PDF Download The Pesthouse, by Jim Crace

PDF Download The Pesthouse, by Jim Crace

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The Pesthouse, by Jim Crace

PDF Download The Pesthouse, by Jim Crace

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Review

“A suspenseful road novel. . . . Crace's mordant humor shines darkly. . . .a meditation on some of the deepest questions about America.” —Los Angeles Times Book Review“A cracking adventure story. . . . Crace pulls off a transcendent ending that offers a biting commentary on the ongoing American experiment.” —Entertainment Weekly“Throughout [The Pesthouse], a delicate, touching shy romance blossoms….Crace is a writer about plain things, but he writes about them in a way that's both startling and subtle, a shimmering surface over still depths.” —Washington Post Book World“Graceful and haunting. . . . Crace is the coldest of writers, and the tenderest.” —New York Times“A writer of hallucinatory skill.” —John Updike

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About the Author

Jim Crace is the author of eight previous novels. Being Dead was shortlisted for the Whitbread Prize and won the prestigious National Book Critics Circle Award for Fiction in 2000. In 1997, Quarantine was named the Whitbread Novel of the Year and was shortlisted for the Booker Prize. Crace has also received the Whitbread First Novel Award, the E.M. Foster Award, and the Guardian Award. He lives in Birmingham, England with his wife and two children.

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Product details

Paperback: 272 pages

Publisher: Vintage; Reprint edition (May 6, 2008)

Language: English

ISBN-10: 0307278956

ISBN-13: 978-0307278951

Product Dimensions:

5.2 x 0.6 x 8 inches

Shipping Weight: 12 ounces (View shipping rates and policies)

Average Customer Review:

3.7 out of 5 stars

48 customer reviews

Amazon Best Sellers Rank:

#103,830 in Books (See Top 100 in Books)

After hearing Jim Crace on NPR, I ordered his book with the expectation to peer into this author's idea of a post-apocalyptic America. This is the first book I've read by Jim Crace and I found him to have an amazing command of vocabulary and a good storyteller.I did, however, feel a deep disconnect between the geographic and historical realities and those portrayed in the book. I remember distinctly hearing that he had a strong knowledge of America, but it was lacking in my reading.I believe that even though the characters may not have known of the "Appalachian Mountains", mention of them as a crossing point would have quickly drawn the reader into a focal point. Also, specifically naming the river at Ferrytown, which I assumed must be the Mississippi, would have been another way to connect. It truly seemed America existed in name only and ALL other things, even things that would have been preserved in oral traditions in a post-literal society, had been lost. Ultimately I found it was better to just consider the landscape some foreign soil and quit trying to draw a connection to America.This is unfortunate because I believe the final idea of America itself as the Pesthouse, especially given the turn of events upon reaching the Eastern shore, is very compelling. There was a missed opportunity to connect the reader more to this concept.I am underway reading Quarantine: A Novel and look forward to reading Being Dead: A Novel. I will try to temper my expectations and just settle into a good story.

