Land of Marvels

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Overview

“There is something of E. M. Forster in Unsworth’s knowing depiction of a decaying empire.”—The New Yorker
In this masterful work of historical fiction set during the dying days of the Ottoman Empire, the schemes of Western powers grappling for a foothold in Mesopotamia come vividly to life. English archaeologist John Sommerville begins excavating a historical site, believing he has uncovered a find that will revolutionize his field. But when the Germans threaten his dig with their railroad, he hires an Arab spy,...

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Overview

“There is something of E. M. Forster in Unsworth’s knowing depiction of a decaying empire.”—The New Yorker
In this masterful work of historical fiction set during the dying days of the Ottoman Empire, the schemes of Western powers grappling for a foothold in Mesopotamia come vividly to life. English archaeologist John Sommerville begins excavating a historical site, believing he has uncovered a find that will revolutionize his field. But when the Germans threaten his dig with their railroad, he hires an Arab spy, not recognizing the spies dwelling in his own house.

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Editorial Reviews

Christopher de Bellaigue - New York Times Book Review
“Deft characterization . . . succeeds in summoning the demons and the angels of Iraq’s present and past.”
Men's Journal
“[Unsworth’s] work is as clean as Hemingway’s and as dark as Conrad’s.”
Jonathan Yardley - Washington Post
“Immensely intelligent and entertaining. . . . Its characters are real, its prose is fluid, its sense of place is pervasive, and its ending is exactly right. . . . All in all a lovely, memorable book.”
Jonathan Yardley
…immensely intelligent and entertaining…Unsworth is now 78 years old, and Land of Marvels is his 16th novel, but if he's lost a step along the way, it certainly isn't evident here. Not only does he confidently steer a complicated narrative populated by numerous characters, all of them believable and interesting, but he displays an impressive command of archaeology and geology, difficult subjects that are at the center of his story…All in all, a lovely, memorable book.
—The Washington Post
Christoper de Bellaigue
…Unsworth assembles his layers with the subtlety you would expect from a renowned, if restrained, historical novelist and Booker Prize winner…Amid the tension, and some deft characterization…Unsworth's themes of extraction and exploitation are irresistible.
—The New York Times
Publishers Weekly

Booker Prize-winning Unsworth (The Ruby in Her Navel) sets his intelligent and timely new book in Mesopotamia during the spring of 1914, just before the chaos of WWI. John Somerville, a British archeologist desperate for fame, worries that his new discovery, an ancient tomb, will be compromised by the construction-funded by Germany-of a new railway line. At the excavation site, Somerville's wife, Edith, wonders if her marriage has fizzled, especially after the arrival of Alex Elliott, a handsome American posing as a geologist but secretly searching for new sources of oil. Meanwhile, Jehar, an Arab confidence man, brings often fabricated messages to Somerville, warning him that the Germans are quickly approaching. The tension between the players-all eager to claim rights to what the land provides-builds toward a violent, unexpected finale. In elegantly modulated prose, Unsworth creates a tapestry of ambition and greed while, at the same time, foreshadowing the current conflict in the region. (Jan.)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Library Journal

Well known for the widely acclaimed novel Sacred Hunger, which received the Booker Prize, and his well-craftedMorality Play, Unsworth here offers historical fiction at its best. It provides some insight into current political divisions in the Middle East as it explores the power and limitations of storytelling. While the publisher characterizes this novel as a thriller, and it certainly has a compelling plot, Unsworth exceeds the limitations of that genre by drawing characters with depth and complexity. As several Western countries do their best to exploit the looming prospect of war and potential oil reserves in 1914 Mesopotamia (now Iraq), a British archaeologist races against time to uncover the secrets of an Assyrian site before construction on the new railway flattens the site and his hopes for further expeditions. Consumed with worry, he doesn't realize who, among his growing party, has betrayed him, who is working undercover, and who is just lying. Highly recommended for all literary fiction collections. [See Prepub Alert, LJ9/1/08.]
—Gwen Vredevoogd

