In approaching this novel, it is truly beneficial to keep in mind the nature of the woman who penned it. Shirley Hazzard and her husband, Francis Seegmüller, both deeply immersed in literature, would passionately declaim whole passages of Shakespeare or Byron or Milton to each other over breakfast.

With the instincts of a poet, her sentences, and even passages of dialogue, are flawlessly crafted and thus cannot be regarded as merely corporeal. She rhapsodizes in words, unable to restrain herself. Hazzard positions herself so prominently in front of the curtain that all of her characters' voices are subsumed within hers. She employs an unusual practice - a contrivance - of seamlessly blending her characters' utterances into her own narrative voice. Bits of dialogue are echoed or simply carried along into the flow of her own narrative. She loves her own prose to such an extent that she doesn't allow her characters to use their own words without prompting, which is reminiscent of a wife who finishes her husband's sentences for him.

Many a reader is likely to find all of this a bit excessive, unless they are able to set aside their objections and simply soak in Hazzard's literary opulence. And almost despite all of her linguistic overkill, Hazzard manages to convey a captivating story with some unexpected twists, populated by strikingly memorable characters. Front and center is Caro, the hapless victim of her own amorous compulsion. Paul, the driven, manipulative charmer, in love only with himself. Ted, the self-effacing scientist, the victim of his own sincerity and hopeless love for Caro. Tertia, the shallow, scheming patrician, who, when introduced to Grace and Caro, two orphaned Australian girls, found them insufficiently conscious of their disadvantage and would have liked to bring it home to them. And most delightfully horrid of all is Dora, who ardently imposes upon her two half-sisters an exquisite form of tyranny, reveling in the ecstasy of her own self-contrived martyrdom. For her, the maimed or blinded were a resented incursion on pity that was Dora's by right.

Hazzard enjoys snickering at her characters' foibles: Professor Thrale was allowed to hold forth in orations that supposed no disagreement. But, if challenged, he lost his entire grip on pipe and future. A cloud of confused indignation would then rise from him, like dust from an old book whose covers have been banged together for cleaning.

Dora, when surrounded by busy colleagues, sat on a corner of the spread rug, longing to be assigned some task so she could resent it.

As for Tertia, nothing about her appeared to have been humanly touched.

The book is replete with quotable passages, a couple of which might almost sum up the entire novel; Grace observes that "At first, there is something you expect from life. Later, there is what life expects of you." And most pointedly, Ted realizes: "The tragedy is not that love doesn't last. The tragedy is the love that lasts."

It is tempting to compare Hazzard's work with that of Virginia Woolf. There are similarities in terms of style. Hazzard offers humor seldom achieved by Woolf. On the other hand, Hazzard cannot match Woolf's ambiguity of plot and sheer romanticism.

A challenging book but a very rewarding one.

This is not a book that can be easily whipped through in a situation filled with distractions.

Shirley Hazzard's THE TRANSIT OF VENUS demands concentration. I found myself starting it over after reading the initial 60 pages.

The characters, such as Caroline Bell, her sister Grace, and especially Ted Tice, are incredibly complex. The author's use of the English language is truly magical.

Some sentences are so remarkable that they made me put the book down and exclaim "wow". There is also a great deal of humor and sly references to the class system of England.

Give yourself the time to savor this novel. It is well worth the effort.

You will be rewarded with a rich and engaging reading experience that will stay with you long after you have turned the final page.

So, find a quiet corner, put away your distractions, and immerse yourself in the world of THE TRANSIT OF VENUS.

The Transit of Venus is a novel that has its highs and lows.

There are certain pages where I was truly in love with it due to its profound pathos, well-developed characters, and the heart-wrenching tales of unrequited loves. However, there were also pages that felt like I was slogging through thick treacle, making my brain hurt from the density of the language.

I suspect that if you have a penchant for classic novels, you might very well love this one. It is extremely wordy and highly erudite, with some sentences that I had to read several times without fully grasping their meaning.

The story follows two Australian sisters, Caro and Grace, who lose their parents at a young age and move to England. Mostly, we focus on Caro as she has an affair, gets married, and rejects the man who has always been in love with her. I found Caro to be a difficult character to understand, or perhaps it was the passages related to her that were the most impenetrable.

We also follow Grace and her rather awful husband. It was these two characters, along with the passion that slips through Grace's fingers and the terrible things her husband does, that moved me the most.

I read Hazzard's The Great Fire some time ago, and although my memory of it is a bit hazy, I think I remember it more fondly than I will remember this one. I'm not discouraging you from reading The Transit of Venus, but just be prepared for the challenges it may present.

I have found it to be an extremely intense and gloomy experience.

