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The Luminaries: A Novel (Man Booker Prize) Hardcover – October 15, 2013
| Eleanor Catton (Author) Find all the books, read about the author, and more. See search results for this author |
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It is 1866, and Walter Moody has come to stake his claim in New Zealand's booming gold rush. On the stormy night of his arrival, he stumbles across a tense gathering of 12 local men who have met in secret to discuss a series of unexplained events: a wealthy man has vanished, a prostitute has tried to end her life, and an enormous cache of gold has been discovered in the home of a luckless drunk. Moody is soon drawn into a network of fates and fortunes that is as complex and exquisitely ornate as the night sky.
Richly evoking a mid-nineteenth-century world of shipping, banking, and gold rush boom and bust, The Luminaries is at once a fiendishly clever ghost story, a gripping page-turner, and a thrilling novelistic achievement. It richly confirms that Eleanor Catton is one of the brightest stars in the international literary firmament.
- Print length848 pages
- LanguageEnglish
- PublisherLittle, Brown and Company
- Publication dateOctober 15, 2013
- Dimensions6.5 x 1.75 x 9.75 inches
- ISBN-109780316074315
- ISBN-13978-0316074315
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Editorial Reviews
Review
"A finely wrought fun house of a novel. Enjoy the ride."- Chris Bohjalian, The Washington Post
"An 848-page dish so fresh that one continues to gorge, long past being crammed full of goodness. Nearly impossible to put down, it's easily the best novel I've read this year." - Mike Fischer, The Milwaukee Journal Sentinel
"Go ahead and call Eleanor Catton a prodigy. At 28, she's the youngest author ever to win Britain's prestigious Man Booker Prize for THE LUMINAIRES, which warrants every one of its imposing - yet surprisingly breezy - 848 pages." Stephan Lee, Entertainment Weekly
"The type of novel that you will devour only to discover that you can't find anything of equal scope and excitement to read once you have finished...Do yourself a favour and read The Luminaries." --The Independent
"Irresistible, masterful, compelling...The Luminaries has a gripping plot that is cleverly unravelled to its satisfying conclusion, a narrative that from the first page asserts that it is firmly in control of where it is taking us...[Catton is] a mistress of plot and pacing."
-The Telegraph (5-star review)
"Every sentence of this intriguing tale set on the wild west coast of southern New Zealand during the time of its goldrush is expertly written, every cliffhanger chapter-ending making us beg for the next to begin."
-The Guardian
"Note-perfect... [Catton's] authority and verve are so impressive that she can seemingly take us anywhere; each time, we trust her to lead us back...A remarkable accomplishment."
-Globe and Mail
"Beautifully rendered...Momentous. An exquisite world unto itself."
-Maclean's
"A remarkable achievement...Intricate, painstakingly detailed and deliciously readable...A novel that can be enjoyed for its engrossing entirety, as well as for the literary gems bestowed on virtually every page."
-Quill & Quire (starred review)
"As beautiful as it is triumphant."
-Daily Mail
"Falling in love with a fictional person is one of the greatest pleasures in life, Canadian-born writer Eleanor Catton believes. By the time readers have finished The Luminaries, they will have been enchanted by many of her characters, as they slowly reveal themselves through the novel's intriguing web of interactions and relationships."
-Toronto Star
To call it "daringly ambitious in its reach and scope doesn't really do it justice... There is a ludic quality in all this that is infectious: You pick up the author's joy in her enterprise." -Martin Rubin, The Wall Street Journal
"Several of the characters... are moving and even heartbreaking." She continues, "There will no doubt be readers who will nestle voluptuously into its 19th-century voice and think no more of larger matters...There are others who will treat The Luminaries like the fantastic puzzle it most certainly is. This is the rare novel that works beautifully on both levels, and that understands that each of these aspects is like a magnetic pole: The field between them is where all the power lies." - Laura Miller, Salon
Selected as one of the "100 Notable Books of 2013" by The New York Times.
"A historical mystery unlike anything else." -- The Pittsburgh Post-Gazette
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
The Luminaries
A Novel
By Eleanor CattonLittle, Brown and Company
Copyright © 2013 Eleanor CattonAll rights reserved.