Kirkus Reviews
The Booker Prize-winning British author's latest novel is a tale of archaeological exploration and global political cross-purposes, set in the former Mesopotamia (now Iraq) in the immediate pre-war year of 1914. When obsessed researcher John Somerville attempts to unearth a buried Assyrian palace that lies directly in the path of a German-built railroad line leading to Baghdad, rival international interests collide in the area of the dig (a mound known as Tell Erdek). British diplomat Major Manning, scheming oil magnate Baron Rampling, Somerville's assistant Palmer (encouraged by his love interest Patricia, an educated woman committed to feminist advancement) and Somerville's neglected, resentful wife Edith enact a dance of mutual involvement, estrangement and conflict that's disturbed by two manipulative "outsiders." American petroleum geologist Alex Elliott, ostensibly employed by Rampling but driven by a more complex agenda, easily infiltrates both Somerville's activities and Edith's starved affections. And Arab interpreter-factotum Jehar (whose name bears a sly echo of "Jihad") works against his employers' priorities, consumed by his love for a beautiful young Circassian girl. As tell-tale "Layers of Parthian, Byzantine, Roman occupation . . . [are] found," Somerville anticipates scholarly fame for having deciphered mysteries related to once-glorious Assyrian kings. But much more is at stake than his love of the past, and as plotlines are skillfully drawn together, the ingenuous prophecy of a visiting pair of biblical archaeologists who seek the site of the Garden of Eden is fulfilled-as "the danger of human overreaching" precipitates a literally explosive climax. One hopes this richnarrative may inspire a film version enlisting the talents of Ralph Fiennes, Kristin Scott-Thomas, Ben Kingsley and their peers. A transfixing melodrama alive with crackling suspense, sharply drawn characters, intense historical relevance and ideas in action. Absorbing and irresistible.
From the Publisher
“A richly imagined novel squarely in the tradition of his Booker Prize triumph, Sacred Hunger. Unsworth has an Austen-esque flair for character and an uncanny ability to bring the past to life."
–Geraldine Brooks, Pulitzer Prize-winning author of March

“This is the work of a master: lean, elegant, and wise, weaving the doomed ambitions of two fallen empires into a compelling story that also deftly comments on the American presence in Iraq."
–Andrea Barrett, National Book Award-winning author of Ship Fever

Land Of Marvels is up to Unsworth’s highest standard, featuring a cast of fascinating characters thrown together in the desert of Mesopotamia just before the Great War, all furiously digging for the past and turning up the future. American readers will recognize the landscape and learn some surprising facts about how we got exactly where we are right now. As well a great read, Land of Marvels is an important book.”
–Valerie Martin, Orange Prize-winning author of Property

“An intriguing story, elegantly and eloquently told.”
–Peter Ackroyd, bestselling author of London: The Biography

“Immensely intelligent and entertaining… Not only does [Unsworth] confidently steer a complicated narrative populated by numerous characters, all of them believable and interesting, but he displays an impressive command of archaeology and geology, difficult subjects that are at the center of his story… Land of Marvels can-and I believe should-be read as a corrective to the arrogance and overweening self-confidence that led the United States into the morass of Iraq, but it also is a reminder that nothing is forever… but it also can be read as singularly skillful entertainment. Its characters are real, its prose is fluid, its sense of place is pervasive, and its ending is exactly right, on a note of loss, survival and irony. All in all, a lovely, memorable book.”
-Jonathan Yardley, The Washington Post

“Unsworth assembles his layers with the subtlety you would expect from a renowned, if restrained, historical novelist and Booker Prize winner… Amid the tension, and some deft characterization, Unsworth's themes of extraction and exploitation are irresistible… Unsworth's denouement is dramatic and richly symbolic…. In Land of Marvels Unsworth succeeds in summoning the demons and the angels of Iraq's present and past. Not bad for a volume you could read in an afternoon.”
-The New York Times Book Review

“[Unsworth’s] work is as clean as Hemingway’s and as dark as Conrad’s, and it’s braced with a loathing of exploitative power... In seamless prose Unsworth exposes his characters’ myriad ulterior motives, all of which mirror today’s news. The conclusion is shocking, but the real triumph is the book’s commentary on modern Iraq... Beautifully disguised as a literary thriller, the novel is a reminder that if we continue on our present course we won’t just be doomed to repeat history, we will be doomed utterly.”
Men’s Journal

