- Amazon Business : For business-only pricing, quantity discounts and FREE Shipping. Register a free business account
Other Sellers on Amazon
+ Free Shipping
+ Free Shipping
+ $3.99 shipping
Follow the Author
OK
Fifth Business (Deptford Trilogy) Paperback – January 1, 2001
|
Robertson Davies
(Author)
Find all the books, read about the author, and more.
See search results for this author
Are you an author?
Learn about Author Central
|
|
Price
|
New from | Used from |
|
Audible Audiobook, Unabridged
"Please retry"
|
$0.00
|
Free with your Audible trial | |
|
Mass Market Paperback
"Please retry"
|
$3.25 | $2.00 |
|
MP3 CD, Audiobook, MP3 Audio, Unabridged
"Please retry"
|
$10.69 | $9.95 |
-
Kindle
$11.99 Read with Our Free App -
Audiobook
$0.00 Free with your Audible trial -
Hardcover
$987.253 Used from $775.00 2 New from $919.00 -
Paperback
$15.9984 Used from $2.95 16 New from $11.66 1 Collectible from $9.99 -
Mass Market Paperback
$3.2523 Used from $2.00 5 New from $3.25 2 Collectible from $4.00 -
MP3 CD
$10.692 Used from $9.95 4 New from $10.69
-
Print length252 pages
-
LanguageEnglish
-
PublisherPenguin Classics
-
Publication dateJanuary 1, 2001
-
Grade level12 and up
-
Reading age18 years and up
-
Dimensions7.76 x 5.2 x 1.05 inches
-
ISBN-100141186151
-
ISBN-13978-0141186153
The Amazon Book Review
Book recommendations, author interviews, editors' picks, and more. Read it now
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
-
Apple
-
Android
-
Windows Phone
-
Android
|
Download to your computer
|
Kindle Cloud Reader
|
Frequently bought together
Customers who viewed this item also viewed
Hamlet ( Folger Library Shakespeare)Mass Market Paperback
Memoirs of Hadrian (FSG Classics)Paperback
The Oresteia: Agamemnon; The Libation Bearers; The EumenidesPaperback
Rosencrantz and Guildenstern Are DeadPaperback
The Stone Angel (Phoenix Fiction)Paperback
The Castle of Crossed DestiniesPaperback
Customers who bought this item also bought
The Manticore (Deptford Trilogy)Paperback
World of Wonders (Deptford Trilogy)Paperback
Woman at Point ZeroNawal El SaadawiPaperback
The Deptford Trilogy: Fifth Business; The Manticore; World of WondersPaperback
The Awakening (100th Anniversary Edition & Non-Illustrated Classic)Paperback
The VisitPaperback
Special offers and product promotions
Editorial Reviews
Review
—Kelly Link
“The Deptford Trilogy boldly commingles the extraordinary and the everyday, at times attaining what Davies once called, in talking about melodrama, ‘the compelling immediacy of a dream.’”
—Michael Dirda
From the Publisher
INTRODUCTION
"We move through a throng of Sleeping Princesses, Belles Dames sans merci, Cinderellas, Wicked Witches, Powerful Wizards, Frog Princes, Lucky Third Sons, Ogres, Dwarves, Sagacious Animal Helpers and Servers, yes and Heroes and Heroines, in a world that is nothing less than an enchanted landscape."
Robertson Davies
Myth, magic, and miracles, freaks, saints, and devils--such is the world of wonders unleashed by a simple snowball thrown in the village of Deptford in 1908.
Fifth Business is Davies's masterwork, the book that cemented his reputation as one of the great storytellers of our time. When the book appeared in 1970, he had already published the three books of his Salterton Trilogy, which won him recognition in his native Canada as an incisive cultural critic and an endlessly entertaining novelist. He had struck a note near Mark Twain in his portrayal of small-town culture, satirizing the residents' pious absurdities without seeming cruel, dramatizing their dreams and good intentions without becoming sentimental.
With Fifth Business, he plumbed new artistic and spiritual depths. The opening scene, which he envisioned taking place at his boyhood home in Thamesville, Ontario, haunted Davies from the first time it appeared to him in about 1960 until he began to draft the novel ten years later: "It was simply a scene that kept occurring in my mind, which was of two boys on a village street on a winter night--I knew from the look of the atmosphere that it must be just around Christmas-time--and one boy threw a snowball at the other boy. Well, that was all there was to it, but it came so often and was so insistent that I had to ask myself, Why is that boy doing that and what is behind this and what is going on?"
