Pure

Pure

3.1 7
by Andrew Miller
     
 

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Jean-Baptiste Baratte, an engineer of modest origin, arrives in the city in 1785, charged by the King’s minister with emptying the overflowing cemetery of Les Innocents, a ancient site whose stench is poisoning the neighborhood’s air and water and leaving a vile taste in its inhabitants’ food. At first the ambitious Baratte sees his work as a chance… See more details below

Overview

Jean-Baptiste Baratte, an engineer of modest origin, arrives in the city in 1785, charged by the King’s minister with emptying the overflowing cemetery of Les Innocents, a ancient site whose stench is poisoning the neighborhood’s air and water and leaving a vile taste in its inhabitants’ food. At first the ambitious Baratte sees his work as a chance to clear the burden of history, a fitting task for a modern man of reason. But before long he begins to suspect that the destruction of the cemetery might be a prelude to both his own demise and that of the monarchy. Baratte expects the task to be unpleasant but cannot foresee the dramas and calamities it will trigger, or the incident that will transform his life. As unrest against the court of Louis XVI mounts, the engineer realizes that the future he had planned may no longer be the one he wants. His assignment becomes a year of relentless work, exhuming of mummified corpses and listening to the chants of priests, a year of assault and sudden death. A year of friendship, too, and of desire and love. A year unlike any other he has lived.

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Editorial Reviews

The New York Times Book Review
Some stories are too wonderful—too filled with wonders—to set in the present. They can't really be called historical fiction because they don't serve history so much as plunder it to invent what might have been. Such is the case with Pure, by Andrew Miller, a novel set during the Age of Enlightenment that pays homage not to the dawn of reason but to its witching hour, teeming with all that reason mocks—hobgoblins, specters and whatever else might be lurking in the dark. A novel of ideas disguised as a ghost story, voluptuously atmospheric, Pure exerts a sensual hold over the reader.
—Kathryn Harrison
The New York Times
…like [Hilary] Mantel, [Miller] writes historical novels that are not just pastiche or painstaking waxworks re-creations, but books that make the past seem oddly contemporary…This inventive and surprising novel is…elegantly written and intricately constructed, with an ending that…cleverly reflects the beginning. And yet for all its neatness, Pure is ultimately a book about impurity, what Baratte comes to recognize as "the world's fabulous dirt." It's an artful, carefully wrought novel that ultimately comes down in favor of mess.
—Charles McGrath
Publishers Weekly
In another exploration of historical lacunae, Miller (Ingenious Pain) delves into pre-Revolutionary Paris, where a pestilential, ancient cemetery acts as metaphor for the blighted reign of King Louis XVI. Jean-Baptiste Baratte, a young Norman engineer who prides himself on his faculties of reason, is commissioned by the king's minister to close the centuries-old les Innocents cemetery, whose noxious sprawl threatens to poison adjacent neighborhoods. Jean-Baptiste moves in nearby and begins orchestrating the massive exhumation, hiring miners to dig up the thousands of bodies and cart away the bones. Among those whose lives will be changed by his commission are Jean-Baptiste's friend Armand, the organist at les Innocents' church; and Héloïse, a literate prostitute, who becomes his mistress. But as the digging commences, unexpected complications arise: risk of cave-ins, infection, rats, bats, madness, fire, and the special danger posed by his landlords' vengeful daughter, Ziguette. Despite all obstacles, Jean-Baptiste forges on with his ghoulish task, but at what cost to reason? Although the book's dramas fail to coalesce, Miller recreates pre-Revolutionary Paris with astonishing verisimilitude, and through Jean-Baptiste, illuminates the years preceding le deluge. Agent: Zoe Pagnamenta. (July)
Daily Express
Very atmospheric... Although the theme may sound macabre, Miller's eloquent novel overflows with vitality and colour. It is packed with personal and physical details that evoke 18th-century Paris with startling immediacy. Above all he brings off that difficult trick of making the reader care about an unsymapthetic character. If you enjoyed Patrick Suskind's Perfume, you'll love this.
The Times
His recreation of pre-Revolutionary Paris is extraordinarily vivid and imaginative, and his story is so gripping that you'll put your life on hold to finish it. Expect this on the Booker longlist, at the very least
Daily Telegraph
This is a tale about "the beauty and mystery of what is most ordinary"... Miller lingers up close on details: sour breath, decaying objects, pretty clothes, flames, smells, eyelashes... He is also alive to the dramatic possibilities offered by late-18th-century Paris, a fetid and intoxicating city on the brink of revolution... Miller intimately and pacily imagines how it might have felt to witness it.
From the Publisher
'One of the most brilliant aspects of Miller's writing is his ability to question unobtrusively, through style alone, sentimentality about both life under the Bourbons and the creative destruction of revolution ... he has an instinctive knack for casting bright similes, never overextended, that ripple suggestively ... The writing throughout is crystalline, uncontrived, striking and intelligent. You could call it pure.' — Jonathan Beckman, Literary Review