“One can't help but ponder the what-ifs while reading British author Barry Unsworth's intrigue-fueled historical novel Land of Marvels… Unsworth's portrayals are sensitive and, to an extent, empathetic, giving the story a humanity it otherwise would not possess… Unsworth isn't just spinning a good historical yarn here. Land of Marvels holds up a mirror to our own grand and maybe misguided ambitions in a region that is no less explosive, no less paved with grand and dubious intentions today.”
-Seattle Times

“In a way, to call Land of Marvels a murder mystery or thriller is to undersell its considerable qualities. There is mystery aplenty--and murder--but there's a lot more going on here, as is always the case with Unsworth. The book is imbued with local atmosphere and informed by sound knowledge of the history and the culture of this particular corner of the Turkish Empire: Mesopotamia, or what we now know all too well as Iraq.”
-Los Angeles Times

“With his usual light hand, [Unsworth] keeps the story snapping along, setting up plot twists galore in an atmosphere that approaches a drawing-room comedy, complete with intrigues among the ruins.”
-The Boston Phoenix

“What Unsworth does best here is portray the collision of cultures and political and economic interests that, with the dismantling of the Ottoman Empire a few years later, would lead to the drawing of questionable national boundaries, giving Britain control of the newly named Iraq, and planting the seeds of discontent that, some 85 years later, would find the United States invading a country it did not fully understand. Land of Marvels is subtle in the connections it makes between then and now, but the discerning reader can see clearly the hand of fate planting those seeds of luckless destiny.”
-Bookpage

"With measured prose that builds steadily in suspense, Unsworth does an excellent job at simultaneously evoking a past era and foreshadowing American involvement in the modern Middle East."
-Booklist

“One hopes this rich narrative may inspire a film version enlisting the talents of Ralph Fiennes, Kristin Scott Thomas, Ben Kingsley and their peers. A transfixing melodrama alive with crackling suspense, sharply drawn characters, intense historical relevance and ideas in action. Absorbing and irresistible.”
-Kirkus Reviews (starred review)

“Unsworth here offers historical fiction at its best. [Land of Marvels] provides some insight into current political divisions in the Middle East as it explores the power and limitations of storytelling…. Unsworth [draws] characters with depth and complexity.”
-Library Journal (starred review)

“The tension between the players builds toward a violent, unexpected finale. In elegantly modulated prose, Unsworth creates a tapestry of ambition and greed while, at the same time, foreshadowing the current conflict in the region.”
-Publishers Weekly

The Barnes & Noble Review
The past, William Faulkner wrote, is never dead and isn't even past. He might have added that the present, at least in fiction, is always present. Just as the past keeps creeping into our contemporary lives, so do writers and readers like to insinuate our current preoccupations into stories about what went before.

This kind of sly time-bending is a hallmark of the novels of Barry Unsworth. Born in an English mining village in 1930, he's the author, since 1966, of 16 books, many of which range across time and space from 12th-century Sicily (The Ruby in Her Navel, 2006) to the last days of the Ottoman Empire in the early 20th century (The Idol Hunter, 1980). Like all fiction, Unsworth's historical novels both reflect on and are influenced by the age in which they were made. Land of Marvels returns to territory he has covered already -- Mesopotamia in the beginning of the 20th century -- while illustrating, through the story of an archaeological dig, the way time's layers "were jumbled up and the dawn of history confused with the day before yesterday."

The year is 1914, and the setting is an archeological mound called Tell Erdek, located about 100 miles from the left bank of the Euphrates River, in what will eventually become western Iraq. Excavations like this are going on throughout the region, conducted by archaeologists from France, Germany, England, and America, all of them anxious "to get out of the earth as much as possible, before it was barred to them."

What's the urgency? Only that the European nations, on the brink of war, are all intent on grabbing pieces of territory as the Ottoman Empire disintegrates. As a Turkish commissioner puts it, "We see that the British have designs on Mesopotamia as far as Basra, the French have their eyes on Syria, the Russians are seeking to absorb Armenia." Meanwhile, the Germans are building a railroad, designed to link Constantinople to the Persian Gulf, whose path threatens to cut directly through the heart of this particular excavation.

