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Reading William Trevor and Finding Protestant Ireland
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References and Further Reading
Book Chapter
A TASTE FOR RISK
'' 'The usual number.' '' But Mr. [David Hughes] puts a postmodernist twist on the romantic memories of the father and the deflating realism of the daughter. [Ernst Kestner] is driven to confess his secret privately to [Tina] and publicly to the mayor of Lascaud, whose family was destroyed in the massacre. Because the reader hears Kestner's story several times -in Kestner's memory and in his revelations to Tina and the mayor - he is forced to confront the extremely relative nature of fictional and historical truth. ''Facts change their nature as readily as people can,'' the mayor tells Kestner. ''There is nothing absolute about either.'' At one point in his account, Kestner tells Tina that he has never been absolutely certain whether one of the bullets he may have fired that summer day 40 years ago killed his young French lover, and whether she saw him. ''Does it matter?'' Tina asks. ''Yes, it does matter,'' Kestner replies. ''It always will. It all matters.''
Newspaper Article
Through an Irish Looking Glass
THIS is anything but just another anthology of Irish literature. The work of a team of Irish scholars seeking to discredit the principle on which most anthologies are built--that there is such a thing as a \"literary canon,\" a relatively fixed pantheon of...
Newspaper Article
A Song of Experience
The ghost of one of English literature's most ardent advocates of that faculty and that capacity - the Romantic poet and painter William Blake - haunts the first two novels of Wilson's trilogy (Incline Our Hearts and A Bottle in the Smoke), and in Daughters of Albion, Wilson brings that ghost to life in the character of a highly idiosyncratic visionary named Rice Robey, alias Albion Pugh. A compelling, subversive figure, Robey is the author of four cult novels expressing his belief in the power of myth and fantasy, and is currently at work on a lengthy narrative that rewrites the story of Christ in Romantic terms, with Christ as a Blakean hero embodying the revolutionary power of love and the human imagination. In many ways, Robey replaces the figure who dominated, usually disastrously, [Julian Ramsey]'s life in the first two volumes of the trilogy - the lean and hungry Raphael Hunter, whose scandalous biography of James Petworth Lampitt poisoned the relationship between the Lampitts and Julian's family, and whose affair with Julian's wife led to the breakup of his marriage. But whereas Hunter served principally to exemplify the symptoms of a society given over to materialism and hypocrisy, in the character of Robey, a man whose subversiveness is deeply philosophical and at odds with society's fundamental values, Wilson's critique of English society reaches beneath the level of symptoms.
Newspaper Article
Lost Illusions: A Provincial Writer in London
The first novel of the trilogy, Incline Our Hearts, was published last year to much critical acclaim. Set in the years just after World War II, it documents the coming-of-age of a young English war orphan named Julian Ramsey, brought up by a fusty aunt and uncle in a rural rectory. The young Julian falls from innocence in a variety of ways, mostly through his acquaintance with the ruthlessly ambitious Raphael Hunter. At the age of 12, Julian discovers Hunter seducing his boarding-school art teacher, for whom Julian has been burning with the unadulterated passion of first love. Later, Hunter betrays the trust of a once-powerful aristocratic family close to Julian's aunt and uncle by publishing a scandalous biography of a family member. In charting his course for a successful artistic career and a fulfilling marriage, Julian, still an innocent in many ways, badly underestimates the human capacity for betrayal. The smooth, treacherous Hunter, by this time an influential figure in London literary circles, resurfaces in Julian's life. Julian's memories of Hunter seducing his art teacher are replayed, with far more disastrous consequences, when Julian's wife falls in love with him. By the time Julian realizes why Hunter has helped him get his first novel published, it is too late. Hunter also deceives the Lampitts again, this time through a cunning scheme to acquire access to an extensive set of private family papers.
Newspaper Article