Showing posts with label Anthony Trollope. Show all posts
Showing posts with label Anthony Trollope. Show all posts

Wednesday, November 30, 2022

Book Review 022 / The Way We Live Now, by Anthony Trollope

 



The Way We Live Now

 by Anthony Trollope

1875


One-line summary: A grand Victorian melodrama with all of Austen's cynical wit and Sinclair's scathing social critique.

Originally published in 1875. Approximately 353,000 words (800 pages).  
In this world of bribes and vendettas, swindling and suicide, in which heiresses are won like gambling stakes, Trollope's characters embody all the vices: Lady Carbury, a 43-year-old coquette, 'false from head to foot'; her son Felix, with the 'instincts of a horse, not approaching the higher sympathies of a dog'; and Melmotte, the colossal figure who dominates the book, a 'horrid, big, rich scoundrel...a bloated swindler...a vile city ruffian'.

Wednesday, September 8, 2021

Ten of the best / Cathedrals in literature




Ten of the best
Cathedrals in literature
John Mullan
Monday 7 November 2011 

Salisbury resident Golding imagined the building of the cathedral whose spire towers over the city. Ignoring the warnings of others, the obsessive Dean Jocelin drives the work on, convinced that an angel is prompting him. As he becomes madder, the miraculous building takes shape out of the dust and chaos.
The Mystery of Edwin Drood by Charles Dickens
Dickens's last novel is set in the precincts of the cathedral of Cloisterham. "… a city of another and a bygone time is Cloisterham, with its hoarse Cathedral bell, its hoarse rooks hovering about the Cathedral tower, its hoarser and less distinct rooks in the stalls far beneath." Murderous passions are nursed in the shadow of the great cathedral.

Notre Dame de Paris by Victor Hugo
The cathedral is the central character in Hugo's huge historical novel. All his characters gravitate to it. Quasimodo is the bell-ringer and swings down on a rope from the towers of the Cathedral to rescue the Gypsy girl Esmerelda from the gallows. They seek sanctuary in the great church, but violence and death pursue them there.



Madame Bovary by Gustave Flaubert
Housewife Emma Bovary has an assignation with student Léon Dupuis in Rouen cathedral. "In the choir a silver lamp was burning, and from the side chapels and dark places of the church sometimes rose sounds like sighs, with the clang of a closing grating …" For Léon, the religious solemnity is fitting: he is a devotee of love. Emma arrives, tries to pray, but is overwhelmed by "the tumult of her heart".
The Warden by Anthony Trollope
The clergymen of Barchester find the pursuit of God's purposes is an often ignoble business. The unworldly Septimus Harding, precentor at the great cathedral, is drawn into a furious dispute about church corruption, his only solace being the sublime sound of the cathedral choir as its songs ascend to heaven.
Old St Paul's by Harrison Ainsworth
Ainsworth's best-selling Victorian romance is set in the 1660s. During the great plague, the old cathedral becomes a hospital. At the climax, the great, dilapidated old building burns down, trapping two of the novel's villains in its vaults where they are drowned in molten lead.
The Choir by Joanna Trollope
Trollope's tale of submerged provincial passions is set in the cathedral city of Aldminster, where the cathedral itself is falling down and the costs of repairs seem likely to be met by abolishing the costly boys' choir. From the worldly dean to the idealistic choirmaster, everybody wants the best for the cathedral, the good of which becomes the justification for whatever they want to do.
"The Cathedral" by Rainer Maria Rilke
Rilke wrote a sequence of six poems inspired by a visit to Chartres cathedral with the sculptor Rodin. In the second, the poet muses on what the influence is of this huge tracery of stone, overwhelming rather than elevating. "And in the towers' quelled ascent, / and sudden spurn of skies, sat Death".
"A Cathedral Facade at Midnight" by Thomas Hardy
The poem recalls a night walk in the cathedral close at Salisbury, where Hardy took the movement of light across the building as a metaphor of ancient belief in the light of modern unbelief. The facade is thick with "the pious figures" of saints and clerics, holy men and women seen "Under the sure, unhasting, steady stress / Of Reason's movement, making meaningless".
The Cathedral by Joris-Karl Huysmans
Huysmans has his alter ego, Durtal, who has converted to Catholicism, explore the elaborate symbolism he discovers in stone in the great gothic edifice of Chartres cathedral. An apparent rejection of modernity, it was a bestseller.

Monday, February 17, 2014

The 100 best novels / No 22 / The Way We Live Now by Anthony Trollope (1875)

The 100 best novels: No 22 – The Way We Live Now by Anthony Trollope (1875)

Inspired by the author's fury at the corrupt state of England, and dismissed by critics at the time, The Way We Live Now is recognised as Trollope's masterpiece 