In addition to the greed for land, there's a hunger to begin tapping Mesopotamia's vast oil fields. The race is on to obtain prospecting rights: with oil about to replace coal as the world's major fuel source on land and sea, "he who owns the oil will own the world," Unsworth writes. Sooner than anyone here might imagine, "the day will come when oil will be more desired, more sought after than gold."

To make the geopolitical personal, Unsworth introduces a cast of engaging international characters who are all trying to maneuver through these tumultuous circumstances. At the center is John Somerville, the 35-year-old British archaeologist in charge of the Tell Erdek excavation. After years as an assistant on previous digs, this is his first opportunity to lead an expedition, and as he has failed thus far to make any major discoveries, it may well be his last. Somerville is hardly the hero he or his demanding wife, Christine, had expected he would be. With his funds running low and the railway's advance looming, he's feeling anything but optimistic.

It doesn't help Somerville's cause that everyone involved at the site is stewing with self-interest, including his scholarly young assistant; his Bedouin informant; an officious British major; and the resentful Turkish commissioner quoted above. The anxiety reaches a crescendo when several fateful events coincide: Somerville suddenly unearths what looks to be the royal palace of the last king of Assyria, while the American geologist sent by a calculating British industrialist to pinpoint the location of nearby oil fields makes some crucial findings of his own, managing at the same time to capture the imagination of Somerville's disenchanted wife.

The conventional storytelling elements of Land of Marvels are mostly pretty solid. When the book impersonates a thriller, the action is thrilling, although its momentum doesn't truly get going until the end; when it plays at being a romance, it's genuinely romantic. The characters are unfailingly lively: Somerville's hard-to-please wife feels contempt for his assistant because "there was no splendidness in him," while Lord Rampling, the British industrialist meddling in the region's affairs, reflects that "accusations of mismanagement and incompetence brought out a strain of patriotism in his fellow countrymen like almost nothing else."

If there are moments when Unsworth's narrative feels a little clunky -- it can't quite reach the level of unforced radiance in Sacred Hunger, his novel set aboard a 19th-century British slave ship that shared the Booker Prize in 1992 with Michael Ondaatje's The English Patient -- there's a good reason to forgive him. That's because his story is much larger than its specific details might suggest. He's not just writing about the overreaching and aggrandizement of the rivalrous European powers but about imperial greed through the centuries; not just about the dissolution of the Ottoman Empire -- "one of the greatest and most enduring empires the world had ever seen" -- but about the termination of every empire.

Without being didactic or trite, Unsworth uses the archaeological mound to show how intimately the ancient past and the quotidian present are fused: at Tell Erdek, they both lie just under Somerville's feet. At one point, he reflects on

...the powers that had marched and countermarched across this land of the Two Rivers: Sumerians, Babylonians, Hittites, Assyrians, Medes, Chaldeans, all bent on conquest, all convinced they would last forever, building their cities and proclaiming their power, empires following one upon another, their only memorial now the scraps that lay belowground, which he and his like competed in digging for.

It's a long story with shifting particulars, this rise and fall of empires, each built atop the shards of another, each deaf to the warnings of the ones before it, each caught up in what the writer Will Self has called its own "centrifugal strivings." But it is always the same story. What distinguishes Unsworth's tale of evanescence is the implicit way he links archaeology and fiction, proving that once the present has leaked away into the past, after the same lessons have been forgotten all over again, "what chiefly remained was a story." --Donna Rifkind

Donna Rifkind's reviews appear frequently in The Washington Post Book World and the Los Angeles Times. She has also been a contributor to The New York Times Book Review, The Wall Street Journal, The Times Literary Supplement, The American Scholar, and other publications. In 2006, she was a finalist for the Nona Balakian Citation for Excellence in Reviewing from the National Book Critics Circle.

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Product Details

  • ISBN-13: 9780393335521
  • Publisher: Norton, W. W. & Company, Inc.
  • Publication date: 1/11/2010
  • Edition description: Reprint
  • Pages: 306
  • Sales rank: 793,384
  • Product dimensions: 5.50 (w) x 8.20 (h) x 0.80 (d)

Meet the Author

Barry Unsworth (1930-2012), who won the Booker Prize for Sacred Hunger, was a Booker Prize finalist for Morality Play and was long-listed for the Man Booker Prize for The Ruby in Her Navel.