ISBN: 978-0-316-07431-5
CHAPTER 1
A Sphere within a Sphere
27 January 1866
Mercury in Sagittarius
In which a stranger arrives in Hokitika; a secret council is disturbed; WalterMoody conceals his most recent memory; and Thomas Balfour begins to tell astory.
The twelve men congregated in the smoking room of the Crown Hotel gave theimpression of a party accidentally met. From the variety of their comportmentand dress—frock coats, tailcoats, Norfolk jackets with buttons of horn, yellowmoleskin, cambric, and twill—they might have been twelve strangers on a railwaycar, each bound for a separate quarter of a city that possessed fog and tidesenough to divide them; indeed, the studied isolation of each man as he poredover his paper, or leaned forward to tap his ashes into the grate, or placed thesplay of his hand upon the baize to take his shot at billiards, conspired toform the very type of bodily silence that occurs, late in the evening, on apublic railway—deadened here not by the slur and clunk of the coaches, but bythe fat clatter of the rain.
Such was the perception of Mr. Walter Moody, from where he stood in the doorwaywith his hand upon the frame. He was innocent of having disturbed any kind ofprivate conference, for the speakers had ceased when they heard his tread in thepassage; by the time he opened the door, each of the twelve men had resumed hisoccupation (rather haphazardly, on the part of the billiard players, for theyhad forgotten their places) with such a careful show of absorption that no oneeven glanced up when he stepped into the room.
The strictness and uniformity with which the men ignored him might have arousedMr. Moody's interest, had he been himself in body and temperament. As it was, hewas queasy and disturbed. He had known the voyage to West Canterbury would befatal at worst, an endless rolling trough of white water and spume that ended onthe shattered graveyard of the Hokitika bar, but he had not been prepared forthe particular horrors of the journey, of which he was still incapable ofspeaking, even to himself. Moody was by nature impatient of any deficiencies inhis own person—fear and illness both turned him inward—and it was for thisreason that he very uncharacteristically failed to assess the tenor of the roomhe had just entered.
Moody's natural expression was one of readiness and attention. His gray eyeswere large and unblinking, and his supple, boyish mouth was usually poised in anexpression of polite concern. His hair inclined to a tight curl; it had fallenin ringlets to his shoulders in his youth, but now he wore it close against hisskull, parted on the side and combed flat with a sweet-smelling pomade thatdarkened its golden hue to an oily brown. His brow and cheeks were square, hisnose straight, and his complexion smooth. He was not quite eight-and-twenty,still swift and exact in his motions, and possessed of the kind of roguish,unsullied vigor that conveys neither gullibility nor guile. He presented himselfin the manner of a discreet and quick-minded butler, and as a consequence wasoften drawn into the confidence of the least voluble of men, or invited tobroker relations between people he had only lately met. He had, in short, anappearance that betrayed very little about his own character, and an appearancethat others were immediately inclined to trust.
Moody was not unaware of the advantage his inscrutable grace afforded him. Likemost excessively beautiful persons, he had studied his own reflection minutelyand, in a way, knew himself from the outside best; he was always in some chamberof his mind perceiving himself from the exterior. He had passed a great manyhours in the alcove of his private dressing room, where the mirror tripled hisimage into profile, half-profile, and square: Van Dyck's Charles, though a gooddeal more striking. It was a private practice, and one he would likely havedenied—for how roundly self-examination is condemned, by the moral prophets ofour age! As if the self had no relation to the self, and one only looked inmirrors to have one's arrogance confirmed; as if the act of self-regarding wasnot as subtle, fraught and ever-changing as any bond between twin souls. In hisfascination Moody sought less to praise his own beauty than to master it.Certainly whenever he caught his own reflection, in a window box, or in a paneof glass after nightfall, he felt a thrill of satisfaction— but as an engineermight feel, chancing upon a mechanism of his own devising and finding itsplendid, flashing, properly oiled and performing exactly as he had predicted itshould.