Many elements of the novel that emerged from this vision were drawn from Davies's early childhood. Like Dunstable Ramsay's father, Davies's father was the one-man publisher of a village newspaper, and Davies grew up in the newspaper business. "In a newspaper family," he said, "you learn not only all the news that's fit to print, but all the news that is not fit to print, and you acquire an insight into human nature and the essence of a community which is very hard to acquire . . . in any other way."
Like his protagonist in Fifth Business, Davies was raised in the Presbyterian Church. Although he eventually rejected its particular doctrines, he retained a strongly religious temperament. His spiritual explorations ultimately found resonance in the works of Carl Gustav Jung. "Orthodox Christianity has always had for me the difficulty that it really won't come . . . to grips with the problem of evil," Davies said. "What looks good can be pushed to the point that it becomes evil, and . . . evil very frequently bears what can only be regarded as good fruit." Jung had portrayed God as a psychological reality that embraced polarities of good and evil, light and shadow; the devil is an inextricable part of him. One had to confront this shadow face-to-face in order to live a moral life. "The devil is the unexamined side of life," Davies said, "and the great evils spring from acting without knowledge of your subconscious intentions."
Davies was also drawn to Jung's deities because they had womanly as well as manly faces, faces that are reflected in his portrayal of Mary Dempster. Here were the feminine elements he found woefully lacking in Christianity, with its focus on God the Father and the Son. In Jung's landscape of the psyche, Davies found a theoretical grounding for the diverse representations of human quest and conflict he had come to appreciate. Beyond the Judeo-Christian literary tradition was a rich world of folk tales, myths, ghost stories, and legends that were sacred in their own way, striking deep spiritual chords in our unconscious. From this same sensibility sprang Davies's lifelong interest in saints, which he, like Ramsay, appreciated not as narrowly defined religious figures, but as archetypes of universal characters and tales.
The remarkable events that unfold in this "enchanted landscape" owe much to Davies's lifelong love of the theater. From boyhood he was drawn to the traveling circus, the magic show, and the movie palace. Over the course of his career he worked for the Old Vic Repertory Company in London, wrote a dozen plays, and was one of the founders of the Stratford Shakespeare Festival. His passion for theater was so intense that his novels have sometimes been criticized for their theatricality: How does Ramsay just happen to meet Paul Dempster repeatedly in his travels, and how does Surgeoner "randomly" pick Ramsay from the crowd at Colborne College? But such theatrical events--call them coincidence or fate--lie at the heart of Davies's worldview. "I'm not in any way a devotee of realism," said Davies, "and the theatre is never realistic, even when it's pretending to be intensely so." The meaningful stories in our lives are dramatic rather than naturalistic, remarkable rather than random.
This appreciation of the theater of the inner life could come only with age. Davies was in his fifties when he explored these demons of youth in Fifth Business, and the result is a captivating narrative stance. While working on the manuscript, he wrote, "It is autobiographical, but not as young men would do it; it will be rather as Dickens wrote David Copperfield--a fictional reworking of some things experienced and much rearranged--a spiritual autobiography in fact, and not a sweating account of the first time I backed a girl into a corner." Davies's protagonist frequently distances himself from immediate events, adding the tincture of age and humor to vividly recalled experience.
The unforgettable tone that arises from this perspective has been characterized as a hybrid of satire and romance. Davies somehow manages to marry these seemingly incompatible viewpoints, delighting in his own former naiveté and the follies of his youth while maintaining a fundamental earnestness about Ramsay's aspirations. It is the voice of a man at mid-life who has taken unusual paths, who is fascinated by the possibilities that lie before him, and who has lost neither his youthful seriousness nor his sense of humor.
Despite his established reputation in Canada, Davies was little known to U.S. readers and reviewers when Fifth Business was published in 1970. The American reception was exuberant, propelling the novel to bestseller lists in both the U.S. and Canada. Christopher Lehmann-Haupt described it in the New York Times as "a marvelously enigmatic novel . . . elegantly written and driven by irresistible narrative. One thinks of The Magic Mountain and The French Lieutenant's Woman, although Mr. Davies hardly needs Thomas Mann and John Fowles to prop him up."
