Customer Reviews

Too Late the Phalarope

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Until I read "Too Late the Phalarope," I could not imagine a novel richer and more rewarding than "Cry, the Beloved Country." Alan Paton obviously loved South Africa. In "Cry" he wrote of the wretched lives and condition of the black South African. But he imagined a better world through the lives of his major characters.

In "Too Late the Phalarope," published in 1953, five years after "Cry," Paton shows exactly how apartheid negatively affected whites, as well. Instead of murder the central crime in this novel is immorality. Yes, crime. It was on record, meaning against the law, for a white man to have sexual relations with a black South African.

The main character, Pieter van Vlaanderen, taller, stronger, smarter, and more successful than the average Afrikaaner, has a secret sin, a secret guilt: He is attracted to Stephanie, a black South Afrikaaner. What sets Pieter apart from others is his record as a war hero, an efficient lieutenant in the police force, and a celebrated rugby player from his region.

It is not a spoiler if I tell you that Pieter will be destroyed and the family ruined when Pieter is accused of immorality, then proven guilty. One way Paton avoids any description of this ill-gotten pleasure is to have an innocent narrator tell the story. Pieter's aunt, an unmarried woman, never loved by a man, is the narrator. Pieter's journal fills in details the aunt could not know.

Paton raises all sorts of ethical questions in his novel. Can a wife drive a man to another woman if she is unwilling to participate fully in the marriage bed? Does a man develop a weak character, although hidden, because his father is cruel and withholds love? The main question raised several times is this: If God fully forgives, if God gives grace, why then can't the state in crimes such as this? Not only is Pieter ruined, but so is his family, although grace does come into effect in this.

I found "Too Late the Phalarope" (a Phalarope is a bird and no, I cannot explain its meaning in the title), a richer novel than "Cry." It needs an immediate second reading to capture those nuances that run all through the novel that may elude the reader on first reading. And those ethical questions. This is the kind of book that would make an excellent choice for discussion in a book club.

This is the first time I have been so moved by a book that I have written a review of it. When I think of "the lieutenant" and his goodness, his sin, his longing - deep longing - for fulfilled love with his spouse or his father or his G-d, my heart aches. Because of his physical beauty and bearing, others have set him apart. Where is he at home? Not in either of his own homes, not in his own body or mind. Locked in the unforgiving and puritanical society of the Afrikaaners, the lieutenant is doomed to destroy himself and all around him. The characters are multi-layered, fully believable. His Aunt, as narrator, serves as the conscience of the times. She reveals herself as she details the downfall of the family and as she does, she and the captain question man's right to condemn self-righteously - when G-d condemns and then forgives.

In unusual and finely styled language we have sensitive portrayals of many characters and a variety of relationships with the main character Pieter, a larger-than-life hero (called a god by one of the townspeople) who is admired by many but nonetheless cannot ignore "the one misery of [his] life." Apartheid is the environment of this novel, not the focus. The most significant relationship is the one between Pieter and his father Jakob, but crucial to the story are the other father-surrogates: the Captain, Pieter's father-in-law, and most important, his friend Kappie. I have taught this novel to my classes every year for the past twenty-five years or so. I always have students who say to me that it is unlike any other book they have ever read. The book always moves some students to tears. It is truly an unforgettable reading experience.

This is the first of Alan Paton's books that I have read. I was struck by his Steinbeck-ish style of writing (which is fabulous, of course!) But comparison's aside, Paton has crafted an intriguing and extremely meaningful story. I'll avoid going over the plot but suffice to say there was not a moment when I did not feel a strong connection to the characters and their motivations. The views into Pieter's mind contributed to an intense emotional line through the book. Apartheid was not the focus but through Pieter's entries we can definitely understand the horrors of the situation (and perhaps apply the knowledge to our own situations). Truly an inspirational work! I encourage you to read this book ASAP!

What is most remarkable about this book, aside from the fascinating style of language in which it's told, is the fact that apartheid is a "given" in the story. Set in the late '40's-early '50's, it's the story of a God-like young man from a powerful family, who, while outwardly perfect (except for bouts of depression/moodiness) is tortured by his lust. What's nice about reading the book is that the writing is not explicit-it deals more with his wrestling with conscience rather than the lust itself. The apartheid factor weighs heavily on plot, but the author doesn't bemoan the injustice or tragedy of the system, because the narrator is the protagonist's aunt, who has obviously grown up with apartheid and accepts it as fact, with no question. The reader, therefore, comes to their own sense of injustice without having to be told by the author or a character. The result is extremely effective.

I would recommend this book to anyone, young or old, as a great character study and glimpse into a time, not that far gone.

Alan Paton masterfully scripts a young man's descent into a sin that in segregated South Africa was the worst of all sins. Paton writes the narrative from the main character's (Pieter's) Aunt perspective and splices in first person narratives from Pieter's perspective. The Aunt is something of an all-knowing narrator with some limitations.

The novel sort of begins by revealing the conclusion that is also apparent from the novel's description or cover--that the white Lt. commits this grave act. It builds and builds to the final climax of total personal destruction and familial destruction. Paradoxically, there are hints of some type of liberation within the main character that are not really elaborated enough to be more than just hints.

Paton includes much foreshadowing and foreboding leading up to the final act. So it is not a surprise what happens; although, the enormity and devestating effects are.

What Paton has geniusly accomplished in the novel is the absurdity of the lives so many lead that appear moral, noble and successful but are hiding both depravity and suffering. His insights into the relationships and observations of people are a great lesson on male and female souls.

This is disturbing to read but worth it; although the feelings and thoughts I was left with were quite different than I had after reading Cry, the Beloved Country though just as profound.

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I was glad to read here that a teacher regularly assigns this book to his students. It was one of my favorite books years ago. I read it again recently and found new things in it, as one always does with great art. It is relevant to any culture where conformity to tradition and bigotry abound. I think it's a better book than "Cry The Beloved Country." I like its dark center.

This should be given by every father to his thoughtful sons.

The text actually looms further over the reader with each passing chapter. The forboding sense of doom becomes palpable. I found myself intoning, "no...no..." -- wishing the inevitable could be avoided, that the book would rewrite itself ahead of my reading.

This text perhaps more than any other has left me with a sense of wonder about the author himself. Anyone capable of writing such a text simply has to be a heckuva human being.

It makes me wish I could have known Alan Paton as friend. He was obviously a man's man.

Probably one of the best books I've ever read. Well-paced, beautifully written and sad as all heck. Lots of good Afrikaans; I can imagine that aspect might be a struggle for some. I believe this book to be superior to 'Cry the Beloved Country', which is saying a lot.

A wonderful, wonderful, beautifully written book. It portrays with compassion, grace and understanding, the state of aparteid in South Africa.