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something to answer for

by p.h. newby

TLDR/OPINION 3/10:

As the inaugural booker prize winner, I expected a novel slightly more prize-worthy and perhaps niche enough to grab enough attention to have been the first of its kind. With an almost concussed writing style it was a chore to read and with flaky characterisation at best it was a struggle to nail down the protagonists or even the plot itself. It could be said it is reminiscent of Martin Scorsese's Shutter Island with multiple layers of reality making the book extremely difficult to follow. I have never felt such a prevailing sense of skepticism whilst reading a book, questioning at every turn of the plot the plausibility of his account of the events. However, despite starting out anticipating a murder mystery and being was sorely disappointed i was intrigued to see where the tangent would take me.

  1. Identity

  2. Erratic Narration

  3. Political Tensions

  4. Death

  5. War

  6. Politics

  7. Reality

Themes:

blurb:

Following the exploits and adventures of the lecherous and morally crooked protagonist, Townrow sets off from England to the middle east in an attempt to swindle an old widow of her fortune. Once there however he encounters political and personal problems with Egyptians, with tensions already high as Nasser seizes control and proprietorship of the canal, leading potentially to war with the British. Caught up in the middle of utter turmoil; the Egyptians believing him a spy, Mrs K believing her husband murdered, issues with his own identity and the alluring Levantine Jewish woman, with whom he becomes infatuated, Townrow seems to be stuttering through life as though suffering from hallucination level sun stroke. Summarily - Newby's ambiguous novel ultimately translates as somewhat of a didactic tale on notions of the truth, morality and accountability. A man trying to see the through the interminable fog of his life. 

analysis:

It appears that Townrow finds attractive the general Jewish female demographic, however, having fetishised them cant remember any of their names, just preferring nameless Jewish women. Seemingly only Pro-Semitic due to his fascination/infatuation for Jewish women. Due to the mutual exclusivity of being an Anti-Zionist and having a Jewish female fetish consequently he isn't racist but this political view isn't necessarily born of political correctness or a sense of morality. 

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Conversational and self-deprecating tone used throughout, doesn't see himself as an honourable gentleman yet prosaically acknowledges it. His moral crookedness and wayward moral compass constantly tries to pull the wool over Mrs K's eyes in convincing her to sign her entire wealth over to him. 

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THE BRITISH GOVERNMENT - Unusual conviction about governmental innocence

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IDENTITY - Blurs the lines between nationalities, religions and age as if completely unaware to which he pertains. He flits between identities, being Irish and English etc. This discombobulation appears comically nonsensical yet almost mournful in the way he cannot pin down his own identity. Assimilates the memory impressed on him by others (e.g. Captain Ferris) with his own but he no longer can tell fact from fiction - he consumes it into a entanglement of personalities and past histories. Perhaps this multitude of personalities is a way to make his voice heard in amongst the tumultuous personal and political surroundings. 

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MENTAL DISTRACTION - Strange dialogue with Elie as though he were still alive - as though he cannot differentiate between past and future, fact and fiction, alive and dead. Supplants himself into other people's histories. 

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REALITY - Seems uncertain of his own motives - like someone else must determine them for him and has a completely warped sense of reality. Seems to be suffering from almost a fever-induced delirium in which he has almost tried to take over the role of Leah's husband and blurs their lives and mental states. 

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ROMANCE - Despite Townrow's love seeming one-sided and stalkerish and Leah feigning indifference, Leah eventually grows to be synonymously obsessed with him. 

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DEATH - Somewhat unfazed by death perhaps an insight into the desensitisation a soldier undergoes in war and his assessment of the pandemonium with in his purview is utterly clinical and detached (i.e. utter numbness when people are shot in front of him)

 

​​Leah has this evident sense of superiority - very much convincing herself of her moral high ground 

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