The Sea

Description

In this luminous new novel about love, loss, and the unpredictable power of memory, John Banville introduces us to Max Morden, a middle-aged Irishman who has gone back to the seaside town where he spent his summer holidays as a child to cope with the recent loss of his wife. It is also a return to the place where he met the Graces, the well-heeled family with whom he experienced the strange suddenness of both love and death for the first time. What Max comes to understand about the past, and about its indelible effects on him, is at the center of this elegiac, gorgeously written novel — among the finest we have had from this masterful writer.

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Incandescent prose. Beautifully textured characterisation. Transparent narratives. The adjectives to describe the writing of John Banville are all affirmative, and The Sea is a ringing affirmation of all his best qualities. His publishers are claiming that this novel by the Booker-shortlisted author is his finest yet, and while that claim may have an element of hyperbole, there is no denying that this perfectly balanced book is among the writer’s most accomplished work.

Max Morden has reached a crossroads in his life, and is trying hard to deal with several disturbing things. A recent loss is still taking its toll on him, and a trauma in his past is similarly proving hard to deal with. He decides that he will return to a town on the coast at which he spent a memorable holiday when a boy. His memory of that time devolves on the charismatic Grace family, particularly the seductive twins Myles and Chloe. In a very short time, Max found himself drawn into a strange relationship with them, and pursuant events left their mark on him for the rest of his life. But will he be able to exorcise those memories of the past?

The fashion in which John Banville draws the reader into this hypnotic and disturbing world is non pareil, and the very complex relationships between his brilliantly delineated cast of characters are orchestrated with a master’s skill. As in such books as Shroud and The Book of Evidence, the author eschews the obvious at all times, and the narrative is delivered with subtlety and understatement. The genuine moments of drama, when they do occur, are commensurately more powerful. --Barry Forshaw

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The Untouchable

Description

One of the most dazzling and adventurous writers now working in English takes on the enigma of the Cambridge spies in a novel of exquisite menace, biting social comedy, and vertiginous moral complexity. The narrator is the elderly Victor Maskell, formerly of British intelligence, for many years art expert to the Queen. Now he has been unmasked as a Russian agent and subjected to a disgrace that is almost a kind of death. But at whose instigation?

As Maskell retraces his tortuous path from his recruitment at Cambridge to the airless upper regions of the establishment, we discover a figure of manifold doubleness: Irishman and Englishman; husband, father, and lover of men; betrayer and dupe. Beautifully written, filled with convincing fictional portraits of Maskell's co-conspirators, and vibrant with the mysteries of loyalty and identity, The Untouchable places John Banville in the select company of both Conrad and le Carre.

Winner of the Lannan Literary Award for Fiction

"Contemporary fiction gets no better than this... Banville's books teem with life and humor." - Patrick McGrath, The New York Times Book Review
"Victor Maskell is one of the great characters in recent fiction... The Untouchable is the best work of art in any medium on [its] subject." -Washington Post Book World
"As remarkable a literary voice as any to come out of Ireland; Joyce and Beckett notwithstanding." -San Francisco Chronicle

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A brilliant, engaging, and highly literate espionage-cum-existential novel, John Banville's The Untouchable concerns the suddenly-exposed double agent Victor Maskell, a character based on the real Cambridge intellectual elites who famously spied on the United Kingdom in the middle of the 20th century. But Maskell--scholar, adventurer, soldier, art curator, and more--respected and still living in England well past his retirement from espionage, looked like he was going to get away with it when suddenly, in his 70s and sick with cancer, he is unmasked. The question of why, and by whom is not as important for Maskell as the larger question of who finally he himself really is, why he spied in the first place, and whether his many-faceted existence adds up to an authentic life.

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The Infinities

Product Details

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• ISBN13: 9780307474391
• Adapt: New

Description

On a languid midsummer’s day in the countryside, the Godley family gathers at the bedside of Adam, a renowned mathematician and their patriarch. But they are not alone in their vigil. Around them hovers a clan of mischievous immortals—Zeus, Pan, and Hermes among them —who begin to stir up trouble for the Godleys, to sometimes wildly unintended effect. The Infinities—John Banville’s first novel since his Booker Prize-winning and bestselling The Sea—is at once a gloriously earthy romp and a wise look at the terrible, wonderful plight of being human.

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A Q&A with Author John Banville

Question: Where did you get the idea to use Greek gods as characters in a novel? And then how did you settle on the ones we meet in The Infinities?