Other reviewers praised the remarkable range of erudition he conveys in his works. Saints and card tricks, brandy and psychology, linguistics and bearded ladies are all objects of his insatiable curiosity. Davies is modest about the range of his learning, pointing out that some academics thought Shakespeare must have been a sailor because of the convincing seaman's slang in The Tempest: "It's all hooey. Shakespeare had a few telling details which he injected into his plays that made them seem realistic, and I have the same in my novels." A veteran once asked Davies where he had served in France during the Great War, for only a soldier could have captured the mud and panic of the trenches so vividly. Davies had to reply that he was in the cradle at the time. Similarly, his fictional prescription for bringing an ailing cello back to its true voice with a poultice of horse manure was pure fancy. Even the definition of "Fifth Business" that opens the bookcited from a dull, untranslated account of Danish theater and first taken as yet another example of Davies's eccentric knowledgewas revealed to be entirely fictional when the Norwegian edition of the book was published (although the notion it conveys of "Fifth Business" in the theater is quite accurate).
The key is to be convincing, true to the spirit rather than to mere facts. As Davies described the art of writing:
If you're a writer . . . you're a descendent of those medieval storytellers who used to go into the square of a town and spread a little mat on the ground and sit on it and beat on a bowl and say, 'If you give me a copper coin I will tell you a golden tale.' If the storyteller had what it took, he . . . told them a golden tale until it got to the most exciting point and then he passed the bowl again.
His storytelling prowess earned him frequent comparisons to Charles Dickens--a comparison of which he was not overly fond. The authors he admired included Victor Hugo, Honore de Balzac, Anthony Trollope, Evelyn Waugh, and Daniel Defoe, all very different writers, but all possessing what he called shamanstvo--the enchanter quality, from the word shaman. Like Dickens, Davies had a flair for the dramatic and could sketch a secondary character unforgettably in just a few lines (the portraits of Rev. Leadbeater, Orph Wettenhall, and Boy's stepdaughter Lorene in Fifth Business, for example). But he was more daring in his experiments with form than he is often given credit for, and his novelistic objectives are decidedly modern rather than Victorian.
As Michiko Kakutani wrote in the New York Times, Davies "has created a rich oeuvre of densely plotted, highly symbolic novels that not only function as superbly funny entertainments but also give the reader, in his character's words, a deeper kind of pleasure delight, awe, religious intimations, a fine sense of the past, and of the boundless depth and variety of life."
DISCUSSION QUESTIONS
1. When Percy Boyd Staunton denies his share of responsibility for the snowball that hit Mrs. Dempster and caused her premature labor, Dunstable Ramsay feels the full weight of guilt on his shoulders. Even years later, when he seeks out Mrs. Dempster again, he is highly sensitive to the magistrate's charge: "Guilt . . . somebody bears it to this day!" Why does he feel this guilt so keenly? To what extent is he responsible for Paul's fate? For Staunton's?
2. Many of the characters in Fifth Business change their names. Dunstable Ramsay becomes Dunstan, Percy Boyd Staunton becomes Boy Staunton, Paul Dempster becomes Faustus Legrand and later Magnus Eisengrim. What happens when each of them is "born again"? Which aspects of their characters endure, and which are transformed?
3. Young Dunstable's flight from his mother colors the rest of his life. When he contemplates his relationship with Diana, his first lover, he shuns the motherly quality of her affection: "I had no intention of being anyone's dear laddie, ever again." How and why do the other men in the novel (Boy Staunton, Paul Dempster) flee their mothers? What are they seeking in a woman? How are the ideal and the reality of motherhood and womanhood conveyed in Ramsay's reflections on the virgin Mary?
4. "People marry most happily with their own kind," Davies once wrote. "The trouble lies in the fact that people usually marry at an age where they do not really know what their own kind is." What would have happened if Dunstan had married Leola? What kind of marriage would have better suited Boy?
5. "If you think her a saint, she is a saint to you," says Padre Blazon of Ramsay's fascination with Mary Dempster. What place does she come to occupy in his psychological landscape? Why is he so possessive of her, refusing to ask for Boy's assistance for her care?