'Every so often a historical novel comes along that is so natural, so far from pastiche, so modern, that it thrills and expands the mind. PURE is one ... Miller's newly minted sentences are arresting, often unsettling and always thought-provoking. Exquisite inside and out, PURE is a near-faultless thing: detailed, symbolic and richly evocative of a time, place and man in dangerous flux. It is brilliance distilled, with very few impurities.' — Holly Kyte, Telegraph

'Quietly powerful, consistently surprising, PURE is a fine addition to substantial body of work ... pre-revolutionary Paris is evoked in pungent detail ... By concentrating on the bit players and byways of history, Miller conjures up an eerily tangible vanished world.' — Suzi Feay, Financial Times

'Murder, rape, seduction and madness impel this elegant novel ... Within this physical and political decay, Miller couches the heart of the matter: how to live one's life with personal integrity, with a purity not so much morally unblemished as unalloyed with the fads and opinions of society ... Miller populates Baratte's quest for equanimity with lush and tart characters, seductively fleshed out, who collectively help to deliver the bittersweet resolution of his professional and personal travails.' — James Urquhart, Independent

'Very atmospheric... Although the theme may sound macabre, Miller's eloquent novel overflows with vitality and colour. It is packed with personal and physical details that evoke 18th-century Paris with startling immediacy. Above all he brings off that difficult trick of making the reader care about an unsymapthetic character. If you enjoyed Patrick Suskind's Perfume, you'll love this.' — Daily Express

'It is an audacious novelist who can so knowingly prefigure the symbolism at the heart of his own work without threatening the success of the entire enterprise. It is fortunate, then, that Miller is a writer of subtlety and skill...Unlike many parables, however, PURE is neither laboured nor leaden. Miller writes like a poet, with a deceptive simplicity - his sentences and images are intense distillations, conjuring the fleeting details of existence with clarity. He is also a very humane writer, whose philosophy is tempered always with an understanding of the flaws and failings of ordinary people...Pure defies the ordinary conventions of storytelling, slipping dream-like between lucidity and a kind of abstracted elusiveness... As Miller proves with this dazzling novel, it is not certainty we need but courage' — Clare Clark, Guardian

'His recreation of pre-Revolutionary Paris is extraordinarily vivid and imaginative, and his story is so gripping that you'll put your life on hold to finish it. Expect this on the Booker longlist, at the very least' — The Times

'This is a tale about "the beauty and mystery of what is most ordinary"... Miller lingers up close on details: sour breath, decaying objects, pretty clothes, flames, smells, eyelashes... He is also alive to the dramatic possibilities offered by late-18th-century Paris, a fetid and intoxicating city on the brink of revolution... Miller intimately and pacily imagines how it might have felt to witness it.' — Daily Telegraph

'the book pulls off an ambitious project: to evoke a complex historical period through a tissue of deftly selected details.' — Sunday Times, Culture

'almost dreamlike, a realistic fantasy, a violent fairytale for adults' — Brian Lynch, Irish Times

'enthralling...superbly researched, brilliantly narrated and movingly resolved.' — Robert McCrum, The Observer

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Product Details

ISBN-13:
9781609458768
Publisher:
Europa
Publication date:
05/29/2012
Sold by:
Penguin Group
Format:
NOOK Book
Pages:
336
Sales rank:
425,338
File size:
1 MB
Age Range:
18 Years

Read an Excerpt

PURE


By Andrew Miller

Europa Editions

Copyright © 2011 Andrew Miller
All rights reserved.
ISBN: 978-1-60945-067-0


Excerpt

CHAPTER 1

A young man, young but not very young, sits in an anteroom somewhere, some wing or other, in the Palace of Versailles. He is waiting. He has been waiting a long time.

