Michael "Butcher" Boone is an ex-“really famous" painter, now reduced to living in a remote country house and acting as caretaker for his younger brother, Hugh. Alone together they've forged a delicate equilibrium, a balance instantly destroyed when a mysterious young woman named Marlene walks out of a rainstorm and into their lives. Beautiful, smart, and ambitious, she's also the daughter-in-law of the late great painter Jacques Liebovitz. Soon Marlene sets in motion a chain of events that could be the making--or the ruin--of them all.
Theft
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Editorial Reviews
From Publishers Weekly
Vance splits the difference between Cockney and Aussie in his reading of Carey's tale of art and family. At times, he sounds significantly like Michael Caine in his broad working-class tones, elongating his vowels in an English version of a Southern drawl. For other characters, the Australian in Vance wins out, likely reminding American listeners of Crocodile Dundee or the narrator in those Foster's beer commercials. Vance pulls off both styles admirably in reading Carey's book about two brothers, one a painter and the other a childlike innocent, who are drawn into stealing paintings belonging to the father-in-law of a beautiful stranger. Vance does a credible job of echoing the half-tempo cadences of the impaired Slow Bones, bringing the hurtling pace of his reading to a relative halt each time he wrestles with his dialogue, imitating Slow Bones's thick-tongued efforts to translate thought into speech.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Audio CD edition.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Audio CD edition.
From Bookmarks Magazine
While it may not reach the aesthetic heights of his Booker Prize?winning novels Oscar and Lucinda and The True History of the Kelly Gang, Peter Carey's new work is no fraud. His masterful use of voice is present here in the alternating (if unreliable) narration of Michael and his brother Hugh. For all the accomplished circuitousness of his plot and "jewel-encrusted prose" (Esquire), especially that focused on the painting process, the real strength of the novel lies in the relationship between the Boone brothers. In fact, many reviewers feel the thriller premise distracts Carey from his strengths.
Copyright © 2004 Phillips & Nelson Media, Inc. --This text refers to an out of print or unavailable edition of this title.
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Most Helpful Customer Reviews
35 of 37 people found the following review helpful
Format:Hardcover
Peter Carey continues his theme of artistic fraud and deception that he wrote about in his last novel MY LIFE AS A FAKE in THEFT: A LOVE STORY, his latest tour de force. Michael (Butcher) Boone, a once successful Australian painter, is recently divorced and down and out when he meets the magical and beautiful Marlene Lieboviz, who is married to the son of he famous painter Jacques Liebovitz. What follows is a page-turner that is at once the account of a passionate obsession-- Michael and Marlene's-- familial loyalty-- Michael and his "damaged" brother Hugh's-- as well as a tale of intrigue that spans Australia, Japan, the United States and Germany.
Mr. Carey tells his story from the alternating viewpoints of Butcher and his brother Hugh in language that is dense, accurate and often beautiful beyond description. Anyone who has ever ridden in a New York cab will recognize this truth: "The taxis in New York are a total nightmare. I don't know how anybody tolerates them, and I am not complaining about the eviscerated seats, the s----- shock absorbers, the suicidal lefthand turns, but rather the common faith of all those Malaysian Sikhs, Bengali Hindus, Harlem Muslims, Lebanese Christians, Coney Island Russians, Brooklyn Jews, Buddhists, Zarathustrians-- who knows what?--all of them with rock-solid conviction that if you honk your bloody horn the sea will part before you." (p. 194.)Australian petty law enforcement types are described as "midgets of officialdom" who swarm "like a white-ant hatch." Finally Mr. Carey through the voice of Michael, piles paragraph upon paragraph, much as the artist applies layers of paint on his canvases, of beautiful descriptions of Marlene, often in terms of color as you would expect from a painter: "Her eyes. They were what is called baby blue, that is the precise colour of a baby's eyes before the melanin arrives and here was a pleasure even greater than her taut young skin, a clear view of her naked soul-- a deep kind of transparency without a single speck or flaw or smut."
Mr. Carey is one of a handful of writers whose next novel I eagerly await. To read him is to experience the sheer joy of language. After the horrific events of 9/11, Mr. Carey, who now lives in New York City, wrote an eloquent essay about both that city and the U. S. Can't we just claim him as one of our own?
