THE EMPIRE TRILOGY
by
J.G. Farrell
* * *
Troubles
The Siege of Krishnapur
The Singapore Grip
* * *
New York Review Books
New York
Contents
Cover
Title Page
Troubles
The Siege of Krishnapur
The Singapore Grip
Biographical Notes
Information
Troubles
J.G. Farrell
Introduction by John Banville
New York Review Books
New York
Contents
Title Page
Introduction
TROUBLES
Part One: A Member of the Quality
Part Two: Troubles
Copyright
Introduction
In Derek Mahon’s great poem A Disused Shed in Co. Wexford, a pair of travelers find themselves “Deep in the grounds of a burnt-out hotel, / Among the bathtubs and the washbasins”; forcing open a long-locked door, they come upon a host of mushrooms crowding in the darkness. They have been there, the poet imagines, for decades, waiting for the blessed light to break in upon their fetid, liminal world:
“Save us, save us,” they seem to say,
“Let not the god abandon us
Who have come so far in darkness and in pain.
We too had our lives to live...”
The poem is a threnody for disappeared worlds—“Lost people of Treblinka and Pompeii!”—especially, although it does not mention it directly, the world of the Anglo-Irish aristocracy. This hardy strain, which had endured for some eight centuries, came to its sudden withering in the Irish War of Independence, which ended with the treaty signed between the British government and Michael Collins’s I.R.A. in 1922. Under the treaty Ireland was partitioned, with twenty-six southern counties becoming a Free State, and the six northern counties remaining under British sovereignty. The result was civil war.
Effectively the country had been portioned out between the Protestants of the North and the Catholics of the South. It seemed at the time, to the bellicose Collins no less than to the British Prime Minister Lloyd George, the only possible solution to an insoluble problem. One of the results of partition was that in both the North and the South a religious minority was left to fend for itself as best it might among a more or less hostile majority. In the North, that fending continues to this day; in the South, the Protestants, some 5 percent of the population, largely withdrew from public life, a matter of bitter regret to many of the more perceptive among them, from W.B. Yeats—“We are no petty people!”—to Hubert Butler. Butler, an essayist of genius, never ceased to bemoan the loss to the life of Southern Ireland of that energy, intransigence, and often fierce radicalism which marked the Protestant tradition, especially in the North.
Mahon’s poem is dedicated to his friend J.G. Farrell. Farrell was an elusive, intensely private man, something of an enigma not only to the reading public but to many of those who knew him well. His parentage was a mixture of Irish and English. He was born in Liverpool in 1935, and spent much of his youth in the Far East. In his first term at Oxford he was afflicted with polio, which left him with a partially disabled arm. Nevertheless he was extremely attractive—in looks he resembled, and indeed had something of the aloofly playful manner of, Marcel Duchamp—and had affairs with an impressive number of women, as Lavinia Greacen revealed in her 1999 biography. He wrote seven novels, the best-known of which are the three which comprise the so-called Empire Trilogy, The Siege of Krishnapur, The Singapore Grip, and Troubles.
In the spring of 1979, Farrell moved to Ireland, living in a cottage on a remote promontory in Bantry Bay. Four months later, in August, while fishing in stormy weather off rocks near the cottage, he was washed into the sea and drowned. His death at forty-four, a tragically early age, especially for a novelist, led to an inexplicable decline in his reputation. Had he lived, no doubt he would have done wonders, but even in the relatively short span of his career he erected an enduring literary monument, the capstone of which is Troubles. Although The Siege of Krishnapur won the Booker Prize in 1973, Troubles is surely his masterpiece, and the book of his that is certain to endure.
