A year of bones, of grave-dirt, relentless work. Of mummified corpses and chanting priests. A year of rape, suicide, sudden death. Of friendship too. Of desire. Of love...A year unlike any other he has lived. Deep in the heart of Paris, its oldest cemetery is, by 1785, overflowing, tainting the very breath of those who live nearby. Into their midst comes Jean-Baptiste Baratte, a young, provincial engineer charged by the king with demolishing it. At first Baratte sees this as a chance to clear the burden of history, a fitting task for a modern man of reason. But before long, he begins to suspect that the destruction of the cemetery might be a prelude to his own.
Pure
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* The 2011 Costa Book of the Year * -- . Every so often a historical novel comes along that is so natural, so far from pastiche, so modern, that it thrills and expands the mind. PURE is one ... Miller's newly minted sentences are arresting, often unsettling and always thought-provoking. Exquisite inside and out, PURE is a near-faultless thing: detailed, symbolic and richly evocative of a time, place and man in dangerous flux. It is brilliance distilled, with very few impurities. -- Holly Kyte, Telegraph One of the most brilliant aspects of Miller's writing is his ability to question unobtrusively, through style alone, sentimentality about both life under the Bourbons and the creative destruction of revolution ... he has an instinctive knack for casting bright similes, never overextended, that ripple suggestively ... The writing throughout is crystalline, uncontrived, striking and intelligent. You could call it pure. -- Jonathan Beckman, Literary Review Quietly powerful, consistently surprising, PURE is a fine addition to substantial body of work ... pre-revolutionary Paris is evoked in pungent detail ... By concentrating on the bit players and byways of history, Miller conjures up an eerily tangible vanished world. -- Suzi Feay, Financial Times Murder, rape, seduction and madness impel this elegant novel ... Within this physical and political decay, Miller couches the heart of the matter: how to live one's life with personal integrity, with a purity not so much morally unblemished as unalloyed with the fads and opinions of society ... Miller populates Baratte's quest for equanimity with lush and tart characters, seductively fleshed out, who collectively help to deliver the bittersweet resolution of his professional and personal travails. -- James Urquhart, Independent Very atmospheric... Although the theme may sound macabre, Miller's eloquent novel overflows with vitality and colour. It is packed with personal and physical details that evoke 18th-century Paris with startling immediacy. Above all he brings off that difficult trick of making the reader care about an unsymapthetic character. If you enjoyed Patrick Suskind's Perfume, you'll love this. -- Daily Express It is an audacious novelist who can so knowingly prefigure the symbolism at the heart of his own work without threatening the success of the entire enterprise. It is fortunate, then, that Miller is a writer of subtlety and skill...Unlike many parables, however, PURE is neither laboured nor leaden. Miller writes like a poet, with a deceptive simplicity - his sentences and images are intense distillations, conjuring the fleeting details of existence with clarity. He is also a very humane writer, whose philosophy is tempered always with an understanding of the flaws and failings of ordinary people...Pure defies the ordinary conventions of storytelling, slipping dream-like between lucidity and a kind of abstracted elusiveness... As Miller proves with this dazzling novel, it is not certainty we need but courage -- Clare Clark, Guardian His recreation of pre-Revolutionary Paris is extraordinarily vivid and imaginative, and his story is so gripping that you'll put your life on hold to finish it. Expect this on the Booker longlist, at the very least -- The Times This is a tale about "the beauty and mystery of what is most ordinary"... Miller lingers up close on details: sour breath, decaying objects, pretty clothes, flames, smells, eyelashes... He is also alive to the dramatic possibilities offered by late-18th-century Paris, a fetid and intoxicating city on the brink of revolution... Miller intimately and pacily imagines how it might have felt to witness it. -- Daily Telegraph the book pulls off an ambitious project: to evoke a complex historical period through a tissue of deftly selected details. -- Sunday Times, Culture almost dreamlike, a realistic fantasy, a violent fairytale for adults -- Brian Lynch, Irish Times enthralling...superbly researched, brilliantly narrated and movingly resolved. -- Robert McCrum, The Observer I finished it in two sittings. Pure is a work of beauty embroidered by Miller's exquisite gift for poetic description... it is a delight. And though a historical novel with decay its running theme, the writing is dazzlingly fresh and modern. -- Carol Midgley, The Times Seldom have I read a novel that evokes the atmosphere of a time and a place so well. The moral, cultural and physical stench of seething, pre-revolutionary, contagious Paris is pervasive on nearly every page as Miller evokes a society in terminal decay... Miller surprises us with some superb characters. Armand is a delight... Miller's prose style is dazzling yet never obtrudes -- The Times Book Club
Über den Autor
Andrew Miller was born in Bristol in 1960. He has lived in Spain, Japan, Ireland and France, and currently lives in Somerset. His first novel, INGENIOUS PAIN, was published by Sceptre in 1997 and won the James Tait Black Memorial Prize for Fiction, the International IMPAC Dublin Literary Award and the Grinzane Cavour prize in Italy. He has since written five novels: CASANOVA, OXYGEN, which was shortlisted for the Whitbread Novel Award and the Booker Prize in 2001, THE OPTIMISTS, ONE MORNING LIKE A BIRD and PURE which won the Costa Novel of the Year Award 2012.
