S on this describes Hilary Mantel two of their many bipersoner: “Mr. and Mrs. Robert were newlyweds, goofy in love and terribly poor.” There is such a sense of the eye too easily run past. Did you notice what she did, you find, above all, how strange it is? It is enough that she writes “silly love” – and so they become silly love! They become even more than that. Just because the description is so short and so deliberately unfair acts as a resonance box that gets the reader to imagine more properties – properties that contradict those mentioned. Mr. and Mrs. Robert becomes slightly deeper than the paper they are printed on, the resists description “silly love” and thus they have almost been brought to life. How literature. It is a small miracle. And when it does not work it does not help with the hundred word.
The novel was originally published in 1992 and will now in Swedish, divided into three volumes. Original title “A Place of Greater Safety” gives more to think about than the titles of the three Swedish parts, with hot “Freedom”, “Equality” and “Fraternity”. Mantels choice of subject is not in the least surprising: we still live in the universe originated in the Big Bang in 1789. Both the idea of universal human rights that the modern dictatorships, terror and control can be traced there.
how to start , a novel about the French revolution? Sheath begins twenty years before 1789 in the periphery, specifically in Guise. There are born Camille Desmoulins, who along with Jacques Danton and Maximilien Robespierre is the book’s most important person – the list of names occupies a total of 84 names.
They feel that they are stuck and not going anywhere, but history books feel pleased that they choose right every time. A series of unconscious steps lead them forward until they get what they afterwards were meant to be. Mantel is particularly interested Desmoulins, who was to become one of the revolution’s most important journalists. He “is not easy to put on paper”, like a woman trying to draw his portrait: “It’s easier to take out men liked by the prevailing taste, mushy plufsiga men with a mannered posture and nyrakat head.”
But why not invent sheath completely unknown people who could get us to see the revolution of new and unexpected angles? Real people are always chained to a historical retrospect. How much freedom a writer than takes, she finally let them do what they have become famous for, and for a writer, it is a defeat.
Sheath bet on a harsh and brusque style. It is a way of writing that effectively eliminates the risks. By tightening the text she avoids anything that could be embarrassing if she failed to portray it, but it also leads to a certain distance: she hurries on to the next scene, she also rushes through.
what she really can do, she shows a scene in which the government official Duplessis explains France’s economy Desmoulins (which is moving into an erotic triangle with Duplessis wife and daughter). France is bankrupt. Duplessis surprising both himself and his dinner guests when he inspired and ruthless start to move around the objects on the table to illustrate how bad the country was shot: “And soppterrinen symbolize the Minister of Justice.” ” ‘Better than Punch and Judy’ whispered someone.”
Where it happens: the novel ceases to be able text and begin to have a personality. What kind of personality? An edgy, witty and not entirely comprehensible personality, which is much better than a book that has no personality at all.
Discontent is everywhere, from the nobility to the women of brödkön, but nothing happens. “The only thing that thrive are clichés.” One speaks of “ruin, collapse, the declining state ship” until the phrases are worn out.
Then it happens anyway, first slowly and without stability and control, as when a landslide makes itself ready. Then, very quickly. When the first part ends have been riots erupted in Paris and Desmoulins has given speeches to the crowd. “You are a famous man now,” says Mr Robert to him. He has, as always felt that the old regime was a beast, already caught sight of a new monster: “Now he sees a different beast and it’s the mob,” said Mantel.