My Life as a Fake

My Life as a Fake

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by Peter Carey

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Fiendishly devious and addictively readable, Peter Carey’s My Life as a Fake is a moral labyrinth constructed around the uneasy relationship between literature and lying. In steamy, fetid Kuala Lumpur in 1972, Sarah Wode-Douglass, the editor of a London poetry journal, meets a mysterious Australian named Christopher Chubb. Chubb is a despised literary…  See more details below


Fiendishly devious and addictively readable, Peter Carey’s My Life as a Fake is a moral labyrinth constructed around the uneasy relationship between literature and lying. In steamy, fetid Kuala Lumpur in 1972, Sarah Wode-Douglass, the editor of a London poetry journal, meets a mysterious Australian named Christopher Chubb. Chubb is a despised literary hoaxer, carting around a manuscript likely filled with deceit. But in this dubious manuscript Sarah recognizes a work of real genius. But whose genius? As Sarah tries to secure the manuscript, Chubb draws her into a fantastic story of imposture, murder, kidnapping, and exile–a story that couldn’t be true unless its teller were mad. My Life as a Fake is Carey at his most audacious and entertaining.

From the Trade Paperback edition.

Editorial Reviews
The Barnes & Noble Review
From the two-time winner of the New Zealand Booker Prize (Oscar and Lucinda, True History of the Kelly Gang) comes an enthralling tale based on a nearly unknown incident in Australia's past that uses gothic trappings to highlight the battle between artistic passion and personal integrity.

When London poetry editor Sarah Wode-Douglass accompanies a rebel writer to Malaysia, she meets the notorious Christopher Chubb, a now-homeless bicycle repairman who concocted a literary hoax in the 1940s that destroyed several lives. Using the pseudonym of "Bob McCorkle," Chubb forced a young female editor to face an obscenity trial that eventually got out of hand and led to her suicide. As if this were not enough, a seven-foot giant claiming to be the real Bob McCorkle appeared out of nowhere and, acting out of revenge against his "creator," kidnapped Chubb's daughter.

Carey weaves a complex, imaginative plot that uses clashing narratives to build conflict and suspense,as mysterious characters confront each other and revelations are disclosed in rapid-fire succession. You'll find yourself waiting impatiently for the eventual throwdown between Chubb and his creation McCorkle, a face-off that will draw all the novel's threads together in a wondrous and thrilling finale. A mesmerizing, innovative work of fiction, My Life as a Fake is as much a thoughtful exploration of conscience as it is a lyrical mystery concerning the creative soul. Tom Piccirilli