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City of Death
1. Juni 2011
Von Keris Nine
- Veröffentlicht auf Amazon.com
Format:Taschenbuch
On the surface, Pure seems like a straightforward historical fiction. Set in Paris in the year 1785, in the years just preceding the French Revolution, there is however evidently something more significant going on beneath the surface.
Getting beneath the surface is exactly what Jean-Baptiste Baratte, an engineer from Normandy hoping to make his fame and fortune in Paris, has been tasked to do for his first commission for the government, excavating the vast pits of the cemetery of les Innocents near les Halles market in the centre of the city, and taking down the church along with it. Bodies have been piled into the cemetery for centuries, and the king is concerned about the growing problem of filth and contamination that is emanating from one of the foulest areas in the city. It's a huge and deeply unpleasant task, but it's a necessary purification that needs to be carried out for the good of the city and the working population of the area. That's pretty much a subject of historical record, the bones excavated eventually ending up in the famous catacombs of Paris, and Andrew Miller's fictionalisation of the story follows the progress of the engineer and the relationships he develops with the workers he has employed, the family he boards with and the people he meets in the neighbourhood.
Although there is no shortage of incident in the story, it all arises fairly naturally out of the project to such an extent that it's easy to underestimate the skill with which the author depicts the simmering undercurrent of dissent and revolution that is simmering among the people and looking for an outlet. Even though in his idealistic days Baratte and his colleague would imagine their own utopia, the engineer doesn't realise just how important his purification of les Innocents is in bringing with it the idea of change, making him an unwilling and unwitting figurehead for the revolutionary slogans that are beginning to appear on the walls of the city. None of this is overstated, but it's clear by the end that the author has sown the seeds of the coming revolution of "purification" that will result in more piles of bones, and done so in greater detail and with greater subtlety than you could imagine possible from such a simple story.
Getting beneath the surface is exactly what Jean-Baptiste Baratte, an engineer from Normandy hoping to make his fame and fortune in Paris, has been tasked to do for his first commission for the government, excavating the vast pits of the cemetery of les Innocents near les Halles market in the centre of the city, and taking down the church along with it. Bodies have been piled into the cemetery for centuries, and the king is concerned about the growing problem of filth and contamination that is emanating from one of the foulest areas in the city. It's a huge and deeply unpleasant task, but it's a necessary purification that needs to be carried out for the good of the city and the working population of the area. That's pretty much a subject of historical record, the bones excavated eventually ending up in the famous catacombs of Paris, and Andrew Miller's fictionalisation of the story follows the progress of the engineer and the relationships he develops with the workers he has employed, the family he boards with and the people he meets in the neighbourhood.
Although there is no shortage of incident in the story, it all arises fairly naturally out of the project to such an extent that it's easy to underestimate the skill with which the author depicts the simmering undercurrent of dissent and revolution that is simmering among the people and looking for an outlet. Even though in his idealistic days Baratte and his colleague would imagine their own utopia, the engineer doesn't realise just how important his purification of les Innocents is in bringing with it the idea of change, making him an unwilling and unwitting figurehead for the revolutionary slogans that are beginning to appear on the walls of the city. None of this is overstated, but it's clear by the end that the author has sown the seeds of the coming revolution of "purification" that will result in more piles of bones, and done so in greater detail and with greater subtlety than you could imagine possible from such a simple story.
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3.0 von 5 Sternen
Clearing the ground for a new age
7. Februar 2012
Von Ralph Blumenau
- Veröffentlicht auf Amazon.com
Format:Kindle Edition
In 1780 the huge ancient cemetery next to the Church of Les Innocents in Paris (today it is the area of Les Halles) was so full that the authorities said there were to be no more burials. The stench of decay was so pervasive that in 1786 the French government ordered the exhumation of the cemetery - the bones to be reburied in what is now known as the Catacombs near Montparnasse, and was then known as the quarry at the Porte d'Enfer. The church, the tombs in the crypts and the charnel house were also to be demolished. The area was then to be turned into a market place.