Robert McCrum
Mon 17 Feb 2014


Anthony Trollope is the epitome of the 19th-century English writer, indefatigable, popular and tightly wired-in to his society, a monument of productivity. In the course of his 67 years, Trollope published more than 40 novels including two series (the Barchester Chronicles and the Pallisers) that anchored him in the public mind as the model of the Victorian literary man.
His peers were less complimentary. To Henry James, he was "a novelist who hunted the fox". After the disastrous publication of his An Autobiography, his reputation became damaged by his ruthless attitude towards his art (so many words per day; his characters clinically subordinated to the needs of his narrative, and so on). Trollope's facility was held against him, and so was his popularity with a middle-class reading public. However, if there is one Trollope novel, written in a white heat during 1873, that rescues him from accusations of shallow commerciality, and puts him in the premier league, it must be The Way We Live Now.
The novel, fuelled by indignation, began as a satire. Trollope, who had been living in Australia for 18 months, had returned to London in 1872, to find a society (as he saw it) mired in corruption. He was appalled, he wrote later, by "a certain class of dishonesty, dishonesty magnificent in its proportions, and climbing into high places… so rampant and so splendid that there seems to be reason for fearing that men and women will be taught to feel that dishonesty, if it can become splendid, will cease to be abominable."
Anthony Trollope wrote more than 40 novels but The Way We Live Now surpasses them all. Photograph: Hulton-Deutsch

At first, what he called "the Carbury novel" was to be focused on Lady Carbury, a coquettish fortysomething operator "false from head to foot" on the brink of a shameful literary career. Here, Trollope's portrait owes something to his redoubtable mother, Frances Trollope, the bestselling author of Domestic Manners of the Americans. But once he introduced the character of Augustus Melmotte, one of English fiction's most memorable monsters, all literary equilibrium was lost. Perhaps because Trollope was now untethered from a lifetime of careful plotting, and scrupulous narration, he was able to plunge deeper into his subject unencumbered by the restraints of literary technique. The Way We Live Now has a raw and edgy vitality (fading towards the end) that's often missing in Trollope's more routine novels.
Melmotte, based on some scandalous financiers of the 1870s, is a figure we have come to know only too well: arrogant, ruthless, corrupt and so unfeasibly rich he believes he can buy anything, including political influence. In painting this character, Trollope's satirical fury is at full stretch. Melmotte is a "horrid, big, rich scoundrel… a bloated swindler… a vile city ruffian". How often, in the 1980s and 90s – Robert Maxwell comes to mind – have we not seen such characters in contemporary English life ?

Melmotte's story, which occupies the heart of The Way We Live Now is the tale of a railway fraud, mad speculation and, finally, the bursting of the bubble in a crash that utterly disgraces the deluded interloper. This is hardly the moment to reveal Melmotte's fate, which must be implicit in his corruption. Suffice to say that, once he has left the scene, a more familiar cast of bounders and rogues takes over: Lady Carbury and her feckless son Felix, whose contemptible ambition is "to marry an heiress"; Hamilton Fisker, Melmotte's crooked partner; "Dolly" Longstaffe, the pointless clubman; Mrs Hurtle, the social climbing American, plus an entertaining galère of literary types (Trollope has fun here) from Broune and Booker (yes!), Yeld, Barham and Alf, any one of whom could step into British literary prize management today, no questions asked.
One of my favourites in this series, The Way We Live Now is a wonderful, melodramatic tale-of-the-times, by a master of his craft. It begins in satire and finally resolves into entertaining social comedy. As a savage commentary on mid-Victorian England by a marvellously addictive writer steeped in every aspect of an extraordinary society, it could hardly be bettered. No wonder the first reviews were atrocious.

A note on the text

Trollope, professional to his fingertips, often kept a calendar for the composition of his fiction. Before starting The Way We Live Now he made the following, slightly chilly, calculation: "Carbury novel. 20 numbers. 64 pages each number. 260 words each page. 40 pages a week. To be completed in 32 weeks."
But he was wrong. The "Carbury novel", begun in May 1873, took just 29 weeks, and ran to about 425,000 words. Incredibly, Trollope also polished off another work of fiction (Harry Heathcote of Gangoil) simultaneously. Meanwhile, the publishers Chapman & Hall had already made a contract with Trollope (an outright sale for £3,000) for The Way We Live Now, securing serialisation as well as volume rights. But the heyday of magazine publication was over. The novel did badly in serial form, from February 1874 to September 1875. A two-volume edition was published in July 1875, pre-empting the last stages of the serialisation. The reviews were poor. Trollope himself rather defensively wrote in An Autobiography: "I by no means look on the book as one of my failures; nor was it taken as a failure by the public." The Way We Live Now would not be recognised as the masterpiece it is until the 1940s. Now it is seen as his greatest achievement.

Other Anthony Trollope titles

The Warden (1855); Barchester Towers (1857); Can You Forgive Her? (1865).
THE GUARDIAN



THE 100 BEST NOVELS WRITTEN IN ENGLISH
007 Emma by Jane Austen (1816)
014 Fair by William Thackeray (1848)  
031 Dracula by Bram Stoker  (1897)
035 The Call of the Wild by Jack London (1903)
036 The Golden Bowl by Henry James (1904)
039 The History of Mr Polly by HG Wells (1910)
040 Zuleika Dobson by Max Beerbohm (1915)
041 The Good Soldier by Ford Madox Ford (1915)
042 The Thirty-Nine Steps by John Buchan (1915)
043 The Rainbow by DH Lawrence (1915)
044 Of Human Bondage by W Somerset Waugham (1915)
045 The Age of Innocence by Edith Warthon (1920)
046 Ulysses by James Joyce (1922)
047 Babbitt by Sinclair Lewis (1922)
048 A Pasage to India by EM Forster (1922)
049 Gentlemen Prefer Blondes by Anita Loss ( 1925)
050 Mrs Dalloway by Virginia Woolf (1925)