Pureby Andrew Miller
Deep in the heart of Paris, its oldest cemetery is, by 1785, overflowing, tainting the very breath of those who live nearby. Into their midst comes Jean-Baptiste Baratte, a young, provincial engineer charged by the king with demolishing it. At first Baratte sees this as a chance to clear the burden of history, a fitting task for a modern man of reason. But before
Deep in the heart of Paris, its oldest cemetery is, by 1785, overflowing, tainting the very breath of those who live nearby. Into their midst comes Jean-Baptiste Baratte, a young, provincial engineer charged by the king with demolishing it. At first Baratte sees this 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 his own.
'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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- 6.04(w) x 5.04(h) x 1.13(d)
- Age Range:
- 18 Years
Read an Excerpt
By Andrew Miller
Europa EditionsCopyright © 2011 Andrew Miller
All rights reserved.
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.
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.
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Meet the Author
Andrew Miller's first novel, Ingenious Pain, won the James Tate Memorial Prize for Fiction. He has since written five novels including Casanova and Oxygen, which was a finalist for the Whitbread Award and the Booker Prize in 2001. He He lives in Somerset England.
Ralph Cosham, a narrator with dozens of fine performances of British classics including The Wind in the Willows and The Time Machine, also records as Geoffrey Howard, whose long audiography of titles includes works by C.S. Lewis. Ralph, as Cosham or Howard, has performed more than 100 audiobooks while keeping an active stage career in regional theater. Changing careers from British journalist to actor in the 1970s, Ralph has been recording for nearly 15 years.
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Most Helpful Customer Reviews
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There is nothing boring about Pure, a gripping, sophisticated historical novel about pre-Revolutionary Paris. The ongoing tension between the bones being removed and the heads that we know are about to roll, is gripping. What does action mean--to act? For how long must we think and to what extent can we rationalize our actions? These are the types of questions the book presents. Plus, it's a page turner, indeed.
I bought this because of the review in the newspaper. The review was a better read than the book. This is the worst thing I've read voluntarily. There is very little story, and what there is gets more pointless the longer you read.
For those that enjoy historical fiction here's a pick for you! I don't read much historical fiction but what got me interested in this particular one is it's set right outside the Palace of Versailles during the time of Louis XVI. I am a fan of the movie Marie Antoinette with Kirsten Dunst and thought that it would be interesting to see what it was like for the people living outside the palace during the same time. While our main character's job is most undesirable, and most likely to fail. He only does some of the dirty work himself. Soon after arriving to clean out the remains of an overflowing cemetery he gets a crew of 30 men to dig. They find many things during their exhumations. Even though Jean-Baptiste is hired for this rather untasteful task, it does consume a year of his life. There is much more to this story than digging up the bodies. The church that lies above, in which the bodies are slowly encroaching and the nearby shopping center. The conflicts as well as intermixing concerns of both, and more! He does find comfort in the arms of Héloise and a friend in Armand. Of course at the heart of the story is that there is revolution brewing. People are upset and want enlightenment. And during this day and age, their lives will literally go up in flames. A melancholy story full of dead bodies, but with love and friendship during one of the hardest years in their lives.
I thought the book terrific, and the problems of the incipient French Revolution are still the problems of today. Life in a grand metropolis is made truly palpable.
This book was an "editor's choice" in the New York Times and based on the overview seemed like an interesting read. Unfortunately, it is a total bore, with unimaginative characters and a story line that leads you on, believing that MAYBE something interesting will start to happen (it never does). Save your time and money on this one.