6. King Edward VIII of England was forced to abdicate in 1936 after less than a year in office because he wanted to marry Wallis Simpson, a twice-divorced American who was felt to be an unacceptable Queen. Why was this such a bitter blow to Boy? What did Edward represent to him? 7. If Ramsay is truly "Fifth Business," as Liesl describes, who are the hero and heroine, sorceress, and villain of the story? Do they correspond to the "usual cabal" described at the book's conclusion? Who are "the Basso and the Brazen Head" Liesl refers to in her letter? Who was the woman Boy knew and the woman he didn't know?
8. Ganymede was a beautiful Trojan prince who was seized and carried to Olympus by Zeus's eagle to become the cup-bearer of the gods. Ramsay suggests that Boy's corporate proteges were expected to fill that role. What did he want from them, and why did they always disappoint him?
9. "I seem to have emerged as a moralist; my novels are a moralist's novels," Davies said of his work. Certainly they are not moralistic in a conventional religious sense. In what sense are they moralistic? Ramsay tells Boy, "You created a God in your own image, and when you found out he was no good you abolished him. It's a quite common form of psychological suicide." What kind of God has Ramsay set up for himself? What light is shed on his moral character by his discussions of the devil? His talk with Surgeoner about fictional testimonials?
10. Fifth Business has sometimes been read as an allegory of Canada's struggle for recognition and identity. Who do you think plays the part of the U. S. in this interpretation? What devils might Canada have to address to develop fully as a nation?
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
I
Mrs. Dempster
1
My lifelong involvement with Mrs. Dempster began at 5:58 o'clock p.m. on 27 December 1908, at which time I was ten years and seven months old.
I am able to date the occasion with complete certainty because that afternoon I had been sledding with my lifelong friend and enemy Percy Boyd Staunton, and we had quarrelled, because his fine new Christmas sled would not go as fast as my old one. Snow was never heavy in our part of the world, but this Christmas it had been plentiful enough almost to cover the tallest spears of dried grass in the fields; in such snow his sled with its tall runners and foolish steering apparatus was clumsy and apt to stick, whereas my low-slung old affair would almost have slid on grass without snow.
The afternoon had been humiliating for him, and when Percy was humiliated he was vindictive. His parents were rich, his clothes were fine, and his mittens were of skin and came from a store in the city, whereas mine were knitted by my mother; it was manifestly wrong, therefore, that his splendid sled should not go faster than mine, and when such injustice showed itself Percy became cranky. He slighted my sled, scoffed at my mittens, and at last came right out and said that his father was better than my father. Instead of hitting him, which might have started a fight that could have ended in a draw or even a defeat for me, I said, all right, then, I would go home and he could have the field to himself. This was crafty of me, for I knew it was getting on for suppertime, and one of our home rules was that nobody, under any circumstances, was to be late for a meal. So I was keeping the home rule, while at the same time leaving Percy to himself.
As I walked back to the village he followed me, shouting fresh insults. When I walked, he taunted, I staggered like an old cow; my woollen cap was absurd beyond all belief; my backside was immense and wobbled when I walked; and more of the same sort, for his invention was not lively. I said nothing, because I knew that this spited him more than any retort, and that every time he shouted at me he lost face.
Our village was so small that you came on it at once; it lacked the dignity of outskirts. I darted up our street, putting on speed, for I had looked ostentatiously at my new Christmas dollar watch (Percy had a watch but was not let wear it because it was too good) and saw that it was 5:57; just time to get indoors, wash my hands in the noisy, splashy way my parents seemed to like, and be in my place at six, my head bent for grace. Percy was by this time hopping mad, and I knew I had spoiled his supper and probably his whole evening. Then the unforeseen took over.
