The Woman and the Ape (G K Hall Large Print Book Series) [Large Print] [Hardcover]

Peter Hoeg (Author), Barbara Haveland (Author, Translator)

Book Description

Series: G K Hall Large Print Book Series | Publication Date: March 1997

General FictionLarge Print EditionHoeg is an adventurous and intelligent writer whose future course seems happily, impossible to predict . . . one of the essential contemporary novelists. starred, Kirkus ReviewsNo imaginative writer today is more daring than Danish novelist Peter Hoeg. starred, Booklist* A Literary Guild Main SelectionAn hour after nightfall the ape rose, wrapped an arm around Madelene, parted the screen of leaves at a shadowed spot, and leaped, almost horizontally, into what seemed to Madelene to be a pitch-black void. Madelene Burden is a Danish beauty who lives in an alcoholic haze while her husband, Adam, a behavioral scientist, dreams of restoring the London Zoo to its original glory. Hes about to get his chance with Erasmus, a 300-pound gorilla unlike any other. But a spark ignites between Madelene and Erasmus and begins a love affair as emotionally and erotically charged as any male-female relationship can be and a revelation that stuns the world.

Editorial Reviews

Amazon.com Review

Peter Høeg, author of the international bestseller Smilla's Sense of Snow, has written a fable that explores our human status as inhabitants of paradise lost, and the trade-off between civilization and freedom. The story begins with a captured ape, dubbed Erasmus, a specimen of an apparently new species with a cognitive ability that seems to rival human capacities. Erasmus is rescued from scientific study and experimentation by Madelene, whose husband, Adam, is the zoo director. Escaping to an Eden-like nature reserve, Madelene finds an empathy with Erasmus that develops into a wild sexual liberation. When the pair emerge from Eden to try to stop Adam continuing researches on others of Erasmus' kind, paradise dissolves, and civilization wins out. Read an interview with Peter Høeg. --This text refers to an out of print or unavailable edition of this title.

From Publishers Weekly

No one will ever be able to claim that HYeg doesn't know how to hook a reader. The newest ecothriller by the author of Smilla's Sense of Snow opens with the deceptively simple sentence: "An ape was approaching London." What the vague syntax and flat affect omit could (and does) fill a book. For instance, the "ape"-who's dubbed Erasmus-turns out not to be "some sort of dwarf chimpanzee" as eminent zoologist Adam Burden claims, but a brand new species of ape that just might have the potential for language and higher cognitive functions. The opening line gives little indication of the hubbub Erasmus will raise in a few short paragraphs when he causes the Ark, the ship that has carried him captive to London, to lose its crew and plow mast-first into busy St. Katharine's Dock. Or, a few pages later, when he leads Dr. Burden and his minions on a merry chase through the streets of London. Or, a couple of chapters down the road, when Erasmus seduces Madelene, who just happens to be Burden's beautiful alcoholic wife, and takes her away for a week-long lovefest at a wild animal park. The first line gives no indication of all this because the story and its characters are mere window-dressing for HYeg. While he's a fluid writer who is competent at telling stories, it's in the realm of ideas that he excels. There are long passages in which he analyzes Erasmus and human emotions and London itself in terms that are by turns mechanistic and organic. On one page, London is a "gigantic mycelium," a fungus. On a later page, we discover that London is a worn-out machine," full of blind spots and flat points." At the end of this fine and diverting novel, Madelene explains how she's always pictured angels, and her definition could as easily stand for Erasmus or London or even the Earth. "It's one third god, one third animal, and one third human." 100,000 first printing; major ad/promo. (Dec.) FYI: The movie version of Smilla's Sense of Snow, starring Julia Ormond and Gabriel Byrne, is scheduled for release in March 1997.
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

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Product Details

• Hardcover: 329 pages
• Publisher: G K Hall & Co (March 1997)
• Language: English
• ISBN-10: 0783880685
• ISBN-13: 978-0783880686
• Product Dimensions: 9.4 x 6 x 1.3 inches
• Shipping Weight: 1.6 pounds
• Average Customer Review: 3.6 out of 5 stars  See all reviews (29 customer reviews)
• Amazon Best Sellers Rank: #6,306,520 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

8 of 8 people found the following review helpful:

4.0 out of 5 stars "We call ourselves 'people.' You, we call 'animals.'", June 18, 2005

By 

Mary Whipple (New England) - See all my reviews
(TOP 50 REVIEWER)    (COMMUNITY FORUM 04)    (HALL OF FAME REVIEWER)   

This review is from: The Woman and the Ape (Paperback)

Though "humorous" is not a word usually associated with Peter Hoeg, The Woman and the Ape, with its irony and satire, is very, very funny. An ape of unknown primate species escapes smugglers at the docks of London, only to be captured by animal researchers and primatologists, who intend to advance human knowledge--and themselves--through their testing and research on him.

The ape, named Erasmus, is actually more intelligent than the men who are testing him secretly at the estate of Adam Burden, a zoolological research director. When Madelene, Burden's alcoholic wife, discovers Erasmus, she helps him escape, and the two go off together. Establishing their own Garden of Eden in a protected forest outside of London, Erasmus and Madelene enjoy seven weeks of mutual discovery, learning, and eventually love, hidden from the outside world. When Erasmus learns to speak English and Madelene's native language, Danish, the two return to London.

Hoeg is brutally satiric of British society and academia as Adam Burden, his evil sister Andrea, the scientific community, the smuggling network, and virtually all other humans are shown to be arrogant in their assumptions about the relationship of men and animals. They will be taught an object lesson, and Madelene and Erasmus are only too happy to provide it. Themes of freedom vs. captivity (real and symbolic), man's role in the evolutionary scheme of things, and the fragility of the environment are developed, none too subtly, as the ape proves his superiority to "civilized" humanity. When asked what he calls the other members of his species, Erasmus replies, "People," indicating that humans would be considered "animals" where he lives.

