Customer Reviews

Sandel

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

 

 

Angus Stewart's novel "Sandel" was first published in 1968. I found the paperback edition in 1971, in a standard Australian bookshop. Strangely enough, at that time, I was the same age (19) as David Rogers - one of the main characters; but it's the protaganist: Anthony Sandel, who's the real star-player in this extraordinary novel. Mr Stewart's ability to create such vivid images in the reader's mind is truly astonishing, and at the book's end, most readers will surely come to think of Anthony and David as almost real people.

When the book was originally published, a London newspaper made this comment: "Mr Stewart has really succeeded with this young character, and in depicting a love which truly exists and is not despicable." How true that statement is. However, Bruce Lang, one of the minor players in the story, is also an interesting character. Even though he's a legitimate friend of David Rogers, he finds it impossible to come to terms with the fact that David could love a 13-year-old choir boy.

Would this book be too controversial for the repressive '90s? I doubt it; it was a success in the late 1960s and early '70s. Surely it's time for a reissue, so that this magnificent novel can be enjoyed by a whole new audience.

Even though "Sandel" is very suitable for general audiences, it's a must-read for anyone who understands the underlying philosophy behind famous English public schools.

This book, which I first read in 1969, and found in an ordinary bookshop(!) must surely be due for a reprint, now that we live in more tolerant times.

It is a gentle, romantic, sensitive and realistic portrayal of first love and the dilemmas facing the teachers or pubescent boys, growing aware of their sexual power.

A wonderful read.

Of the comparitively few novels based in an English choir school, this is certainly one of the best. Head choirboy Antony Sandel's voice is at its peak; a possessive and highly emotional friendship develops between him and David Rogers, a university undergraduate. Their relationship flourishes as the voice develops; Rogers takes on work as a master in the school - which bears certain characteristics reminiscent of that in Evelyn Waugh's "Decline and Fall".

The book is a period piece with much authentic detail from the sixties in Oxford University, the College Chapel (called "The Temple" - a sort of amalgam of the cathedral and the other choral foundations in Oxford), and the Cotswolds. It's delightfully evocative of time and place, and of prep-school life - short trousers, boats on the river, afternoon tea and cricket before Evensong. With the book's Forster-like ambience, understated passion and Morse/Harry Potter-like setting, this book is more than ripe for being made into a film. I hope somebody will do so in due course

David Rogers is a nineteen year old undergraduate at Oxford reading English; he is also an accomplished musician. From an obviously moneyed family, as a seventeen year old public school boy he fell in love from afar with the much younger Peter, but never acted on his feelings. One day at Oxford he encounters a couple of young choirboys from St Cecilia's choir school returning from a service. One of the boys is thirteen year old Tony Sandel, and by chance they soon meet again, they have a lot in common and so begins a remarkable love affair.

Tony, orphaned and cared for by his no-nonsense aunt, is no ordinary boy; he is intelligent, mature for his years and an extraordinary singer with an outstanding musical mind, and he is slender and beautiful. But more than that the young character that Angus Stewart creates is all boy, he is so well observed that we have a vivid picture of a lively, occasionally mischievous, sometimes overwhelmed by his own feelings, but always endearing youngster, his boyish mannerisms perfectly captured. He knows what he wants, be it the clothes he wears, or concerning his relationship with David.

Of course the immediate question that comes to mind is the propriety of the relationship between the two boys, and Stewart address this mainly through David's conversations with Bruce Lang, a fellow Oxford student and childhood friend since the age of nine and who was with David at Public school. The rather cynical Bruce is taking instruction from the Jesuits and so conveniently provides a sounding board and counter argument concerning David's friendship with Tony.

Tony too is at first confused about his relationship with David, especially in view of some of the sermons he has heard. He discusses these with David, so we feel he is under no illusion as to what their relationship involves. However at one point Tony asks David what loves is, and David is unable to provide a convincing answer. This seemed rather odd for someone with David's education particularly with his knowledge Latin and particularly Greek. Surely David would know that in Greek there are several words which translated as love, but each of which has a very specific meaning. But that is a minor point overall. What does come over very convincingly is that the two love each other dearly, but it is Tony who is in the driving seat, and the more so as the relationship develops.

The realities of a relationship involving an adolescent boy and a near adult are not ignored. Tony does irritate David at times, even angering him; but such is David's love for Tony that he makes every effort to control these feelings, fully aware of the potential problem.

Stewart writes intelligently, and gives his reader no quarter; he expects his reader to be able to grasp what is happening without unnecessary explanation. But that is not to say that the narrative is scant, far from it, his descriptions are full, well observed and unambiguous, and his characters are well defined and often eccentric individuals.

Whatever one might feel about the relationship of the two boys, there is no doubting that Sandel is a truly beautiful, tender love story. It is very well written, at times very funny, never sentimental, and with a very satisfying conclusion which avoids any clichés. Now difficult to obtain it is well worth seeking out.

Tony is a choirboy at a British cathedral attached to a great University. He is on the edge of puberty, which has resulted in his treble voice peaking in a final burst of power before it breaks. David is an organ scholar, in his late adolescence.

The two form an emotional attachment, initially based on their mutual love of sacred music. Tony is parentless, and appreciates the guidance and affection that his older friend gives.

Tony's voice is a major role in the novel. Just a few months away from breaking, it has a power that cannot last. Yet while it does, his voice is superb and totally captivates the older man.

The two fall into a physical relationship, more implied than explicitly stated. David likes boys, and finds Tony "Tonimus" alluring. They enjoy a physical intimacy that is diplomatically described in the book by Angus Wilson in sensual rather than sexual tones.

The climax happens when the two are about to go on a vaction to Spain, where David hopes to consumate the relationship. Tony falls on the tarmac below the aircraft, and breaks a leg. This leads to a separation of the two, and interrupts their love affair.

The story concludes in the autumn, with Tony at his new school, his voice broken and puberty underway. He sees David, and in the climactic scene, tells him that "he would let David do it to him". David retorts that at one time it would have been "do it with him". Love has died.

A good treatment of the sometimes controversial topic of consensual love between a boy and a man. Wilson has not published a novel since this, his first effort, in the 1960's.