The New York Times
Given the amply demonstrated brilliance of its author, My Life as a Fake is also replete with its own poetic echoes and allusions. They work best when the narrative still appears firmly grounded in reality, and when the obtuseness of the poetry-averse can become one of the book's sly delights … My Life as a Fake is serious about art, but Mr. Carey's down-to-earth Australian wryness is also much in evidence. —Janet Maslin
Publishers Weekly
Carey, who won the Man Booker Prize for his True History of the Kelly Gang, takes another strange but much less well-known episode in Australian history as the basis for this hypnotic novel of personal and artistic obsession. He tells it through the eyes of Lady Sarah Wode-Douglass, editor of a struggling but prestigious London poetry journal, who one day in the early 1970s finds herself accompanying an old family friend, poet and novelist John Slater, out to Malaysia. There they encounter an eccentric Australian expatriate, Christopher Chubb, who concocted, Slater says, a huge literary hoax in Australia just after the war, creating an imaginary genius poet, Bob McCorkle, whose publication by a little magazine led to the suicide of the magazine's editor. Now Chubb offers Lady Sarah a page of poetry that shows undoubted genius and claims it is from a book in his possession. Lady Sarah's every acquisitive instinct is inflamed, but to get her hands on the book she has to listen, as Chubb inflicts on her, Ancient Mariner-like, the amazing story of his own epic struggle with McCorkle. In the end, the vaunted manuscript is revealed to be in the care of Chubb's fierce daughter (long ago kidnapped and raised by McCorkle) and a deranged Chinese woman. To what lengths will Lady Sarah go to get it, and how will the women keep it from her? The tale is a tour de force, with a positively Graham Greene-ish relish in the seamy side of the tropics, a mix of literary detective story and murderous nightmare that is piquantly hair-raising. And just when it seems that Carey's story is his greatest fantastic creation to date, he lets on that the hoax at the heart of it actually took place in Melbourne in 1946. As so often before, this extravagantly gifted writer has created something bewilderingly original and powerful. (Nov. 30) Forecast: There is no denying the fascination of Carey's tale, but his devoted readers may find it more difficult to succumb to the allure of a neglected poet than to the more obvious thrills of an outlaw life. 75,000 first printing. Copyright 2003 Reed Business Information.
Library Journal
Hoping to gain some insight into her parents' troubled marriage, London poetry editor Sarah Wode-Douglass accepts an invitation from novelist and family friend John Slater to accompany him to his Malaysian retreat. Her focus, however, quickly turns to another Malay resident, the enigmatic Christopher Chubb, who in the 1940s devised a literary hoax to embarrass a young poetry editor at a fashionable magazine. Using the pseudonym Bob McCorkle, Chubb submitted poems that were admittedly imitative and, for the era, racy; their subsequent publication led to an obscenity trial for the editor, who came to a bad end. Strangely, no one seemed interested in Chubb's confession, and things became more complicated when a seven-foot giant claiming to be Bob McCorkle appeared in the flesh. This strange golem cursed Chubb's life; born at 24 and determined to possess a childhood he never had, he absconded with Chubb's young daughter. When Sarah learns this story, she becomes obsessed with what McCorkle means to Chubb and Chubb's efforts to reclaim his daughter. Carey's fans won't find this novel as rich in background and characterization as earlier works like Oscar and Lucinda and True History of the Kelly Gang; the narrative is pared down, and there's a definite emphasis on action in the closing pages. But this is no flaw-the book reads like a shot, and as before, the author peoples his tales with charming and intelligent rogues, albeit 20th-century ones this time around. Highly recommended. [Previewed in Prepub Alert, LJ 7/03.]-Marc Kloszewski, Indiana Free Lib., PA Copyright 2003 Reed Business Information.
Kirkus Reviews
The two-time New Zealand Booker winner (The True History of the Kelly Gang, 2000, etc.) traces the honeycombed ramifications of a brazen literary hoax (based on a real incident that occurred in 1943 in Australia). Carey’s initial narrator is Englishwoman Sarah Wode-Douglass, who edits a struggling magazine, and, more or less impulsively, accompanies renegade writer John Slater on a trip to Kuala Lumpur—despite "hating him all my life"—for what she believes was Slater’s adulterous responsibility for her mother’s suicide. That’s one complication. Then, in Malaysia, Sarah encounters poet maudit Christopher Chubb, now a homeless indigent subsisting as a bicycle repairman, who claims a history with Slater that the latter hastily disavows. Chubb makes an extravagant claim: that he had perpetrated a hoax by circulating his own poems as the works of nonexistent genius "Bob McCorkle" (the fallout from this deception caused the death of a young editor, and destroyed Chubb’s career); and that "McCorkle" came to life, swore vengeance on his "creator," and went on to ruin several other lives. Chubb’s and Slater’s conflicting stories are juxtaposed with Sarah’s editorial quandary (should she scoop the literary world by publishing faked "masterpieces"?) and increasingly dangerous investigations. Carey’s corker of a plot (with echoes of Conrad’s Heart of Darkness, Roman Polanski’s film Chinatown, and Mary Shelley’s Frankenstein) delivers surprise after surprise and peaks with a masterly extended set-piece that pits Chubb vs. "McCorkle" in the steaming hotbed of (then) Malaya under Japanese occupation. Issues of artistic inspiration, integrity, and authenticity are thus brilliantly allegorizedin a wonderland of a yarn, of which (the not entirely veracious) Slater declares "He [i.e., Chubb] will drag you into his delusional world, have you believing the most preposterous things." So will Peter Carey, God bless him. A Nabokovian masterpiece. First printing of 75,000
From the Publisher
"My Life as a Fake is so confidently brilliant, so economical yet lively in its writing, so tightly fitted and continuously startling." —John Updike, The New Yorker

