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The Last Hundred Days

The Last Hundred Days

5.0 2
by Patrick McGuinness

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Once the gleaming "Paris of the East," Bucharest in 1989 is a world of corruption and paranoia, in thrall to the repressive regime of Nicolae Ceausescu. Old landmarks are falling to demolition crews, grocery shelves are empty, and informants are everywhere. Into this state of crisis, a young British man arrives to take a university post he never interviewed for. He


Once the gleaming "Paris of the East," Bucharest in 1989 is a world of corruption and paranoia, in thrall to the repressive regime of Nicolae Ceausescu. Old landmarks are falling to demolition crews, grocery shelves are empty, and informants are everywhere. Into this state of crisis, a young British man arrives to take a university post he never interviewed for. He is taken under the wing of Leo O'Heix, a colleague and master of the black market, and falls for the sleek Celia, daughter of a party apparatchik. Yet he soon learns that in this society, friendships are compromised, and loyalty is never absolute. And as the regime's authority falters, he finds himself uncomfortably, then dangerously, close to the eye of the storm.

By turns thrilling and satirical, studded with poetry and understated revelation, The Last Hundred Days captures the commonplace terror of Cold War Eastern Europe. Patrick McGuinness's first novel is unforgettable.

Editorial Reviews

Publishers Weekly
Acclaimed poet McGuinness’s autobiographical fiction debut blends doomed romance with the police state intrigues of Nicolae Ceausescu’s Romania leading up to the 1989 revolution. The unnamed narrator, a young British dropout, is surprised to land a teaching job at the University of Bucharest. Once there, he falls in with Leo O’Heix, a fellow lecturer who runs a sideline supplying luxury goods to the communist elite, and becomes smitten with the enigmatic Cilea, the pampered daughter of a party official. McGuinness, who lived in Bucharest in the 1980s, shines particularly when detailing daily life in this one-time “Paris of the East,” from Bucharest’s aroma of “petrol fumes” and “the juice of rubbish bins” to musings about the ordinariness of being followed by the authorities—“once the clandestine savour has passed, it becomes another of life’s minor reassurances.” Ceausescu’s Bucharest emerges as if from a sad and mysterious time capsule. There are shortcomings: Cilea, the most interesting character after the city itself, disappears halfway; and Leo’s pontifications, including a reading of “Shelley’s Ozyman-descu,” underscore the ironies too heavily. Still, the novel is stylish and of lasting value to readers interested in the twilight of the Eastern Bloc. Agent: Peter Straus, Rogers, Coleridge and White. (May)
From the Publisher

“[McGuinness] is observant, reflective, witty and precise. He is capable of combining the essayistic, the lyrical, the humorous and the aphoristic, sometimes within a single paragraph... An incisive and engaging account of a society and a historical period that is essential to remember, especially now.” —Francine Prose, The New York Times Book Review

“A brilliant first novel set in 1989, in the writhing demise of communist Bucharest -- dark, immaculately written, bitterly lucid and very gripping.” —James Wood, New Statesman "Books of the Year"

“A coming-of-age story with a vivid historical backdrop... The sharply observant McGuinness has filled his novel with quick, witty descriptions of people, places and situations... McGuinness does more, however, than explore how people acted in this now transformed country. He's captured the way corruption and tyranny warp behavior in any society.” —Carole Burns, The Washington Post

“[A] memorable story about a pivotal moment in history.” —Kevin Canfield, Kansas City Star

