Customer Reviews

Gulliver's Travels (Norton Critical Editions)

5 star:		(2)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Our hero Gulliver and his wife could use some counseling. It seems that every time he plops down on the sofa with his better-half and children, Gulliver gets restless and needs to go have another adventure. (Did they have sofas back then? If not, how did people crash out in front of their TV sets?) And he lives in idyllic old England, go figure!

Each time he does this (gets the traveling jones) he hops aboard some ship, tantamount to suicide in those days, eats salted meat and spoiled porridge for a few weeks, months or years, (unless there is a Chili's or Olive Garden nearby along the way--but he always seems to forget his coupons,) generally shipwrecks and sooner or later encounters some bizarre form of intelligent life in whatever fairyland he has found for himself this time, in whatever chapter of the book he happens to be sojourning in at this particular intersection of the time-space continuum.

Usually he is held captive, and then embosomed or exploited by whoever the freaks of nature are this time around, invariably escapes and by a series of miracles eventually finds his way home again, only to discover the same boring wife and children at the hearth waiting patiently despite the years that have passed without so much as a text message.

Along the way we are treated to Swift's amazing writing, great humor, wit and stellar imagination. Highly recommended, but it takes a bit of work to get through the whole thing.

A proper critical account of Swift's text would exceed by far the space given here. As someone doing scholarly work on Gulliver's Travels, I would merely like to point out that Mr. Rivero's edition is a bit confusing. For some reason, he has decided that it was a good idea to move the letter prefacing the text to the end (which, as the "Advertisement" itself says should be "prefixed" to the volume). The critical apparatus is truly commonsensical, and at times, reduces the novel to a sad, straightforward allegory. One would only wish that the criticism section were as interesting as it is extensive. All this said, there is nothing violently "wrong" with this edition.

I am rather disappointed by the book that definitely is a classic. Lilliput is just another image of monarchy, but in no way different from what Swift knew. The criticism comes from the scale of the people who are extremely small. Brogdingnag does not change this approach, only the scale of the people who are extremely big, though in this case there is a direct criticism of the exploitation the « grotesque » Gulliver is the object of. Laputa, Balnibarbi and Luggnagg show a strange floating saucer in a kingdom dominated by unpractical scientists who try to do everything upside down. It is a satire of scientists in general who are so little concerned by the welfare of the community that they can ruin just for the sake of implementing their hypotheses. Glubbdubdrib is funnier because it enables Gulliver to meet all kinds of people from the past and this leads to remarks about philosophers or politicians or generals that show how small and little and even tiny they were. Japan only shows the extreme anti-christian policy that can be reached there and the extreme self-centeredness of the Dutch, which is probably a criticism of the crown in England. But the last voyage to the country of the Houyhnhnms is by far the best because here we reach both a severe criticism of the human race reduced to its animal instincts and behaviors, and a utopian society in which evil does not exist because it cannot even be conceived, because it is totally out of reach for these kind reasoning and reasonable horses. And yet Gulliver is expelled because he is a Yahoo, no matter what, and the natural reason of these dominant horses leads to rejection, after having found in Gullivers explanations a solution to get rid of the Yahoo by sterilizing them into extinction, just the way men do with horses in European countries, just a little bit more systematically. This leads to the idea that genocide and ethnic cleansing is a natural attitude, an attitude that goes along with natural reason that says that the species standing in the way of reason have to be exterminated. But the book never reaches that level of thinking, since Swift could not know about such policies that will flourish in later centuries, and yet the Irish occupation should lead him to some idea of what such a principle can lead to. Thus at a second level of reading we find a criticism of « natural reason » though it is not fully expressed and developed. After all it is that « natural reason » that led, already in Swifts times, to the genocide of Indians in America : they were not human, they were attributed all kinds of shortcomings like aggressivity, the love of war, the lack of cleanliness, a strong stench, and many other elements of the type. We can even note that beyond the genocide, the sterilisation policy will be implemented, but not on males, rather on females, and this in some US states up to the 1950s and maybe the 1960s. And this policy initiated by the Scandinavians in the early 20th century (and it was to last at least fifty or sixty decades) was to be systematically used against physically or psychologically impaired people. Hitler will follow that model, pushing it one bit further. In a way the book becomes then some vision of the future. This book hence is a prefiguration of many other books on the subject, such as « The time Machine », « Brave New World », « Animal Farm », etc. This book seems to be the archetype of a literary genre in English literature, and of course the archetype of many films dealing with the same subject, particularly extraterrestrials.To conclude I will say that such a book is definitely not for children even if it is often assigned to young children in some schools.

Dr Jacques COULARDEAU