Mr. Carey tells his story from the alternating viewpoints of Butcher and his brother Hugh in language that is dense, accurate and often beautiful beyond description. Anyone who has ever ridden in a New York cab will recognize this truth: "The taxis in New York are a total nightmare. I don't know how anybody tolerates them, and I am not complaining about the eviscerated seats, the s----- shock absorbers, the suicidal lefthand turns, but rather the common faith of all those Malaysian Sikhs, Bengali Hindus, Harlem Muslims, Lebanese Christians, Coney Island Russians, Brooklyn Jews, Buddhists, Zarathustrians-- who knows what?--all of them with rock-solid conviction that if you honk your bloody horn the sea will part before you." (p. 194.)Australian petty law enforcement types are described as "midgets of officialdom" who swarm "like a white-ant hatch." Finally Mr. Carey through the voice of Michael, piles paragraph upon paragraph, much as the artist applies layers of paint on his canvases, of beautiful descriptions of Marlene, often in terms of color as you would expect from a painter: "Her eyes. They were what is called baby blue, that is the precise colour of a baby's eyes before the melanin arrives and here was a pleasure even greater than her taut young skin, a clear view of her naked soul-- a deep kind of transparency without a single speck or flaw or smut."
Mr. Carey is one of a handful of writers whose next novel I eagerly await. To read him is to experience the sheer joy of language. After the horrific events of 9/11, Mr. Carey, who now lives in New York City, wrote an eloquent essay about both that city and the U. S. Can't we just claim him as one of our own?
33 of 36 people found the following review helpful
5.0 out of 5 stars
"Artists are used to humiliation. We start with it and we are always ready to return to real failure."
May 31, 2006
Format:Hardcover
Two-time Booker Prize winner Peter Carey writes his most dazzling novel yet, a send-up of the art world, filled with satire about dealers, auction houses, compulsive collectors, forgers, conservators and technicians, art researchers, catalogue writers, and even the artists themselves. At the same time, he also creates two splendid characters through whose limited vision this world is viewed--Michael "Butcher" Boone, a formerly successful Australian avant-garde artist, now experiencing hard times, and his "slow" brother Hugh, a 220-pound giant with little control over his emotions and a penchant for breaking the little fingers of annoying people.
Butcher, recently released from prison after trying to steal back his own paintings, which were declared "marital assets" during a nasty divorce, is now living in northern New South Wales, as caretaker for the property of his biggest collector. He is also the full-time caretaker of his brother, "Hugh the Poet and Hugh the Murderer, Hugh the Idiot Savant."
When Butcher rescues Marlene Leibovitz from her partially submerged car during a flood, the "chance" meeting has long-range consequences. Marlene is the wife of Olivier Leibovitz, son of Jacques Leibovitz, a world-class artist whose paintings are nearly priceless. She has the power to authenticate Leibovitz paintings (the "droit moral") and effectively controls the Liebovitz market as undocumented paintings surface. She has arrived to document the "Leibovitz" belonging to Butcher's next door neighbor, a painting which promptly disappears.
The involvement of Butcher in a complex scheme to defraud is told in alternating chapters by Butcher and Hugh, whose limited "take" on the characters and action leads to hilarious commentary, which is often more astute and realistic than that of his brother. Butcher, devoted to his artwork, and eventually to Marlene, is a brawling innocent, totally over his head in the international art circles in which he moves in Tokyo and New York, following a sellout show of his work arranged by Marlene. Butcher's narrative reveals his obvious ignorance of the details of the Leibovitz art fraud, increasing the irony and humor and developing suspense about Marlene's intentions.
When the increased financial stakes lead to murder, the complexity of the art fraud is revealed to the reader--and to Butcher. The final chapter, almost an Afterword, gives new meaning to the word "irony." Theft is brilliantly constructed, and in Butcher and Hugh, Carey creates two characters the reader cares about. The art world and its rarified atmosphere are subjected to Carey's rapier wit, and the humor and satire are non-stop. Well known for his word play and sense of the absurd, Carey has outdone himself with this novel, a continuation of the themes he began in My Life as a Fake--and a new comic masterpiece. n Mary Whipple
Butcher, recently released from prison after trying to steal back his own paintings, which were declared "marital assets" during a nasty divorce, is now living in northern New South Wales, as caretaker for the property of his biggest collector. He is also the full-time caretaker of his brother, "Hugh the Poet and Hugh the Murderer, Hugh the Idiot Savant."
