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One of The Telegraph’s Best Fiction Books 2011
Here, from the writer described by The Guardian as “our purest living prose stylist” and whom Alan Hollinghurst has called “the most brilliant English novelist of his generation,” is a work of glittering social comedy, profound emotional truth, and acute verbal wit. At Last is also the stunning culmination of one of the great fiction enterprises of the past two decades in the life of the English ...
One of The Telegraph’s Best Fiction Books 2011
Here, from the writer described by The Guardian as “our purest living prose stylist” and whom Alan Hollinghurst has called “the most brilliant English novelist of his generation,” is a work of glittering social comedy, profound emotional truth, and acute verbal wit. At Last is also the stunning culmination of one of the great fiction enterprises of the past two decades in the life of the English novel.
As readers of Edward St. Aubyn's extraordinary earlier works—Never Mind, Bad News, Some Hope, and the Man Booker Prize finalist Mother's Milk—are well aware, for Patrick Melrose, “family” has always been a double-edged sword. At Last begins as friends, relatives, and foes trickle in to pay final respects to his mother, Eleanor. An Americam heiress, Eleanor married into the British aristocracy, giving up the grandeur of her upbringing for “good works” freely bestowed on everyone but her own son, who finds himself questioning whether his transition to a life without parents will indeed be the liberation he had so long imagined.
The service ends, and family and friends gather for a final party. Amid the social niceties and social horrors, Patrick begins to sense the prospect of release from the extremes of his childhood, and at the end of the day, alone in his room, the promise some form of safety. . . at last.
“Remarkable . . . In order to understand what makes these novels so exceptional, it’s better to open any one of them at random, marveling at the precise observations and glistening turns of phrase, not to mention dialogue witty enough to make our own most clever conversations sound like . . . well, like St. Aubyn’s Princess Margaret.” —Francine Prose, The New York Times Book Review
“[At Last] offers up everything that one could hope for in a good novel.” —Christopher A. Gellert, The Washington Square New
“St. Aubyn’s skill with characterization, his dissection of how a personality warps, settles, or improves over time, is nowhere more evident than in his aging of Patrick, whose mood and mental state are a gauge for the tone of each novel. . . At Last is far less dramatic than any previous Melrose book, although the humor and perfectly observed dialogue remain. Its calm is entirely suited to the wisdom Patrick Melrose has painfully, finally earned.” —Victoria Beale, The New Republic
“St. Aubyn writes with exquisite control and a brilliant comic touch. . . An intelligent and surprisingly hopeful novel, a fitting conclusion to one of the best fictional cycles in contemporary fiction.” —Anthony Domestico, The Boston Globe
“You have to drill down pretty far and pretty mercilessly to get to the vulnerable, human soul of someone like Patrick. But St. Aubyn does, and he mines extraordinary amounts of humor and pathos out of Patrick's thin, bedraggled life. . . St. Aubyn's prose recalls Virginia Woolf's; it has the same combination of lyricism and precision.” —Lev Grossman, Time
“Piercing. . . Mr. St. Aubyn shares Patrick's gift for observation, and his radar for pictorial and emotional detail enables him to capture just about anything in his pointillist prose.” —Michiko Kakutani, The New York Times
“On every page of St. Aubyn's work is a sentence or a paragraph that prompts a laugh, or a moment of enriched comprehension.” —James Wood, The New Yorker
“Delightfully packed with gross privilege, dysfunction, and savage humor.” —Deirdre Foley-Mendelssohn, The Paris Review (staff pick)
“St. Aubyn's humor and elegance transform harrowing subject matter into irresistible prose.” —Maura Egan, W Magazine
“With lacerating humor and razor sharp imagery, St. Aubyn continues to work out his themes: the follies of the British upper class, the 'psychological impact of inherited wealth,' the complex dynamics between parent and child.” —Mary Ellen Quinn, Booklist
“Stunning, sparkling fiction. . . Deeply affecting.” —Sam Sacks, The Wall Street Journal
“It's tough competition for the most-underrated writer in the English language—there's plenty of neglect to go around — but if you put a Colt Commander to my head (see below) I might well say it's St. Aubyn, the chronically under-published chronicler of abuse, dysfunction, alcoholism and worse in the English upper classes. At Last is the final novel, one thinks, in his series about his alter ego, the neurotic Patrick Melrose. It's pretty much a lock to be one of the funniest, saddest, most beautiful books of the year.” —Lev Grossman, Time