The “Troubles” of the title is the euphemism which the Irish—peasant, merchant, or Protestant aristo—applied to the ragged, sporadic, but brutal war that began in 1919 between Sinn Fein/I.R.A. and the British army of occupation. In fact, that war might be said to have started three years earlier, with the abortive Easter Rising of 1916, which lasted a week and ended with the summary execution of fourteen of its leaders. The uprising had been deeply unpopular among the majority of the Irish people—legend has it that lady passers-by belabored with their umbrellas the rebel force as it entered to occupy the General Post Office in Dublin on that Easter Monday morning—and both the English and the Anglo-Irish regarded it as a stab in the back by an ungrateful rabblement at a time when thousands of young men, many of them Irish, were dying in the defense of liberty in the killing fields of France. However, the haste and brutality of the exe- cutions of the leaders of the Rising provoked a surge of resentment among the native population that would not be asuaged until British rule was ended, at least in the Twenty-Six Counties.
Although Troubles, first published in 1970, was set fifty years previously, it was unintentionally well-timed, and uncannily prescient. That year saw the onset in bloody earnest of a new round of Troubles which at last, it is to be hoped, are coming to an end. In 1970, as in 1920, battle was joined between two mutually uncomprehending tribes; now, it was between the Catholic and Protestant working classes of Northern Ireland, with the British army in the middle; then, between the Catholic peasantry and the Protestant Ascendancy, with a force of British irregulars, the Black and Tans, supposedly set to keep the peace but in reality waging punitive retaliation against an elusive army of rebels.
In Troubles, Farrell catches with appalling accuracy the brutal yet peculiarly farcical nature of that war that was never quite a war. Nowhere in the book do we see a single live I.R.A. man; even when one of the central characters, Major Archer, is being buried up to his neck on a beach to await drowning by the incoming tide, the hands that dig the hole and place him in it are anonymous, and might from the description of their ministrations be in the act of saving him rather than attempting to murder him. When we do get a glimpse of a rebel, a dead one, it is in one of the novel’s more gruesomely comic, closing scenes—the body of the young man has been laid out on a table in a gun room, where his executioner, Edward Spencer, lets his gaze wander around the trophies of wild animal heads on the paneled walls, and “for an instant the dreadful thought occurred to the Major that Edward had now gone completely insane and was looking for a place on the wall to mount the Sinn Feiner.”
Edward Spencer—a name that will have an allusive echo for anyone who knows the history of Elizabethan Ireland— is one of the great comic portraits in modern literature. He is the proprietor, if that is the word, of the Majestic Hotel, a crumbling pile somewhere on the coast of County Wexford. It is to the Majestic that the haunted war veteran Major Archer comes, with wan reluctance, to claim Edward’s daughter Angela as his bride. But Angela will not be wed, and as the weeks become months, and the months years, the Major lingers, an only faintly more vivid ghost among the hotel’s ghostly guests, ancient ladies, for the most part, who have taken up permanent residence under the tottering former magnificence of the Majestic, along with a steadily burgeoning pack of half-wild cats which roam the upper stories like the building’s bad dreams. Meanwhile Edward’s surviving daughters, the terrible twins Faith and Charity—anoth
er wonderful, and curiously erotic, invention—are growing half-wild too, the staff and servants lurk like wood-sprites, the boy Padraig is turning transvestite, and Murphy the major-domo is going quietly but dangerously mad.
This may all sound like the cod-Gothic of Cold Comfort Farm or the deliciously cruel absurdities of early Evelyn Waugh, but Farrell’s vision and voice are unique, inimitable. If there are faint echoes here, they are the most finely harmonious: Elizabeth Bowen’s masterpiece, The Last September, perhaps Henry Green’s hypnotic Loving. The tone of Troubles throughout is one of vague, helpless desperation, while the wit is dry to the point of snapping. Since the bulk of the action is seen through the Major’s war-damaged sensibility, there is an air of permanent, pallid bafflement before the mundane mysteries of Irish life.
Yet the book is horridly, irresistibly, achingly funny, even, or especially, when it is at its most violent, or most poignant. The Major’s doomed love for Sarah, the dissatisfied daughter of a—Catholic—banker in the nearby town of Kilnalough is at once heartbreaking and comic. Farrell’s touch is robust yet delicate, and always sure. In the midst of a masterly set piece describing a ball at the Majestic which is meant to be grand but turns out grisly, there is a fleeting moment of exquisite sorrow when Sarah, bored with the Major’s mutely pleading presence at her side, drops her eyes to her glass: “She flicked it idly with her finger-nail and drew from it one thin, clear note of a painful beauty, over which the honeyed sighings of the violins on the platform had no dominion.”