“Ingenious . . . Carey is as diabolical as the hoaxes that his book includes.” — The New York Times

"Brisk, relentlessly prankish. . . . A virtuoso amalgam of styles, simultaneously a literary conundrum of the Borges variety, an exotic adventure tale evocative of both the settings and the narrative methods of Conrad, and a horror story derived from Mary Shelley's Frankenstein." —The New York Times Book Review

"A wholly absorbing, bizarrely madcap comedy and a telling commentary on the sometimes baffling sources of art. . . . Though fiction, the book is anything but fake. It's truth, beauty and comedy wrapped in one sprightly package." —Chicago Tribune

“We have a great novelist living on the planet with us, and his name is Peter Carey."
Los Angeles Times Book Review

"Circling from the real to the imaginary and back is as happily perplexing as a drawing by M.C. Escher. . . . Carey can bring a character to life, give him a voice and a history and a psychological topography, in a single paragraph." —The New York Review of Books

"No other Australian writer in our time has succeeded as well as Peter Carey in writing novels that compel the attention of a world-wide audience. His work . . . occupies a high plane of literary brilliance." —The Boston Globe

“Peter Carey’s new novel comes like a monsoon after drought. It is a magnificent, poetic contemplation of the lying, fakery and insincerity inherent in the act of artistic creation. . . . It’s a charismatically furious piece of work, brilliantly meshing its ethical and artistic debate with a rich human drama.” —The Times (UK)

“Reads like the impossible offspring of a fictional ménage-à-trois involving Pale Fire, Lord Jim, and Our Man in Havana. . . . A fabulous book in the original sense of the term—and in the other one, too." —The Atlantic Monthly
“In book after book, Peter Carey has proven that he's incapable of writing a dull page. . . . He’s one of the greatest storytellers alive. . . . A dazzling narrative.” —The Christian Science Monitor

“Fast, furious and fantastical. . . . Carey is Australia's finest living novelist.” —The Guardian

"Carey is that rare artist brave enough to flee success, a tactic that underlies his dazzling track record. Each of his novels sets him a different challenge; in each, he excels. A triumph in its own right, My Life as a Fake leaves us wondering how he's going to delight and disconcert us in his next book." —St. Louis Post-Dispatch

"My Life as a Fake is the real thing." —Time

"Complex and masterful. . . . A haunting story whose surreal events are as captivating and memorable as the misguided aspirations of its characters." —Minneapolis Star-Tribune

"In My Life as a Fake, Peter Carey has created a novel that is captivating and haunting, and, in the end, sinfully delightful. For both longtime readers and those coming to his work for the first time, it's a book not to miss." —Richmond Times-Dispatch

"Great rollicking fun. . . . A dazzling, beautifully detailed, intellectually energetic book." —The News & Observer (Raleigh)

"My Life as a Fake dazzles the reader with heady ideas and literary reference points (à la Frankenstein and Pale Fire), then catapults us into madcap action. . . . [Carey] exudes a hallucinatory realism that makes imaginary universes feel concrete and believable." —The Village Voice

"A devilishly engrossing meditation on illusion. . . . My Life as a Fake [is] an ingenious homage to the power of the imagination and to Carey's ability to create—and connect—worlds within worlds." —The Atlanta Journal-Constitution

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Product Details

Knopf Doubleday Publishing Group
Publication date:
Vintage International
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The Old Rectory, Thornton, Berkshire. August 1985

I have known John Slater all my life. Perhaps you remember the public brawl with Dylan Thomas, or even have a copy of his famous book of 'dirty' poems. If it's an American edition you'll discover, on the inside flap, a photograph of the handsome, fair-haired author in cricket whites. Dewsong was published in 1930. Slater was twenty at the time, very nearly a prodigy.

