The Patrick Melrose Novels: Never Mind, Bad News, Some Hope, and Mother's Milkby Edward St. Aubyn
An Atlantic Magazine Best Book of the Year
A Publishers Weekly Best Book of the Year
"The Melrose Novels are a masterwork for the twenty-first century, written by one of the great prose stylists in England." Alice Sebold, author of The Lovely Bones
An Atlantic Magazine Best Book of the Year
A Publishers Weekly Best Book of the Year
"The Melrose Novels are a masterwork for the twenty-first century, written by one of the great prose stylists in England." Alice Sebold, author of The Lovely Bones
For more than twenty years, acclaimed author Edward St. Aubyn has chronicled the life of Patrick Melrose, painting an extraordinary portrait of the beleaguered and self-loathing world of privilege. This single volume collects the first four novelsNever Mind, Bad News, Some Hope, and Mother's Milk, a Man Booker finalistto coincide with the publication of At Last, the final installment of this unique novel cycle.
By turns harrowing and hilarious, these beautifully written novels dissect the English upper class as we follow Patrick Melrose's story from child abuse to heroin addiction and recovery. Never Mind, the first novel, unfolds over a day and an evening at the family's chateaux in the south of France, where the sadistic and terrifying figure of David Melrose dominates the lives of his five-year-old son, Patrick, and his rich and unhappy American mother, Eleanor. From abuse to addiction, the second novel, Bad News opens as the twenty-two-year-old Patrick sets off to collect his father's ashes from New York, where he will spend a drug-crazed twenty-four hours. And back in England, the third novel, Some Hope, offers a sober and clean Patrick the possibility of recovery. The fourth novel, the Booker-shortlisted Mother's Milk, returns to the family chateau, where Patrick, now married and a father himself, struggles with child rearing, adultery, his mother's desire for assisted suicide, and the loss of the family home to a New Age foundation.
Edward St. Aubyn offers a window into a world of utter decadence, amorality, greed, snobbery, and crueltywelcome to the declining British aristocracy.
“Like Waugh, St. Aubyn writes with exquisite control and a brilliant comic touch…Patrick often seems like a Philip Roth hero transplanted into a world of English privilege…The Patrick Melrose Series forms an exhaustive study of cruelty: its varieties, its motivations, its consequences, its moral implications…At Last is an intelligent and surprising novel, a fitting conclusion to the one of the best fictional cycles in contemporary fiction.” The Boston Globe
“Implausibly brilliant speech…The striking gap between, on the one hand, the elegant polish of the narration, the silver rustle of these exquisite sentences, the poised narrowness of the social satire and, on the other hand, the screaming pain of the family violence inflicted on Patrick makes these books some of the strangest of contemporary novels …This prose, whose repressed English control is admired by everyone from Alan Hollinghurst to Will Self, is drawn inexorably back to a fearful instability, to the nakedness of infancy.” James Wood, The New Yorker
“Gorgeous, golden prose…St. Aubyn is utterly fearless when faced with the task of unpacking and anatomizing the inner lives of characters. No emotion is so subtle and fleeting he can't convey it, or so terrifying or shameful that he can't face it.” Lev Grossman, Time
“Parental death, heroin, childhood rape, emotional frigidity, suicide, alcoholism…nothing about the plots can prepare you for the rich, acerbic comedy of St. Aubyn's world---or more surprising---its philosophical density.” Zadie Smith, Harper's Magazine
“I read the five Patrick Melrose novels in five days. When I finished, I read them again.” Ann Patchett, The Guardian
“Extraordinary…acidic humor, stiletto-sharp.” Francine Prose
“Intoxicatingly witty.” The New York Review of Books
“Why did it take me so long to fall in love with the brilliant novels of Edward St. Aubyn?” Brett Easton Ellis
“The most brilliant English novelist of his generation.” Alan Hollinghurst
“Our purest living prose stylist.” The Guardian (London)
“A smoldering portrait of a class largely banished from fiction.” James Lasdun
“Exquisitely harrowing entertainment.” Sam Lipsyte
“A spectacularly toxic confection.” The Village Voice
“Dialogue as amusing as Waugh's and narrative even more deft than Graham Greene's.” Edmund White
“A staggeringly good prose stylist.” The Times (London)
“One of the preeminent writers of his generation.” Will Self
“Perversely funny.” People
Read an Excerpt
AT HALF-PAST SEVEN IN the morning, carrying the laundry she had ironed the night before, Yvette came down the drive on her way to the house. Her sandal made a faint slapping sound as she clenched her toes to prevent it from falling off, and its broken strap made her walk unsteadily over the stony, rutted ground. Over the wall, below the line of cypresses that ran along the edge of the drive, she saw the doctor standing in the garden.