“The Melrose novels by Edward St. Aubyn are a masterwork for the 21st century. Written by one of our greatest English prose stylists, they present a cornucopia of humor, pathos, razor sharp judgment, pain, joy, and everything in between.” —Alice Sebold, author of The Lovely Bones
“Sparkling . . . With the wit of Wilde, the lightness of Wodehouse, and the waspishness of Waugh, [St. Aubyn] wraps his fancy prose style around the self in extremis (“suffocated, dropped, born of raped as well as born to be raped”), situations more familiar to readers of Cooper or Burroughs.” —Zadie Smith, Harper's
“A miraculously wrought piece of art.” —Suzi Feay, The Financial Times
“St. Aubyn’s technique is to crystallise emotional intensity into sentences of arctic beauty, which can be caustically witty or brutal. His novels are uncommonly well controlled, and thus their impact is all the more powerful… In At Last this crystallisation and control are on glittering display…We have reached the pinnacle of a series that has plunged into darkness and risen towards light. At Last is both resounding end and hopeful beginning.” —Philip Womack, The Telegraph
“Ferociously funny, painfully acute and exhilaratingly written. . . Brimming with witty flair, sardonic perceptiveness and literary finesse.”—Peter Kemp, The Sunday Times
“The thing that everyone loves about this man . . . is that his prose has an easy charm that masks a ferocious, searching intellect. As a sketcher of character, his wit — whether turned against pointless members of the aristocracy or hopeless crack dealers — is ticklingly wicked. As an analyser of broken minds and tired hearts he is as energetic, careful and creative as the perfect shrink. And when it comes to spinning a good yarn, whether over the grand scale of three volumes or within a single page of anecdote, he has a natural talent for keeping you on the edge of your seat . . . [An] amazing book.”— Melissa Katsoulis, The Times
The first thing you will want to know about At Last, the final volume in Edward St. Aubyn's five-novel cycle starring Patrick Melrose, is that, yes, you really do have to read the preceding four if you want to appreciate it fully. The second is that if reading about wealthy, conceited, selfish, dissipated, cruel, monstrously awful people is not for you, then, alas, neither are these novels. The third is that the books are brilliant. They are also highly idiosyncratic: Each installment is both a comedy of manners and a wrenching psychological investigation; each oscillates between satire and tragedy, and all are written with flash and brio, ornamented by inspired simile, and spangled with mordant, Wildean wit.
The first four novels, available in a single volume entitled The Patrick Melrose Novels, begin with Never Mind, a title of apt and dismal pathos. Here we meet Patrick Melrose, five years old and living in a château in Provence with his parents. His alcoholic, drug-befuddled mother, Eleanor, is an American heiress to some part of a dry- cleaning fortune, and it was that attribute that had captivated Patrick's sadistic English father, David. Trained as a doctor, he abandoned his practice upon marriage — though, we are told, "there had been talk of using some of her money to start a home for alcoholics. In a sense they had succeeded."
The novel takes place over one terrible day and night, during which — and I must reveal this, as it is pivotal to the entire series — Patrick is raped by his father. While it is happening, the boy manages to disassociate himself from the event, seeing himself perched above the scene, mentally escaping his body. This split — between being there and not being there, between immediacy of experience and fending it off — bedevils Patrick from then on in every area of existence. That breach and his efforts to repair or at least bridge it, through drugs, alcohol, sex, and tormented self-examination, make up the cycle's shattering theme.
As for Patrick's mother, Eleanor: she is unmindful of everything but pills and booze, charitable causes, and the sure prospect that her husband will humiliate her, publicly if possible, at every opportunity. Absent from home the morning Patrick was attacked and oblivious to it, she later pauses, while writing a check to the Save the Children Fund, to consider Patrick's subdued demeanor, marveling "at how well her son had turned out. Perhaps people were just born one way or another and the main thing was not to interfere too much." Patrick's fear and confusion, Eleanor's obtuseness and self- involvement, and David's viciousness and "nimbus of insanity" provide the atmosphere amid which a dinner party is staged. The guests, characters we will meet again in following volumes, introduce us to the first principle of the decadent British upper caste: Nothing is so insufferable as a bore.