That same year I was born Sarah Elizabeth Jane to a beautiful, impatient Australian mother and a no less handsome but rather posh English father, Lord William Wode-Douglass, generally known as Boofy.

Slater's own class background was rather ambiguous, though my mother, a dreadful snob, had a tin ear, and I know she thought Slater very grand and therefore permitted him excesses she would not have tolerated from the Chester grammar-school boy he really was.

It was Slater who carved my father's thirtieth birthday cake with his bare hands, who rode a horse into the kitchen, who brought Unity Mitford to dinner during the period she was stealing stationery from Buckingham Palace and carrying that nasty little ferret around in her handbag.

I cannot say that I understood his role in my parents' marriage, and only when my mother killed herself-in a spectacularly awful style-did I suspect anything was amiss. In the last minutes of her life I saw John Slater put his arms around her and finally I understood, or thought I did.

From that moment I hated everything about him: his self-absorption, his intense angry good looks, but most of all those electric blue eyes which inhabited my imagination as the incarnation of deceit.

When my mother died, poor Boofy fell apart completely. He drank and wept and roared, and after falling down the stairs the second time he packed me off to St Mary's Wantage in Berkshire, which I did not like at all. I ran away, was returned in a post-office van, fought with the headmistress, and adopted the perverse strategy of writing with my left hand, thus making almost all my schoolwork illegible. I was so busy being a bad girl that no-one noticed that I also had a brain. But even while I was receiving D's in English I somehow managed to see that Slater's celebrated verses were nothing so much as bowers constructed by a male in order to procure sex. This was far from being my only insight and I was not reluctant to let the Great Man know exactly what I thought. Somewhere in his papers there may still be evidence of my close reading of 'Eastern Oriental,' with its impertinent corrections, its queries about his heavily enjambed lines, all of which I archly hoped might be 'helpful to him.'

I was, in short, a precocious horror and you will not be at all astonished that John Slater and I did not become friends. But, London being London, I did keep on running into him over the years, and as he continued to write poetry and I had ended up as the editor of The Modern Review, we knew many of the same people and had reason to sit at the same table more than once.

Time did not make the association easier. Indeed, as I grew older his physical presence became more and more disturbing. I will not say that I was obsessed with him, but I could not be in the same room without looking at him continually; I was drawn to him and repulsed by him all at once. He was an appallingly unapologetic narcissist and so full of iconoclastic opinion and territorial enthusiasms that there was not a dinner party, be it ever so packed with the Great and the Good, where one could escape his increasingly bardic presence. Of course I could not look at him without thinking of my poor unhappy mother.

In spite of the fact that we were so very intimately connected, it took all of thirty years for us to speak with more than superficial politeness. He was then sixty-two and while perhaps better known for his novels-The Amersham Satyricon had been a huge bestseller-he was still generally referred to as 'the poet John Slater.' Which was exactly how he looked: rather wild and windburned, as if he'd recently returned from tramping over the moors or following Basho's path all the way to Ogaki.

Slater does seem to have worked very hard at the social side of literature, and there was scarcely a British poet or novelist whom he could not call his friend, or for whom he had not, at some time, done a favour. The Faber crowd he cultivated particularly and it was at a Faber dinner party, at the home of Charles Monteith, where we finally came to talk to each other. Our conversation aside, I don't recall a great deal about the evening except that Robert Lowell-the guest of honour-had inadvertently revealed that he didn't know who Slater was. This, one could hypothesise, is why Slater chose to turn and talk to me so urgently, calling me 'Micks,' a name belonging to my family and all that lost time at Allenhurst at High Wycombe.