This book is not THE ROAD. I wish it were THE ROAD. That's what I kept finding myself thinking as I read THE PESTHOUSE--this would be better if it were THE ROAD. At one point I even said to one of the characters, "If you'd read THE ROAD, you would know that you should be a bit more careful here." And then later, "See! I told you."The thing is, everything about THE PESTHOUSE is good, maybe even great, but it somehow lacks the economy of language and the gray terror and desperation of Cormac McCarthy's Pulitzer Prize winner.Clearly, there's no reason THE PESTHOUSE should have aspired to just those traits, no reason it should have tried to be THE ROAD. Both novels play with history, never revealing how exactly the characters came to these roads or why they think the coast is the place with the most. And both novels use crazy archaic words--here we have "swarf," "tetherings," "susurrus"--but perhaps where I appreciate THE PESTHOUSE the most is where it diverged, where it went surprisingly direct (see the opening sentence: "Everybody died at night") or playful (a passage about apple juice and a coat that acts as a homing beacon, for example) or listy ("But there are always some awake in the small times of the morning--the lovemakers, for instance, the night workers, the ones with stone-hard beds or aching backs, the ones with nagging consciences or bladders, the sick") or sociological (Crace seems most interested in creating and then fleshing out little worlds within his apocalypse--the capitalist ferrytowners, the antimetal zealots, the sex-selling survivalist outpost of widows). Oh, and there's a love story (not sure what I thought about that).But one more way in which my reading experience of THE PESTHOUSE resembled (though in a flawed way) my reading of THE ROAD: McCarthy loads his novel with all kinds of biblical imagery and language. It's even possible to read THE ROAD as an incarnation story--a loving, self-sacrificing boy is born into a time of great darkness. To some degree at least, I think McCarthy planned this. Not so with THE PESTHOUSE. Still, if one edits an interview with the philosopher Richard Kearney while reading this novel (for THE OTHER JOURNAL--you should subscribe!), as I happened to do, then one can't help but see theological implications written all over everything.In the interview, Kearney articulates the coming of the Messiah in a way that I hadn't heard before. He talks about the passage in Matthew where Jesus basically says that any time we help someone in need, he is there. Kearney says that every time a person offers such an invitation or gift to the stranger, the Messiah becomes present. The incarnation is happening again and again, he says. And strangely enough, THE PESTHOUSE, a book that in some ways makes a mockery of organized religion, is all about these kinds of encounters between strangers. Sometimes the strangers do little things to help one another, sometimes they simply avoid one another, and sometimes they do evil to such strangers (a kind of Sodom and Gomorrah, if you will). Elsewhere in that interview, Kearney considers whether the Messiah was present at the time and place of one of our world's greatest atrocities, Auschwitz, but here in THE PESTHOUSE we get to ponder whether the Messiah is present at the apocalypse.PS This is a strange review! Whoohoo!

I suppose if I were a professional rather than amateur reviewer, I should first finish Cormac McCarthy's "The Road" before reviewing Crace's "Pesthouse". The truth is I started "The Road" some time ago but only made to p. 30 before I bored out. Granted, it was a dystopia and dystopias are supposed to be gloomy, but come on! McCarthy's book was a real wrist-slitter (at least as far as I got) whereas Crace's work grabbed me right at the opener and `never let me go'. And I say all that despite the fact the Crace seems to break the two main writing commandments I live by, yet somehow he makes it work.Commandment #1--Show, not tell. Crace is more Tell, not show. While terribly interesting all the way through, terribly thrilling it ain't.Commandment #2--Never describe feelings. Crace tells the story from inside his character's heads, and in third person no less. How are you supposed to get involved with the characters like that? C'mon, Jimbo! Ever heard of subtext??? Makes for a fun read, kind of like a literary puzzle.I think Crace pulls this story off, in spite of himself, with two things:1) Beautiful, lyrical narrative writing. Take the opener: "Everybody died at night." Shades of Camus' "The Stranger" there. Or a few pages later, "Not sleeping was the ferryman, who, having heard the rain..." Felt like I was channeling Edgar Allen Poe for the rest of the chapter after that one.2) Crace vividly describes a fallen America, and in doing so, teases the reader to figure out how it got that way. Normally I hate that. (See my review of PD James' "Children of Men") You can't just tell a story about the end of the world and say, `trust me'. I need a reason to believe it ended if only for context. But with Crace, I quit worrying about it. Actually found it was more fun to reverse-engineer his catastrophe rather than have him spell it out for me. BTW--Contrary to one reviewer I do NOT think it was a plague. I do think the return of bubonic plague was a result of what went wrong, but not the root cause. My guess is that we simply ran out of oil and somehow forgot to invent a new energy infrastructure before the end came. Everything dominoed after that until, somewhere around 2500 AD or so, we ended up with an ignorant, illiterate, primitive-survival-savvy society that was more akin to America of, say, 1830 than 2007. A corollary to the main teaser would be why was Europe spared? Or was it? Hmm...Anyway, those two things are why I gave him five stars.--Ejner Fulsang, author of "A Destiny of Fools" Aarhus Publishing 2007

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