Mary described it perfectly when she said, "At times I thought the writing was brilliant and amazing, and other times I thought it was pretentious and overwrought." In other words, it is evident that Shirley Hazzard employs words and constructs sentences in her own unique way, which I found truly fascinating. However, the story that she endeavors to tell seems to be somewhat overwhelming for this particular style. It is like pouring lemon juice onto a sour apple. I have a great fondness for sour apples (by that, I mean apples that are not unripe), and I consume lemon juice on a daily basis, but not in combination.

Nevertheless, I would still recommend giving it a try if you have a penchant for historical fiction. Perhaps you will take a liking to the style.

A truly perfect novel.

I firmly believe that it is highly likely that some of the reviewers here failed to fully 'comprehend' the ending. This is understandable, albeit unfortunate. Hazzard is crystal clear about what occurs, yet the recollection of a couple of earlier sentences is essential for the reader to completely grasp that final scene and what lies ahead.

This novel is specifically tailored for discerning readers who possess the patience to progress at a deliberate and thoughtful tempo through Hazzard's astonishing, albeit challenging, prose.

Nevertheless, by any criterion, it is undoubtedly a masterpiece. It is a work that will endure through the ages, captivating readers for generations to come.

It stands as a testament to Hazzard's remarkable literary prowess and her ability to craft a story that lingers in the mind long after the final page has been turned.

I used to have more patience with interior books like this one.

They seemed to hold a certain charm and allure that could capture my attention for hours on end. The detailed illustrations, the inspiring ideas, and the step-by-step guides would draw me in and make me eager to explore every page.

However, as time has passed, my patience has somewhat waned. Maybe it's because I've become busier, or perhaps I've simply become more挑剔.

But still, there are times when I pick up a book like this and am reminded of the joy it can bring. The possibility of transforming a space into something beautiful and unique is always exciting.

And so, even though my patience may not be what it once was, I continue to have a soft spot for interior books and the inspiration they offer.

This is truly one of the most exquisitely constructed novels I have ever had the pleasure of reading.

In the opening pages, twice there are simple sentences that serve as foreshadowing for all that is to come.

Everything is not revealed until much later, and until that moment, you will fret over those seemingly loose ends just as you would an irritating pebble in your shoe. But have no fear, for Hazzard knows exactly what she is doing.

And the end, oh, the end. Against all the evidence, even this "For the last time, Caroline Vail lay in a bed alone", I desired a more conventional conclusion to this love story. (It reminded me of Villette, another tale of true love that didn't run smoothly, as I read and re-read the final pages of Transit of Venus, longing to put a different interpretation on them... and yet being unable to).

As well-crafted as this book is on the macro level of plot and structure, it is also a masterpiece on the sentence level. Hazzard's economical, lapidary style is truly awe-inspiring.

Just like in The Bay of Noon, there were countless sentences and passages that I simply wanted to pause, savor, puzzle over, and treasure.

To give just one example, and one not particularly tied to the plot, a passage succinctly describing the upheavals of the sixties begins "In America, a white man had been shot dead in a car, and a black man on a veranda", continues (I'm leaving out some sentences), "In Italy, a population abandoned the fields forever, to make cars or cardigans in factories; and economists called this a miracle", and concludes "England was a dotard, repeating the single anecdote." You could read entire volumes of history that would be less evocative than this spare and searing prose.

Or this (which is Hazzard's defense of the entire novel, slipped in early, before you can understand why it is there): "Maybe the element of coincidence is played down in literature because it seems like cheating or can't be made believable. Whereas life itself doesn't have to be fair, or convincing." Why aren't all books crafted like this? (It would take me a lot longer to read them if they were - this book took me 10 days, about 3 times as long as normal because I didn't want to miss a single beat).

As the title implies, the book is about love - both transitory love and love as eternal as the planets. While, at the beginning, it may seem to be a more conventional book (or BBC miniseries) about a group of attractive young people of different classes confined to a country house, Hazzard's characters mature, and her treatment of the loves of middle age, with all the associated losses, disappointments, compromises, and satisfactions, is truly brilliant.

There were times when I found Hazzard's prose a little too elusive - some of the sentences remained puzzling even after much thought. And once or twice I felt my attention waning, but Hazzard always managed to draw me back in with another beautifully constructed episode. (One of the strengths of this novel is that while the five or so main characters are masterfully realized, the supporting cast is equally well-developed - who hasn't known a Dora or a Josie?)

The Transit of Venus

I initially had doubts about whether Shirley Hazzard could handle the rich prose she chose to tell her story. The opening sentences, like "Purple silence petrified the limbs of trees," seemed a bit odd. But as I read on, I began to appreciate her unique style. The reversed similes, at first clumsy, later became appealing in their symmetry. Hazzard quickly shows her mastery of writing on both a micro and macro level. She violates some writing rules, but always with a purpose and often with a witty touch. The scene that gives the novel its title is a key moment, summarizing much of the story. It makes me think that "The Transit of Venus" represents a life-changing event, like the grand passion that Caroline Bell and Ted Tice seek. The back cover makes it seem like the novel is about the Bell sisters, but for me, the main characters are Caroline, Ted, and Paul. The supporting players, like Grace and Christian, also add depth to the story. Overall, I found "The Transit of Venus" to be a complex and engaging novel that rewards careful reading.