What he had to say was not in the least personal, but his use of the nickname had already touched me and his voice, perhaps as a result of the famous American's careless judgement of his life, took on a wistful, elegiac tone which I found unexpectedly moving. For the first time in years I looked at him closely: his face was puffy, its colour, uncharacteristically, a little grey. When he began to talk about revisiting Malaysia, a country where so much of Dewsong and its successors had their roots, it was hard not to wonder if he might be tidying up his affairs.

Come with me, he said suddenly.

I laughed sharply. He grasped my hand and held me with those damned eyes and of course he was such a Famous Crumpeteer that I looked away, embarrassed.

We should go, he said. Don't you think?

It was impossible to guess what he meant by 'we' and 'should.'

We must talk, he insisted. It is very bad that we never have.

This sudden intimacy was as off-putting as it was wished for.

I have no money, I said.

I have tons of it.

He watched me closely as I poured more wine.

You've got a boyfriend, he suggested.

I have a very jealous cat.

I adore cats, he said. I will come and talk to her.

And suddenly his cab arrived and he had to go on to a very glamorous party where he was expecting to meet John Lennon and as he rose there was a general clamour of farewells and it was my understanding that our conversation had been of no great moment-merely a cover for his embarrassment at the hands of Robert Lowell.

But he telephoned me, at home in Old Church Street, at eight o'clock the next morning and it was very quickly clear that this journey was not at all impulsive. He had already arranged for the British Council to pay for one ticket, while two thousand words for Nova would fund another. He would be delighted to foot all of my expenses.

My father had died just the year before in circumstances that were not at all happy-a sulky sort of estrangement on my part-and it was not in the least dotty for me to think that John Slater was offering this trip as an opportunity for us to talk, for me to understand my own unhappy family a little better. Of course he never said so, and even now, all these years later, I cannot be sure what his intention was at the beginning. Certainly it was not sex. Let me dispense with that immediately. It was well known that I had no interest in it.

John, I said, I am an awful tourist. I have no intention of slogging through the bloody jungle with binoculars. I am an editor. It's all I do. I read. I have no other life.

You love to eat, he said. I saw you polish off that curry. Well, it was very good curry.

Then Kuala Lumpur will be paradise for you. Darling, I've known K.L. for almost as long as I've known you.

Of course he did not 'know' me at all.

What's the worst thing that can happen? I'll make a pass at you? Micks, for God's sake-it's a bloody week of your life. We'll all be mouldering in the ground soon enough. Do come.

That did it-the mouldering. After lunch I burgled our safe and took the last of the magazine's petty cash. In the King's Road I purchased forty-five pounds in travellers' cheques, a pair of sandals, and a summer frock. So prepared, I entered that maze from which, thirteen years later, I have yet to escape.

In those days it was a thirty-hour flight from London to Kuala Lumpur, but we suffered a long delay in Tehran due to fog in Dubai, and then an interminable wait in Singapore. You would think that forty-two hours would be a sufficient opportunity for the two of us to begin our conversation, but it seemed that Slater liked to sleep on aeroplanes and he was so drugged with Phenobarb and whisky when we landed in Singapore that the air hostesses thought he was dead.

He passed through Malaysian Immigration in a wheelchair and so my very first memory of Kuala Lumpur involves the difficulties of transporting a large and meaty man into a taxi and from there into the extraordinarily kitsch foyer of the Merlin Hotel, and there his fame preceded him, thank God.

Apart from the awful gold and tartan decor of the Merlin, my only impressions of this foreign capital were heat and smells, sewage, floral scents, rotting fruit, and a general mustiness which seeped into my skin and permeated my large plain room where someone had written 'Fuck Little Duck' in grey pencil beside the toilet bowl.

The next day Slater did not answer his telephone and I became concerned that he really might have died. Then, on the off-chance, I checked with the desk and discovered he and his luggage had departed the hotel. No message. Just gone.