Walking up the street ahead of me were the Reverend Amasa Dempster and his wife; he had her arm tucked in his and was leaning towards her in the protective way he had. I was familiar with this sight, for they always took a walk at this time, after dark and when most people were at supper, because Mrs. Dempster was going to have a baby, and it was not the custom in our village for pregnant women to show themselves boldly in the streets-not if they had any position to keep up, and of course the Baptist minister's wife had a position. Percy had been throwing snowballs at me, from time to time, and I had ducked them all; I had a boy's sense of when a snowball was coming, and I knew Percy. I was sure that he would try to land one last, insulting snowball between my shoulders before I ducked into our house. I stepped briskly-not running, but not dawdling-in front of the Dempsters just as Percy threw, and the snowball hit Mrs. Dempster on the back of the head. She gave a cry and, clinging to her husband, slipped to the ground; he might have caught her if he had not turned at once to see who had thrown the snowball.
I had meant to dart into our house, but I was unnerved by hearing Mrs. Dempster; I had never heard an adult cry in pain before and the sound was terrible to me. Falling, she burst into nervous tears, and suddenly there she was, on the ground, with her husband kneeling beside her, holding her in his arms and speaking to her in terms of endearment that were strange and embarrassing to me; I had never heard married people-or any people-speak unashamedly loving words before. I knew that I was watching a "scene," and my parents had always warned against scenes as very serious breaches of propriety. I stood gaping, and then Mr. Dempster became conscious of me.
"Dunny," he said-I did not know he knew my name-"lend us your sleigh to get my wife home."
I was contrite and guilty, for I knew that the snowball had been meant for me, but the Dempsters did not seem to think of that. He lifted his wife on my sled, which was not hard because she was a small, girlish woman, and as I pulled it towards their house he walked beside it, very awkwardly bent over her, supporting her and uttering soft endearment and encouragement, for she went on crying, like a child.
Their house was not far away-just around the corner, really-but by the time I had been there, and seen Mr. Dempster take his wife inside, and found myself unwanted outside, it was a few minutes after six, and I was late for supper. But I pelted home (pausing only for a moment at the scene of the accident), washed my hands, slipped into my place at table, and made my excuse, looking straight into my mother's sternly interrogative eyes. I gave my story a slight historical bias, leaning firmly but not absurdly on my own role as the Good Samaritan. I suppressed any information or guesswork about where the snowball had come from, and to my relief my mother did not pursue that aspect of it. She was much more interested in Mrs. Dempster, and when supper was over and the dishes washed she told my father she thought she would just step over to the Dempsters' and see if there was anything she could do.
On the face of it this was a curious decision of my mother's, for of course we were Presbyterians, and Mrs. Dempster was the wife of the Baptist parson. Not that there was any ill-will among the denominations in our village, but it was understood that each looked after its own, unless a situation got too big, when outside help might be called in. But my mother was, in a modest way, a specialist in matters relating to pregnancy and childbirth; Dr. McCausland had once paid her the great compliment of saying that "Mrs. Ramsay had her head screwed on straight"; she was ready to put this levelness of head at the service of almost anybody who needed it. And she had a tenderness, never obviously displayed, for poor, silly Mrs. Dempster, who was not twenty-one yet and utterly unfit to be a preacher's wife.
So off she went, and I read my Christmas annual of the Boy's Own Paper, and my father read something that looked hard and had small print, and my older brother Willie read The Cruise of the "Cachalot," all of us sitting round the baseburner with our feet on the nickel guard, till half-past eight, and then we boys were sent to bed. I have never been quick to go to sleep, and I lay awake until the clock downstairs struck half-past nine, and shortly after that I heard my mother return. There was a stovepipe in our house that came from the general living-room into the upstairs hall, and it was a fine conductor of sound. I crept out into the hall-Willie slept like a bear-put my ear as near to it as the heat permitted and heard my mother say:
"I've just come back for a few things. I'll probably be all night. Get me all the baby blankets out of the trunk, and then go right down to Ruckle's and make him get you a big roll of cotton wool from the store-the finest he has-and bring it to the Dempsters'. The doctor says if it isn't a big roll to get two."
"You don't mean it's coming now?"
"Yes. Away early. Don't wait up for me."
But of course he did wait up for her, and it was four in the morning when she came home, self-possessed and grim, as I could tell from her voice as I heard them talking before she returned to the Dempsters'-why, I did not know. And I lay awake too, feeling guilty and strange.
That was how Paul Dempster, whose reputation is doubtless familiar to you (though that was not the name under which he gained it), came to be born early on the morning of 28 December in 1908.