Kirkus Reviews
The final months of Ceaucescu's dictatorship in Romania, as seen by a young British expat. He's a 21-year-old college dropout, yet he's hired without an interview to lecture at Bucharest University, a first taste of how things work over there. The unnamed narrator is not sorry to be leaving. It's 1989; cancer has just claimed his father, a hard-hearted man who mercilessly abused his mother, also dead. Waiting for him in a pleasant Bucharest apartment is another Brit, Leo, a faculty veteran who will be his mentor. Leo is "Bucharest's biggest black-marketeer"; he needs a malleable front man, which explains why his young compatriot was hired. He's an outsize character, not just a crook but a preservationist, cataloguing what's left of the elegant inner-city neighborhoods before they disappear under the dictator's bulldozers. Leo is man of contradictions, but not a convincing one, and a symbol of what's wrong with the novel: its ruinous excess. McGuinness' Romania is the standard picture of life under Ceaucescu: a sad, bleak place of fear (of the ubiquitous security goons) and deprivation (of life's necessities). Instead of grounding Leo and his new sidekick (we never see them in the classroom), McGuinness spirits them into the heart of the dying regime's power struggles. After a chance street encounter, the kid helps a wily old Party stalwart with his memoirs, while dating the coolest girl in town, who just happens to be the daughter of the deputy Interior Minister. There are wheels within wheels; nobody is who they seem. There's a clandestine trip to the Yugoslavia border to help some dissidents escape, but it's a moment without drama for the two lecturers, and it's long after the fact that the now absent masterminds will be revealed as puppets of Party bosses. At the end, it's not only the regime that falls apart, as the narrator dithers over whether to stay and confront his rumored nemesis. A clunky debut lacking suspense.
The New York Times Book Review
What keeps us interested in, and sympathetic toward, his outsider hero is the fact that McGuinness writes so very well…[he] is observant, reflective, witty and precise. He is capable of combining the essayistic, the lyrical, the humorous and the aphoristic, sometimes within a single paragraph…Such writing makes The Last Hundred Days an incisive and engaging account of a society and a historical period that is essential to remember, especially now, as the Soviet bloc recedes into the past, along with its painfully clear illustration of how people are liable to behave when they are bullied by their government and encouraged to view their fellow citizens with terror and paranoia.
—Francine Prose
The Washington Post
…the sharply observant McGuinness has filled his novel with quick, witty descriptions of people, places and situations. If the narrator's story is sometimes overshadowed by its historical setting, perhaps that's only right, given these earth-shaking events. McGuinness does more, however, than explore how people acted in this now transformed country. He's captured the way corruption and tyranny warp behavior in any society.
—Carole Burns

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Bloomsbury USA
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5.50(w) x 8.20(h) x 1.00(d)

Read an Excerpt

The Last Hundred Days

A Novel
By Patrick McGuinness


Copyright © 2011 Patrick McGuinness
All right reserved.

ISBN: 978-1-60819-912-9

Chapter One

In 1980s Romania, boredom was a state of extremity. There was nothing neutral about it: it strung you out and stretched you; it tugged away at the bottom of your day like shingle scraping at a boat's hull. In the West we've always thought of boredom as slack time, life's lift music sliding off the ear. Totalitarian boredom is different. It's a state of expectation already heavy with its own disappointment, the event and its anticipation braided together in a continuous loop of tension and anti-climax.

You saw it all day long in the food queues as tins of North Korean pilchards, bottles of rock-bottom Yugoslav Slivovitz, or loaves of potato-dust bread reached the shops. People stood in sub-zero temperatures or unbearable heat, and waited. Eyes blank, bodies numb, they shuffled step-by-step towards the queue's beginning. No one knew how much there was of anything. Often you didn't even know what there was. You could queue for four hours only for everything to run out just as you reached the counter. Some forgot what they were waiting for, or couldn't recognise it when they got it. You came for bread and got Yugo rotgut; the alcoholics jittered for their rotgut and got pilchards or shoe polish, and it wasn't by taste that you could tell them apart. Sometimes the object of the queue changed midway through: a meat queue became a queue for Chinese basketball shoes; Israeli oranges segued into disposable cameras from East Germany. It didn't matter – whatever it was, you bought it. Financial exchange was just a preliminary; within hours the networks of barter and black-marketeering would be vibrating with fresh commodities.