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Read an Excerpt

1.

He knew they would come that day or the next. Jehar had sent word. But it was only by chance that he saw them approach. He had risen soon after dawn, tense with the fears that came to him in these early hours of the morning, and fumbled his clothes on, taking care to make no noise that might disturb his wife, who slept in the adjacent bedroom, only separated from him by a thin wall. Crossing the courtyard, he saw that Hassan, the boy who kept the gate, was asleep under his blanket, and he took the same care to avoid arousing him.

By habit--it was the only route he ever took whether on foot or on horseback, though rarely so early--he followed the track that led for a half mile or so through low outcrops of limestone toward the hump of Tell Erdek, the mound they were excavating. This seemed to fill the sky as he drew nearer to it, black still, like an outpost of night. Then he saw a sparkle of silver from the floodlands in the distance and knew that the sun was showing behind him.

It was above the horizon by the time he reached the tell and bright enough to dazzle the eyes, though there was no warmth in it yet. He stood for a while in the shadow of the mound, strangely at a loss now that he was here, uneasy, almost, at the silence of the place, at the sense it gave of violation, this ancient heap of earth and rock and rubble, gashed and trenched for no purpose immediately apparent, as if some beast of inconceivable size had raked it savagely along the flanks. Before long it would resound to the thudding of the pick and the scraping of the shovel, the shouted orders of the foremen, the cries of the two hundred and more Bedouin tribesmen, who would come with their baskets and harness--valuable property, often fought over--to resume their antlike task of carrying away the loose earth and stones from the digging.

But it was now, as he felt the silence of violation in this place where so much of his hope and his money were invested, that he saw the men approach. News of the railway came to him in a variety of ways, but the reports he paid for were announced in the same way always: the dust of the riders, lit this morning to a glinting ash color by the early rays of the sun, seen far off across the flatland to the west. He knew in every detail the route they had taken: the rail yards of Aleppo, then Jerablus on the Euphrates, passing within sight of Carchemish, where Woolley and Lawrence had made the Hittite finds barely a year ago, then the desert steppeland rising and falling, dusted with green in this early-spring weather, scattered with mounds like this one, the tombs of long-dead cities. And so to this little swarm of dust in the middle distance.

It was the way the line would take, straight toward him, straight toward his hill, between the village where his workforce came from and the floodlands of the Khabur River. Sometimes he imagined he could catch the shine of the rails as they reached toward him. Mica, salt, asphalt, quartz, any glinting thing in the landscape might work this effect on him, even the fields of pitch where the oil seeped up, which were too far away to be seen at all, except in occasional, shifting gleams. It kept his worry alive, though he knew it for illusion; the journey on horseback from Jerablus, where the line had reached, where the Germans were building the bridge, took four days.

Sometimes it took longer, and Jehar would enumerate the reasons: desert storms, problems with the horses, attacks by raiding parties. He was grave-faced in recounting these things; his tone was charged with sincerity; further details were ready if required. But it was never possible to know whether he was merely inventing these episodes; such things happened on occasion to any traveler in these lands; why not, on this occasion, to them? The motive was clear enough--no secret was made of it--and it was this that made the accounts less than fully reliable: Jehar was seeking to extract a few more piastres for their hardships and their loyalty. He took care not to do it too often. He was a man of the Harb people; but he had traveled widely outside the tribal lands, and his travels had taught him that moderation, whether in truth or in falsehood, was likely to be more profitable than excess.

When the figures were near enough to be distinguished, Somerville stepped out into the open so that they should see him as they followed the track toward the expedition house. They dismounted at a distance of a hundred paces or so and left the horses in the care of one of their number. The others, headed by Jehar, walked toward him, inclining their heads in greeting as they drew near. None would have dreamed of approaching mounted when the khwaja was on foot. Jehar, as always, would be the spokesman. The others drew around him in a half circle. The hoods of their cloaks were thrown back, but they wore the folds of the headcloths still drawn over the mouth against the cold they had ridden through. They would say nothing, but they would keep a close eye on the sum handed over to Jehar; he was their employer, as the archaeologist was his, four being deemed a sufficient escort to ensure safe passage through lands in the main unfriendly, guard against ambush by day and depredation by night. Often enough, of course, they were themselves the raiders and despoilers; in their saddle slings they carried Mauser repeating rifles of recent make, weapons that had been issued to the Sultan's irregular cavalry units in Syria. But none of these men belonged to any unit at all, however irregular...

