strange and random happenstance: Elliptical

The Fifth Head of Cerberus by Gene Wolfe
Published by: Orb Books
Publication Date: 1972
Format: Paperback, 252 Pages
Rating: ★
To Buy

The sister planets of Saint Anne and Saint Croix were founded by French colonists, long since gone, but their influence can still be felt along the streets of Saint Anne. At 666 Saltimbanque Street is a house that the gentlemen of Port-Mimizon are known to frequent. High up in this house lives a young boy and his brother David. Behind the barred windows they can hear the clients down in the garden and up on the rooftop, surrounded by orange trees. Though it is their father and the woman, Madame, they find far more intriguing. One day the boy is brought to his father's study and told he will be called Number Five and visit him nightly to run tests. Previously Number Five and his brother David were taught by Mr. Million, a robot that acted as nanny and tutor, drilling the kids in science and rhetoric and often taking them to the library and slave market. Now that Number Five is older he will also start to pull his weight around the house, they all have their work cut out, his father keeps the girls clean, and now Number Five will be acting as gatekeeper for the brothel. But it's the tests his father puts Number Five through that are destroying him. He suffers immensely and has long blackouts, sometimes lasting months. Number Five finally realizes that he must kill his father, only this has implications for one of their clients. John V. Marsch is an anthropologist who was working on Saint Croix, searching for the lost Annese, the aboriginals of the planet. He came to the house on Saltimbanque Street in search of Dr. Aubrey Veil to ask about Veil's Hypothesis, wherein the doctor posited that the aboriginals could mimic the settlers so completely that they killed them and took their place. Dr. Veil is in fact Number Five's aunt and the Madame of the brothel and this means Marsch often visits resulting in him being arrested for the murder Number Five commits. While stuck in prison Marsch chronicles his imprisonment and his research on Saint Croix. He even assembles a story about the early aboriginals. Yet how could a man born on Earth know so much about a culture that has moved into the back of beyond if it even exists? The answer might lie in Veil's Hyposthesis and the young man, V.R.T., who claimed to be half-aboriginal and whom Marsch hired to take him out into the wilderness for years. In a future world where cloning is possible does it seem that far-fetched that shapeshifters could exist too?

There are books that people go back to and read over and over again because they feel like they keep missing something the last time they read it. They feel that the book hides new discoveries that will be revealed to them one day if they are patient enough and work for it. While I am a proponent of rereading a book on the other hand if the book is elliptical and dense and just too much work to read it the first time I think it is the definition of insanity to attempt to read it again. And that is how I feel about The Fifth Head of Cerberus. It's dreamlike, it's dense, and whatever it was trying to tell me, well, I don't care to find out because reading every single line in this book was painful. I finished it. I did that much at least. But I just don't get it. Because while the structure of the three connecting novellas initially works, what increasingly annoyed me was that this book felt less and less like something written with an audience in mind and more and more like a writing experiment that Gene Wolfe did to entertain himself. I'm all for experimentation in writing, but at the end of the day you still have to be able make it intelligible. The elliptical writing that purposefully omits details, jumping around in the timeline without reason, and then not bothering to write full sentences, and randomly changing the narrative voice, this does not make me a happy camper. And as for the "dreamquest".... If I had wanted to read bad origin myths like I was forced to read as a freshman in high school where a lady was trying to have sex with a worm but it turns out it was a stick, well I would have gone back and read that book again, you know, for nostalgia. I would not have chosen this. In fairness, Gene Wolfe perfectly aped that style of writing so on one level it succeeds, on another it just drove me crazy. Plus there are so many big moral issues handled in such a clumsy manner. We have cloning, slavery, sex work, and all of it is just part of the world and not really a problem. Well, to me it was a problem. When the only woman of power is a famous doctor who ends up working as a madame and all the other women are sex slaves to men we have issues. But issues that I will not delve further into because I will never pick up this book again to peal back the layers of the onion as it were.

Posted by Miss Eliza at 12:00 AM 0 comments

Labels: Cloning, Dreamlike, Elliptical, Experiments, For the Love of Book Clubs, French, Gene Wolfe, John V. Marsch, Number Five, Sex Workers, Shapeshifter, Slavery, The Fifth Head of Cerberus, V.R.T., Veil's Hypothesis

The Silent Companions by Laura Purcell
Published by: Penguin Books
Publication Date: March 6th, 2018
Format: Paperback, 404 Pages
Rating: ★★★
To Buy

Elsie is being exiled to her husband's decrepit country estate, The Bridge. She feels like they are burying her along with her husband. A pregnant mermaid drowning in black crepe. That is all she is now, the vessel for her dead husband's heir. Her marriage to Rupert Bainbridge was meant to raise her above her station. No more work at the match factory where she and her brother Jolyon slaved away until Rupert bailed them out of a tight spot. Now she'd have an idyllic life of luxury where she would walk through the streets of Fayford giving her beneficence to her new tenants. Instead on arrival she is greeted by her husband's corpse laid out in the great hall, a paltry indoor staff of three she can't bear facing, and the new knowledge that the villagers view the house as cursed and won't even deign to work there let alone accept anything from her. In fact the only person who has come to view her husband's body is the local preacher, Mr. Underwood. So here Elsie will waste away with only Rupert's cousin Sarah for companionship and the occasional visit from Mr. Underwood. But then there are the noises in the night. A hissing sound the cook writes off as the cat, or perhaps a nasty nest of squirrels. Only when Elise finally enters the locked room from whence the sounds came she finds no squirrels.