In his blue dressing gown, and already wearing dark glasses although it was still too early for the September sun to have risen above the limestone mountain, he directed a heavy stream of water from the hose he held in his left hand onto the column of ants moving busily through the gravel at his feet. His technique was well established: he would let the survivors struggle over the wet stones, and regain their dignity for a while, before bringing the thundering water down on them again. With his free hand he removed a cigar from his mouth, its smoke drifting up through the brown and grey curls that covered the jutting bones of his forehead. He then narrowed the jet of water with his thumb to batter more effectively an ant on whose death he was wholly bent.
Yvette had only to pass the fig tree and she could slip into the house without Dr Melrose knowing she had arrived. His habit, though, was to call her without looking up from the ground just when she thought she was screened by the tree. Yesterday he had talked to her for long enough to exhaust her arms, but not for so long that she might drop the linen. He gauged such things very precisely. He had started by asking her opinion of the mistral, with exaggerated respect for her native knowledge of Provence. By the time he was kind enough to show an interest in her son’s job at the shipyard, the pain had spread to her shoulders and started to make sharp forays into her neck. She had been determined to defy him, even when he asked about her husband’s back pains and whether they might prevent him from driving the tractor during the harvest. Today he did not call out with the ‘Bonjour, chère Yvette’ which inaugurated these solicitous morning chats, and she stooped under the low branches of the fig tree to enter the house.
The chateau, as Yvette called what the Melroses called an old farmhouse, was built on a slope so that the drive was level with the upper floor of the house. A wide flight of steps led down one side of the house to a terrace in front of the drawing room.
Another flight skirted the other side of the house down to a small chapel which was used to hide the dustbins. In winter, water gurgled down the slope through a series of pools, but the gutter which ran beside the fig tree was silent by this time of year, and clogged with squashed and broken figs that stained the ground where they had fallen.
Yvette walked into the high dark room and put down the laundry. She switched on the light and began to divide the towels from the sheets and the sheets from the tablecloths. There were ten tall cupboards piled high with neatly folded linen, none of it now used. Yvette sometimes opened these cupboards to admire this protected collection. Some of the tablecloths had laurel branches and bunches of grapes woven into them in a way that only showed when they were held at certain angles. She would run her finger over the monograms embroidered on the smooth white sheets, and over the coronets encircling the letter ‘V’ in the corner of the napkins. Her favourite was the unicorn that stood over a ribbon of foreign words on some of the oldest sheets but these too were never used, and Mrs Melrose insisted that Yvette recycle the same poor pile of plain linen from the smaller cupboard by the door.
* * *
Eleanor Melrose stormed her way up the shallow steps from the kitchen to the drive. Had she walked more slowly, she might have tottered, stopped, and sat down in despair on the low wall that ran along the side of the steps. She felt defiantly sick in a way she dared not challenge with food and had already aggravated with a cigarette. She had brushed her teeth after vomiting but the bilious taste was still in her mouth. She had brushed her teeth before vomiting as well, never able to utterly crush the optimistic streak in her nature. The mornings had grown cooler since the beginning of September and the air already smelt of autumn, but this hardly mattered to Eleanor who was sweating through the thick layers of powder on her forehead. With each step she pushed her hands against her knees to help her forward, staring down through huge dark glasses at the white canvas shoes on her pale feet, her dark pink raw-silk trousers like hot peppers clinging to her legs.
She imagined vodka poured over ice and all the cubes that had been frosted turning clear and collapsing in the glass and the ice cracking, like a spine in the hands of a confident osteopath. All the sticky, awkward cubes of ice floating together, tinkling, their frost thrown off to the side of the glass, and the vodka cold and unctuous in her mouth.