2
In making this report to you, my dear Headmaster, I have purposely begun with the birth of Paul Dempster, because this is the cause of so much that is to follow. But why, you will ask, am I writing to you at all? Why, after a professional association of so many years, during which I have been reticent about my personal affairs, am I impelled now to offer you such a statement as this?
It is because I was deeply offended by the idiotic piece that appeared in the College Chronicle in the issue of midsummer 1969. It is not merely its illiteracy of tone that disgusts me (though I think the quarterly publication of a famous Canadian school ought to do better), but its presentation to the public of a portrait of myself as a typical old schoolmaster doddering into retirement with tears in his eyes and a drop hanging from his nose. But it speaks for itself, and here it is, in all its inanity:
FAREWELL TO THE CORK
A feature of "break-up" last June was the dinner given in honour of Dunstan ("Corky") Ramsay, who was retiring after forty-five years at the school, and Assistant Head and Senior History Master for the last twenty-two. More than 168 Old Boys, including several MPs and two Cabinet Ministers, were present, and our able dietician Mrs. Pierce surpassed herself in providing a truly fine spread for the occasion. "Corky" himself was in fine form despite his years and the coronary that laid him up following the death of his lifelong friend, the late Boy Staunton, D.S.O., C.B.E., known to us all as an Old Boy and Chairman of the Board of Governors of this school. He spoke of his long years as a teacher and friend to innumerable boys, many of whom now occupy positions of influence and prominence, in firm tones that many a younger man might envy.
"Corky's" career may serve both as an example and a warning to young masters for, as he said, he came to the school in 1924 intending to stay only a few years and now he has completed his forty-fifth. During that time he has taught history, as he sees it, to countless boys, many of whom have gone on to a more scientific study of the subject in the universities of Canada, the U.S., and the U.K. Four heads of history departments in Canadian universities, former pupils of "Corky's," were head-table guests at the dinner, and one of them, Dr. E. S. Warren of the University of Toronto, paid a generous, noncritical tribute to "The Cork," praising his unfailing enthusiasm and referring humorously to his explorations of the borderland between history and myth.
This last subject was again slyly hinted at in the gift presented to "Corky" at the close of the evening, which was a fine tape recorder, by means of which it is hoped he may make available some of his reminiscences of an earlier and undoubtedly less complicated era of the school's history. Tapes recording the Headmaster's fine tribute to "Corky" were included and also one of the School Choir singing what must be "The Cork's" favourite hymn-never more appropriate than on this occasion!-"For all the saints, Who from their labours rest." And so the school says, "Good-bye and good luck, Corky! You served the school well according to your lights in your day and generation! Well done, thou good and faithful servant!"
There you have it, Headmaster, as it came from the pen of that ineffable jackass Lorne Packer, M.A. and aspirant to a Ph.D. Need I anatomize my indignation? Does it not reduce me to what Packer unquestionably believes me to be-a senile, former worthy who has stumbled through forty-five years of teaching armed only with a shallow, Boy's Book of Battles concept of history, and a bee in his bonnet about myth-whatever the dullard Packer imagines myth to be?
I do not complain that no reference was made to my V.C.; enough was said about that at the school in the days when such decorations were thought to add to the prestige of a teacher. However, I think something might have been said about my ten books, of which at least one has circulated in six languages and has sold over three-quarters of a million copies, and another exerts a widening influence in the realm of mythic history about which Packer attempts to be jocose. The fact that I am the only Protestant contributor to Analecta Bollandiana, and have been so for thirty-six years, is ignored, though Hippolyte Delehaye himself thought well of my work and said so in print. But what most galls me is the patronizing, dismissive tone of the piece-as if I had never had a life outside the classroom, had never risen to the full stature of a man, had never rejoiced or sorrowed or known love or hate, had never, in short, been anything except what lies within the comprehension of the donkey Packer, who has known me slightly for four years. Packer, who pushes me toward oblivion with tags of Biblical quotation, the gross impertinence of which he is unable to appreciate, religious illiterate that he is! Packer and his scientific view of history! Oh God! Packer, who cannot know and could not conceive that I have been cast by Fate and my own character for the vital though never glorious role of Fifth Business! Who could not, indeed, comprehend what Fifth Business is, even if he should meet the player of that part in his own trivial life-drama!
