Each man kills the
thing he loves.
When his mother Dorothy
disappears from his life and her adored substitute Lippsie kills herself,
Magnus Pym blames himself twice over: to lose one parent may be someone else’s
fault; to lose two re-directs the finger of blame back to oneself.
In Bern, Magnus Pym
betrays his father-substitute Axel and back in England betrays his actual
father, twice over: once when he hides the fact that he is studying Modern
Languages, not Law, at Oxford and a second time during the Gulworth North
by-election when he passes incriminating evidence to his father’s nemesis,
Peggy Wentworth. His father only confronts him with the former betrayal, but
the text is heavy with the suspicion that he has guessed the second.
In my edition, the bravura
narrative of the Gulworth North by-election takes up pages 396 to 439. It is being
written by Magnus, holed up at what will be the end of his life, writing his autobiography
addressed to his son. At the end of the Gulworth narrative, le Carré writes, “It
was dawn. Unshaven, Pym sat at his desk, not wanting the daylight. Chin in hand
he stared at the last page he had written. Change nothing. Don’t look back,
don’t look back. You do it once, then die” (page 440).
It seems to me entirely
plausible at this moment to imagine not Pym at his desk, but le Carré. He has
just written forty pages of remarkable Dickensian comedy. He has also offered
an extraordinary portrait of his father, both the real one and the fictionalised Rick Pym. And through the character of Peggy Wentworth, haunting his father and
telling her tale to Magnus, who is also le Carré, he has an epiphany about his
father’s character which leads him straight to betrayal.
The novel runs to 680
pages, cutting constantly between past and present, and cinematically between
scenes occurring at the same time in different places as the net closes on the
fugitive Magnus Pym. The author remains in full control throughout: a clue
handed to Jack Brotherhood at page 166 is not turned to account until page 367,
just the kind of thing one would expect an accomplished writer of spy fiction
to deliver.
But it’s not really a
work of spy fiction. It’s about love and loss and betrayal, ambition and defeat.
It’s about growing up – a Bildungsroman
in the tradition of Goethe, evoked more than once but most explicitly at page
292:
“…he imagined himself as the young Werther, planning his
wardrobe before committing suicide. And when he considered all his failures and
hopes together, he was able to compare his Werdegang
with Wilhelm Meister’s years of apprenticeship, and planned then a great
autobiographical novel that would show the world what a noble sensitive fellow
he was compared with Rick.”
A
Perfect Spy is a great autobiographical novel, the
prose driven (and thus driving the reader) by extraordinary intensity of
emotion (none of the main characters are less than intense) which often enough
finds expression in remarkable turns of stylistic inventiveness. So the young
Magnus discusses radical politics with his father’s loyal lieutenants, the gay
couple of Ollie and Mr Cudlove, and it is
“…heartily agreed over stolen canapés and cocoa that all
men are brothers but nothing against your dad. And though political doctrines
are at root as meaningless to me today as they were to Pym then, I remember the
simple humanity of our discussions as we promised to mend the world’s ills, and
the truthful good-heartedness with which, as we went off to bed, we wished each
other peace in the spirit of Joe Stalin who, let’s face it, Titch, and nothing
against your dad, ever, won the war
for all these capitalist bastards." (page 192)
Here the intimacy of
discussions over cocoa is doubled by the style in which the formality of Magnus
turns into the informality of Ollie and Mr Cudlove and the different voices
harmonise to sing that all men shall be as brothers.
When it was published
in 1986 and John le Carre was fifty-five, the same age as Magnus Pym, Philip
Roth described it as “The best English novel since the war”. I am not widely
read enough to know if that claim stands up if repeated in 2018. I can only say
that there are not many 680 page novels which have held my attention like this
one, which I have now read three times.
*
In the essay “Never
Mind. E Weber Love You Always” included in my book Prose Improvements (2017), I discuss the themes of unconditional
love and salvation as they figure in A
Perfect Spy.
thank you for your review it helps my understanding of the novel, I am reading it for the second time
ReplyDeleteI'm 25% through the book and had to make sense of Le Carre's labyrinth of a story. Such exquisite writing. Thanks for helping me to understand the storey.
ReplyDeleteI will look at your essay mentioned. The part where pym decodes the message in miss Ds house - NEVER MIND....LOVE YOU ALWAYS POPPY
ReplyDeleteWas my favourite and I thought the most beautiful part of the story. The TV series misses out much of the novel and some important characters, such as lipsy, Jemima, but did capture that part outstandingly well I thought.