In this view, or, rather, under this obsession, a bore is a person who is genuinely tedious — and there are some terrifically funny representatives of that species in these novels — but a bore is also a person who cares about things. The surest defense against being branded a bore is to avoid the appearance of sincerity or compassion and to display a certain outrageousness. As David contemplates his violation of his son at this novel's conclusion, he reflects, "He must try not to do it again, that really would be tempting fate. David could not help smiling at his own audacity."
Bad News, the second novel, is not exactly a breath of fresh air. Patrick is now twenty-two and a heroin addict (with a sideline in Quaaludes, amphetamines, cocaine, and alcohol). He is in New York, having received news that his father has died there. Eleanor, now divorced from her tormenter and even more devoted to charitable works, is not on the scene. Patrick has to deal with the body's cremation and, more pressingly, with replenishing his drug supply. He is a mess: needle-scarred and bruised, his psyche a tangle of anxiety, hatred, and self- loathing. The pain is excruciating, the comedy ghoulish: Storming down the street carrying his father's ashes, he realizes that "it was the first time he had been alone with his father for more than ten minutes without being buggered, hit, or insulted."
Some Hope brings us Patrick at thirty, his past lying "before him like a corpse waiting to be embalmed." He lives in London, free of drugs and drink but more than ever engaged in an interior battle with the demons of the past: with his father, and, to an extent, with his mother, who, for all her ceaseless do- gooding, failed to protect her own son. The novel was meant to complete an intended trilogy, and it does end with Patrick finding a certain amount of peace — and some hope. Aside from that, it is enormously funny, the story organized around an elaborate, snob-infested country house party, a scene of social striving and mortification — the guests, among them Princess Margaret, are described with glorious malice.
With Mother's Milk, Patrick Melrose breaks free of the trilogy and emerges as a married man with two children, though — need it be said? — he is back in a state of "agitated despair." He is drinking again, can't sleep, and has a slight problem with Tamazepam, "namely that it wasn't strong enough. The side effects, the memory loss, the dehydration, the hangover, the menace of nightmarish withdrawals, all that worked beautifully. It was just the sleep that was missing." His troubles are further compounded by the fear that he will pass on his dark and riven consciousness to his children, just as his parents passed on their own sickness of soul. Meanwhile, Eleanor, who, we learn, may not have been entirely ignorant of Patrick's father's abuse, is in the process of disinheriting her son. She is handing over her estate in Provence to a New Age charlatan, a smarmy back rubber and would-be shaman who has set up a "Transpersonal Foundation" on the premises.
Profiting from the three-book foundation upon which it is built, Mother's Milk is a triumph, once again both gruesome and funny. There are wonderful comic set pieces, including a dreadful family vacation in New York City. But the grim work of psychological excavation also continues, this time with Eleanor as its chief object, as Patrick considers the machinations by which the weak exercise their grotesque tyranny. But something new has entered the picture: the children, two little boys, bringing with them an element of sweetness and genuine love.
And so we come to At Last: Patrick is forty-five, and his mother has died: With both parents gone, he feels that he has "been waiting all his life for this sense of completeness." But even as he pats his mother's coffin "as an owner might pat a winning race horse," we see that things are not splendid. He has given up drink but is also separated from his wife and children — and he is also still mystified and tormented by the chaos of his psyche.
How, I sense you wondering, can this still be interesting? It really is: not only because St. Aubyn is so entertaining a writer but because of the increasing philosophical depth he brings to the story. As Patrick delves deeper and deeper into the mystery of memory and identity, we wonder with him if they are, in fact, the same thing. And if so, the urge to escape is, in his case at least, irresistible — if not through drugs and drink, then through irony: "Forget heroin," he tells a former mistress, "Just try giving up irony, that deep-down need to mean two things at once, to be in two places at once, not to be there for the catastrophe of a fixed meaning."
And yet Patrick's unwinding story never really loses this double nature, its devotion to pain and the comedy that only partly holds it at bay. St. Aubyn's own experiences inform these novels, and his unhappy circumstance no doubt endows Patrick's with its sense of urgency and anguished intensity. But whatever the author's actual state of mind has been or is now, its expression in art is a complete success.
Katherine A. Powers reviews books widely and has been a finalist for the Nona Balakian Citation for Excellence in Reviewing from the National Book Critics Circle.
