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Narrated by Virginia Leishman
Shirley HazzardUnabridged — 11 hours, 7 minutes
Narrated by Virginia Leishman
Shirley HazzardUnabridged — 11 hours, 7 minutes
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Although it is set in the still smoldering aftermath of war, The Great Fire is an altogether softer thing than its predecessor. In its dreamy solemnity and vague exactitudes, it is reminiscent of The English Patient...When the narrative leaves love to one side and concerns itself with depicting a world and a time in chaos, it rises to heights far, far above the barren plain where most of contemporary fiction makes its tiny maneuvers.—John Banville
A new novel from Hazzard is a literary event. It's been two decades between the publication of The Transit of Venus and this magnificent book, but her burnished prose has not diminished in luster nor has her wisdom about the human condition. Two men who have survived WWII and are now enduring the soiled peace, and one 17-year-old woman who has suffered beyond her years, are the characters around whom this narrative revolves. Aldred Leith, 32, the son of a famous novelist and the winner of a military medal for heroism, has come to postwar Japan to observe the conditions there for a book he's writing on the consequences of war within an ancient society. In an idyllic setting above the city of Kure, near Hiroshima, he meets teenaged Helen Driscoll and her terminally ill brother, Ben, who are the poetic children of a loathsome Australian army major and his harridan wife. Leith is drawn to the siblings, who live vicariously in classic literature, and he soon realizes that he's in love with Helen, despite the difference in their ages. Meanwhile, Leith's close friend Peter Exley, who interrogates Japanese war criminals in Hong Kong, faces a decision about what to do with the rest of his life. He dreams of becoming an art historian, but he lacks the courage to make a clean break from the law. When he suddenly acts rashly, the outcome is dreadfully ironic. The leitmotif here is the need for love to counteract the vile wind of history that breeds loss and dislocation. Hazzard writes gently, tenderly, yet with fierce knowledge of how a dearth of love can render lives meaningless. The purity of her sentences, each one resonant with implication, create an effortless flow. This is a quiet book, but one that carries portents well beyond its time and place, suggesting the disquieting state of our current world. (Oct.) Forecast: A certain generation of readers who know Hazzard's work will buy this book with alacrity. Widespread review coverage should generate additional attention. Copyright 2003 Reed Business Information.
In Hazzard's magisterial new work-her first novel since the award-winning Transit of Venus in 1980-the "great fire" (World War II) has already swept the world. In its wake we find Aldred Leith, raised in the Far East by a brilliant Orientalist father and distant mother from whom he is now estranged. Having served in the war and then literally walked across China, Leith arrives in Japan to join the British community managing the Occupation. Death still haunts him-there's the suicide of a servant, for instance, and the fatal illness of Benedict, a young man in the family with whom he is staying-and in fact clearly nothing will be the same after this fire burns itself out. But like those around him, Leith struggles to right himself (partly through his love, initially thwarted, of Ben's sister, Helen), and in the end he finds "a sense of deliverance." This is still a dark book, however; the unease is pervasion. Writing in prose that is restrained and well modulated but freighted with meaning, Hazzard delivers a powerful sense of one generation's loss and of the way we must all cope when the road we take doesn't double back. Highly recommended. [Previewed in Prepub Alert, LJ 6/15/03.]-Barbara Hoffert, "Library Journal" Copyright 2003 Reed Business Information.
Hazzard painstakingly constructs a compact panorama of a world ravaged by war, in her expert fourth novel-and first since the NBCC Award winner, The Transit of Venus (1980). The story opens in 1947 when Major Aldred Leith, a 32-year-old combat veteran and prison camp survivor, travels to a military compound on an island in Japan's Inland Sea, preparatory to a "tour" of Hiroshima, one of several sites he's compelled to write about, and understand. Housed with the family of an intemperate Brigadier, Aldred finds himself drawn to the latter's adolescent children: beautiful, reserved Helen, and her almost ethereal brother Benedict, who is wasting away from a pernicious paralytic disease. Hazzard very gradually layers in revealing details of Aldred's family background (as the basically unloved son of a successful romance novelist), complicated sexual and marital history, and increasingly disillusioning military experiences. And, in dexterously handled parallel narratives, she traces the fortunes of other deracinated and stricken people ("Everyone has a cruel story"): notably, Aldred's Australian soldier friend Peter Exley, assigned to Hong Kong to investigate allegations of Japanese war crimes. The irony of "conquest" is expressed with matchless clarity and grace, as military idealism reaps what it has sown, Aldred stoically bears scars inflicted by "the great fire into which his times had pitched him," things fall clamorously apart, and several "heroes" and "rescuers" recognize the bitter truth of the "Chinese maxim whereby one becomes responsible for the life one saves." And all this is communicated in a chiseled prose that makes the pages shimmer, many shaped with the concentrated intensityof poetry. Except for a very slightly improbable ending, this almost indescribably rich story (which will remind many of Michael Ondaatje's The English Patient) moves from strength to strength, and no reader will be unmoved by its sorrowing, soaring eloquence. One of the finest novels ever written about war and its aftermath, and well worth the 23-year wait.