He could see his own self now, poised in the doorway of the smoking room, and heknew that the figure he cut was one of perfect composure. He was near tremblingwith fatigue; he was carrying a leaden weight of terror in his gut; he feltshadowed, even dogged; he was filled with dread. He surveyed the room with anair of polite detachment and respect. It had the appearance of a place rebuiltfrom memory after a great passage of time, when much has been forgotten(andirons, drapes, a proper mantel to surround the hearth) but small detailspersist: a picture of the late Prince Consort, for example, cut from a magazineand affixed with shoe tacks to the wall that faced the yard; the seam down themiddle of the billiard table, which had been sawn in two on the Sydney docks tobetter survive the crossing; the stack of old broadsheets upon the secretary,the pages thinned and blurry from the touch of many hands. The view through thetwo small windows that flanked the hearth was over the hotel's rear yard, amarshy allotment littered with crates and rusting drums, separated from theneighboring plots only by patches of scrub and low fern, and, to the north, by arow of laying hutches, the doors of which were chained against thieves. Beyondthis vague periphery, one could see sagging laundry lines running back and forthbehind the houses one block to the east, latticed stacks of raw timber, pigpens,piles of scrap and sheet iron, broken cradles and flumes—everything abandoned,or in some relative state of disrepair. The clock had struck that late hour oftwilight when all colors seem suddenly to lose their richness, and it wasraining hard; through the cockled glass the yard was bleached and fading.Inside, the spirit lamps had not yet succeeded the sea-colored light of thedying day, and seemed by virtue of their paleness to accent the generalcheerlessness of the room's decor.
For a man accustomed to his club in Edinburgh, where all was lit in hues of redand gold, and the studded couches gleamed with a fatness that reflected thegirth of the gentlemen upon them; where, upon entering, one was given a softjacket that smelled pleasantly of anise, or of peppermint, and thereafter themerest twitch of one's finger toward the bell-rope was enough to summon a bottleof claret on a silver tray, the prospect was a crude one. But Moody was not aman for whom offending standards were cause enough to sulk: the rough simplicityof the place only made him draw back internally, as a rich man will step swiftlyto the side, and turn glassy, when confronted with a beggar in the street. Themild look upon his face did not waver as he cast his gaze about, but inwardly,each new detail—the mound of dirty wax beneath this candle, the rime of dustaround that glass—caused him to retreat still further into himself, and steelhis body all the more rigidly against the scene.
This recoil, though unconsciously performed, owed less to the common prejudicesof high fortune—in fact Moody was only modestly rich, and often gave coins topaupers, though (it must be owned) never without a small rush of pleasure forhis own largesse—than to the personal disequilibrium over which the man wascurrently, and invisibly, struggling to prevail. This was a gold town, afterall, new-built between jungle and surf at the southernmost edge of the civilizedworld, and he had not expected luxury.
The truth was that not six hours ago, aboard the barque that had conveyed himfrom Port Chalmers to the wild shard of the Coast, Moody had witnessed an eventso extraordinary and affecting that it called all other realities into doubt.The scene was still with him—as if a door had chinked open, in the corner of hismind, to show a band of graying light, and he could not now wish the darknessback again. It was costing him a great deal of effort to keep that door fromopening further. In this fragile condition, any unorthodoxy or inconvenience waspersonally affronting. He felt as if the whole dismal scene before him was anaggregate echo of the trials he had so lately sustained, and he recoiled from itin order to prevent his own mind from following this connexion, and returning tothe past. Disdain was useful. It gave him a fixed sense of proportion, arightfulness to which he could appeal, and feel secure.
He called the room luckless, and meager, and dreary—and with his inner mind thusfortified against the furnishings, he turned to the twelve inhabitants. Aninverted pantheon, he thought, and again felt a little steadier, for havingindulged the conceit.
The men were bronzed and weathered in the manner of all frontiersmen, their lipschapped white, their carriage expressive of privation and loss. Two of theirnumber were Chinese, dressed identically in cloth shoes and gray cotton shifts;behind them stood a Maori native, his face tattooed in whorls of greenish-blue.Of the others, Moody could not guess the origin. He did not yet understand howthe diggings could age a man in a matter of months; casting his gaze around theroom, he reckoned himself the youngest man in attendance, when in fact severalwere his juniors and his peers. The glow of youth was quite washed from them.They would be crabbed forever, restless, snatching, gray in body, coughing dustinto the brown lines of their palms. Moody thought them coarse, even quaint; hethought them men of little influence; he did not wonder why they were so silent.He wanted a brandy, and a place to sit and close his eyes.