The drive rose sharply to the left of the steps to a circle of flat ground where her maroon Buick was parked under an umbrella pine. It looked preposterous, stretched out on its white-walled tyres against the terraced vines and olive groves behind it, but to Eleanor her car was like a consulate in a strange city, and she moved towards it with the urgency of a robbed tourist.
Globules of translucent resin were stuck to the Buick’s bonnet. One splash of resin with a dead pine needle inside it was glued to the base of the windscreen. She tried to pick it off, but only smeared the windscreen more and made the tips of her fingers sticky. She wanted to get into the car very much, but she went on scratching compulsively at the resin, blackening her fingernails. The reason that Eleanor liked her Buick so much was that David never drove it, or even sat in it. She owned the house and the land, she paid for the servants and the drink, but only this car was really in her possession.
When she had first met David twelve years ago, she had been fascinated by his looks. The expression that men feel entitled to wear when they stare out of a cold English drawing room onto their own land had grown stubborn over five centuries and perfected itself in David’s face. It was never quite clear to Eleanor why the English thought it was so distinguished to have done nothing for a long time in the same place, but David left her in no doubt that they did. He was also descended from Charles II through a prostitute. ‘I’d keep quiet about that, if I were you,’ she had joked when he first told her. Instead of smiling, he had turned his profile towards her in a way she had grown to loathe, thrusting out his underlip and looking as if he were exercising great tolerance by not saying something crushing.
There had been a time when she admired the way that David became a doctor. When he had told his father of his intention, General Melrose had immediately cut off his annuity, preferring to use the money to rear pheasants. Shooting men and animals were the occupations of a gentleman, tending their wounds the business of middle-class quacks. That was the General’s view, and he was able to enjoy more shooting as a consequence of holding it. General Melrose did not find it difficult to treat his son coldly. The first time he had taken an interest in him was when David left Eton, and his father asked him what he wanted to do. David stammered, ‘I’m afraid I don’t know, sir,’ not daring to admit that he wanted to compose music. It had not escaped the General’s attention that his son fooled about on the piano, and he rightly judged that a career in the army would put a curb on this effeminate impulse. ‘Better join the army,’ he said, offering his son a cigar with awkward camaraderie.
And yet, to Eleanor, David had seemed so different from the tribe of minor English snobs and distant cousins who hung around, ready for an emergency, or for a weekend, full of memories that were not even their own, memories of the way their grandfathers had lived, which was not in fact how their grandfathers had lived. When she had met David, she thought that he was the first person who really understood her. Now he was the last person she would go to for understanding. It was hard to explain this change and she tried to resist the temptation of thinking that he had been waiting all along for her money to subsidize his fantasies of how he deserved to live. Perhaps, on the contrary, it was her money that had cheapened him. He had stopped his medical practice soon after their marriage. At the beginning, there had been talk of using some of her money to start a home for alcoholics. In a sense they had succeeded.
The thought of running into David struck Eleanor again. She tore herself away from the pine resin on the windscreen, clambered into the car and drove the unwieldy Buick past the steps and along the dusty drive, only stopping when she was halfway down the hill. She was on her way over to Victor Eisen’s so she could make an early start for the airport with Anne, but first she had to straighten herself out. Folded in a cushion under the driver’s seat was a half-bottle of Bisquit brandy. In her bag she had the yellow pills for keeping her alert and the white ones for taking away the dread and panic that alertness brought with it. With the long drive ahead of her she took four instead of two of the yellow pills and then, worrying that the double dose might make her jumpy, she took two of the white ones, and drank about half the bottle of brandy to help the pills down. At first she shuddered violently, and then before it even reached her bloodstream, she felt the sharp click of alcohol, filling her with gratitude and warmth.
She subsided into the seat on which she had only been perched, recognizing herself in the mirror for the first time that day. She settled into her body, like a sleepwalker who climbs back into bed after a dangerous expedition. Silent through the sealed windows, she saw black and white magpies burst from the vines, and the needles of the pine trees standing out sharply against the pale sky, swept clean by two days of strong wind. She started the engine again and drove off, steering vaguely along the steep and narrow lanes.