Beauty is felt in almost every line of this austerely gorgeous work.” —Chicago Tribune
“So majestic in scope and so sophisticated in diction it evokes a rhapsodic gratitude in the reader...Calls to mind the writerly command of A.S. Byatt, Lawrence Durrell, Nadine Gordimer, and Graham Greene.” —The San Diego Union-Tribune
“The last masterpiece of a vanished age of civility.” —The Wall Street Journal
“[The Great Fire] sails into port like a magnificent ship of fiction from another era.” —Entertainment Weekly
“The Great Fire is about both the destructive conflagrations of war and the restorative conflagrations of the heart. Hazzard's moving, generous story paints love as the greatest rescuer of all—as apt today in our troubling, troubled world as it was 55 years ago.” —San Francisco Chronicle
“Hazzard writes with an extraordinary command of geography and time.... Flashes of violence cut through the contemplative narrative, but in her exquisitely cut sentences, hazzard concentrates on the subtler movements of these hearts cauterized by violence.” — Ron Charles, The Christian Science Monitor
“A hypnotic novel that unfolds like a dream: Japan, Southeast Asia, the end of one war and the beginning of another, the colonial order gone, and at the center of it all, a love story.”—Joan Didion, author of Where I Was From
“Stunning . . . Shirley Hazzard has gifted us, in The Great Fire, a novel of indispensable happiness and sorrow. I loved this novel beyond dreams.”
—Howard Norman, The Washington Post Book World
“A classic romance . . . the greatest pleasure is [Hazzard’s] subtle and unexpected prose.”
—Regina Marler, Los Angeles Times Book Review
“What better gift . . . than a novel that confirms the value of the individual—the individual heart, mind, spirit—even amidst the obfuscating demands of history and politics and culture … . [The Great Fire] is a novel of incredible emotional wisdom, full of authentic characters, vivid places, and language that is both precise and beautiful.”
—Alice McDermott, Commonweal magazine
“The Great Fire . . . streaks through a reader’s ken in the manner of a comet.”
—Thomas Mallon, The Atlantic Monthly
“[Hazzard’s] prose remains one of the glories of English literature.”
—Charles Taylor, Newsday, “Our Favorite Books of 2003”
“The Great Fire is a perfect book, without a superfluous word . . . radiant.”
—Eve Claxton, Time Out (New York)
“The most interesting novel published this year . . . Exquisitely crafted … Every sentence hits its mark.”
—The Economist
“Brilliant and dazzling . . . A book that is worth a twenty-year wait.”
—Ann Patchett
“The Great Fire is a brilliant, brave, and sublimely written novel that allows the literate reader the consolation of having touched infinity. This wonderful book, which must be read at least twice simply to savor Hazzard’s sentences and set pieces, is among the most transcendent works I’ve ever had the pleasure of reading.”
—Anita Shreve
“Purely and simply, one of the greatest writers working in English today.”