Reviewer: Katherine A. Power
AT LAST (Chapter 1)
'Surprised to see me?' said Nicholas Pratt, planting his walking stick on the crematorium carpet and fixing Patrick with a look of slightly aimless defiance, a habit no longer useful but too late to change. 'I've become rather a memorial-creeper. One's bound to at my age. It's no use sitting at home guffawing over the ignorant mistakes of juvenile obituarists, or giving in to the rather monotonous pleasure of counting the daily quota of extinct contemporaries. No! One has to "celebrate the life": there goes the school tart. They say he had a good war, but I know better! - that sort of thing, put the whole achievement in perspective. Mind you, I'm not saying it isn't all very moving. There's a sort of swelling orchestra effect to these last days. And plenty of horror, of course. Padding about on my daily rounds from hospital bed to memorial pew and back again, I'm reminded of those oil tankers that used to dash themselves onto the rocks every other week and the flocks of birds dying on the beaches with their wings stuck together and their bewildered yellow eyes blinking.'
Nicholas glanced into the room. 'Thinly attended,' he murmured, as if preparing a description for someone else. 'Are those people your mother's religious friends? Too extraordinary. What colour would you call that suit? Aubergine? Aubergine à la crème d'oursin? I must go to Huntsman and get one knocked up. What do you mean, you have no Aubergine? Everyone was wearing it at Eleanor Melrose's. Order a mile of it straight away!
'I suppose your aunt will be here soon. She'll be an all too familiar face amidst the Aubergines. I saw her last week in New York and I'm pleased to say I was the first to tell her the tragic news about your mother. She burst into tears and ordered a croque monsieur to swallow with her second helping of diet pills. I felt sorry for her and got her asked to dinner with the Blands. Do you know Freddie Bland? He's the smallest billionaire alive. His parents were practically dwarfs, into the room with a tremendous fanfare and then like General and Mrs. Tom Thumb. They used to come disappear under a console table. Baby Bland has taken to being serious, the way some people do in their senile twilight. She's decided to write a book about Cubism, of all ridiculous subjects. I think it's really part of her being a perfect wife. She knows what a state Freddie used to get into over her birthday, but thanks to her new hobby, all he has to do now is get Sotheby's to wrap up a revolting painting of a woman with a face like a slice of watermelon by that arch fake Picasso, and he knows she'll be over the moon. Do you know what Baby said to me? At breakfast, if you please, when I was almost defenceless.' Nicholas put on a simpering voice:
'"Those divine birds in late Braque are really just an excuse for the sky."
'"Such a good excuse," I said, choking on my first sip of coffee, "so much better than a lawn mower or a pair of clogs. It shows he was in complete control of his material."
'Serious, you see. It's a fate I shall resist with every last scrap of my intelligence, unless Herr Doktor Alzheimer takes over, in which case I'll have to write a book about Islamic art to show that the towel-heads have always been much more civilized than us, or a fat volume on how little we know about Shakespeare's mother and her top-secret Catholicism. Something serious.
'Anyhow, I'm afraid Aunt Nancy rather bombed with the Blands. It must be hard to be exclusively social and entirely friendless at the same time. Poor thing. But do you know what struck me, apart from Nancy's vibrant self-pity, which she had the nerve to pretend was grief, what struck me about those two girls, your mother and your aunt, was that they are, were - my life is spent wobbling between tenses - completely American. Their father's connection with the Highlands was, let's face it, entirely liquid and after your grandmother sacked him he was hardly ever around. He spent the war with those dimwits the Windsors in Nassau; Monte Carlo after the war, and finally foundered in the bar of White's. Of the tribe who are blind drunk every day of their lives from lunch until bedtime, he was by far the most charming, but frustrating I think as a father. At that level of drunkenness one's essentially trying to embrace a drowning man. The odd eruption of sentimentality for the twenty minutes the drink took him that way was no substitute for the steady flow of self-sacrificing kindness that has always inspired my own efforts as a father. With what I admit have been mixed results. As I'm sure you know, Amanda hasn't spoken to me for the last fifteen years. I blame her psychoanalyst, filling her never very brilliant little head with Freudian ideas about her doting Papa.'
Nicholas's rotund style of delivery was fading into an increasingly urgent whisper, and the knuckles of his blue-veined hands were white from the effort of holding himself upright. 'Well, my dear, we'll have another little chat after the ceremony. It's been marvellous finding you on such good form. My condolences and all that, although if ever there was a "merciful release", it was in the case of your poor mother. I've become something of a Florence Nightingale in my old age, but even the Lady with the Lamp had to beat a retreat in the face of that terrifying ruin. It's bound to act as a brake on the rush to get me canonized but I prefer to pay visits to people who can still enjoy a bitchy remark and a glass of champagne.'