This satire/sci-fi novel, though intriguing, is strange, becoming even stranger with its interspecies love affair. Madelene is a shallow character with no charm, more apt to lose her inhibitions as a result of alcohol than from any deep feeling. Structurally, the novel falls into two parts--the arrival of the ape, his discovery by Madelene, and their escape, which has some hilarious and even empathetic moments to it--followed by their idyll in a nature preserve and their return to London, a section which is very didactic, fraught with environmental messages and social criticism.

The conclusion, which incorporates many surprises, is a dramatically appropriate tour de force, which outweighs many of the novel's other problems. Perhaps too long to carry the burden of its message, Hoeg's novel is still daring and full of unique images and twists--the product of a creative author whose next novel I eagerly await. Mary Whipple

5 of 5 people found the following review helpful:

5.0 out of 5 stars Are humans not also animals?, October 1, 2008

By 

Jason (Funkytown) - See all my reviews
(VINE VOICE)   

This review is from: The Woman and the Ape: A Novel (Paperback)

Perhaps meant as fable, "Woman and the Ape" assaults readers with themes of sentience, instinct, freedom, animal cruelty, evolution, and the wicked, selfish pursuits of contemporary humans in a civilized, Westernized society. Even more, the real question posited by the fabulous mind and writing of William Hoeg is: "What makes someone or something an animal? Are humans not also animals?"

Mindlessly passing the day in a drunken haze, Madelene Burden is an alcoholic who lives an aristocratic life via the reputation and riches her husband Adam Burden has amassed as a zoological research director. Along with his callous sister Andrea, the niche Adam has managed to carve out in London society is quite impressive. Everything in Madelene's life is status quo, until Erasmus arrived.

Primate smugglers delivering a specimen to London soon face a catastrophe, as the ape sabotages rigging and causes a dock crash. Escaping the chaos, the ape is soon found, captured, and brought to the labs at Adam Burden's house. The ape's name is Erasmus, and he would soon change everyone's life.

When Madelene notices her carafe of liquor is empty one day, she bibulously searches the manor. Soon she realizes that her workaholic husband is secretly home with a new, unreported subject. Previously spineless, Madelene is invigorated by the intrigue, and after discussions with an uninvolved physician with whom she shared knowledge and drawings of the animal, she soon realizes there is something unique about Erasmus and clandestinely frees him. During their escape, the two learn to care for one another, and she discovers that he may possess distinctly humanistic characteristics. Confronted with power and corruption only the very wealthy possess, the two are soon cornered and forced to make a difficult decision. They bound towards freedom and establish a quaint yet reclusive life amongst the trees of a protected forest outside of London.

It is during this portion of the book that Hoeg expands upon the conventional concepts of the differences between man and animal. Approached with eloquent timidity, Hoeg also broaches the tempest in a teapot of bestiality or interspecies intercourse. However, that may be the entire point: if the boundaries between man and animal are blurred, is the perversion perverse?

Erasmus is often better than man; he doesn't display the ability to passively lie or exaggerate like humans do until influenced by the same cynical human minds. His purity is displayed when he's shown to learn language as a young child does, picking up a complex understanding of English and rudimentary Dutch during his solitude with Madelene. A true indication of the book's overall message, Erasmus refers to humans as the animals, and himself as a person. It's that humanity has become twisted and hedonistic; blurring the line between sentient action and carnal instinct, as if Hoeg believes humankind has devolved in some ways. Given our current culture, sometimes I tend to agree.

Side-swiping the reader like a slap in the face, the curt, surprise ending is absolutely flawless. Within a few pages, the entire thesis of Hoeg's work becomes as undeniable as evolution itself, that despite the absence of the proverbial missing link, our actions alone serve as proof to our species' link to simian brothers.

This is near the top of my short list of unique books that will challenge a reader mentally while providing a creative and entrancing storyline from which it's impossible to wander. HIGHLY RECOMMENDED.

6 of 7 people found the following review helpful:

4.0 out of 5 stars Wow!, March 7, 2008

By 

J. Stensrude (Houston, Texas) - See all my reviews
(REAL NAME)   

This review is from: The Woman and the Ape: A Novel (Paperback)

Think Yann Martel's Life of Pi, Shepherd Mead's The Great Ball of Wax, and Doris Lessing's The Fifth Child and its sequel, Ben, In His World, then throw in a dash of Planet of the Apes. Reminiscent of Doris Lessing's speculative fiction, Hoeg convincingly grounded me in a mundane present (albeit it a very privileged one) before easing me, in rapid succession, from poor-little-rich-girl-trapped-in-her-bed-of-roses to thriller to science fiction teetering on the edge of speculative fiction. With only a few pages to go, the plot satisfyingly resolves and fades into the sunset with a pleasantly tentative happy-ever-after. The roller coaster has slowed before coming to a complete stop, yet I shut the book still breathless and slightly titillated from the ride. Hoeg has created characters that are just three dimensional enough to get by. This is not a criticism. Madelene, Erasmus, Adam and all the rest are types, maybe archetypes; the story seems to demand that to maintain a grip on the reader's emotions and to create a foil for its inherent humor. With this busy, rich plot, Hoeg still manages luxurious, descriptive passages of London's cityscape and pithy comment on politics and the general silliness of human beings. The latter is somewhat the point of his tale. This would make a great romp of a film.