If Troubles is the expression of the end of a world, it is one of the most finely modulated and magically comic whimpers the reader is ever likely to catch.
—JOHN BANVILLE
Part One: A Member of the Quality
In those days the Majestic was still standing in Kilnalough at the very end of a slim peninsula covered with dead pines leaning here and there at odd angles. At that time there were probably yachts there too during the summer since the hotel held a regatta every July. These yachts would have been beached on one or other of the sandy crescents that curved out towards the hotel on each side of the peninsula. But now both pines and yachts have floated away and one day the high tide may very well meet over the narrowest part of the peninsula, made narrower by erosion. As for the regatta, for some reason it was discontinued years ago, before the Spencers took over the management of the place. And a few years later still the Majestic itself followed the boats and preceded the pines into oblivion by burning to the ground—but by that time, of course, the place was in such a state of disrepair that it hardly mattered.
Curiously, in spite of the corrosive effect of the sea air the charred remains of the enormous main building are still to be seen; for some reason—the poor quality of the soil or the proximity of the sea—vegetation has only made a token attempt to possess them. Here and there among the foundations one might still find evidence of the Majestic’s former splendour: the great number of cast-iron bathtubs, for instance, which had tumbled from one blazing floor to another until they hit the earth; twisted bed-frames also, some of them not yet altogether rusted away; and a simply prodigious number of basins and lavatory bowls. At intervals along the outer walls there is testimony to the stupendous heat of the fire: one can disinter small pools of crystal formed in layers like the drips of wax from a candle, which gathered there, of course, from the melting of the windows. Pick them up and they separate in your hand into the cloudy drops that formed them.
Another curious thing: one comes across a large number of tiny white skeletons scattered round about. The bones are very delicate and must have belonged, one would have thought, to small quadrupeds...(“But no, not rabbits,” says my grandfather with a smile.)
It had once been a fashionable place. It had once even been considered an honour to be granted accommodation there during the summer season. By the time Edward Spencer bought it on his return from India, however, it retained little or nothing of its former glory, even if it did retain some of its faithful guests of the year-by-year variety, maiden ladies for the most part. The only explanation for their continued patronage (since under Edward’s management the hotel went swiftly and decisively to the dogs) is that as the hotel declined in splendour the maiden ladies became steadily more impoverished. In any event they could keep on saying: “Oh, the Majestic in Kilnalough? I’ve been going there every year since 1880...” and the man who sold the place to Edward could claim that he had, at least, his few faithful customers who kept coming every year without fail. In the end these faithful customers became something of a millstone for Edward (and later for the Major)—worse than no customers at all, since they had their habits of twenty years or more; the rooms they had been staying in for twenty years were dotted here and there over that immense building and, though whole wings and corners of it might be dead and decaying, there would still be a throbbing cell of life on this floor or that which had to be maintained. Slowly, though, as the years went by and the blood-pressure dropped, one by one they died away.
* * *
From the London Gazette, General List:
The undermentioned relinquishes his commission on completion of service, Temporary Major B. de S. Archer, and retains the rank of Major.
* * *
In the summer of 1919, not long before the great Victory Parade marched up Whitehall, the Major left hospital and went to Ireland to claim his bride, Angela Spencer. At least he fancied that the claiming of her as a bride might come into it. But nothing definite had been settled.
Home on leave in 1916 the Major had met Angela in Brighton where she had been staying with relations. He now only retained a dim recollection of that time, dazed as he was by the incessant, titanic thunder of artillery that cushioned it thickly, before and after. They had been somewhat hysterical —Angela perhaps feeling amid all the patriotism that she too should have something personal to lose, the Major that he should have at least one reason for surviving. He remembered declaring that he would come back to her, but not very much else. Indeed, the only other thing he recalled quite distinctly was saying goodbye to her at an afternoon thé dansant in a Brighton hotel. They had kissed behind a screen of leaves and, reaching out to steady himself, he had put his hand down firmly on a cactus, which had rendered many of his parting words insincere. The strain had been so great that he had been glad to get away from her. Perhaps, however, this suppressed agony had given the wrong impression of his feelings.
