite
casually, but his glance was ardent, and atmosphere becomes charged when
emotions are strong no matter how insignificant words may be. Amaryllis
_felt_ that he was deeply interested in her.

"You know my friend Verisschenzko well, it seems," she said presently.
"Is not he a fascinating creature? I always feel stimulated when I am
with him, and as if I must accomplish great things."

"Stepan is a wonder--we were at Oxford together--he can do anything he
desires. He is a musician and an artist and is chock full of common
sense, and there's not a touch of rot. He would have taken honours if he
had not been sent down."

Amaryllis wanted to know about this, and listened amazedly to the story
of the mad freak which had so scandalised the Dons.

She had recovered from her nervousness, she was natural and delightful,
and although the peculiar situation was filling Denzil with excitement
and emotion, he was too much a man of the world to experience any _gene_.
So they talked for a while with friendliness upon interesting things.
Then a pause came and Amaryllis looked out of the window, and Denzil had
time to grow aware that he must hold himself with a tighter hand, a sense
almost of intoxication had begun to steal over him.

Suddenly Amaryllis grew very pale and her eyelids flickered a little; for
the first time in her life she felt faint.

He bent forward in anxiety as she leaned her head against the
cushioned division.

"Oh! what is it, you poor little darling! what can I do for you?" he
exclaimed, unconscious that he had used a word of endearment; but even
though things had grown vague for her Amaryllis caught the tenderly
pronounced 'darling' and, physically ill as she felt, her spirit thrilled
with some agreeable surprise. He came nearer and pushing up the padded
divisions between the seats, he lifted her as though she had been a baby
and laid her flat down. He got out his flask from his dressing bag and
poured some brandy between her pale lips, then he rubbed her hands,
murmuring he knew not what of commiseration. She looked so fragile and
helpless and the probable reason of her indisposition was of such
infinite solicitude to himself.

"To think that she is feeling like that because--Ah!--and I may not even
kiss her and comfort her, or tell her I adore her and understand." So his
thoughts ran.

Presently Amaryllis sat up and opened her eyes. She had not actually
fainted, but for a few moments everything had grown dim and she was not
certain of what had happened, or if she had dreamed that Denzil had
spoken a love word, or whether it was true--she smiled feebly.

"I did feel so queer," she explained. "How silly of me! I have never felt
faint before--it is stupid"--and then she blushed deeply, remembering
what certainly must be the cause.

"I am going to open the window wide," he said, appreciating the blush,
and let it down. "You ought not to sit with your back to the engine like
that, let us change sides."

He took command and drew her to her feet, and placed her gently in his
vacant seat; then he sat down opposite her and looked at her with
anxious eyes.

"I sit that way as a rule because of avoiding the dust, but, of course,
it was that. I am not generally such a goose though--it is the nastiest
feeling that I have ever known."

"You poor dear little girl," his deep voice said. "You must shut your
eyes and not talk now."

She obeyed, and he watched her intently as she lay back with her eyes
closed, the long lashes resting upon her pale cheeks. She looked childish
and a little pathetic, and every fibre of his being quivered with desire
to protect her. He had never felt so profoundly in his life--and the
whole thing was so complicated. He tried to force himself to remember
that he was not travelling with _his_ wife whom he could take care of and
cherish because she was going to have _his_ child, but that he was
travelling with John's wife whom he hardly knew and must take no more
interest in than any Ardayre would in the wife of the head of the family!

He could have laughed at the extraordinary irony of the thing, if it had
not been so moving.

Verisschenzko, had he been there and known the circumstances, would have
taken joy in analysing what nature was saying to them both!

Amaryllis was only conscious that Denzil seemed the reality of her dream
of John, and that she liked his nearness--and Denzil only knew that he
loved her extremely and must banish emotion and remember his given word.
So he pulled himself together when she sat up presently and began
talking again, and gradually the atmosphere of throbbing excitement
between them calmed. They spoke of each other's tastes and likings and
found many to be the same. Then they spoke of books, and each discovered
that the other was sufficiently well read to be able to discuss varied
favourite authors.

An understanding and sympathy had grown up between them before they
reached Westbury, and yet Denzil was really trying to keep his word in
the spirit as well as the letter.

Amaryllis felt no constraint--she was more friendly than she would have
been with any other man she knew so slightly. Were they not cousins, and
was it not perfectly natural!

They talked of Oxford and of the effect it had upon young men, and again
they spoke of Stepan and of the dream he and Denzil shared.

"You will go into Parliament, I suppose, when you come back from the
war?" she remarked at last. "If you have dreams they should become
realities...."

"That is what I intend to do. The war may last a long time though--but it
ought to teach one something, and England will be a vastly different
place after it, and perhaps the younger men who have fought may have a
greater chance."

"You have pet theories, of course."

"I suppose so--I believe that the first great step will be to give the
people better homes--the housing question is what I am going to devote my
energy to. I am sure it is the root of nearly every evil. Every man and
woman who works should have the right to a good home. I have two supreme
interests--that is one, and the other is elimination of the wastrels and
the unfit. I am quite ruthless, perhaps, you will think. But there is
such a sickening lot of mawkish sentiment mixed up with nearly every
scheme to benefit workers. I agree with Stepan who always preaches: Get
down to the commonsense point of view about a thing. Prune the convention
and religion and sentimentality first and then you can judge."