There are two eyes looking at her. She thinks it's a painting but it's "as if someone had cut the figure out of a painting and mounted it on a plank of wood." Elsie is intrigued by the figure that oddly looks like her, whereas Sarah is taken by the two slim volumes next to the figure, the diary of her ancestor, Anne Bainbridge, who was the doyenne of The Bridge when King Charles I and his wife visited in 1635. As uncanny happenings increase after the finding of the figure, with rooms changing and shifting, figures multiplying and poses changing and eyes following the two volume diary of Anne Bainbridge might hold the answers. Because it was in 1635 that The Bridge got it's nasty reputation of losing it's heirs, leading it to be left abandoned for years and years on end. Elsie laments that her life is starting to read like a bad penny dreadful. Only is this really happening? Perhaps the answers that Sarah finds about Anne and her husband Josiah, and their daughter Hetta, their miracle child who unnerves the servants and is otherworldly, and the Bainbridge Diamonds, will stop whatever is currently happening at The Bridge. Because it was Anne who brought these "silent companions" into the house. A trompe l'oeil treat bought in Torbury St. Jude that was just the thing to please his majesty. Or perhaps Elise is mad. Left silent in a sanatorium after her experiences at The Bridge.

I have a friend Matt. We've often joked that we should do a podcast because we literally do not agree on anything. Any book I love he hates and vice versa. Therefore it came as a shock to both of us to discover we agreed completely on The Silent Companions. I don't know what stars aligned or what parallel universe we entered, but we came to a consensus; we both thought it should have been more. The silent companions themselves were lacking. I think this has a lot to do with whomever wrote the cover blurb. Shame on you! When Elise opens "a locked door, beyond which is a painted wooden figure - a silent companion - that bears a striking resemblance to Elsie herself" I know every single person reading that thinks wooden weeping angels. There is not a single person who thought that the silent companions were basically set flats. I'm sorry, but set flats aren't scary. No matter how much they "change" or "multiple," cut-outs dragging their wooden selves across now deeply grooved floors doesn't inspire any kind of chills going up and down my spine. In fact I found them bordering on laughable. I don't know if this is because I am inured to cut-outs due to the popularity of having a cut-out of an actor from your favorite TV just chilling about your house or because I worked in theater... but the fact of the matter is, I was underwhelmed. By it all. I was sold by the blurb and the reality came nowhere near that frisson of fear I had the first time I read the synopsis.

Reading this book around the same time I was watching the new Netflix adaptation of The Haunting of Hill House I realized there was one area in which this book succeeds which I think is vital to the success of any true book purporting to be Gothic, and that is Laura Purcell nailed the sense of place. She nailed The Bridge and because of that there is a lot that can be forgiven plot wise. In fact, as I discussed this book with my fellow book club members I posited that I think I could actually draw the blueprints for this house. If there's one thing that I hate it is when I read a book and I can't get a good sense of the surroundings. I need to ground the characters in their setting. This book took it to a new level. Not only did I have the sense of the house, the house became a central character to the book, which I think was necessary for the narrative. That is why I compare it to The Haunting of Hill House. While the buildings have supernatural elements and events, you can still know where everything is and therefore when it changes, even subtly, you know something "other" is going on. Thinking on this further, and tying it into the set-piece like nature of the companions themselves, I wonder if there's a theatrical aspect that this book is embracing. Everything laid out just so so when it goes off the rails, you know where you were supposed to be but aren't any longer.

Enough about what I liked, an aspect of the book that really annoyed me was that Laura Purcell has an elliptical storytelling style. She drops potential plot points and red herrings all along the path and maybe one or two are actually resolved. I know there are people who say, but that makes the book more realistic, not having everything tied up in a neat little bow. To them I say, that's why I read books! Because unlike in real life everything can have a resolution and you won't be grumbling about what exactly happened in the heroine's past. Because really, there is a lot of heavy-handed doom and gloom about what went on in Elsie's life prior to her marriage. Abuse allegations about her parents, the struggling match factory, and her relationship with her brother... and yet not a single one of these is dealt with. We don't even really get any sense as to why Rupert married her. And I think the event that then catalyzes the entire narrative of the story should at least be discussed don't you? What annoyed me most though is that the book drops hint after hint that Elsie's much younger brother, Jolyon Livingstone, was perhaps her son. It would explain the strain in her relationship with her parents, whether Jolyon was the product of incest, again strongly hinted at that would be firmly rooted in the Gothic, or whether they were just forced to raise their grandson as their son, it would explain a lot. But nope. Nothing whatsoever is elucidated and for a minute I thought the book could be completely written off.

But Laura Purcell finally delivered! It's amazing how the final few pages of a book can retroactively fix many of the issues you previously had. And yes, I'm looking at you The Circle. Sure, there are all these threads left dangling, but the most important, the crucial thread was picked up and given a tug. I was wonderfully surprised that one of the many plot points Laura Purcell set up actually paid off with a little twist at the end. And no, I am not going to spoil it for you because you'd be able to pick up the one important thread at the beginning and not follow all the ones that are cut short. Yet I will say that what I liked most about this twist was that it took several of the unnatural occurrences at The Bridge and put it on one character's shoulders. Everything weird and uncanny tied back to one character. What's more, this had the added benefit of tying the two timelines together. Often in books with two timelines so far apart, two hundred years here, authors tend to have the past inform the present but not really carry anything over of importance from the past. Here that's different, and I think that is what raised this book up to being a satisfying read while also firmly classifying it as Gothic. So while this might not have been everything I wanted it to be, it surprised me in the end because the author broke her pre-established patterns and gave us one satisfying answer.