He stood in the doorway a moment after entering, waiting to be received, butwhen nobody made any gesture of welcome or dismissal he took another stepforward and pulled the door softly closed behind him. He made a vague bow in thedirection of the window, and another in the direction of the hearth, to sufficeas a wholesale introduction of himself, then moved to the side table and engagedhimself in mixing a drink from the decanters set out for that purpose. He chosea cigar and cut it; placing it between his teeth, he turned back to the room,and scanned the faces once again. Nobody seemed remotely affected by hispresence. This suited him. He seated himself in the only available armchair, lithis cigar, and settled back with the private sigh of a man who feels his dailycomforts are, for once, very much deserved.
His contentment was short-lived. No sooner had he stretched out his legs andcrossed his ankles (the salt on his trousers had dried, most provokingly, intides of white) than the man on his immediate right leaned forward in his chair,prodded the air with the stump of his own cigar, and said, "Look here—you'vebusiness, here at the Crown?"
This was rather abruptly phrased, but Moody's expression did not register asmuch. He bowed his head politely and explained that he had indeed secured a roomupstairs, having arrived in town that very evening.
"Just off the boat, you mean?"
Moody bowed again and affirmed that this was precisely his meaning. So that theman would not think him short, he added that he was come from Port Chalmers,with the intention of trying his hand at digging for gold.
"That's good," the man said. "That's good. New finds up the beach—she's ripewith it. Black sands: that's the cry you'll be hearing; black sands upCharleston way; that's north of here, of course—Charleston. Though you'll stillmake pay in the gorge. You got a mate, or come over solo?"
"Just me alone," Moody said.
"No affiliations!" the man said.
"Well," Moody said, surprised again at his phrasing, "I intend to make my ownfortune, that's all."
"No affiliations," the man repeated. "And no business; you've no business, hereat the Crown?"
This was impertinent—to demand the same information twice—but the man seemedgenial, even distracted, and he was strumming with his fingers at the lapel ofhis vest. Perhaps, Moody thought, he had simply not been clear enough. He said,"My business at this hotel is only to rest. In the next few days I will makeinquiries around the diggings—which rivers are yielding, which valleys are dry—and acquaint myself with the digger's life, as it were. I intend to stay here atthe Crown for one week, and after that, to make my passage inland."
"You've not dug before, then."
"No, sir."
"Never seen the color?"
"Only at the jeweler's—on a watch, or on a buckle; never pure."
"But you've dreamed it, pure! You've dreamed it—kneeling in the water, siftingthe metal from the grit!"
"I suppose ... well no, I haven't, exactly," Moody said. The expansive style ofthis man's speech was rather peculiar to him: for all the man's apparentdistraction, he spoke eagerly, and with an energy that was almost importunate.Moody looked around, hoping to exchange a sympathetic glance with one of theothers, but he failed to catch anybody's eye. He coughed, adding, "I supposeI've dreamed of what comes afterward—that is, what the gold might lead to, whatit might become."
The man seemed pleased by this answer. "Reverse alchemy, is what I like to callit," he said, "the whole business, I mean—prospecting. Reverse alchemy. Do yousee—the transformation—not into gold, but out of it—"
"It is a fine conceit, sir,"—reflecting only much later that this notion chimedvery nearly with his own recent fancy of a pantheon reversed.
"And your inquiries," the man said, nodding vigorously, "your inquiries—you'llbe asking around, I suppose—what shovels, what cradles—and maps and things."
"Yes, precisely. I mean to do it right."
The man threw himself back into his armchair, evidently very amused. "One week'sboard at the Crown Hotel—just to ask your questions!" He gave a little shout oflaughter. "And then you'll spend two weeks in the mud, to earn it back!"
Moody recrossed his ankles. He was not in the right disposition to return theother man's energy, but he was too rigidly bred to consider being impolite. Hemight have simply apologized for his discomfiture, and admitted some kind ofgeneral malaise—the man seemed sympathetic enough, with his strumming fingers,and his rising gurgle of a laugh—but Moody was not in the habit of speakingcandidly to strangers, and still less of confessing illness to another man. Heshook himself internally and said, in a brighter tone of voice,
"And you, sir? You are well established here, I think?"