I immediately felt like someone who has been passionately seduced, fucked, and abandoned. This is not a pleasant feeling at the best of times and all my old animus against Slater came surging back. I was far too angry to read and far too agitated to sleep, and this was how I came to be inspecting the Indian haberdashers on Batu Road. I like to buy fabrics, but nothing pleased me here. The batik was rather coarse and opportunistic, not nearly as refined as the Indonesian fabrics, and yet I purchased a piece, as tourists do. From Batu Road I continued window-shopping, not liking anything, until I found myself in a noisy street of Chinese shophouses with the unlikely name of Jalan Campbell. I did not like it very much either, although the buildings offered a continuous colonnade and I was grateful for the shade, if not the interruptions offered by the shopkeepers who brought their chairs and hammers and plastic buckets out into the public thoroughfare.

It was here, glancing rather peevishly into one little store, that I saw in the gloom-amidst a tangle of bicycles, next to a Chinese woman who was ladling bright red fish into plastic bags-a middle-aged white man in a dirty sarong. He had lop-sided eyebrows and very close-cropped hair which made me think of both a prisoner and a monk. However, what struck me most particularly were the angry red sores on his sturdy legs. He was sitting in a broken plastic chair and gazing out into the street and did not, when I paused, show so much as the slightest flicker of what I can only call racial connection.

I briefly wondered how he had got to this place where his sores were not being treated, but really I was too hot and sweaty, too offended by those Asian fish-paste smells, and generally too bad tempered to wonder about anything for very long. I crossed the muddy Klang River and was soon back in the musty air-conditioned Merlin, again trying to deal with the work of adequately talented English poets. I was still at it at eight o'clock that evening when Slater finally rang.

Micks, he cried. Isn't it a wonderful city?

How could I tell him that I'd waited all day to see him? He made me feel pathetic, childish.

What have you done? Tell me everything.

I walked a little, I admitted.

Good, good, wonderful. Darling, he said, I was hoping we could have dinner on Tuesday, but I'm rather caught up here. Could you write me on your card for the Wednesday?

John, it's Monday.

Yes. You see, I'm in Kuala Kangsar. Really just arrived. Outstation, as they say.

Kuala what?

You knew I was going to Kuala Kangsar.

He had said nothing about any such place. I know it. It was the first time I ever heard the words pronounced, and I was sure then-and am positive now-that as usual he had followed some opportunity, and not one of the mind. Recklessness and hedonism had fuelled the engine of his early genius, but they had also, ultimately, betrayed his promise. If he had written more and whored and sucked up just a little less, perhaps Lowell would've known exactly who he was.

Well, he said, I'll definitely be back for Wednesday dinner. Enjoy K.L. I really envy you discovering it.

And that was it. No apologies. No concern for my well being. As I hung up the phone I finally understood poor Lizzie Slater, the second wife, the one who ended up in St Bart's with alcoholic poisoning.

The thing is, poor ruined pretty Lizzie told me, the thing about dear old Johnno, dear, he always does exactly as he damn well likes.

I am not a good tourist, as I said, but that second night I was too angry to stay in my comical hotel. I forced myself to eat satay in a street market in what is called Kampong Baru, a Malay quarter five minutes' walk from the Merlin.

The next day, likewise, I grumpily stepped out to stare at the Batu Caves, the Moorish railway station, the stinking Chinese wet markets. The smells were the most challenging aspect of my tourism, not merely the wet markets, but also the alien mixture of smoke and spice and sewer and two-stroke exhausts and all the sweet mouldy aroma of those broad-leafed tropical grasses. I preferred walking the streets very early in the cool morning as the Sikh bank guards were eating sweet barfi and drinking their beloved cow's milk in the street. The rain trees were lovely, all of Jalan Treacher heavy with green leaves and yellow flowers. Only the sight of a boy cutting a banana tree with a machete reminded me that, not three years before, the gentle smiling inhabitants of Kampong Baru had been butchering their Chinese neighbours. Blood had run along those deep drains beside which I now walked.

From the Hardcover edition.