When Butcher rescues Marlene Leibovitz from her partially submerged car during a flood, the "chance" meeting has long-range consequences. Marlene is the wife of Olivier Leibovitz, son of Jacques Leibovitz, a world-class artist whose paintings are nearly priceless. She has the power to authenticate Leibovitz paintings (the "droit moral") and effectively controls the Liebovitz market as undocumented paintings surface. She has arrived to document the "Leibovitz" belonging to Butcher's next door neighbor, a painting which promptly disappears.
The involvement of Butcher in a complex scheme to defraud is told in alternating chapters by Butcher and Hugh, whose limited "take" on the characters and action leads to hilarious commentary, which is often more astute and realistic than that of his brother. Butcher, devoted to his artwork, and eventually to Marlene, is a brawling innocent, totally over his head in the international art circles in which he moves in Tokyo and New York, following a sellout show of his work arranged by Marlene. Butcher's narrative reveals his obvious ignorance of the details of the Leibovitz art fraud, increasing the irony and humor and developing suspense about Marlene's intentions.
When the increased financial stakes lead to murder, the complexity of the art fraud is revealed to the reader--and to Butcher. The final chapter, almost an Afterword, gives new meaning to the word "irony." Theft is brilliantly constructed, and in Butcher and Hugh, Carey creates two characters the reader cares about. The art world and its rarified atmosphere are subjected to Carey's rapier wit, and the humor and satire are non-stop. Well known for his word play and sense of the absurd, Carey has outdone himself with this novel, a continuation of the themes he began in My Life as a Fake--and a new comic masterpiece. n Mary Whipple
13 of 14 people found the following review helpful
By Sharon
Format:Paperback
The story is told in alternating chapters by two brothers - renown artist Michael Boone (aka 'Butcher Bones') and his idiot-savante brother, Hugh ('Slow Bones').
Recently released from prison where he was sent for trying to steal his own paintings from his ex-wife (and here is where the alimony whore comes in) he is installed in a country house by his 'sponsor' and begins to make some of the best art of his life. Across huge canvasses he splashes fire and brimstone texts remembered from his violent and abusive childhood, the full scale of which only gradually becomes apparent.
And then one stormy night there walks into his life (in her Manolo Blahniks - important detail) a beautiful young woman who claims to have lost her way. Marlene is the wife of Oliver Leibovitz, son of one of the greatest artists of the century. She's also an accomplised art thief and con-woman. Both brothers fall in love with her ... which fits into her plans just nicely. And thus begins a rollicking tale of art theft and deception which moves from Australia to New York via Tokyo.
Love-story, thriller, comedy ... the novel is all of these. But the greatest strength of the novel is the depiction of the complicated love-hate relationship between the brothers. The interplay of voices is excellent, and the way the two accounts give sometimes contradictory views of events, the "truth" of things falling somewhere between them. Hugh may not be the full shilling, but he is certainly astute and in many ways sees the world more clearly than his brother. I love the way his talk is peppered with phrases picked up from everyone else and is full of malapropisms.
The research for the book seems authoratitive - I knew little beforehand about how the art world works, or how artists feel about their work becoming an item of commerce, or how painting might be forged ... and certainly now I feel interested to learn more.
I love the energy and drive of the writing. One reviewer described the prose as "muscular" and I like that. But the language has a rugged poetry too, particularly during when describing the artist working. We can see the finished canvases and know why they are so brilliant, through the words.
Theft reminds me of a couple of other novels I've enjoyed: Steinbeck's Of Mice and Men (the episode of the dead puppy, Hugh's capacity for sudden violence and the murder at the end - I'm certain this is a reference Carey means us to pick up!), and Headlong by Michael Frayn (also about shady dealings in the art world and very funny). And then of course Carey's there are echoes earlier novels, particularly My Life as a Fake which also tackled the theme of forgery, and True History of the Kelly Gang in the way that Carey recreates the voice of Ned Kelly so brilliantly. And there's Carey's siding all the way with the rascal, the fraudster, the thief, and making us love him too.
Recently released from prison where he was sent for trying to steal his own paintings from his ex-wife (and here is where the alimony whore comes in) he is installed in a country house by his 'sponsor' and begins to make some of the best art of his life. Across huge canvasses he splashes fire and brimstone texts remembered from his violent and abusive childhood, the full scale of which only gradually becomes apparent.