David Melrose, tired of drowning ants, abandoned watering the garden. As soon as the sport lost a narrow focus, it filled him with despair. There was always another nest, another terrace of nests. He pronounced ants ‘aunts’, and it added zest to his murderous pursuits if he bore in mind his mother’s seven haughty sisters, high-minded and selfish women to whom he had displayed his talent on the piano when he was a child.
David dropped the hose on the gravel path, thinking how useless to him Eleanor had become. She had been rigid with terror for too long. It was like trying to palpate a patient’s swollen liver when one had already proved that it hurt. She could only be persuaded to relax so often.
He remembered an evening twelve years before, when he had asked her to dinner at his flat. How trusting she was in those days! They had already slept together, but Eleanor still treated him shyly. She wore a rather shapeless white dress with large black polka dots. She was twenty-eight but seemed younger because of the simple cut of her lank blonde hair. He found her pretty in a bewildered, washed-out way, but it was her restlessness that aroused him, the quiet exasperation of a woman who longs to throw herself into something significant, but cannot find what it is.
He had cooked a Moroccan dish of pigeon stuffed with almonds. He served it to her on a bed of saffron rice and then drew back the plate. ‘Will you do something for me?’ he asked.
‘Of course,’ she said. ‘What?’
He put the plate on the floor behind her chair and said, ‘Would you eat your food without using a knife and fork, or your hands, just eat it off the plate?’
‘Like a dog, you mean?’ she asked.
‘Like a girl pretending to be a dog.’
‘Because I want you to.’
He enjoyed the risk he was taking. She might have said no and left. If she stayed and did what he wanted, he would capture her. The odd thing was that neither of them thought of laughing.
A submission, even an absurd one, was a real temptation to Eleanor. She would be sacrificing things she did not want to believe in – table manners, dignity, pride – for something she did want to believe in: the spirit of sacrifice. The emptiness of the gesture, the fact that it did not help anybody, made it seem more pure at the time. She knelt down on all fours on the threadbare Persian rug, her hands flattened either side of the plate. Her elbows jutted out as she lowered herself and picked up a piece of pigeon between her teeth. She felt the strain at the base of her spine.
She sat back, her hands resting on her knees, and chewed quietly. The pigeon tasted strange. She looked up a little and saw David’s shoes, one pointing towards her along the floor, the other dangling close to her in the air. She looked no higher than the knees of his crossed legs, but bowed down again, eating more eagerly this time, rooting about in the mound of rice to catch an almond with her lips and shaking her head gently to loosen some pigeon from the bone. When she looked up at him at last, one of her cheeks was glazed with gravy and some grains of the yellow rice were stuck to her mouth and nose. All the bewilderment was gone from her face.
For a few moments David had adored her for doing what he had asked. He extended his foot and ran the edge of his shoe gently along her cheek. He was completely captivated by the trust she showed him, but he did not know what to do with it, since it had already achieved its purpose, which was to demonstrate that he could elicit her submission.
The next day he told Nicholas Pratt what had happened. It was one of those days when he made his secretary say that he was busy, and sat drinking in his club, beyond the reach of fevered children and women who pretended their hangovers were migraines. He liked to drink under the blue and gold ceiling of the morning room, where there was always a ripple left by the passage of important men. Dull, dissolute, and obscure members felt buoyed up by this atmosphere of power, as little dinghies bob up and down on their moorings when a big yacht sails out of the harbour they have shared.
‘Why did you make her do it?’ asked Nicholas, hovering between mischief and aversion.
‘Her conversation is so limited, don’t you find?’ said David.
Nicholas did not respond. He felt that he was being forced to conspire, just as Eleanor had been forced to eat.
‘Did she make better conversation from the floor?’ he asked.
‘I’m not a magician,’ said David, ‘I couldn’t make her amusing, but I did at least keep her quiet. I was dreading having another talk about the agonies of being rich. I know so little about them, and she knows so little about anything else.’
Nicholas chuckled and David showed his teeth. Whatever one felt about David wasting his talents, thought Nicholas, he had never been any good at smiling.