These are the historical facts underlying this novel, and Andrew Miller is steeped in the history of that time just before the French Revolution, when the ideas of the Enlightenment were challenging traditions. The clearing of the old cemetery becomes a symbol for the mood of disposing of the past. Jean-Baptiste Baratte, the young engineer who is put in charge of the work, is one of the "moderns"; so is his friend Lecoeur, who comes to do the work at the head of a team of thirty Flemings from the mines at Valenciennes where Baratte had himself once worked and with whom he had at that time spent many hours imagining an Enlightened utopia they called Valenciana. Symbolic, too, is the resistance (in one instance taking a very violent form) they encounter: many of the local have got used to the stench of decay and are opposed to the removal of familiar landmarks; others find this work of "purification" sacrilegious (though Armand de Saint-Méard, the organist of the barely visited church and another "modern", welcomes the change in the full knowledge that he will lose his position - anticipating those clergy who would take part in the early stages of the French Revolution). Anti-royalist and anti-clerical graffiti which are daubed on walls in the neighbourhood drive the context home.
If this seems a rather schematic plan for the book, it is full of people and incidents that flesh it out. Some of the incidents seem to me rather tangential, including Barette's curious love-affaire. The life of 18th century Paris and of 18th century Normandy (where Barette comes from), the state of the roads, the dependence on candle light, the clothes "of the future" which the "moderns" liked to wear, the medical theories of the time (propounded by none other than Dr Guillotin) - all this is brought out vividly. Miller is also throughly familiar with the geography of old Paris - it would have been nice to have had a map on which we could have followed the many streets to which he refers but which no longer exist.
The dialogue is often banal; and I don't feel that this a very organic book. Many actions, including two major acts of violence, do not seem to me to be to arise naturally out of the story - I wondered whether they were based on historical research, which might account for their inclusion. The book engaged my interest less and less towards the end, though there is a set-piece climax in the last few pages.
These are the historical facts underlying this novel, and Andrew Miller is steeped in the history of that time just before the French Revolution, when the ideas of the Enlightenment were challenging traditions. The clearing of the old cemetery becomes a symbol for the mood of disposing of the past. Jean-Baptiste Baratte, the young engineer who is put in charge of the work, is one of the "moderns"; so is his friend Lecoeur, who comes to do the work at the head of a team of thirty Flemings from the mines at Valenciennes where Baratte had himself once worked and with whom he had at that time spent many hours imagining an Enlightened utopia they called Valenciana. Symbolic, too, is the resistance (in one instance taking a very violent form) they encounter: many of the local have got used to the stench of decay and are opposed to the removal of familiar landmarks; others find this work of "purification" sacrilegious (though Armand de Saint-Méard, the organist of the barely visited church and another "modern", welcomes the change in the full knowledge that he will lose his position - anticipating those clergy who would take part in the early stages of the French Revolution). Anti-royalist and anti-clerical graffiti which are daubed on walls in the neighbourhood drive the context home.
If this seems a rather schematic plan for the book, it is full of people and incidents that flesh it out. Some of the incidents seem to me rather tangential, including Barette's curious love-affaire. The life of 18th century Paris and of 18th century Normandy (where Barette comes from), the state of the roads, the dependence on candle light, the clothes "of the future" which the "moderns" liked to wear, the medical theories of the time (propounded by none other than Dr Guillotin) - all this is brought out vividly. Miller is also throughly familiar with the geography of old Paris - it would have been nice to have had a map on which we could have followed the many streets to which he refers but which no longer exist.
The dialogue is often banal; and I don't feel that this a very organic book. Many actions, including two major acts of violence, do not seem to me to be to arise naturally out of the story - I wondered whether they were based on historical research, which might account for their inclusion. The book engaged my interest less and less towards the end, though there is a set-piece climax in the last few pages.
10 von 10 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen
"Destroying the Cemetery of the Innocents is to sweep away in fact, not in rhetoric, the poisonous influence of the past."
1. Juni 2012
Von Mary Whipple
- Veröffentlicht auf Amazon.com
Format:Taschenbuch
(4.5 stars) In pristine sentences and uncompromising descriptions, used with great irony, Andrew Miller tells of a young engineer from rural France in 1785 whose job is to empty the overflowing cemetery at the Church of the Innocents in central Paris and rebury all the bones in the catacombs, for sanitary reasons. Set in 1785, just four years before the French Revolution, Miller's main character, Jean-Baptiste Baratte, supervises the emptying of over twenty burial pits located within a small, enclosed area. The work is "both delicate and gross," as the entire neighborhood around the cemetery is putrid after the cemetery's long use (and, more recently, the interment of fifty thousand people in less than a month in mass graves during a plague). The stench permeates everything - buildings, food, and ultimately people, and Baratte has only one year to make it "pure."