Don't have a Kindle? Compra tu Kindle aquí, or download a FREE Kindle Reading App.
Product details
- Publisher : Penguin Classics (January 1, 2001)
- Language : English
- Paperback : 252 pages
- ISBN-10 : 0141186151
- ISBN-13 : 978-0141186153
- Reading age : 18 years and up
- Grade level : 12 and up
- Item Weight : 6.9 ounces
- Dimensions : 7.76 x 5.2 x 1.05 inches
-
Best Sellers Rank:
#309,937 in Books (See Top 100 in Books)
- #1,285 in Self-Help & Psychology Humor
- #2,386 in Classic American Literature
- #3,090 in Fiction Satire
- Customer Reviews:
Customer reviews
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
The story of an ordinary man and the extraordinary life he lived. Hard todescribe but compulsively, irresistably enjoyable. If you haven't read it yet, you are in for a treat!
Totally loving them all! I'm now a Robertson Davies fan!
Our main character, Dunstan Ramsay (originally Dunstable), is born in a small Ontario town (Deptford, which lends its name to the trilogy of novels that this begins), and, as per the title of the novel, finds that he is throughout his life fulfilling the role of the `fifth business'. In operatic theory (Davies was a big opera fan), the fifth business is the background roles in the story that don't star but are still necessary for things to move along. The idea of Dunstan as not being the main character in the `story' is a rather complicated one; after all, is there really a story independent on the one that we are reading? And certainly, for literary purposes, Dunstan's own life is quite interesting. He wins a Victoria Cross, after all; he's hardly just a background player. Nevertheless, you can definitely imagine him as a significant supporting character in the lives of Boy and Paul. Perhaps it is like watching "Rosencrantz and Guildenstern are Dead" without there actually being a "Hamlet".
Davies is an excellent writer, and does a strong job of rendering his main character and the ones around him. He's got a good wit about him, and the book is often drily funny. He covers quite a period in Canadian history, beginning in the Edwardian period (a holdover of the Victorian), through the First World War, and into the new and more independent nation, though still very much linked to the old (America, interestingly, doesn't really come into play much in Davies' novels). It's a compelling snapshot of the Canada of yesteryear.
Recommended.
One thing that tends to happen in good stories is what I call the envelope effect. This is when something in the front of the novel informs the rest of the story by serving as its envelope. We have two such devices in this story. First there is the title, which refers to "Fifth Business" as an opera term. It relates to the role of the baritone in opera. The tenor is the leading character, the soprano his love interest, and so forth, all the way down to the baritone, who is fifth business, after all those other parts and voices. That's how Ramsay lived, by putting others ahead of himself. As he goes through life as "Fifth Business", the reader becomes more fascinated by and sympathetic to his character. Another envelope is the first sentence in the story: "My lifelong involvement with Mrs. Dempster began at 5:58 o'clock p.m. on 27 December 1908 at which time I was ten years and seven months old." The entire rest of the story fits into that envelope, it is fascinating how Davies pulls that off.
This is the first novel in a series of three novels called the Deptford Trilogy, and it is sneaky good. As I said earlier, I was disappointed early on, when it seemed to be just a memoir, but the story and its telling are sneaky good. By the end of the novel, you will be very glad you read it.
Top reviews from other countries
The novel is cast as Dunstan Ramsay's memoirs, to be read by the Headteacher at the school at which he teaches and has taught for the past 40 years. He has not married, but has had relationships with women; and he has fought in the first world war. All that, and his memoirs of his early life in a small Canadian town I found held the interest well.
A less happy reading experience for me was the action around which he finds himself 'fifth business": not so much the career of his friend who makes it big in business and politics as his dealings with a woman he decides is a saint on the basis of three miracles, and his career as a 'hagiographer' writing lives of saints; and her son, a magician. And this material - the metaphorical, the religious, and (to judge from the Introduction) Jungian archetypes in everyday life is at the core of the 'thinking' material in the novel.
But the novel is tautly and cleverly plotted; episodes do not outstay their welcome; and the idea of an oblique 'take' on the lives of others is unusual and interesting.
It's a classic meditation on religion and the world, the flesh and the devil, and great fun too.
There's a problem loading this menu right now.