"Oh, yes," replied the other. "Balfour Shipping, you'll have seen us, right pastthe stockyards, prime location—Wharf-street, you know. Balfour, that's me.Thomas is my Christian name. You'll need one of those on the diggings: no mangoes by Mister in the gorge."
"Then I must practice using mine," Moody said. "It is Walter. Walter Moody."
"Yes, and they'll call you anything but Walter too," Balfour said, striking hisknee. "'Scottish Walt,' maybe. 'Two-Hand Walt,' maybe. 'Wally Nugget.' Ha!"
"That name I shall have to earn."
Balfour laughed. "No earning about it," he said. "Big as a lady's pistol, someof the ones I've seen. Big as a lady's—but, I'm telling you, not half as hard toput your hands on."
Thomas Balfour was around fifty in age, compact and robust in body. His hair wasquite gray, combed backward from his forehead, and long about the ears. He worea spade-beard, and was given to stroking it downward with the cup of his handwhen he was amused—he did this now, in pleasure at his own joke. His prosperitysat easily with him, Moody thought, recognizing in the man that relaxed sense ofentitlement that comes when a lifelong optimism has been ratified by success. Hewas in shirtsleeves; his cravat, though of silk, and finely wrought, was spottedwith gravy and coming loose at the neck. Moody placed him as a libertarian—harmless, renegade in spirit, and cheerful in his effusions.
"I am in your debt, sir," he said. "This is the first of many customs of which Iwill be entirely ignorant, I am sure. I would have certainly made the error ofusing a surname in the gorge."
(Continues...)Excerpted from The Luminaries by Eleanor Catton. Copyright © 2013 Eleanor Catton. Excerpted by permission of Little, Brown and Company.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Product details
- ASIN : 0316074314
- Publisher : Little, Brown and Company; 1st Edition (October 15, 2013)
- Language : English
- Hardcover : 848 pages
- ISBN-10 : 9780316074315
- ISBN-13 : 978-0316074315
- Item Weight : 2.55 pounds
- Dimensions : 6.5 x 1.75 x 9.75 inches
- Best Sellers Rank: #555,943 in Books (See Top 100 in Books)
- #791 in Metaphysical & Visionary Fiction (Books)
- #3,192 in Fiction Satire
- #23,939 in Literary Fiction (Books)
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About the author

Eleanor Catton MNZM (born 24 September 1985) is a Canadian-born New Zealand author. Her second novel, The Luminaries, won the 2013 Man Booker Prize. In January 2015, she created a short-lived media storm in New Zealand when she made comments in an interview in India in which she was critical of "neo-liberal, profit-obsessed, very shallow, very money-hungry politicians who do not care about culture."
Bio from Wikipedia, the free encyclopedia.
Photo by NZatFrankfurt (Flickr: DSC04321_2) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons.
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SET IN THE NEW ZEALAND GOLD RUSH
Following its 19th Century model, The Luminaries is a mass of subplots, each anchored in a character. And there are a lot of characters in this novel. A lot.
All the subplots are set in New Zealand in 1865 and 1866. They relate to a central set of circumstances that most of the characters believe they have a stake in. The story takes place during a time when New Zealand is in the midst of a gold rush. The chief location is the mining town of Hokitika, and a pivotal setting is the nearby cottage of the “hermit,” Crosbie Wells.
The central mystery is launched when a politician, Alistair Lauderback, stops at Well’s cottage seeking refreshment from the long journey he is making to Hokitika. He finds Wells dead with no obvious cause of death. Leaving the house, he finds a woman a little further down the road, who turns out to be Anna Wetherell, insensible and near death from apparently overdosing on opium.
When Lauderback reaches Hokitika and tells his story, Crosbie Wells’ cottage is immediately purchased by the hotelier, Edgar Clinch. When Harald Nilssen, a commission merchant, is sent to the cottage by its new owner to examine its contents, he finds a fortune in gold bars hidden in it. Clinch and Nilssen are set to benefit greatly from the gold find, but the arrival of Crosbie Wells’ widow, Lydia Wells, invalidates the cottage sale.