There is no fire in the room, though it is the third week in October and cold as Candlemas. His legs and back are stiffening from it—the cold and three days of travelling through it, first with Cousin André from Bellême to Nogent, then the coach, overfull with raw-faced people in winter coats, baskets on their laps, parcels under their feet, some travelling with dogs, one old man with a cockerel under his coat. Thirty hours to Paris and the rue aux Ours, where they climbed down onto cobbles and horseshit, and shifted about outside the haulier's office as if unsure of their legs. Then this morning, coming from the lodgings he had taken on the rue–the rue what?–an early start on a hired nag to reach Versailles and this, a day that may be the most important of his life, or may be nothing.

He is not alone in the room. A man of about forty is sitting opposite him in a narrow armchair, his surtout buttoned to his chin, his eyes shut, his hands crossed in his lap, a large and rather antique-looking ring on one finger. Now and then he sighs, but is otherwise perfectly silent.

Behind this sleeper, and to either side of him, there are mirrors rising from the parquet to the cobwebbed mouldings of the ceiling. The palace is full of mirrors. Living here, it must be impossible riot to meet yourself a hundred times a day, every corridor a source of vanity and doubt. The mirrors ahead of him, their surfaces hazed with dust (some idle finger has sketched a man's bulbous cock and next to it a flower that may be a rose), give out a greenish light as if the whole building were sunk, drowned. And there, part of the wreck, his own brown-garbed form, his face in the mottled glass insufficiently carried to be descriptive or particular. A pale oval on a folded body, a body in a brown suit, the suit a gift from his father, its cloth cut by Gontaut, who people like to say is the best tailor in Bellême but who, in truth, is the only tailor, Bellême being the sort of place where a good suit is passed down among a man's valuables along with the brass bed-warmer, the plough and harrow, the riding tack. It's a little tight across his shoulders, a little full in the skirts, a little heavy at the cuffs, but all of it honestly done and after its fashion perfectly correct.

He presses his thighs, presses the bones of his knees, then reaches down to rub something off the ankle of his left stocking. He has been careful to keep them as clean as possible, but leaving in the dark, moving through streets he did not know, no lamps burning at such an hour, who can say what he might have stepped in? He scrapes at it with the edge of his thumb. Mud? Hopefully. He does not sniff his thumb to enquire.

A small dog makes its entrance. Its claws skitter on the floor. It looks at him, briefly, through large occluded eyes, then goes to the vase, the tall, gilded amphora displayed or abandoned in one of the room's mirrored angles. It sniffs, cocks its leg. A voice—elderly, female—coos to it from the corridor. A shadow passes the open door; the sound of silk hems brushing over the floor is like the onset of rain. The dog bustles after her, its water snaking from the vase towards the crossed heels of the sleeping man. The younger man watches it, the way it navigates across the uneven surface of the parquet, the way even a dog's piss is subject to unalterable physical laws ...

He is still watching it (on this day that may be the most important of his life, or nothing at all) when the door of the minister's office opens with a snap like the breaking of those seals they put on the doors of infected houses. A figure, a servant or secretary, angular, yellow-eyed, signals to him with a slight raising of his chin. He gets to his feet. The older man has opened his eyes. They have not spoken, do not know each other's names, have merely shared three cold hours of an October morning. The older man smiles. It is the most resigned, most elegant expression in the world; a smile that appears like the flower of vast, profitless learning. The younger man nods to him, then slips, quickly, through the half-open door of the office for fear it might shut on him again, suddenly and for ever.
(Continues...)


Excerpted from PURE by Andrew Miller. Copyright © 2011 by Andrew Miller. Excerpted by permission of Europa Editions.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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