4.5 ⭐️ Reading this book is an absolute delight, much like indulging in a sumptuous and decadent dessert.

It is so incredibly rich that one must consume it slowly, savoring each and every word.

The impact of the story is likely to linger for a while, leaving you with a sense of wonder and satisfaction.

Every other sentence seems like a precious little jewel, capable of being examined and admired from a dozen different angles.

This is a perfectly constructed book, with an ending that巧妙地points back to a beginning that you had almost forgotten.

It is sheer genius and gorgeous in every sense.

You must get your hands on it!!

However, I am docking half a star for two reasons.

Firstly, the characters were sometimes infuriating, which is perhaps a common trait in most works of this era, genre, and setting.

Secondly, every once in a while, the intensity of the prose felt a bit unnecessary and/or exhausting.

But who knows, these might change upon a re-read!

Overall, this is still a remarkable book that is well worth reading.

Some books are like captivating storytellers, weaving tales that keep you on the edge of your seat.

Some are a treasure trove of beautiful words, painting vivid pictures in your mind.

Some make your heart race with emotions, while others make you stop and think deeply.

Some transport you to far-off places, while others make you long for the comfort of home.

Some have the power to change your life, while others simply explain the mysteries of the world.

Some bring you closer to others, while others make you retreat into your own thoughts.

Some are so beloved that they are read over and over again, while others are quickly forgotten.

This book, however, defies easy categorization. It is a unique blend of all these qualities and yet none of them.

As I attempt to write a review, I find myself struggling to capture its essence. The writing is intelligent and nuanced, requiring careful reading to fully appreciate.

The story unfolds in a sneaky way, with subtle foreshadowing that you might miss if you zone out for a moment.

The characters seem cold and unfeeling at first, but as the story progresses, their passions and emotions are revealed, and they will surely tug at your heartstrings.

The moral of the story is somewhat elusive. Is there one? I'm not entirely sure.

Overall, this book was an unexpected delight. I enjoyed it in the moment, but upon reflection, I find myself with mixed feelings.

I was caught up in the story and was surprised by the big picture. I definitely want to read it again, but maybe not right away.

I was eager to know the end, but at the same time, I didn't want the story to end.

I hoped for a happy ending, but I also related to the characters' misery to some extent.

One thing is certain, though: this book is in a class of its own.

Mature content.

I think that this was quite a good novel up to about the half way point.

I was really interested in Caro's character - her intelligence, her suffering and so on.

However, at the end, it annoyed me intensely. I finally realized that it's one of those novels where the author had an initial idea but then lost the momentum to follow through.

All the later "stuff": Christian Thrale's romantic adventure, Grace Thrale's brush with love, and even the point when Adam Vail is brought in finally just seems like a lot of "padding" - it was just there to make time pass.

Ted Tice and Caro are in their mid-fifties when finally Caro realizes that Ted was, has been, and always will be the better man. But it's too late.

We understand the beginning statement about Ted right at the start of this novel and say yes - it's not surprising.

And this whole setup - the whole story is to prove what - exactly? That life will always thwart the recognition of true love? That once lovers have reached the perfect pitch of love, they are of no further interest? Or that perfect love must be doomed? Or that life will thwart what humans aspire to in the way of romantic love?

I don't know. There was a lot of content on politics, cabinet ministers, government secretaries, women's lack of equality, references to South American atrocities, references to US Government scandals - all controlled and hidden by the media and so on.

A lot of stuff to get through, intermixed with the various love stories. There were some really obnoxious characters - Dora and Paul Ivory - all exquisitely defined in the degree and intensity of their rottenness.

Caro and Grace - sisters from Australia - contrasted beautifully with the UK natives.

I feel cheated - a lot of time was spent on this. It's also interesting because I enjoyed "The Bay of Noon" and "The Evening of the Holiday" - both much shorter and both more or less happy but also surprisingly doomed love stories.

GRIEF....

I was truly taken aback by this book.

I came across it through an interview with Ann Patchet that I had read online.

I firmly believe that it is one of the most exquisitely written novels I have ever had the pleasure of reading.

The very night I completed the book, I couldn't resist opening it back up and commencing a second read.

The second time around, I was just as engrossed, if not more so than the first.

It was a bit of a challenge to get started initially as she doesn't construct the characters in the traditional manner.

You discover peculiar things about them that don't seem significant until much later in the book.

I am convinced that if you can persevere through the first 100 pages, you will be completely hooked.

And when you finally finish it, you will realize that you have delved into one of the finest pieces of literature out there.