He seemed about to leave but then turned back. 'Try not to be bitter about the money. One or two friends of mine who've made a mess of that side of things have ended up dying in National Health wards and I must say I've been very impressed by the humanity of the mostly foreign staff. Mind you, what is there to do with money except spend it when you've got it or be bitter about it when you haven't? It's a very limited commodity in which people invest the most extraordinary emotions. What I suppose I really mean is do be bitter about the money; it's one of the few things it can do: siphon off some bitterness. Do-gooders have sometimes complained that I have too many bêtes noires, but I need my bêtes noires to get the noire out of me and into the bêtes. Besides, that side of your family has had a good run. What is it now? Six generations with every single descendant, not just the eldest son, essentially idle. They may have taken on the camouflage of work, especially in America where everyone has to have an office, if only to swivel about with their shoes on the desk for half an hour before lunch, but there's been no necessity. It must be rather thrilling, although I can't speak from experience, for you and your children, after this long exemption from competition, to get stuck in. God knows what I would have made of my life if I hadn't divided my time between town and country, between home and abroad, between wives and mistresses. I have divided time and now doth time divide me, what? I must take a closer look at these religious fanatics your mother surrounded herself with.'
Nicholas hobbled off with no pretence that he expected any response other than silent fascination.
When Patrick looked back on the way that illness and dying had torn apart Eleanor's flimsy shamanic fantasies, Nicholas's 'religious fanatics' seemed to him more like credulous draft-dodgers. At the end of her life Eleanor had been thrown into a merciless crash-course in self-knowledge, with only a 'power animal' in one hand and a rattle in the other. She had been left with the steepest practice of all: no speech, no movement, no sex, no drugs, no travel, no spending, hardly any food; just alone in silent contemplation of her thoughts. If contemplation was the word. Perhaps she felt that her thoughts were contemplating her, like hungry predators.
'Were you thinking about her?' said a soft Irish voice. Annette rested a healing hand on Patrick's forearm and tilted her understanding head to one side.
'I was thinking that a life is just the history of what we give our attention to,' said Patrick. 'The rest is packaging.'
'Oh, I think that's too stark,' said Annette. 'Maya Angelou says that the meaning of our lives is the impact we have on other people, whether we make them feel good or not. Eleanor always made people feel good, it was one of her gifts to the world. Oh,' she added with sudden excitement, gripping Patrick's forearm, 'I only made this connection on the way in: we're in Mortlake crematorium to say farewell to Eleanor, and guess what I took to read to her on the last occasion I saw her. You'll never guess. The Lady of the Lake. It's an Arthurian whodunit, not very good actually. But that says it all, doesn't it? Lady of the lake - Mortlake. Given Eleanor's connection with water and her love of the Arthurian legends.'
Patrick was stunned by Annette's confidence in the consoling power of her words. He felt irritation being usurped by despair. To think that his mother had chosen to live among these resolute fools. What knowledge was she so determined to avoid?
'Who can say why a crematorium and a bad novel should have vaguely similar names?' said Patrick. 'It's tantalizing to be taken so far beyond the rational mind. I tell you who would be very receptive to that sort of connection: you see the old man over there with the walking stick. Do tell him. He loves that kind of thing. His name is Nick.' Patrick dimly remembered that Nicholas loathed this abbreviation.
'Seamus sends his best,' said Annette, accepting her dismissal cheerfully.
'Thank you.' Patrick bowed his head, trying not to lose control of his exaggerated deference.
What was he doing? It was all so out of date. The war with Seamus and his mother's Foundation was over. Now that he was an orphan everything was perfect. He seemed to have been waiting all his life for this sense of completeness. It was all very well for the Oliver Twists of this world, who started out in the enviable state it had taken him forty-five years to achieve, but the relative luxury of being brought up by Bumble and Fagin, rather than David and Eleanor Melrose, was bound to have a weakening effect on the personality. Patient endurance of potentially lethal influences had made Patrick the man he was today, living alone in a bedsit, only a year away from his latest visit to the Suicide Observation Room in the Depression Wing of the Priory Hospital. It had felt so ancestral to have delirium tremens, to bow down, after his disobedient youth as a junkie, to the shattering banality of alcohol. As a barrister he was reluctant nowadays to kill himself illegally. The alcohol felt deep, humming down the bloodline. He could still remember, when he was five, taking a donkey ride among the palm trees and the packed red and white flowerbeds of Monte Carlo's Casino Gardens, while his grandfather sat on a green bench shaking uncontrollably, clamped by sunlight, a stain spreading slowly through the pearl-grey trousers of his perfectly cut suit.