Amaryllis thought for a moment; her eyes became wide and dreamy, and her
charmingly set head was a little thrown back. Denzil took in the line of
her white throat and the curve of her chin--it was not weak. Why was it
that women with the possibilities of this one always seemed to be some
other man's property! He had never come across such charm in girls. Or
was it that marriage developed charm?

They neither of them spoke for a minute or two, each busy with
speculation.

"I want to do something," Amaryllis said at last, "not, only just make
shirts and socks," and then the pink flushed her cheeks again suddenly as
she remembered that she would not be fit for more strenuous work for
quite a long time--and then the war would be over, of course.

Denzil thought the same thing without the last qualification. He was
under no delusions as to the speedy end of strife.

He could not help visioning the wonderful interest the hope of a son
would be to him if she really were his wife--how filled with supreme
sympathy and tenderness would be the months coming on. How they would
talk together about their wishes and the mystery and the glory of the
evolution of life. And here she had blushed at some thought concerning
it, and no words must pass between them about this sacred thing. He
longed to ask her many questions--and then a pang of jealousy shook him.
She would confide to John, not to him, all the emotions aroused by the
thought of the child--then. He wondered what she would do in the winter
all alone. Had she relations she was fond of? He wished that she knew his
Mother, who was the kindest sweetest lady in the world. He said aloud:

"I would like you to meet my Mother. She is going to be at Bath for a
month. She is almost an invalid with rheumatism in her ankle where she
broke it five years ago. I believe you would get on."

"I should love to--it is not an impossible distance from us. I will go
over to see her, if you will tell her about me--so that she won't think
some stranger is descending upon her some day!"

"She will be so pleased," and he thought that he would be happier knowing
that they were friends.

"Does she mean a great deal to you? Some mothers do," and she
sighed--her own was less than emptiness--they had never been near, and
now her stepfather and the step-family claimed all the affection her
mother could feel.

"She is a great dear--one of my best friends," and his eyes beamed. "We
have always been pals--because I have no brothers and sisters I suppose
she spoilt me!"

"I daresay you were quite a nice little boy!" Amaryllis smiled--"and it
must be divine to have a son--I expect it would be easy to spoil one."

Denzil clasped his hands rather tightly--she looked so adorable as she
said that, her eyes soft with inward knowledge of her great hope. How
impossible it all was that they must remain strangers--casual cousins and
nothing more.

"It must be an awful responsibility to have children," he said, watching
her. "Don't you think so?"

The pink flared up again as she answered a rather solemn "Yes."

Then she went on, a little hurriedly:

"One would try to study their characters and lead them to the highest
good, as gardeners watch over and train plants until they come to
perfection. But what funny, serious things we are talking about," and she
gave a little, nervous laugh--"Like two old grandfather philosophers."

"It is rather a treat to talk seriously; one so seldom has the chance to
meet any one who understands."

"To understand!" and she sighed. "Alas--How quite perfect life would
be--" and then she stopped abruptly. If she continued her words might
contain a reflection upon John.

Denzil bent forward eagerly--what had she been going to say?

She saw his blue attractive eyes gazing at her so ardently and some
delicious thrill passed through her. But Denzil recovered himself, and
leaned back in his seat--while he abruptly changed the conversation by
remarking casually:

"I have never seen Ardayre. I would love to look at our common ancestors.
My father used to say there was an Elizabethan Denzil who was rather like
me. I suppose we are all stamped with the same brand."

"I know him!" Amaryllis cried delightedly. "He is up at the end of the
gallery in puffed white satin and a ruff. Of course, you must come and
see him; he has exactly the same eyes."

"The whole family are alive I believe--we were a tenacious lot!"

"If you and John both get leave at Christmas you must come with him and
spend it at Ardayre--I shall have made your Mother's acquaintance by
then, and we must persuade her too."

He gave some friendly answer--while he felt that John might not endorse
this invitation. If the places were reversed, how would he himself act?
Difficult as the situation was for him, it was infinitely harder for
John. Then the train stopped at Westbury.




CHAPTER XII


Denzil had got out to get some papers which he had been to hurried to
secure at Paddington tipping the guard on the way, so that an old
gentleman who showed signs of desiring to enter was warded off to another
compartment. Thus when the train re-started, they were again left alone.

Amaryllis had partially recovered and was looking nearly her usual self,
but for the violet shadows beneath her eyes. She glanced at the papers
which he handed to her, and Denzil retired behind the Times. He wanted
to think; he must not let himself slip out of hand. He must resolutely
stamp out all the emotion that she was causing him; he despised weakness
of any sort.

He thought of Verisschenzko's words about laws being powerless to control
a man's actions, when a natural force is prompting him, unless he uses
self-analysis, and so by gaining knowledge permits the spirit to conquer.
He recollected that he had transgressed often without a backward thought
in past days with other women, but now his honour was engaged even apart
from his firm belief in Stepan's favourite saying, that a man must never
sully the wrong thing. Then the argument they had often had about
indulgences came to him, and the truth of the only possibility of their
enjoyment being while they remained servants, not masters.

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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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