The Go-Between (Penguin Twentieth-Century Classics) [Mass Market Paperback]

L. P. Hartley (Author)

Book Description

Publication Date: January 1, 1995 | Series: Penguin Twentieth-Century Classics

The introduction of this annotated edition of L.P. Hartley's novel discusses the symbolic structure of the novel - the golden age motif, magic, heat, mercury and the zodiac; its themes - memory and nostalgia, class, war and nationalism; and Hartley's influences - Proust, James, Bowen and Waugh.

--This text refers to an out of print or unavailable edition of this title.

Editorial Reviews

Review

"Exuding such a sense of summer the pages might be warm to touch, Hartley's coming-of-age tale is set during the heatwave of 1900. It all ends in tears, but not before there have been plenty of cucumber sandwiches on the lawn." --The Observer

“The first time I read it, it cleared a haunting little spot in my memory, sort of like an embassy to my own foreign country…. I don't want to spoil the suspense of a well-made plot, because you must read this, but let's just say it goes really badly and the messenger (shockingly) gets blamed. Or he blames himself anyway. And here the mirror cracks; the boy who leaves Brandham is not the one who came. Indeed the narrator converses with his old self as though he were two people. That was the powerful gonging left by my first read: What, if anything, bundles us through time into a single person?” – Ann Brashares, “All Things Considered”, NPR
 
“I can't stop recommending to anyone in earshot L.P. Hartley's The Go-Between…. One of the fabled opening lines in modern literature: ‘The past is a foreign country: They do things differently there.’ The NYRB paperback has a superb new introduction by Colm Tóibín, but don't read it until after you've read the book itself.” – Frank Rich, New York Magazine.com
 

--This text refers to the Paperback edition.

From the Back Cover

"An intelligent, complex and beautifully felt evocation of nascent boyhood sexuality that is also a searching exploration of the nature of memory and myth" --Douglas Brooks-Davies

An invitation to a friend's house changes an adolescent boy's life. Discovering an old diary, Leo, now in his sixties, is drawn back to the hot summer of 1900 and his visit to Brandham Hall. The past comes to life as Leo recalls the events and devastating outcome that destroyed his beliefs and future hopes.

The first annotated edition of L.P. Hartley's great classic, the present text generally follows that of the first edition of 1953 and also includes a number of small but significant corrections based on the surviving holograph of The Go-Between.

Lord David Cecil described L.P. Hartley as "One of the most distinguished of modern novelists; and one of the most original. For the world of his creation is composed of such diverse elements. On the one hand he is a keen and accurate observer of the processes of human thought and feeling; he is also a sharp-eyed chronicler of the social scene. But his picture of both is transformed by the light of a Gothic imagination that reveals itself now in a fanciful reverie, now in the mingled dark and gleam of a mysterious light and a mysterious darkness.... Such is the vision of light presented in[his] novels. --This text refers to an out of print or unavailable edition of this title.

See all Editorial Reviews

Product Details

• Mass Market Paperback: 288 pages
• Publisher: Penguin Classics (January 1, 1995)
• Language: English
• ISBN-10: 0140183078
• ISBN-13: 978-0140183078
• Product Dimensions: 7.7 x 5 x 0.6 inches
• Shipping Weight: 6.4 ounces
• Average Customer Review: 4.7 out of 5 stars  See all reviews (26 customer reviews)
• Amazon Best Sellers Rank: #2,586,535 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

59 of 59 people found the following review helpful:

5.0 out of 5 stars Wistful, chaste, and utterly captivating., June 29, 2002

By 

Mary Whipple (New England) - See all my reviews
(COMMUNITY FORUM 04)    (HALL OF FAME REVIEWER)    (TOP 100 REVIEWER)   

This review is from: The Go-Between (New York Review Books Classics) (Paperback)

Resembling both McEwan's Atonement and Frayn's Spies in its plot, this 1953 novel, recently reprinted, tells of a pre-adolescent's naive meddling in the love lives of elders, with disastrous results. Set in the summer of 1900, when the hopes and dreams for the century were as yet untarnished by two world wars and subsequent horrors, this novel is quietly elegant in style, its emotional upheavals restrained, and its 12-year-old main character, Leo Colston, so earnest, hopeful, and curious about life that the reader cannot help but be moved by his innocence.