Lack of insurance forced Patrick to pay for his own stay in the Priory, exhausting all his funds in a thirty-day gamble on recovery. Unhelpfully short from a psychiatric point of view, a month was still long enough for him to become immediately infatuated with a twenty-year-old patient called Becky. She looked like Botticelli's Venus, improved by a bloody trellis of razor cuts crisscrossing its way up her slender white arms. When he first saw her in the lounge of the Depression Wing, her radiant unhappiness sent a flaming arrow into the powder keg of his frustration and emptiness.
'I'm a self-harming resistant depressive,' she told him. 'They've got me on eight different kinds of pills.'
'Eight,' said Patrick admiringly. He was down to three himself: the daytime antidepressant, the nighttime antidepressant, and the thirty-two oxazepam tranquillizers a day he was taking to deal with the delirium tremens.
In so far as he could think at all on such a high dose of oxazepam, he could think only of Becky. The next day, he heaved himself off his crackling mattress and slouched to the Depression Support Group in the hope of seeing her again. She was not there, but Patrick could not escape from joining the circle of tracksuited depressives. 'As to sports, let our wear do it for us,' he sighed, slumping down in the nearest chair.
An American called Gary kicked off the sharing with the words, 'Let me give you a scenario: suppose you were sent to Germany for work, and suppose a friend you hadn't heard from in a long time called you up and came to visit with you from the States...' After a tale of shocking exploitation and ingratitude, he asked the group what he should say to this friend. 'Cut them out of your life,' said the bitter and abrasive Terry, 'with friends like that, who needs enemies?'
'Okay,' said Gary, relishing his moment, 'and suppose I told you that this "friend" was my mother, what would you say then? Why would that be so different?'
Consternation raced through the Group. A man, who had been feeling 'completely euphoric' since his mother had come over on Sunday and taken him out to buy a new pair of trousers, said that Gary should never abandon his mother. On the other hand, there was a woman called Jill who had been 'for a long walk by the river I wasn't supposed to come back from - well, put it this way, I did come back very wet, and I said to Dr Pagazzi, who I love to bits, that I thought it had something to do with my mother and he said, "We're not even going to go there."' Jill said that, like her, Gary should have nothing to do with his mother. At the end of the session, the wise Scottish moderator tried to shield the group from this downpour of self-centred advice.
'Someone once asked me why mothers are so good at pushing our buttons,' he said, 'and the answer I gave was, "Because they put them there in the first place."'
Everyone nodded gloomily, and Patrick asked himself, not for the first time, but with renewed desperation, what it would mean to be free, to live beyond the tyranny of dependency and conditioning and resentment.
After the Support Group, he saw a caved-in, illicitly smoking, barefooted Becky go down the staircase beyond the laundry. He followed her and found her crumpled on the stairs, her giant pupils swimming in a pool of tears. 'I hate this place,' she said. 'They're going to throw me out because they say I've got a bad attitude. But I only stayed in bed because I'm so depressed. I don't know where I'm going to go, I can't face going back to my parents.'
She was screaming to be saved. Why not run away with her to the bedsit? She was one of the few people alive who was more suicidal than him. They could lie on the bed together, Priory refugees, one convulsing while the other slashed. Why not take her back and let her finish the job for him? Her bluest veins to bandage, her whitening lips to kiss. No no no no no. He was too well, or at least too old.
These days he could only remember Becky with deliberate effort. He often watched his obsessions pass over him like so many blushes, and by doing nothing about them, watched them fade. Becoming an orphan was a thermal on which this new sense of freedom might continue to rise, if only he had the courage not to feel guilty about the opportunity it presented.
Patrick drifted towards Nicholas and Annette, curious to see the outcome of his matchmaking.
'Stand by the graveside or the furnace,' he heard Nicholas instructing Annette, 'and repeat these words, "Goodbye, old thing. One of us was bound to die first and I'm delighted it was you!" That's my spiritual practice, and you're welcome to adopt it and put it into your hilarious "spiritual tool box".'
'Your friend is absolutely priceless,' said Annette, seeing Patrick approaching. 'What he doesn't realize is that we live in a loving universe. And it loves you too, Nick,' she assured Nicholas, resting her hand on his recoiling shoulder.