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Meet the Author

Peter Carey received the Booker Prize for Oscar and Lucinda, and again for True History of the Kelly Gang. His other honors include the Commonwealth Prize and the Miles Franklin Award. The author of seven previous novels and a collection of stories, he was born in Australia in 1943 and now lives in New York City. 

From the Trade Paperback edition.

Brief Biography

Date of Birth:
May 7, 1943
Place of Birth:
Bacchus Marsh, Victoria, Australia
Monash University (no degree)

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My Life as a Fake 4 out of 5 based on 0 ratings. 3 reviews.
archetype67 More than 1 year ago
Peter Carey based My Life as a Fake on a real incident in Australia where a writer perpetrated a hoax by publishing the poems of an individual he claimed was dead, but never really existed. While the actual incident would be interesting enough, Carey takes this further by have the supposedly imagined poet show up in the life of the individual who created the hoax. The story is told by Sarah - the editor of a London Lit journal who has followed another writer, Slater to Malaysia. Slater, knew Sarah's mother and part of her reason to go there is because she wanted to know what really happened between Slater and her mother. That subplot is a perfect subtle way of getting the reader to question the narrator's reliability. Added to that, a layering of stories told to the narrator that sometimes include another told to them. The reader receives conflicting stories through this technique and one finds oneself wonder which is true.  Sarah, while in Malaysia, she runs into Christopher Chubb, the man who created the poetry hoax. He shows her a poem he insists is the work of Bob McCorkle, the supposedly made up poet. She realizes it is a brilliant piece of writing, but Chubb says he must tell her his story. His story is also told by Slater, giving the reader two different sides. As the story continues, Chubb tells his story, and the story of the hoax, of Bob McCorkle come to life, of his daughter, his lover, and the stories of others who help or hinder him along the way, as well as telling the stories they have told to him. We also hear directly from the daughter through the narrator and Slater tells Sarah versions of some events he participated in, heard, or witnessed that differ to the point that the are sometimes in direct conflict with what we learn before or after. The narrator herself begins to question things, but her own desires color what she chooses to believe. Slater also tells her what really happened to her own mother, even though she remembers it differently.  In the end, the narratives weave in and out, closer and further from the narrator and the reader is left to question what did or didn't happen - and is left to the reality that none of the characters are all that likable. Does a character's likability make it more like we believe their version? Sarah starts as likable, but as the story progresses I found her less and less so. Her obsession reflects that of Chubb and at least one version of McCorkle, and while the end is of course in question, one imagines she end up similarly.  It is rare to find a book where the characters aren't especially likable, yet My Life as a Fake is wonderfully engrossing. Carey does an excellent job at recreating post-war Australia, and 1950's and 70's Malaysia for the readers, and in creating engaging characters that are fully drawn if not particularly sympathetic. I found that even though the story was being told to the narrator, each of the characters in any given story had their own voice. He also has created a sort of literary Frankenstein in Bob McCorkle that keeps the plot moving and building to the shocking end. The story is action packed and full of vivid details — an impressive feat when you realize that during the course of the narration, only a short time passes in opposition to the decades the stories told to her take, and, other than moving from place to place where characters meet and the story is revealed, there is little real-time action.  Carey's characters are epically flawed - they are greedy, selfish, amoral, and vengeful (often for slights perceived as far worse than most of us would see them) and more often than not under the sway of one of those flaws, although they cannot see it, even when reflected in others they accuse of the same. While the end is shocking, it feels inevitable and unavoidable, and the sadness is not for the consequences, but rather for the fact that they couldn't see it coming.
Anonymous More than 1 year ago
Guest More than 1 year ago
I've never been able to get into Peter Carey before, but I bought this to put into my book club (it is already available here down under!) and started to read it to fill in time waiting to pick the kids up from school. I could not put this down, I was drawn into this improbable and fantastical tale almost without realising it. I haven't enjoyed the EXPERIENCE of reading like this since I read Dirt Music and Cloud Street (also good Aussie titles!)