This mystery over Crosbie Wells’s death, the gold, and Anna Wetherell’s proximity and condition, touches a rat’s nest of intrigues and agendas. Twelve men, each impacted in some way by the mystery, begin meeting regularly in the smoking room of a cheap hotel. There, they try to figure out the puzzle. They are chanced upon by the newly arrived, Walter Moody, who has left his well-to-do family in England to persue his own fortune in the New Zealand gold fields. Moody finds himself interrogated by the twelve and is then asked to assist them in working out the Wells mystery.
ASTROLOGY AND MATHEMATICS
The Luminaries is written in twelve parts, each preceded by a graphic of an astrological chart drawn for the twelve men meeting in the hotel. The chapter titles are mostly astrologically related: Mercury in Sagittarius, Saturn in Libra, Cardinal Earth, A Month Without a Moon, and such.
I noted from other commentary that there is also an apparent mathematical precision to the book’s structure, with each chapter being half the size (or some precise measure) of the one preceding it. That may be true, the chapters and scenes do get shorter as you progress through the 850 pages. It doesn’t affect the reading until the last few parts.
The astrological and mathematic aspects are interesting but obscure. I don’t know what the reader is supposed to make of them. There are mystical references in the novel, especially in relation to the character, Lydia Wells, who fancies herself a fortune-teller. About all I can say about them is that they exist.
A DICKENS TONE LOST IN A MORASS
Ms. Catton did a really good job in emulating the tone of a 19th Century novel. The dialogue feels right as does the storytelling style. The latter is typified by alternating passages of prose, action, and dialogue with little mixture. Also, the chapters start with a summary, italicized and beginning with “In which….” I tend to like 19th Century novels (Dickens, Verne, etc) and so had no problem with these forms, for the most part.
Though this novel is long, I found most segments of it readable and holding my interest. Overall, though, I did not get the feeling of much story movement. In fact, an awful lot of this novel is characters in dialogue. They reveal things, lie, implore, and make deals. There are action sequences but not many and they tend to be short. Even though much narrative prose (“telling not showing”) is common in 19th Century novels, in this one it feels like it retards the story’s movement.
I think one of Ms. Catton’s major purposes was to tell the story of the central mystery from a variety of viewpoints (and even combinations of viewpoints) and then have them congeal into a resolution. My problem is that once that resolution condenses from the subplots, it is disappointing in not being enough.
The first half of the novel is Moody’s learning of the central mystery from the twelve men who are meeting regularly in a hotel smoking room. When they ask him to help resolve the central mystery, it seems the story will take on a “Sherlock Holmes” slant. And Moody, trained as a lawyer, does take part in a trial (probably the most engaging sequence in the book). Then Moody and the twelve disappear from the novel’s second half. It is as if they all lost interest in the mystery.
And I do not understand the astrological references. Maybe readers who are into astrology get it with no problem. Maybe with some research, I could figure it out. I just do not want to work that hard.
The progression of shorter and shorter chapters and scenes also does nothing for me. It is an interesting writing form, but by the novels last parts, more of a chapter’s action/movement is contained in the the “In which” summaries than in the chapter text. Consequently, the final chapter’s summary is lengthy, and the text is brief and obscure poetry.
NOT ENOUGH
As a novel, The Luminaries is a clever construction. It is true to 19th Century novel structure and is engaging for long stretches. The feel for the time period is well done and the characterizations feel true. These good points, however, are not enough to overcome the storyline’s obscurity imposed by the astrological themes and by the “decreasing chapter lengths” device. I get the impression these structures were more important to Ms. Catton than the storytelling. Consequently, she ended up not telling enough story for 850 pages.
The two Chinese men, Quee Long and Sook Yongshen, have, one might say, washed up in northwestern New Zealand, the first a goldsmith and prospector, the second, proprietor of an opium den that caters to the needs of men and women most of whom work in the gold fields of that part of New Zealand, hoping for a strike that would allow them to pay their way home, wherever that might be. Neither man speaks English well nor hears it with any great comprehension, though Sook (contemptuously called "Johnny Sook" by the European citizens of Hokitika, a town existing entirely to cater to the needs of the prospectors, "Johnny" being the term of convenience that white men use to address all the Chinese workers they encounter, not unlike the "Boy" used by white men with African slaves in the South) has a better sense of the language than Quee, and that is significant to the plot.
