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Astonishing. Astounding. Darkly delightful.
I bought this omnibus a few years ago. I had been meaning to read the 'Enderby' novels for some time. Eventually I began reading the first one, Inside Mr Enderby, and after only a few pages I realised that I had set off on a journey into a masterpiece. This is probably the best novel of the four, but that's a bit like saying a very very wonderful thing is better than a very wonderful thing. All four novels are superb.
The second, Enderby Outside, has the most action. Enderby becomes (or thinks he has become) a criminal and he is on the run. He chooses a very exotic refuge and William Burroughs has a cameo role here (though he is disguised in it). This novel, like its precedessor, is scathing, hilarious, relentlessly ironic, mildly misanthropic, elitist (but humorously so), brilliantly written, vulgar and sublime.
In the third, The Clockwork Testament, the satire is harder and sharper and the cultural criticisms are eye-watering. Burgess is reacting to a world that has changed considerably from the world of the time of the first Enderby novel. Enderby, always lost in the world, is now absolutely out of place. He pushes on regardeless, paying the ultimate price.
In the fourth, Enderby's Dark Lady, set in an alternative present to the world of the third book, Enderby is thrust deep into the politics of aspirational actors and composers. He forms an unlikely alliance, a friendship which could have gone deeper had he chosen, and he achieves a very small triumph at the end, a pyrrhic victory, despite everything. This novel ends with an outrageously brilliant piece of science fiction.
Anthony Burgess has one of the most enthralling prose styles I have ever encountered, intricate, lyrical, original, full of wordplay and language tricks, but his brilliancies are never at the expense of meaning. I rank him with Nabokov as a stylist, on the highest plateau of all.
I bought this omnibus a few years ago. I had been meaning to read the 'Enderby' novels for some time. Eventually I began reading the first one, Inside Mr Enderby, and after only a few pages I realised that I had set off on a journey into a masterpiece. This is probably the best novel of the four, but that's a bit like saying a very very wonderful thing is better than a very wonderful thing. All four novels are superb.
The second, Enderby Outside, has the most action. Enderby becomes (or thinks he has become) a criminal and he is on the run. He chooses a very exotic refuge and William Burroughs has a cameo role here (though he is disguised in it). This novel, like its precedessor, is scathing, hilarious, relentlessly ironic, mildly misanthropic, elitist (but humorously so), brilliantly written, vulgar and sublime.
In the third, The Clockwork Testament, the satire is harder and sharper and the cultural criticisms are eye-watering. Burgess is reacting to a world that has changed considerably from the world of the time of the first Enderby novel. Enderby, always lost in the world, is now absolutely out of place. He pushes on regardeless, paying the ultimate price.
In the fourth, Enderby's Dark Lady, set in an alternative present to the world of the third book, Enderby is thrust deep into the politics of aspirational actors and composers. He forms an unlikely alliance, a friendship which could have gone deeper had he chosen, and he achieves a very small triumph at the end, a pyrrhic victory, despite everything. This novel ends with an outrageously brilliant piece of science fiction.
Anthony Burgess has one of the most enthralling prose styles I have ever encountered, intricate, lyrical, original, full of wordplay and language tricks, but his brilliancies are never at the expense of meaning. I rank him with Nabokov as a stylist, on the highest plateau of all.