Jehar uncovered his face, which was handsome, narrow-boned, and level-browed, fierce in its serenity. "Oh noble one," he said in Arabic, the only language they had in common.

"Well," Somerville said, "speak out, why do you wait?" The delay, he knew, was more due to Jehar's relish for drama than to any diffidence about delivering unwelcome news.

Jehar raised his arms on either side. "Lord, the bridge is made, its claws have come to rest on our side of the Great River." He continued to gesture, lifting his arms higher, then lowering them to make the sweeping shape of an arc. "A great marvel, this bridge of the Germans," he said. "It is all made of steel, the span is greater than any floods can reach."

He looked keenly as he spoke at the face of the man before him, who had sustained the infliction of this news without change of expression. "Farther than ten throws of a stone," he said in a tone of wonder. "High in the sky, the sparrows cannot fly over it." He was disappointed by the other's failure to show feeling but not deceived by it; he was sensitive in certain ways and had understood very early in their acquaintance that the Englishman was one of those--he had met others in his time--whom Allah for reasons inscrutable to mortals had predisposed to feel singled out for harm. He was himself an optimist, blessed with a belief in his destiny. Only one such as he could set out to raise one hundred gold pounds, starting from nothing. This was the bride-price of the Circassian girl who filled his thoughts. He knew that this man was searching for treasure and was possessed by fear that the people of the railway would bring the line too close and take the treasure for themselves. It must be an enormous treasure, for one to spend so much on the finding of it. They had not found it yet; this was the third year they had come; they had dug down and down, but they had not found it yet...

"We were approached by a ghazwa of the Shammar people," he said. "A dozen men. They followed us for some miles and fired at us. We killed one and they fled, the cowards."

There was nothing in the attentive faces around him that could be taken to confirm or deny this story. Next time he spoke of it the Shammar raiding party would be fifty strong at least, the deaths five or six, and the encounter would already belong to the realm of legend.

"Now we will be pestered by his relatives with demands for blood money," Somerville said.

"No, no, they did not know us." For the first time Jehar glanced around at his companions, who all shook their heads.

"Well, we shall see. Now that the bridge is completed, have they started immediately to lay the rails on this side of the river?"

"No, lord, there will be some delay. New rails have come from the steelworks in Germany, they have come by sea to Beirut. Now they wait for the unloading of the rails and the transporting of them to Aleppo and so to Jerablus. They will bring the rails and the coal into the yards in Jerablus. All this will take time, perhaps ten days. Also, they lack timber. It must be brought from the north, from Urfa. This I was told by one whose word can be trusted. For this very precious information I gave him money from my own purse."

"But they had already laid some miles of track on this side of the river, even before they started work on the bridge. They were already engaged on it in my first season here, three years ago. Then the work was abandoned, the rails were left to rust. Now there are German surveyors and engineers here, they have rented houses in the village, they have taken some of our workpeople to build their storage sheds."

He paused, aware of having spoken too rapidly, with too much emphasis, aware of Jehar's eyes on him. There was always something unsettling in the man's gaze, something too intent. "Under our noses," he said. "They brought the stuff downriver." In fact the warehouses had been there already when he arrived in mid-February. The sight of them, the presence of the Germans, had been a grievous blow to him; before that it had been possible to hope that they intended to take the line farther north, toward Mardin. He said, "The sheds are stacked to the roof. Strange they should be waiting for supplies at Jerablus when they have the timbers and the rails stacked up here."

"But they are intended for this part of the line," Jehar said with extreme simplicity. "A railway is made in stretches, like a garden. When you grow palms, you plant here because the ground is easy. In another place you wait until you can make the ground better. Twenty piastres I gave him."

"I am not carrying any money," Somerville said. "I did not expect to meet you here. But I will remember what is owed. Four Turkish pounds as usual. We agreed at the beginning that I would not be responsible for your expenses."