Despite the unusual and unsavory subject matter, Miller recreates the human side of the story - to make the reader empathize with Baratte, to see how important the job is to him, to show how he longs for acceptance - and even a job as unsavory this one quickly involves the reader in the story and its historical setting. Details about Paris in this pre-revolutionary time stick in the reader's memory: an elephant, somewhere in Versailles, that exists on Burgundy wine; a revolutionary group devoted to the future, that plasters warnings about the church and aristocracy on walls and buildings; the nearly hopeless lives of the miners Baratte recruits to work on this horrific job; and later, their differences in outlook from the masons he hires for additional on-site work.
Throughout the novel, Miller's descriptive details are unforgettable and often symbolic: a priest described as "a big wingless bat in the dusk"; Parisian theatre-goers "fighting their way through the doors like scummed water draining out of a sink"; a man with eyes "like two black nails hammered into a skull; and an crazed old man "nude as a worm," who begins to howl. The coming revolution is foreshadowed through the eyes of Baratte, whose own new suit of clothes, is not completely comfortable since it smacks of another class. The role of Heloise, a prostitute with a good heart and the intellect of a modern woman, shows how indifferent the court is to the resilience and resourcefulness of, not only women, but of the talented and thwarted men of the country. The characters' attitudes toward life, death, God, and the afterlife echo throughout the novel as bodies are disinterred and cleaned for reburial in the catacombs.
Ultimately, Miller succeeds in making this unlikely subject and its unusual characters both engaging and thought-provoking, requiring the reader to think beyond the limitations of most stories which are set so deep in the past. Baratte himself learns during his year, and he reflects the increasing awareness of a growing segment of the population that the life of the court of Versailles has reached the end of the line. When Baratte finishes his final report for the minister, his return to Versailles is filled with striking parallels and contrasts to the details of his arrival. Miller never overplays his conclusion, however, respecting the reader's ability to fill in some of the blanks that make this novel so memorable. An unusual and beautifully written novel which shines new light on some of the elements which can empower the oppressed and lead to revolution. Mary Whipple
Oxygen
Despite the unusual and unsavory subject matter, Miller recreates the human side of the story - to make the reader empathize with Baratte, to see how important the job is to him, to show how he longs for acceptance - and even a job as unsavory this one quickly involves the reader in the story and its historical setting. Details about Paris in this pre-revolutionary time stick in the reader's memory: an elephant, somewhere in Versailles, that exists on Burgundy wine; a revolutionary group devoted to the future, that plasters warnings about the church and aristocracy on walls and buildings; the nearly hopeless lives of the miners Baratte recruits to work on this horrific job; and later, their differences in outlook from the masons he hires for additional on-site work.
Throughout the novel, Miller's descriptive details are unforgettable and often symbolic: a priest described as "a big wingless bat in the dusk"; Parisian theatre-goers "fighting their way through the doors like scummed water draining out of a sink"; a man with eyes "like two black nails hammered into a skull; and an crazed old man "nude as a worm," who begins to howl. The coming revolution is foreshadowed through the eyes of Baratte, whose own new suit of clothes, is not completely comfortable since it smacks of another class. The role of Heloise, a prostitute with a good heart and the intellect of a modern woman, shows how indifferent the court is to the resilience and resourcefulness of, not only women, but of the talented and thwarted men of the country. The characters' attitudes toward life, death, God, and the afterlife echo throughout the novel as bodies are disinterred and cleaned for reburial in the catacombs.
Ultimately, Miller succeeds in making this unlikely subject and its unusual characters both engaging and thought-provoking, requiring the reader to think beyond the limitations of most stories which are set so deep in the past. Baratte himself learns during his year, and he reflects the increasing awareness of a growing segment of the population that the life of the court of Versailles has reached the end of the line. When Baratte finishes his final report for the minister, his return to Versailles is filled with striking parallels and contrasts to the details of his arrival. Miller never overplays his conclusion, however, respecting the reader's ability to fill in some of the blanks that make this novel so memorable. An unusual and beautifully written novel which shines new light on some of the elements which can empower the oppressed and lead to revolution. Mary Whipple
Oxygen
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