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Bezig met laden... Het kasteel van Malplaquet (1946)door T. H. White
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Meld je aan bij LibraryThing om erachter te komen of je dit boek goed zult vinden. Op dit moment geen Discussie gesprekken over dit boek. Orphaned ten-year-old Maria lives on her run-down ancestral estate under the care of a mercenary vicar and a cruel governess. While her guardians conspire against her, Maria routinely escapes to wander her overgrown grounds and pester the impoverished professor who lives nearby. But everything changes when Maria discovers and befriends a tribe of Lilliputians, originally documented in _Gulliver's Travels_ and now living in secret on her lands. Even in summary, many of the charms of _Mistress Masham's Repose_ are obvious. Strong-willed girl triumphing against neglect and abuse? Check. Self-possessed, inch-high humans adapting giant trinkets to their own cunning use? Check. Juvenile protagonists teaming up with tiny people against malevolent authority figures is practically a sub-genre in children's books. Hell, even absurd allusions to the English canon are practically de rigueur for the template. (cf. _The Return of the Twelves_) But the real appeal of _Mistress Masham's Repose_ lies in author White's grimy, sardonic style. The villains are, of course, irredeemably bad, but even Maria is innocently brutish in her initial dealings with the Lilliputians. (The Lilliputian's underdog struggle against Maria mirrors Maria's underdog struggle against her guardians.) Maria herself is one of those fantastic child protagonists, full of noble self-interest; she'd be in good company with such later luminaries as Christopher Chant and Lyra Belacqua. Her moment of revelation regarding the Lilliputians' humanity is the great, wrenching revolution of the novel. But while there's an obvious potential for sap in the book's premise, that dread fate is neatly avoided by White's brilliantly morbid sense of humor, which drips from every page. Mistress Masham's Repose is the slightly off-putting title of a slightly askew book, choosing to highlight its most important setting rather than its characters, any aspect of its plot, or its unusual tone. Looking back on the book, it's not that hard to interpret, so it's a bit of a mystery why T.H. White - at this point, known primarily for a book with an extremely literal title, The Sword in the Stone - chose to go this route. Go this route he did, though, making his book sound more like a stately, Jane Austen-era garden folly and less like the series of comic scrapes, murderous guardians, savagely funny digs at the British class system and reflection on the evils of colonialism that it is. Satire leeches out of the text from the start, and the one thing that quickly becomes apparent is how much White has it in for everyone; he is every bit the malcontent as the more famous Roald Dahl, but without the vicious streak. Fortunately, most of his characters are malcontents, too, and half of them are charming ones. His protagonist, Maria, wants to be a colonial explorer, and in such guise she discovers a leftover colony of Gulliver's kidnapped Lilliputians. Her guardians, the villainous vicar and Mrs. Brown, want to find and sell the "minnikins" for profit. They are thankfully to be outsmarted not just by Maria but by her friend, the Professor, the only one who seems to want nothing from the little people at all - except he will keep being distracted. Over the course of the book, we are also introduced to a goodhearted cook, an overzealous officer of the law, and a dog who sees his human as a pet - all of whom become embroiled in the farrago as it reaches fever pitch. White is clearly trying to say something about his country, and his countrymen, in the waning days of the British Empire. This is very nearly made explicit once or twice in conversations between Maria - who tries her hand at colonial rule - and the Professor. The humor emerges naturally from White's gently mocking tone: rather than lecturing readers about their preconceptions, he simply demonstrates how ridiculous they all are - which is probably more effective. Half the fun of the book is the series of digressions through which White embellishes his characters, making them more than representative of their types but endearing nonetheless. Critically, his heroes always come through, no matter their distractions or self-absorption - and his villains only remain so through their own determination. In Mistress Masham's Repose, everyone is a fool, but everyone has a chance at redemption, too. As a pre-teen I was quite smitten with The Once and Future King, but never got around to reading Mistress Masham. Reading it now, I'm afraid it will no longer pass muster with modern youth. There are far too many classical references, and latin quotations which are not translated. The story line is an interesting sequel to Gulliver's Travels, but I'm not sure even that will be familiar to modern young people. Conundrum: should I include it in our small public library or sell it off? geen besprekingen | voeg een bespreking toe
Onderdeel van de uitgeversreeks(en)Peacock Books (20) Is opgenomen inWerd geïnspireerd doorOnderscheidingenErelijsten
Ten-year-old Maria, an orphaned heiress living with her unpleasant guardians on a crumbling English estate called Malplaquet, finds her life changing in unimagined ways when she explores an overgrown island on the estate's lake and discovers the descendants of Gulliver's Lilliputians. Geen bibliotheekbeschrijvingen gevonden. |
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Google Books — Bezig met laden... GenresDewey Decimale Classificatie (DDC)823.912Literature English & Old English literatures English fiction Modern Period 1901-1999 1901-1945LC-classificatieWaarderingGemiddelde:
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Miéville goes on to mention "the pleasure he [Wells] took in his oddities" as one of the things that distinguishes First Men from being only satire.