David walked up the right side of the double staircase that led from the garden to the terrace. Although he was now sixty, his hair was still thick and a little wild. His face was astonishingly handsome. Its faultlessness was its only flaw; it was the blueprint of a face and had an uninhabited feeling to it, as if no trace of how its owner had lived could modify the perfection of the lines. People who knew David well watched for signs of decay, but his mask grew more noble each year. Behind his dark glasses, however rigidly he held his neck, his eyes flickered unobserved, assessing the weaknesses in people. Diagnosis had been his most intoxicating skill as a doctor and after exhibiting it he had often lost interest in his patients, unless something about their suffering intrigued him. Without his dark glasses, he wore an inattentive expression, until he spotted another person’s vulnerability. Then the look in his eyes hardened like a flexed muscle.
He paused at the top of the stairs. His cigar had gone out and he flung it over the wall into the vines below. Opposite him, the ivy that covered the south side of the house was already streaked with red. He admired the colour. It was a gesture of defiance towards decay, like a man spitting in the face of his torturer. He had seen Eleanor hurrying away early in her ridiculous car. He had even seen Yvette trying to steal into the house without drawing attention to herself. Who could blame them?
He knew that his unkindness to Eleanor was effective only if he alternated it with displays of concern and elaborate apologies for his destructive nature, but he had abandoned these variations because his disappointment in her was boundless. He knew that she could not help him unravel the knot of inarticulacy that he carried inside him. Instead, he could feel it tightening, like a promise of suffocation that shadowed every breath he took.
It was absurd; but all summer long he had been obsessed by the memory of a mute cripple he had seen in Athens airport. This man, trying to sell tiny bags of pistachio nuts by tossing printed advertisements into the laps of waiting passengers, had heaved himself forward, stamping the ground with uncontrollable feet, his head lolling and his eyes rolling upwards. Each time David had looked at the man’s mouth twisting silently, like a gasping fish on a river bank, he had felt a kind of vertigo.
David listened to the swishing sound his yellow slippers made as he walked up the last flight of steps to the door that led from the terrace into the drawing room. Yvette had not yet opened the curtains, which saved him the trouble of closing them again. He liked the drawing room to look dim and valuable. A dark red and heavily gilded chair that Eleanor’s American grandmother had prised from an old Venetian family on one of her acquisitive sweeps through Europe gleamed against the opposite wall of the room. He enjoyed the scandal connected with its acquisition and, knowing that it ought to be carefully preserved in a museum, he made a point of sitting on it as often as possible. Sometimes, when he was alone, he sat in the Doge’s chair, as it was always called, leaning forward on the edge of the seat, his right hand clasping one of the intricately carved arms, striking a pose he remembered from the Illustrated History of England he had been given at prep school. The picture portrayed Henry V’s superb anger when he was sent a present of tennis balls by the insolent King of France.
David was surrounded by the spoils of Eleanor’s matriarchal American family. Drawings by Guardi and Tiepolo, Piazetta and Novelli hung thickly over the walls. An eighteenth-century French screen, crowded with greyish-brown monkeys and pink roses, divided the long room in half. Partially hidden behind it, from where David stood, was a black Chinese cabinet, its top crowded with neat rows of bottles, and its inner shelves filled with their reinforcements. As he poured himself a drink, David thought about his dead father-in-law, Dudley Craig, a charming, drunken Scotsman who had been dismissed by Eleanor’s mother, Mary, when he became too expensive to keep.
After Dudley Craig, Mary had married Jean de Valençay, feeling that if she was going to keep a man, he might as well be a duke. Eleanor had been brought up in a string of houses where every object seemed to have been owned by a king or an emperor. The houses were wonderful, but guests left them with relief, conscious that they were not quite good enough, in the duchess’s eyes, for the chairs on which they had sat.
David walked towards the tall window at the end of the room. The only one with its curtain open, it gave a view onto the mountain opposite. He often stared at the bare outcrops of lacerated limestone. They looked to him like models of human brains dumped on the dark green mountainside, or at other times, like a single brain, bursting from dozens of incisions. He sat on the sofa beside the window and looked out, trying to work up a primitive sense of awe.