And then one stormy night there walks into his life (in her Manolo Blahniks - important detail) a beautiful young woman who claims to have lost her way. Marlene is the wife of Oliver Leibovitz, son of one of the greatest artists of the century. She's also an accomplised art thief and con-woman. Both brothers fall in love with her ... which fits into her plans just nicely. And thus begins a rollicking tale of art theft and deception which moves from Australia to New York via Tokyo.
Love-story, thriller, comedy ... the novel is all of these. But the greatest strength of the novel is the depiction of the complicated love-hate relationship between the brothers. The interplay of voices is excellent, and the way the two accounts give sometimes contradictory views of events, the "truth" of things falling somewhere between them. Hugh may not be the full shilling, but he is certainly astute and in many ways sees the world more clearly than his brother. I love the way his talk is peppered with phrases picked up from everyone else and is full of malapropisms.
The research for the book seems authoratitive - I knew little beforehand about how the art world works, or how artists feel about their work becoming an item of commerce, or how painting might be forged ... and certainly now I feel interested to learn more.
I love the energy and drive of the writing. One reviewer described the prose as "muscular" and I like that. But the language has a rugged poetry too, particularly during when describing the artist working. We can see the finished canvases and know why they are so brilliant, through the words.
Theft reminds me of a couple of other novels I've enjoyed: Steinbeck's Of Mice and Men (the episode of the dead puppy, Hugh's capacity for sudden violence and the murder at the end - I'm certain this is a reference Carey means us to pick up!), and Headlong by Michael Frayn (also about shady dealings in the art world and very funny). And then of course Carey's there are echoes earlier novels, particularly My Life as a Fake which also tackled the theme of forgery, and True History of the Kelly Gang in the way that Carey recreates the voice of Ned Kelly so brilliantly. And there's Carey's siding all the way with the rascal, the fraudster, the thief, and making us love him too.
Most Recent Customer Reviews
5.0 out of 5 stars
WHAT'S IT WORTH?
Take a little bit of the movie Dominick & Eugene, plus a pinch of Of Mice and Men, throw in a dash of Les Miserables add a magnificent high-stakes art theft, murder and an... Read more
Published 4 months ago by Red Rock Bookworm
1.0 out of 5 stars
Theft
I could not get into this book at all. It was a book club choice for November. I read about 1/4 of the book and just put it down.
Published 6 months ago by Candace Jackson
1.0 out of 5 stars
Just Did Not Get This One
The characters seemed like they should be interesting, but I did not care about any of them. The plot was just a waste of my time. Read more
Published 14 months ago by kim
4.0 out of 5 stars
Excellent but difficult to read
Every carey bool is always worth waiting for and this book is no exception, and as with all of his books, is difficult to classify the genre is belongs to. Read more
Published 20 months ago by Ranga
4.0 out of 5 stars
Humorous
Carey's humor is transcendent in this book. It's the story of Michael, an alcoholic nearing middle age painter who leaves the detritus of his failed marriage and some legal... Read more
Published on April 18, 2011 by Cynthia
5.0 out of 5 stars
Blood ties of ink
"Every artist is a pirate", believes Michael Bones, the protagonist of Peter Carey's "Theft: A love story". To his brother, on the other hand, artists are kings. Read more
Published on March 2, 2011 by A. T. A. Oliveira
2.0 out of 5 stars
Style over substance
Carey is technically a good and clever writer. The story is told from two view points Michael and his mentally handicapped brother Hugh. Read more
Published on November 10, 2010 by James Montgomery
1.0 out of 5 stars
Not worth reading the first chapter
"We are getting dumber every day,'' he said. "We are really, literally, forgetting how to read. We have yet to grasp the fact that consuming cultural junk is completely destructive... Read more
Published on June 16, 2010 by KenEdw
1.0 out of 5 stars
a great sleep aid
I have read many books - some I couldn't put down and some that weren't so interesting; however, this has to rank within the top 10 of the most boring books I have ever read. Read more
Published on November 13, 2009 by Edna Naomi
5.0 out of 5 stars
A dazzling, entertaining romp.
The more I read of Peter Carey, the better I like him. I found "Oscar and Lucinda" tough sledding. "My life as a Fake" explored some interesting ideas, but wasn't altogether... Read more
Published on July 5, 2009 by David M. Giltinan