It's been a long time since I actually read Gulliver's Travels, not since childhood, but it's my memory that though certainly Brobdingnag, Lilliput, and all the other fantastic countries Gulliver visits are literally true, and the book has certainly provided its share of "great, weird" imagery—that iconic image of Gulliver tied down by the Lilliputians, which is on so many book covers and probably appears in every screen adaptation—Swift's emphasis is more on the social satire than the "great, weird" ideas. Like, sure we get swordfights with giant wasps and such, but the point of the novel is to see our human foibles writ large and writ small and writ equine. (I, for one, always though the journey to the place where they got electricity out of cucumbers was underrated.)
Mistress Masham's Repose is a 1946 children's fantasy novel by T. H. White, best known as the writer of The Once and Future King. It's clearly intended to be read aloud (the name of the dedicatee, Amaryllis Virginia Garnett, is even mentioned by the narrator a few times), though in that very British way where there are passages that the adult reader will get much more out of than the child listener, a lot like Kingsley's The Water-Babies. I found it on my wife's shelves and decided it looked interesting enough to read; the book is a sort-of sequel to Gulliver's Travels.
The premise is that there's a young orphan girl named Maria who lives on the rambling country estate that she inherited from her parents, but does not have the money to maintain. Her legal guardian is a cruel vicar, and her day-to-day guardian is an even crueler governess. Her only friends are the estate's sole servant, a cook, and a local absent-minded professor of classics. One day, exploring an island on the estate, she finds a colony of Lilliputians, brought to England and forgotten about, where they've been living for centuries in secret.
The pleasure of the book is that it takes the "great, weird idea" of the Lilliputians very seriously, probably more seriously than Swift himself did. Anticipating books like Mary Norton's The Borrowers (1952) and John Peterson's The Littles (1967), the book gives us a group of little people operating in our world, and asks how they might survive, what they might to do, say, fish in a world where the fish are to them as whales are to us, or how they might be able to intervene to battle against human adults.
The book not only gives the reader this pleasure of the fantastic, it also explores how the characters themselves experience that pleasure. There's one extended sequence where the Professor imagines what he would do if they also got hold of a Brobdingnagian giant. What would be the logistics of capturing it? How would you transport it back to England? What would you do with it then? He doesn't go through with any of this, he can't, but it's fun to see him work it all out. In another passage, Maria and the Professor debate if an island could really fly in the way Swift imagined for Laputa. (And the Professor points out "that Dr. Swift was silly to laugh about Laputa. I believe it is a mistake to make a mock of people, just because they think. There are ninety thousand people in this world who do not think, for every one who does, and these people hate the thinkers like poison. [...] Better to think about cucumbers even, than not to think at all." The book is filled with great, quiet observations like this.)
The book also finds limits to literalizing the impossible. Maria, for example, concocts an idea that Lilliputians might be able to fly in toy airplanes, and tries to make it happen. But she is (metaphorically) crashed down to earth when her pilot (literally) crashes down to earth. As she learns, we can have some fantastic imaginings that cannot be well, realized. Realistic concerns get in the way. This is disappointing to Maria, of course, but part of what makes the book pleasurable to us—if the book is to feel real, there need to be some things that cannot happen.
It's also very funny. I was forever quoting bits to my wife (who, if she had actually read the book, did not remember it all). When the Professor tries to get the local Lord Lieutenant to intervene to protect Maria from the cruelty of the vicar and the governess, who have locked her in the estate's torture dungeon, the Lord Lieutenant objects that such things aren't heard of these days: I mean, it's funny if you like pompous out-of-touch English people going on about things, and I certainly do. The book is is filled with stuff like that.
Overall, Mistress Masham's Repose has good "worldbuilding" (I kind of shudder to apply the term here, but it fits) and good comedy, but also good themes and great hair-raising escapes and dangers and ingenious protagonists. I found it an utterly delightful 250 pages. I don't know if it would work for most readers, but it's the kind of book that felt squarely aimed at me, and all the better for it.