Copyright © 2012 by Edward St. Aubyn
Meet the Author
Edward St. Aubyn was born in London in 1960. He is the author of the A Clue to the Exit, On the Edge, and the most recent Patrick Melrose novel, At Last (Farrar, Straus and Giroux). Mother’s Milk was shortlisted for the Booker Prize.
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I wonder what it might have been like to read these four novels over the space of some twenty years, as they were written, rather than in a couple of weeks -- essentially as one long novel? I shall never know, of course. This collection was published at the release of the final installment of the Patrick Melrose Story -- AT LAST. NEVER MIND is the first book in this wildly ambitious, utterly successful series. It takes place over the course of a twenty-four hour period in which the Oh-so-veddy-uppercrust wee Patrick is five years old, and sexually abused by his narcissistic, savagely cruel father. In MOTHER'S MILK, Patrick is 22, and (perhaps not surprisingly) a drug addict heading to NYC to retrieve his father's corpse. The bleakest and perhaps most interior of the novels, it covers a drug-fueled weekend in Manhattan, wherein our hero searches for drugs and behaves rather badly, but not as badly as you might expect, given his family life. Eight years later, SOME HOPE finds Patrick attempting to recover from his addictions and confronting his horrific personal history. In the last of the four book, MOTHER'S MILK, Patrick is married, although with only mild happiness, and the father of two boys, Robert, and the younger Thomas. In this work, Patrick's mother, who appeared in the first novel as an alarmingly subservient mess of neuroses, has turned into a New Age manipulator intent on betraying her son once again by turning over the family estate to an Irish-hippy con artist. The weight of these novels likes not so much in the events themselves -- but in the internal journey of the characters, centering of course on Patrick. St. Aubyn has admitted that writing them has been a form of therapy and contains large elements of autobiography, although he did not admit the sexual abuse was based on personal experience until years after the first novel was published.. But let's be clear, this is not memoir. It is fictional art of the highest order. The voice is one of the most scathingly witty I've read in years. I couldn't help but think of Oscar Wilde. It is the humor which lifts the book out of the morass of derelict novels out there. Intelligence is burned into every page. No one is spared, not the British 'aristocracy' (whatever that means these days), not the narrator or any other character, not the Americans. . . everyone who appears in these novels is eviscerated, and yet I found them all, in spite of being pedophiles, drug addicts, narcissists and upper class twits -- utterly fascinating. St. Aubyn is concerned with consciousness and he is a master at revealing it. (Jane Gardam does the same thing, with less squalor and with a gentler wit, but they echo each other in many ways. I can't think of a North American writer that does this so well.) I can't wait to read AT LAST, and will be very sorry, I'm sure, when it ends.
In this set of four brief novels (and a final fifth one, 'At Last,' just published), St. Aubyn's autobiographically-based fiction depicts the life of Patrick Melrose from toddlerhood to middle-age. In spare, elegant prose, he also skewers the vapidity and mores of the English upper class. The second novel, 'Bad News,' is the most harrowing of the books, describing in excruciating detail the overwhelming power of heroin addiction, which is Patrick's response to his parents' abuse and neglect. In spite of exploring these 'lower depths,' the tone and mood of the novels, especially the latter ones, achieve a kind of serenity and acceptance of living life on life's terms, and thus the quintet ends on a note of optimism and sense of redemption.
I especially enjoyed the reading experience of reading the second book. It was a really unique world away trip.
A scathing, 'listen to this' skewering of British aristocracy.
It has some really funny observations, but the character gets tiresome with his quirks and hang-ups. I finished it, but wasn't really satisfied.
There are five novels in the Patrick Melrose series, made up of the four in this volume and the final book, At Last. Edward St. Aubyn's writing is spare and full of meaning, which made my reading time fly by. Every character is described so well that I knew them on a level that I seldom do when reading fiction. While reading the first story, I was so enraged at what happend to young Patrick I would have thrown the book across the room had I not been reading it on my nook.
This book is great - funny, witty, insightful, sardonic - hope he continues writing after the final installment is done.
Hard to put down, and the elegaic, though tough and unpleasant "Bad News", is a tour de force! And the blurb is true: every page has something that makes you laugh, even out loud from time to time.