publication date: 2013
In this long, sprawling novel, Catton investigated luck, destiny, and love in 1860s New Zealand. Rather than relying on conventional narration and character development, Catton instead presented her plot using personal letters and story-telling techniques and jumping from present to past to future. She also focused on the heavens. As explained by Catton at the outset:
For the planets have changed places against the wheeling canvas of the stars. . . . But there is no truth except truth in relation, and heavenly relation is composed of wheels in motion, tilting axes, turning dials; it is a clockwork orchestration that alters every minute, never repeating, never still. We are no long sheltered in a cloistered reminiscence of the past.
Catton used her tangled writing to introduce a mystery: just as a stranger has arrived in town, a man is found dead, a woman found half-dead, and a missing man not found at all. This was all presented against the backdrop of a New Zealand mining town and, for some reason, the celestial and astrological arrangement of the time.
Catton’s writing was heavily stylized. She used a wordy, convoluted style, which brought to mind a learned bore from Jane Austen times. Here was an example from very early on in the book:
For the first time – perhaps because of his growing frustration, which served to focus his attention more squarely upon the scene at hand – [Mr.] Moody felt his interest begin to stir. The strange silence of the room was hardly testament to the kind of fraternity where all was shared and made easy . . . and moreover, [Mr.] Balfour had offered very little with respect to his own character and reputation in the town, by which intelligence Moody might be made to feel more assured of him!
Catton attempted to fit so much into this book. She had about 15 fully-realized characters, along with a love story, a supernatural mystery, painstakingly accurate star charts, and a meticulous writing technique.
For me, almost all of it fell flat. The characters were well-explained but uninteresting. The love story was pointless, and a little insulting. Anything supernatural was never explained; nor was anything to do with astrology. The meticulous writing was impressive, but only made the book seem daunting and overly-indulgent. When I closed the book, I had this thought: just because someone spent a lot of time crafting something does not make it good.
Catton obviously spent a lot of time writing this book, and I sure spent a lot of time reading it. But, that’s not enough of a reason for me to recommend it to you.
3/6: more good than bad