The Maori man, Te RauTauwhare addressed as Ted, is, of course, indigenous ("native") to the land these people inhabit, and their government has designated certain parts of the land as belonging to the Maori (in practical terms, only so long as it is convenient for the white men to leave it so), and the Maori are most definitely "different"--Tauwhare's extensive body and facial tattoos are a permanent and striking reminder to everyone who encounters him of the great differences between his cultural and religious background (very little understood by the whites) and their own. Tauwhare pursues, so far as possible, the ways and customs of his ancestral people, but is treated with more respect by the white men, perhaps because of his more or less protected status, perhaps because he is dignified and formidable, perhaps just because the need of the whites to condescend to or oppress those they choose to perceive as their inferiors (and to exploit through indenture rules little less owned than slaves) is satisfied by their treatment of the Chinese men among them.
These three men, I would suggest, are the most sympathetic and emotionally appealing characters (to somewhat different degrees) in this novel, and that strikes me as a major achievement by its author. Her descriptions of them, including passages in which they speak their native languages with little translation provided, and including detailed and vivid descriptions of their feelings and the distinctive ways they perceive the world around them--notably different from the ways the whites perceive that same world--offer the reader insights and expanded perceptions not available through the eyes or minds of the more familiar white European characters. Tauwhare, in particular, because of the religious traditions of the Maori people, with their ancient and profound sense of identification with the natural world that sustains them and that they protect and preserve, worshiping its sacred character, provides a window onto the world we might not otherwise have access to. (I make no judgment about the accuracy of Eleanor Catton's portrayal of the Maori or Chinese worldviews--I believe she has taken trouble to reconstruct them based on both information and sympathetic understanding, but accuracy is not relevant to the point I am making--that these characters are successfully "other" and provide a major part of the pleasure of reading this novel.)
None of this is meant to say that the white characters are all unpleasant or evil, nor that there are none whom we might like or even identify with. The first character we meet in detail--Walter Moody, is on the whole a very sympathetic character--a decent man who finds himself more or less invited to become part of an inquiry--or one might say a conspiracy--to uncover the answers to several interlocking mysteries that have roiled the town of Hokitika, including a mysterious death, the disappearance of a prominent citizen, the possible suicide attempt of a recently arrived prostitute, the calamitous outcome of a much-promoted "seance," all having occurred along with the wreck of a barque that had arrived in port the same day as many of these events occurred.
It will not do to offer any details about these complicated interactions--a disappeared trunk perhaps lost at sea, a frightening apparition on board a foundering ship, possible forged documents, and so forth. For that is another great achievement of this novel--the creation of a richly intertwined series of events, gradually revealed through the activities of a number of different characters, each of whom is introduced to the reader in detail, with careful analyses of his or her personality and outlook, moral and philosophical views, and when appropriate, revelations about past behavior that affect the reader's view of the person and his or her likely future behavior. There is the prosperous hotel owner and pimp, a second hotel manager, the proprietor of a pharmacy who deals in opium (not illegal), men involved in various aspects of shipping industry (very important to this mining town on the New Zealand coast), the editor/publisher of the local newspaper, a banker, a magistrate, a politician engaged in an election campaign, various gold prospectors, the Governor of the Hokitika Gaol (an institution that would incorporate the functions of almshouse and asylum), and the clergyman destined to be the Chaplain of that Gaol. among others.
Three women--Lydia Greenway/Wells/Carver (a woman of various identities), Anna Wetherell, a young prostitute and opium addict, and Margaret Shepard, wife of George Shepard, the Governor of the Hokitika Asylum and Jail, a woman perceived by most to be pathologically shy--perhaps agoraphobic, though the term is not used. Each of these women is (as we learn over many pages) admirable in various ways, whether for intelligence and determination, sensitivity and emotional commitment, loyalty, perhaps even love for others. Each is also complex and imperfect in important ways. And it is fair to say that though they are all white, European, they are also, in this environment, entirely "other" and so comparable in some ways to the Chinese and Maori men.
