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  1. The Luminaries is a tale of lies and deceit, fraud and vengeance, set amongst the goldfields of Western New Zealand in the 1860s. It was a time when men had dreams of getting rich very quickly based as much on luck as on hard work. But just as some are content to rely on the odds, others are willing to change the odds in their favour by nefarious means. So when Walter Moody, a recent Scottish émigré, accidentally gatecrashes a clandestine meeting of twelve local businessmen, he is drawn into their various shady dealings. There is gold lost and found; a missing man; a dead drunk; a suicidal prostitute and a very sinister, scar-faced sea captain. There are tensions between the white settlers and the Chinese camp. Oh, and there is a token Maori. The writing, for the most part, is really good. The setting is conveyed well and the reader feels fully transported through space and time into a complex and authentic world. But, and it's a big But, the involvement of so many players makes the novel far too complicated and grinds the pace down to a glacial speed. Every player has to have a relationship with each of the other players, resulting in many events being played out multiple times from multiple perspectives. Moreover, the use of reportage to create a non-linear time structure heightens the feeling of repetition. When it seems that the novel has finally moved on, it gets brought back again and again and again. The twelve main characters are supposed to represent different signs of the zodiac and perhaps those who like astrology would recognise their traits and interactions. But for the lay reader, the characters seem rather indistinguishable and, frankly, not much more than a personification of their job. The novel may be long (830ish pages) but is so full of plotting that there is little real space for characterisation. This can result in people forming alliances or breaking pacts for no obvious reason. We find out what people do, but have little insight into why they do them. OK, some of the main players (apparently the planetary and terra firma characters) have some slight backstory, but the others (the stellar ones) simply are as they are. The pace does pick up eventually - after about two thirds of the novel - but what is not apparent from the page count is that this is actually the denouement. The many subsequent sections seem to be some kind of zodiacal obligation telling the reader nothing new and presenting historical events that had already been inferred. Moreover, as the sections wend their way to an end, the brief introductions to the chapters (as one finds in Victorian novels) grow longer and start to carry information in their own right, leaving brief the body of the section to carry only snippets of mercurial dialogue. This really is not a satisfactory way to end a plot-driven novel of this length. I am sure there is a good story buried somewhere in The Luminaries. But just like the thin person struggling to emerge from every fat person, sometimes dieting in not enough and bariatric surgery is needed. ***00
  2. I picked this up on impulse, encouraged by the fact that it had been shortlisted for the Guardian First Book Award. The novel has two overlapping narratives: one about the aftermath of the discovery of a pupil-teacher affair, and the other about the early experiences at drama school of a quite gauche but endearing boy called Stanley. Eventually, the two narratives collide when Stanley's class put on a play about the scandal and I'm not quite sure what I made of it. At times, it was quite hard to keep track of what was really happening and what was going on in someone's imagination, and which were bits of the actual play. I still don't think I know. But I went with it for the ride. I liked it for the observations of characters and their motivations. As a teacher, I liked her lack of sentimentality in the presentation of teenage girls. She really got across the self-consciousness and the way that teenage girls are always playing a part, carving out their own role and their own character. At times, the question of whether we were hearing "real" action or part of a play really worked in getting across this idea - that, for the girls, real life was play acting. The teachers, both at the drama school and in the high school, were also created with a good observational eye for people's absurdities and their grubby motivations. In fact, no-one came out of it very well. The writing was very good - packed with clever detail and sharp observations. Still, though, I'm not sure that I liked it. I thought she was trying really hard to do something experimental and clever. I liked things about it, but not really the book as a whole.
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