He did not believe that Jehar had disbursed any of his own money, but in any case it would have been a great mistake to undertake to meet costs of this kind; he knew Jehar well enough to know that the costs would multiply. It was little enough he gave them anyway; how much Jehar would keep he did not know, but thought it probable that the others might get half the money to share among them, a meager amount but they found it sufficient; this job of escorting Jehar was much coveted, he had been told. "Well," he said, "in view of the delay at Jerablus you can take some days for your own business before setting out again. But I must be informed when they start again with the laying of the track."

On this, with low bows, the men retired to where their horses waited and turned toward the village. But Somerville was not given time to ponder the news. His two foremen were approaching, and behind them came the first of the workpeople, talking and laughing together. He moved forward to greet the two men, deriving comfort, as always, from the air of competence they carried with them, like an aura; they were united in it in spite of the physical dissimilarity between them. Elias, who was from Konia and Greek by birth, he had known for some years now. They had been together on a dig at Hamman Ali, south of Mosul, in the days when Somerville had been still an assistant. He had been delighted--and flattered--when Elias offered his services here. He was stout of build and corpulent, though quick and sure-footed on the ground of the site, with a round, good-humored face that could turn to fury with fearsome speed when he found something amiss, some slackness in the work. The other, Halil, was a Syrian, tall for an Arab and sinewy, with a stentorian voice and an expression of severity and melancholy.

Somerville had complete confidence in both and knew that they could be safely left to organize the groups and set the people on to work; there would in any case be little change from previous days in the distribution of the labor and the areas of excavation: Most of the people would be employed at different levels of the pit, which in three seasons of excavation they had dug down to a depth of sixty feet; others would be extending the lateral trenches in the hope of finding some remains of connecting walls. Walls were of utmost importance, even if no more than a few inches of them were left. They could lead to rooms, to gates and portals, to temples and palaces. So far, however, they had found nothing but the foundation lines of humbler and more recent habitations, Roman and Byzantine, not greatly interesting.

He was about to start making his way back to the expedition house when his assistant, Palmer, arrived, a sturdy figure in his white cotton suit and soft-brimmed white hat.

"I thought I'd come and see the work started," he said. "I didn't know you were here. Lovely morning, isn't it?"

Somerville assented to this but without much conviction. He liked Palmer and knew he was lucky to have an assistant who, in addition to knowing something of field archaeology, was an acknowledged expert on Assyrian and Sumerian inscriptions. But there were occasions when he wished--irrationally--that Palmer's looks might sometimes betray some faltering, even some hint of dismay, something to correspond to the extremely disappointing nature of their excavation so far. But no, he was always equable, his eyes gentle and shrewd behind the glasses, ready for the momentous discovery just around the corner. Of course Palmer was young, only twenty-seven, eight years younger than himself. And it wasn't Palmer's money that was draining away...

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Reading Group Guide

1. Land of Marvels centers on some central themes, such as fidelity, justice, power, honesty, and accountability. How does Land of Marvels depict these themes? Is it optimistic?

2. Is Land of Marvels making the argument that human beings, no matter their station, gender, ethnicity, etc, are all driven by a compulsive urge to satisfy their own self-interest? How are the main characters driven in this way and do any find salvation?

3. Do any of the competing interests in the story, especially those at Tel Erdek, take precedence for you? Is one more important than another? Considering the collision of archeology, rail, and oil — do any have a legitimate claim to the land?

4. Can you explain the inherent contradiction in Somerville’s attitude toward history? Why does he obsess over Tel Erdek, while simultaneously kicking pieces of pottery around like stones? For Somerville, what makes a rare artifact more important than broken pieces of pottery?

5. How does the historical context affect your sense of race and ethnicity? And after watching Somerville interact with the workers and Jehar, etc, do you feel our racial history has changed much in light of the West’s relationship to the Middle East? Are we considerate? And, are the characters necessarily products of their racial dynamics and histories, or do they act on an entirely individual level? If so, to what extent?

6. How does Jehar’s relationship with Ninanna compare to those of the Westerners in the story? Land of Marvels iterates that Jehar has turned his life into a story. What does this mean? Does it make his love for Ninanna and his dealings with Somerville more complicated? By all accounts Jehar has done this purposefully, why do think he has chosen to “make his life a story”? Does it protect him?