One aspect of the novel that requires acknowledgment is the pervasive role of astrology as a point of reference. As I am not familiar, except in the most superficial way, with the arcana of this traditional "science," I have to say that the many "charts" and references to the influences affecting the various characters are mostly closed to me. Of course, one knows about the Zodiac and its signs, and the general beliefs of this ancient worldview are familiar in many contexts, especially literary, but the
finer points of the differences of influence are not familiar to me. As it happens, each of the twelve major divisions of this novel is introduced with an astrological chart "locating" twelve of the major characters for the period during which the action takes place, and we know that several of the characters, most prominently Tauwhare, take seriously the influence of the stars, or at least are willing to exploit belief in those influences. The author's introductory "Note to the Reader" offers the suggestion that stubborn adherence to a known error is characteristic of "persons born during the Age of Pisces, an age of mirrors, tenacity, instinct, twinship, and hidden things." That description of the qualities of the Piscean age would also make a very nice summary of the qualities of this narrative, all of which make it so fascinating.
It is right to call The Luminaries a thriller, and I would suggest it is a thriller of a traditional kind. If it had been published in weekly chapters in a periodical, like the novels of Charles Dickens or Wilkie Collins or many others of the late 19th century, its way of proceeding and its regular approach to what we would call cliffhangers would perfectly suit it to that genre. While many might invoke the memory of Dickens as comparison for this novel, I think its intricacy and rapid movement make it more akin to Wilkie Collins's best work, The Moonstone, perhaps, or Woman in White, though it also has affinities with late Dickens, Mystery of Edwin Drood, especially. I also am inclined to speculate that we might anticipate a sequel. While certain parts of the plot are "solved" and the problems resolved, there are several characters and situations notably left hanging, with uncertain outcomes, and those would more than supply material for a following novel, if the author chooses.
Long works of prose fiction ("big books," or maxi-novels) such as this can provide many different kinds of pleasure. In this case, the fascinating characters, the exotic setting, the constant twists and turns of the plot, the uncertain identities and surprising revelations, all contribute to a narrative that pleases by confounding the reader, who is compelled, indeed propelled to keep on reading, even at the risk of missing pertinent details. I found myself checking back to earlier chapters, preceding bits of dialogue or description, time and again, to assure myself that I was not entirely lost or wrong about developments. This was not a fault or a failure of the narrative--it was one of its genuine rewards. While this novel has important things to say about human relationships, it is not profound; we do not keep reading in hopes of the depth of a Dostoevsky, the refinement of a Henry James, the historical sweep of a Tolstoy; we are rather entertained and moved, and we feel satisfied.
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I suspect that the stylistic prose became something of a distraction to author and editor alike (and perhaps those deciding on its status as Man Booker winner...?); its successful in that it feels authentic, but its major drawback (I think) is that it comes across as dispassionate and detached. It ultimately serves as a handsome gloss over what is (in my opinion) really quite a thin story with characters I don’t feel I’ve got to know that well and don’t feel inclined to potentially change that by ploughing on, and really don’t care much about them. What use is a masterful grasp of the language of the period if as modern readers we feel alienated by it, kept at arm’s length? Isn’t a key aim of historical fiction to help us access the inner world of characters so that despite any differences due to time and space etc they feel real and to an extent at least, relateable? At times I felt something for Catton’s (many, many) characters, but soon got bogged down in wordy prose and felt indifferent about their fates once again.
Definitely a case of style over substance. Sadly Catton fails to truly engage and enthral, despite the considerable potential of both her subject matter and geographical setting. I won’t be continuing to read it as life already feels too short for all the wonderful stories I want to pack in. Wonderful because they both entertain, challenge and feed me. I know they exist because I have enjoyed so many already :) :)
And then it all went wrong. At the point at which I was really looking forward to solving some of the mysteries, it was as if Ms Catton had had enough and didn't know what to do next. From chapters hours long, there were one page chapters where most of the action was summarised in the synopsis ("in which so and so does such and such and mr somebody leaves ....."). Most of it recapping things we already knew from one character or another but not answering some of the fundamental questions. Or, by this time, I had completely lost the plot and missed something crucial. I really wanted to make it clear and realised that I would have to reread the last bit of the book to see if it clarified more than I realised. But then decided that I just couldn't be bothered ...... Such a shame! Would I recommend the book? No, I wouldn't. I could so almost recommend it but would not like to put someone else through the disappointment that makes me feel that I have wasted my time.