Although he was sure that he had never actually proposed to Angela during the few days of their acquaintance, it was beyond doubt that they were engaged: a certainty fostered by the fact that from the very beginning she had signed her letters “Your loving fiancée, Angela.” This had surprised him at first. But, with the odour of death drifting into the dug-out in which he scratched out his replies by the light of a candle, it would have been trivial and discourteous beyond words to split hairs about such purely social distinctions.
Angela was no good at writing letters. In them it would have been impossible to find any trace of the feeling there had been between them during his home leave of 1916. She had certain ritual expressions such as “Every day I miss you more and more—” and “I am praying for your safe return, Brendan” which she used in every letter, combined with entirely factual descriptions of domestic matters: the buying of skirts for the twins in Switzers of Dublin, for example, or the installation of a “Do More” generator for electric light, the first of its kind in Ireland and destined (they were sure) to restore the Majestic’s reputation for luxury. Any personal comment, any emotion was efficiently masked out by this method. The Major did not particularly mind. He was wary of sentiment and had always had a relish for facts—of which, these days, his badly rattled memory was in short supply (in hospital he had been recovering from shell-shock). So on the whole he was glad to learn the size and colour of the twins’ new skirts or the name, breed, age and condition of health of Edward Spencer’s many dogs. He also learned a great deal about Angela’s friends
and acquaintances in Kilnalough, though sometimes, of course, his defective memory would cause whole blocks of facts to submerge for a while, only to reappear somewhere else later on, rather like certain volcanic islands are reputed to do in the South Seas.
After he had been receiving a letter a week for a number of months he acquired a remarkable skill for reading these letters and totting up the new facts, even sometimes peering past them into the lower depths where the shadow of an emotion occasionally stirred like a pike. There would be a list of Edward’s dogs again, for example: Rover, Toby, Fritz, Haig, Woof, Puppy, Bran, Flash, Laddie, Foch and Collie. But where, he would wonder, is Spot? Where are you, Spot? Why have you failed to answer the roll-call? And then he would remember, half amused and half concerned, that in an earlier letter the vet had been called because Spot had had “a touch of distemper” but had pronounced it “nothing serious.” In this way, thread by thread, he embroidered for himself a colourful tapestry of Angela’s life at the Majestic. Soon he knew the place so well that when he went there at the beginning of July he almost felt as if he were going home. And this was fortunate because by this time, except for an elderly aunt in Bayswater, he had no family of his own to go to.
On leaving hospital he had paid a visit to this aunt. She was a meek and kindly old lady and he was fond of her, having grown up in her house. She hugged him tightly with tears in her eyes, dismayed at how much he had changed, how thin and pale he had become, but afraid to say anything for fear of annoying him. She had invited some of her friends to tea to welcome him home, feeling no doubt that a young man returning from the war deserved more of a welcome than a solitary old lady was able to provide. At first the Major appeared put out to discover her house full of guests holding teacups, but then, to the old lady’s relief, he became very cheerful and talkative, talked gaily with everyone, leaped around with plates of cakes and sandwiches and laughed a great deal. Her guests, alarmed at first by this gaiety, soon became enchanted with him and for a while everything went splendidly. Presently, however, she missed him and after looking for him everywhere finally came upon him sitting by himself in a deserted drawing-room. There was a bitter, weary expression in his eyes that she had never seen before. But what else could one expect? she wondered. He must have been through horrors that peaceful old ladies (such as herself) might not even begin to comprehend. But he was alive, thank heaven, and he would get better. Tactfully she withdrew and left him to his thoughts. And in a little while he returned to the tea-party once more and seemed perfectly cheerful, his moment of bitterness amid the silent, hooded furniture forgotten.
The Empire Trilogy Page 1