7. With the pervasiveness of duplicity in the story, does anyone act as a moral compass? How can we determine right from wrong in this atmosphere? Is that even possible?

8. This story is more than just historical fiction: it is also a tragedy. What are the characters’ tragic flaws? What leads to their undoing?

9. Jehar reflects on the Land of Two Rivers, and how the land has had many inhabitants: Sumerians, Babylonians, Hittites, Assyrians, Medes, Chaldeans — all bent on conquest, all convinced they would last forever. Does this reflection seem relevant considering the US invasion of Iraq? Has anything changed? If not, do you believe it will?

10. What are the roles of the female characters? Do they have any real responsibilities? Do you feel they were marginalized in comparison to those of the male characters? Or is this indicative of the historical moment they were apart of? Also, do you feel the female characters were reduced to objects of affection and/or sex?

11. The relationship between Edith and Patricia symbolizes the collision of two reigning world views on gender at the beginning of the 20th century. While Patricia corrects the men and asserts herself, in a “progressive” manner, Edith believes Patricia is out of order, that women should know “their place”. Yet, Edith is the one that has the affair with Elliot, and Patricia is the one that settles for domestic bliss with Palmer. Do you think Edith’s infidelity is a form of liberation for her? Or does it demonstrate a condemnation to unhappiness? What of Patricia? Are their paths opposite? Is Patricia repeating the past that is represented in the chaste domesticity of Edith at the beginning of the story?

12. In the end, when Somerville finally opens the ancient coffin in the pit at Tel Erdek, Unsworth writes, “Edith and Patricia came forward now and joined the men.” Is this a significant moment? What were they joining? We are given the sense that until this moment, they were not allowed to share in the intimate and momentous discovery, but now they join the men and look into the coffin, face to face with history. Are the women now part of this history, that hitherto they were excluded?

13. Knowing the perilous end of the story, should Somerville still have started his dig? He seems to be one of the only characters that must lead head on into doom. Where he is stubborn and arguably arrogant and idealistic, the others have very particular goals in mind. What is Somerville’s goal, and is it somehow more aimless? What’s its purpose in the story?

14. The “dig” is a clear allegory for history itself: how we write it; what it takes to preserve it; the notion that what we can learn is buried deep in the past, or literally underground; the idea that vast treasures await our mining of them. What does Land of Marvels “dig” up? Is it like an archeological dig through social and political history? How so?

15. It is widely regarded that fiction has the capacity to teach or inform its audience. Did Land of Marvels teach you anything new or enlightening about the history of the Middle East? What did you learn?

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Sort by: Showing all of 4 Customer Reviews
  • Anonymous

    Posted October 12, 2012

    DISTRICT FIVE

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  • Posted May 2, 2012

    more from this reviewer

    Masterly portraits of "men of industry"

    In the early part of the 20th century many foreign interests intersected in the Middle East. Barry Unsworth sketches with preternatural skill a British archeologist fruitlessly toiling for years over a dig he finds it increasingly difficult to sustain financially. Stress is added by German railroad and American petroleum contractors encroaching on his stake which he is desperate to believe will yield results shortly. The years leading up to the Great War in Europe were prime for many men of industry, particularly for those in petroleum prospecting. Unsworth shares stories of how those times might have looked, using historical events to bracket his imaginings. It is his characterizations of personalities that ring so true—Lord Rampling, the British industrialist who tramples truth “for the glory of the British empire” while being out-deceived by a loping and sun-bleached American engineer who plays representatives from all countries against his own company’s interests. The tension builds to the last pages, when we learn WWI has begun in Europe, and when that storm has passed, the land we’d seen as a large fragment of the disintegrated Ottoman Empire has become something quite new—a vast new country called Iraq, which had never before been home to a single nation. Erudite, stimulating, large in scope and small in detail, this is a novel to restore one’s interest, should it ever flag, in fiction.

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  • Anonymous

    Posted July 26, 2011

    No text was provided for this review.

  • Anonymous

    Posted June 21, 2012

    No text was provided for this review.

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