'I've quoted Bibesco before,' snapped Nicholas, 'and I'll quote him again: "To a man of the world, the universe is a suburb".'
'Oh, he's got an answer to everything, hasn't he?' said Annette. 'I expect he'll joke his way into heaven. St. Peter loves a witty man.'
'Does he?' said Nicholas, surprisingly appeased. 'That's the best thing I've heard yet about that bungling social secretary. As if the Supreme Being would consent to spend eternity surrounded by a lot of nuns and paupers and par-boiled missionaries, having his lovely concerts ruined by the rattle of spiritual tool boxes and the screams of the faithful, boasting about their crucifixions! What a relief that an enlightened command has finally reached the concierge at the Pearly Gates: "For Heaven's sake, send Me a conversationalist!"'
Annette looked at Nicholas with humorous reproach.
'Ah,' he said, nodding at Patrick, 'I never thought I'd be so grateful to see your impossible aunt.' He lifted his stick and waved it at Nancy. She stood in the doorway looking exhausted by her own haughtiness, as if her raised eyebrows might not be able to stand the strain much longer.
'Help!' she said to Nicholas. 'Who are these peculiar people?'
'Zealots, Moonies, witch-doctors, would-be terrorists, every variety of religious lunatic,' explained Nicholas, offering Nancy his arm. 'Avoid eye contact, stick close to me and you may live to tell the tale.'
Nancy flared up when she saw Patrick. 'Of all the days not to have the funeral,' she said.
'Why?' he asked, confused.
'It's Prince Charles's wedding. The only other people who might have come will be at Windsor.'
'I'm sure you'd be there as well, if you'd been invited,' said Patrick. 'Don't hesitate to nip down with a Union Jack and a cardboard periscope if you think you'd find it more entertaining.'
'When I think how we were brought up,' wailed Nancy, 'it's too ridiculous to think what my sister did with...' She was lost for words.
'The golden address book,' purred Nicholas, gripping his walking stick more tightly as she sagged against him.
'Yes,' said Nancy, 'the golden address book.'
AT LAST Copyright 2011 by Edward St. Aubyn
The fifth and final installment in the acclaimed Patrick Melrose novels, At Last offers an entertaining yet thought-provoking experience, even for those who have never read the previous books. We hope that the following topics will enhance your group’s discussion of this wise and witty novel.
Posted May 10, 2012
AT LAST is the fifth and final volume in St. Aubyn's series of books about Patrick Melrose (all of which I have read in the last month). Patrick's abusive childhood is based, at least in part, on St. Aubyn's own upbringing, which is chilling. "The slashing intelligence of Patrick's analysis of himself and his upper-crust world, combined with the epigrammatic wit of the dialogue, gave what might have been a narrow confessional exercise the reach and resonance of tragedy," wrote James Lasdun in his Guardian review, acclaiming the final act in a "terrifying, spectacularly entertaining saga". At his mother's funeral, Patrick comes up against the aging monsters of his childhood for one last time, thinking back to maternal betrayals and forward to the redemptive possibilities of his own sons' future.
***SPOILER ALERT HERE ***
I almost agree with Lasdun, and would have given this book the same five stars I unreservedly gave the rest of the series, had it not been for an oddly unsatisfying last few pages. I found the leap into the sort of 'even our abusers were abused children once' pop psychology so strange, given the tone and perspective of the rest of the work that I read it twice to make sure I wasn't missing something. I rather hope I was missing something. Although I earnestly wish a better future for this damaged man, I couldn't help but feel this rending of the veil a little too abrupt, as though the author needed to tie up the ends quickly. I needed more subtly, some symbolic hint at future grace perhaps, but this felt too heavy handed and too simple.
Having said that (and I regret my feelings on the matter), I HIGHLY recommend the entire series. I've never read anything which manages to marry scathing wit with pathos quite so well. And I may be entirely wrong about the ending. I hope I am.
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At last, Patrick's mother dies. Read this after the first four novels in the Patrick Melrose series and you will be relieved too. Edward St. Aubyn is a marvelous novelist and says a lot in very few pages.
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Posted February 1, 2013
Having read the first 4 in the series, I had to read "At Last" to get some closure on the characters. Despite the complexities of the characters and plot lines that lead up to "At Last" the final book delivers the perfect conclusion.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
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