Leo's summer visit to a friend at Brandham Hall introduces him to the landed gentry, the privileges they have assumed, and the strict social behaviors which guide their everyday lives. Bored and wanting to be helpful when his friend falls ill, Leo agrees to be a messenger carrying letters between Marian, his host's sister, and Ted Burgess, her secret love, a farmer living nearby. Catastrophe is inevitable--and devastating to Leo. In descriptive and nuanced prose, Hartley evokes the heat of summer and the emotional conflicts it heightens, the intensity rising along with the temperature. Magic spells, creatures of the zodiac, and mythology create an overlay of (chaste) paganism for Leo's perceptions, while widening the scope of Hartley's focus and providing innumerable parallels and symbols for the reader.

The emotional impact of the climax is tremendous, heightened by the author's use of three perspectives--Leo Colston as a man in his 60's, permanently damaged by events when he was 12; Leo as a 12-year-old, wrestling with new issues of class, social obligation, friendship, morality, and love, while inadvertently causing a disaster; and the reader himself, for whom hindsight and knowledge of history create powerful ironies as he views these events and the way of life they represent. Some readers have commented on Leo's unrealistic innocence in matters of sex, even as a 12-year-old, but this may be a function of age. For those of us who can remember life without TV and the computer, it is not so far-fetched to imagine a life in which "mass communication" meant the telegraph and in which "spooning" was an adults-only secret! Mary Whipple

27 of 27 people found the following review helpful:

5.0 out of 5 stars Easy to see why this book is still a classic!, July 22, 2004

By 

bensmomma "bensmomma" (Ann Arbor, Michigan) - See all my reviews
(VINE VOICE)   

This review is from: The Go-Between (New York Review Books Classics) (Paperback)

On the surface this is a story about a boy's unwitting involvement in facilitating a love affair at the turn of the century (1899 or so), told retrospectively by that boy as a man in his 60s.

On a deeper level one could say it's about our capacity for self-deception, or about the agonies of going from the intense and uncomplicated pleasures of childhood to the tortuous emotions of adulthood. But this makes the book sound detached and overly literary, which it's definitely not. It's involving and dramatic instead.

Hartley's commanding style makes this story extremely gripping; because it's told in retrospect the narrator is as articulate as an adult, yet the emotions expressed (and somehow the ones the reader feels) are the intense and confused ones of a child. Everything seems vivid and yet nothing is completely understandable, just as it is for us as children.

This lends the book a very bittersweet feeling and a magnificent aura of mystery. It's hard to imagine this book will ever go out of style.

15 of 15 people found the following review helpful:

5.0 out of 5 stars The end of a golden summer, November 28, 2000

By 

hugh riminton - See all my reviews

This review is from: The Go-Between (Paperback)

This book is striking as a counterpoint to Evelyn Waugh's masterpiece "Brideshead Revisited". Both were written immediately after WW2, when Englishmen, exhausted, quite reasonably gazed back at a lost time of grace and innocence.

Both Hartley and Waugh saw the falseness of that innocence, but also its deeper truth.

Hartley's story is worth reading now, at the beginning of this century, for he places it at the dawn of the last one. Leo, his protagonist, is 12 years old. He has huge dreams for the century that is breaking on him. His faith contrasts with the bitter weariness of his older self, the alternative narrator, who in 1950 lays out this story from his memory, prompted by the discovery of a childhood diary.

"Has the 20th Century done so much better than I have?" the narrator chides the memory of his childhood self. "You were vanquished, and so was your century, your precious century that you hoped so much of."

1900 was the last hot summer of Victoria's England. Leo, the only child of a widowed mother, goes to stay with a much wealthier schoolfriend. He sees nothing but the glories of the Maudsley family and their special guest, the Boer war-scarred young nobleman Viscount Trimingham. He becomes enraptured in his friend's sister, the ethereal Marian, for whom he would happily die.

In an emotional sense, he will.

Marian is kind to Leo. She also uses him. How much her affection was false, how much was genuine, lies at the core of Leo's agony.

The boy acts as a go-between in Marian's illicit love for a tenant farmer, a man of physical force, a creation worthy of DH Lawrence. Leo learns that adults are not what they seem. And he takes it hard.

It is possible to quibble with this story. It stretches credulity that even a century ago, a boy on the brink of puberty could be quite so naive - or that the loss of innocence should bring so complete an emotional collapse. The young Leo seems too vulnerable, the older one, too stifled. What holds it, though, is the beauty of the writing, the evocation of a lost age - both the age of boyhood and the age when Class, with its immutable threads, bound every English soul to its own orbit. Two world wars, for better or worse, blew such certainties apart.

The story lives up to the mystery and the promise of its rightly famous opening line, the haunting and teasing truth: "The past is a foreign country: they do things differently there."