—Michael Cunningham
Embittered by war and its skeletal aftermath, 33-year-old British war hero Major Aldred Leith, after walking across China, is posted not far from Hiroshima. There in the shadow of blighted landscapes a delicately fresh 17-year-old girl restores him to love and hope. Ironically, the distances between them--age and experience--both attract them to each other and threaten their relationship. Virginia Leishman’s narration, precise and thoughtful, reflects this underlying irony with a sense of painful gentleness. It is tentative and unhurried, reflecting Leith’s cautious retelling of his story and tenuous hold on life, yet it shimmers with an implicit energy that seems to respond to the life ready to spring out anew. Though not really a war novel, this 2003 National Book Award winner is probably the finest study ever of its aftermath, and Leishman’s narration replicates the almost imperceptible movement from postwar hollowness to hope reborn. P.E.F. Winner of AudioFile Earphones Award © AudioFile 2004, Portland, Maine
| BN ID: | 2940170938940 |
|---|---|
| Publisher: | Recorded Books, LLC |
| Publication date: | 02/21/2008 |
| Edition description: | Unabridged |
Now they were starting. Finality ran through the train, an exhalation. There were thuds, hoots, whistles, and the shrieks of late arrivals. From a megaphone, announcements were incomprehensible in American and Japanese. Before the train had moved at all, the platform faces receded into the expression of those who remain.
Leith sat by a window, his body submissively chugging as they got under way. He would presently see that rain continued to fall on the charred suburbs of Tokyo, raising, even within the train, a spectral odour of cinders. Meanwhile, he was examining a photograph of his father. Aldred Leith was holding a book in his right hand -- not reading, but looking at a likeness of his father on the back cover.
It was one of those pictures, the author at his desk. In an enactment of momentary interruption, the man was half-turned to the camera, left elbow on blotter, right hand splayed over knee. Features fine and lined, light eyes, one eyelid drooping. A taut mouth. Forehead full, full crop of longish white hair. The torso broad but spare; the clothes unaffected, old and good. As a boy, Leith had wondered how his father could always have good clothes so seldom renewed -- a seeming impossibility, like having a perpetual two days' growth of beard.
The expression, not calm but contained, was unrevealing. Siding with the man, the furniture supplied few clues: a secretary of dark wood was fitted in its top section with pigeonholes and small closed drawers. This desk had been so much part of the climate of family life, indivisible from his father's moods -- and even appearing, to the child, to generate them -- that the son had never until now inspected it with adult eyes. For that measure of detachment, a global conflict had been required, a wartime absence, a voyage across the world, a long walk through Asia; a wet morning and strange train.
There was no telephone on the desk, no clock or calendar. A bowl of blown roses, implausibly prominent, had perhaps been borrowed, by the photographer, from another room. On the blotter, two handwritten pages were shielded by the tweedy sleeve. Pens and pencils fanned from a holder alongside new books whose titles, just legible, were those of Oliver Leith's novels in postwar translations. There were bills on a spike, a glass dish of chips, a paperweight in onyx. No imaginable colours, other than those of the foisted flowers; no object that invited, by its form or material, the pressure of a hand. No photograph. Nothing to suggest familiarity or attachment.
The adult son thought the picture loveless. The father who had famously written about love -- love of self, of places, of women and men -- was renowned for a private detachment. His life, and that of his wife, his child, was a tale of dislocation: there were novels of love from Manchuria to Madagascar. The book newly to hand, outcome of a grim postwar winter in Greece, could be no exception. And was called Parthenon Freeze.
If the man had stood up and walked from the picture, the strong torso would have been seen to dwindle into the stockiness of shortish legs. The son's greater height, not immoderate, came through his mother; his dark eyes also.
All this time, Leith's body had been gathering speed. Putting the book aside, he interested himself in the world at the window: wet town giving way to fields, fields soggily surrendering to landscape. The whole truncated from time to time by an abrupt tunnel or the lash of an incoming train. Body went on ahead; thought hung back. The body could give a good account of itself -- so many cities, villages, countries; so many encounters, such privation and exertion should, in anyone's eyes, constitute achievement. Leith's father had himself flourished the trick of mobility, fretting himself into receptivity and fresh impression. The son was inclined to recall the platform farewells.
He had the shabby little compartment to himself. It was locked, and he had been given a key. It was clean, and the window had been washed. Other sections of the train were crammed with famished, thread bare Japanese. But the victors travelled at their ease, inviolable in their alien uniforms. Ahead and behind, the vanquished overflowed hard benches and soiled corridors: men, women, infants, in the miasma of endurance. In the steam of humanity and the stench from an appalling latrine. Deploring, Aldred Leith was nevertheless grateful for solitude, and spread his belongings on the opposite seat. Having looked awhile at Asia from his window, he brought out a different, heavier book from his canvas bag.