John Banville: I have always been an admirer of the great German dramatist Heinrich von Kleist, particularly the play I consider his masterpiece, Amphitryon, which I adapted for the Irish stage. In this wonderful tragi-comedy Jupiter falls for Alcmene, wife of the Theban general Amphitryon, and comes to earth with his son and sidekick Mercury, to spend a heavenly night with the lady; the next morning Amphitryon returns unexpectedly from the wars, precipitating an intricate comedy of errors. Originally I intended to base The Infinities quite closely on Amphitryon, but fiction has its own laws and its own demands, and the finished novel is an autonymous creature, though the Kleist is still there in skeletal form.

Question: Why did you decide to make Adam Godley a mathematician?

John Banville: I don’t know that I ever actively decided to make him anything."Decisions" in the writing of fiction tend to be mostly a matter of dream and drift. But I wanted him to be someone operating in an otherworld of speculation, pure number, and infinitudes, where the gods might be already at play.

Question: There is something so classical and familiar about the death bed scene, the family patriarch dying and the family coming from far and wide to gather at his bedside. What about the death bed construct appealed to you as a starting off point?

John Banville: Again, I didn’t think of the book as centering on a death bed scene--and I don’t think it does, really--but of course fiction is a tired old business where there is nothing new under even the intensest sun. In fact, one of the pleasures of working in the novel form is the challenge of finding new ways to present old things. Spinoza says somewhere that the wise man thinks only of death but all his thoughts will thereby be a contemplation of life. I hope that’s the case with The Infinities, and that everything in it is vividly alive, even the dying old man upstairs.

Question: Many readers have commented on the humor in this novel. Is it harder for you to write comedy or tragedy (which you have certainly done in previous novels)?

John Banville: All my books are funny, if you know how to listen for the jokes. The novel, at a certain basic level, is a comic form. Do you know the story of Kafka reading to a group of friends from The Trial, and laughing so much he could not get past the first page? Kafka is a great realist--indeed, one of the greatest--and reality is always funny, though the fun is often steeped in pathos.

Question: This novel takes place over the course of a single day. Why did you decide on that time structure?

John Banville: I was following Amphitryon in this--preserving the unities, as the Aristotelians say. There is a nice compactness to the time-scale in the book, which I like. Also the fact of limiting the action to a single day makes for a mysterious sweet melancholy. Everyone has days that will live in the memory for a lifetime; for my characters, that Midsummer Day is one.

Question: So Hermes is our narrator (though, of course, John Banville is really our narrator). So author as messenger? Author as God? Or is that just reading too much into it?

John Banville: Well, of course, in the little world of a novel the author is a god, or at least a demigod, watching over his creatures, helping them, if he can, or at least not hindering them. In a wider sense, I find the pagan world of the Greeks highly appealing, and wish we could regain their state of innocence and sophistication. Bring back the old gods, I say.

(Photo © Jerry Bauer)

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The Book of Evidence

Description

John Banville’s stunning powers of mimicry are brilliantly on display in this engrossing novel, the darkly compelling confession of an improbable murderer.

Freddie Montgomery is a highly cultured man, a husband and father living the life of a dissolute exile on a Mediterranean island. When a debt comes due and his wife and child are held as collateral, he returns to Ireland to secure funds. That pursuit leads to murder. And here is his attempt to present evidence, not of his innocence, but of his life, of the events that lead to the murder he committed because he could. Like a hero out of Nabokov or Camus, Montgomery is a chillingly articulate, self-aware, and amoral being, whose humanity is painfully on display.

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Shroud

Description

One part Nietzsche, one part Humbert Humbert, and a soupcon of Milton’s Lucifer, Axel Vander, the dizzyingly unreliable narrator of John Banville’s masterful new novel, is very old, recently widowed, and the bearer of a fearsome reputation as a literary dandy and bully. A product of the Old World, he is also an escapee from its conflagrations, with the wounds to prove it. And everything about him is a lie.

Now those lies have been unraveled by a mysterious young woman whom Vander calls “Miss Nemesis.” They are to meet in Turin, a city best known for its enigmatic shroud. Is her purpose to destroy Vander or to save him—or simply to show him what lies beneath the shroud in which he has wrapped his life? A splendidly moving exploration of identity, duplicity, and desire, Shroud is Banville’s most rapturous performance to date.

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Kepler: A novel

Description

A historical novel based on the life and work of Johannes Kepler, the great astronomer of the 17th-century, which was winner of "The Guardian" Fiction Prize in 1981. The author also wrote "Doctor Copernicus" which won the James Tait Black Memorial Prize in 1976 and "The Newton Letter".

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