In that spring of 1947, Leith was thirty-two years old. He did not consider himself young. Like others of his generation, had perhaps never quite done so, being born into knowledge of the Great War. In the thoughtful child, as in the imaginative and travelled schoolboy, the desire had been for growth: to be up and away. From the university where he did well and made friends, he had strolled forth distinctive. Then came the forced march of resumed war. After that, there was no doubling back to recover one's youth or take up the slack. In the wake of so much death, the necessity to assemble life became both urgent and oppressive.
Where traceable, his paternal ancestors had been, while solidly professional, enlivened by oddity. His grandfather, derided by relatives as an impecunious dilettante, had spiked all guns by inventing, at an advanced age, a simple mechanical process that made his fortune. Aldred's father, starting out as a geologist whose youthful surveys in high places -- Bhutan, the Caucasus -- produced, first, lucid articles, had soon followed these with lucid harsh short stories. The subsequent novels, astringently romantic, brought him autonomy and fame. Renouncing geology, he had kept a finger, even so, on the pulse of that first profession, introducing it with authority here and there in his varied narratives: the Jurassic rocks of East Greenland, the lavatic strata of far islands; these played their parts in the plot. In Oliver Leith's house in Norfolk there hung a painting of the youthful geologist prowling the moraines on his shortish legs. A picture consequential yet inept, like a portrait by Benjamin Robert Haydon.
Leith's mother, by birth a Londoner, was of Scots descent. There were red-cheeked relatives, well connected. A fine tall stone house, freezing away near Inverness, had been a place of cousinly convergence in summers before the Second World War. Aldred had not been an only child: a younger sister had died in childhood from diphtheria. It was then that his mother had begun to accompany, or follow, her husband on his journeys, taking their son with her.
And on the move ever since, the son thought, looking from his window at the stricken coasts of Japan. Two years ago, as war was ending, he had intended to create for himself a fixed point, some centre from which departures might be made -- the decision seeming, at the time, entirely his to make. Instead, at an immense distance from anything resembling home, he wondered with unconcern what circumstance would next transform the story.
From a habit of self-reliance, he was used to his own moods and did not mind an occasional touch of fatalism. He had, himself, some fame, quite unlike his father's and quite unsought.
It was near evening when he arrived. The train was very late, but an Australian soldier sent to meet him was waiting on the improvised platform: "Major Leith?"
"You had a long wait."
"That's all right." They went down ill-lit wooden stairs. A jeep was parked on gravel. "I had a book."
They swung the kit aboard, and climbed in. On an unrepaired road, where pedestrians wheeled bicycles in the dusk, they skirted large craters and dipped prudently into small ones. They were breathing dust and, through it, smells of the sea.
Leith asked, "What were you reading?"
The soldier groped with free hand to the floor. "My girl sent it."
The same photograph: Oliver Leith at his desk. On the front cover, the white tide, cobalt sky, and snowbound Acropolis.
Leith brought out his own copy from a trenchcoat pocket.
"I'll be damned."
They laughed, coming alive out of khaki drab. The driver was possibly twenty: staunch body, plain pleasant face. Grey eyes, wide apart, wide awake. "You related?"
"My father."
"I'm damned."
They were near the waterfront now, following the bed of some derelict subsidiary railway. The joltings might have smashed a rib cage. You could just see an arc of coastal shapes, far out from ruined docks: hills with rare lights and a black calligraphy of trees fringing the silhouettes of steep islands. The foreground reality, a wartime shambles of a harbour with its capsized shipping, was visible enough, and could, in that year, have been almost anywhere on earth.
The driver was peering along the track. "Write yourself?"
"Not in that way."
"Never too late."
The boy plainly considered his passenger past the stage of revelations. A dozen years apart in age, they were conclusively divided by war. The young soldier, called to arms as guns fell silent, was at peace with this superior -- civil and comradely, scarcely saluting or saying Sir, formalities no longer justified. Intuitively, too, they shared the unease of conquerors: the unseemliness of finding themselves few miles from Hiroshima.
"How do you manage here?" The man had a deep, low voice. If one had to put a colour to it, it would have been dark blue; or what people in costly shops call burgundy.
Copyright © 2003 Shirley Hazzard