It was impossible to predict which staple would suddenly become a scarcity, which humdrum basic would be transformed into a luxury. Even the dead felt the pinch. Since the gargantuan building projects had begun in the early 1980s, marble and stone were requisitioned by the state for facade work and interior design. In the cemeteries the graves were marked out with wooden planks, table legs, chairs, even broomsticks. Ceausescu's new Palace of the People could be measured not just in square metres but in gravestones. It was surreal, or would have been if it wasn't the only reality available.

I had arrived full of the kind of optimism that, in retrospect, I recognise as a sure sign that things would go wrong, and badly. Not for me, for I was a passer-by; or, more exactly, a passer-through. Things happened around me, over me, even across me, but never to me. Even when I was there, in the thick of it, during those last hundred days.

To step onto the half-empty plane at Heathrow that mid-April day was already to step back in time. Tarom was the Romanian airline, but its fleet was composed of old Air France Boeings which, like so much else in Romania, had been recycled and brought back into use. It felt more like the 1960s than the 1980s. The air hostesses wore square suits and pillbox hats.

I took my seat in an empty row near the front and read the battered in-flight magazine. Two years out of date, it told of Romanian delicacies and showed blurred models of the 'Boulevard of Socialist Victory', a project described as 'the culmination of modern Romania's vision under Comrade President Nicolae Ceausescu'. The touched-up picture of Ceausescu was on the inside cover – Tovarasul Conducator, Comrade Leader – looking twenty years younger and with the lightly bloated marzipan blush of an embalmed corpse.

Even at Heathrow, with the flights landing and taking off all around us and London proliferating in the distance, our plane had become a capsule of its destination and its epoch. Both felt further away than the three and a half hours it took to fly to Bucharest.

I was still in my suit. I had had no time to change, much less go back to the house before catching my flight. I had attended the funeral with my suitcase and hand luggage, which I left in the crematorium lobby during the service. I hadn't meant to upstage him – there was room for only one departure that day – but that was how it all fell together: my new job, the new country, unalterable plane tickets. 'It's not every day you bury your father,' someone had said to me by way of reproach. No, but if like me you spent every day wishing you could, the event itself was bound to have its complicated side. Of course, that's not what I replied. I just nodded and watched them all pretending to pray, straining for that faraway look, something in themselves to help them say, later, how they'd levelled with death this afternoon, and hadn't erred into thinking about dinner or tonight's TV.

After landing we waited for the VIPs to disembark, square-suited men in grey with wives who looked moulded from a mixture of custard and cement. Their luggage was taken out unchecked and placed into anthracite-black limousines. I had seen the cars before too – the Renault 14, the Dacia, made from French prototypes by the Romanian national car plant. The name meant something, as I knew from my limited reading-up. The Dacians, according to Ceausescu's officially sanctioned history, were survivors of the siege of Troy, poor cousins separated from the Roman tribe, founding their island of Latinity in eastern Europe encircled by Slavs, martyred by the Turks, caught now in the dark orbit of the Soviet Union.

This was April, but we had arrived in a heatwave. Outside the plane everything reverberated in the heat. The tarmac glistened, stuck and puckered underfoot, sweating out its oil. Beyond the perimeter fence stretched flat acres of chalky grass and net fencing over which a horse-drawn plough rumbled. A dead animal lay torn, caught in a tiller's blades and strewn in rags across the ploughlines. From high above, the furrowed fields had suggested musical notation. Up close it was just earth, turned and turned back over, earth that never rested, and those who worked it were hunched and beaten down with drudgery.

The VIP motorcade drove off, the way the wealthy and the powerful do wherever you find them: without looking back, into the next thing.

That smell of airports: the peppery scent of vertigo, exhalations of vacuum cleaners, perfume, smoke, used air. A sublimate of spent jet fuel and burned-off ozone giving the sky its improbable clear blue.

Otopeni airport was a two-storey building with plate-glass walls and red-veined marble floors; overstaffed, but with nothing happening. This atmosphere of menace and fretful apathy engulfed public buildings everywhere in Romania. The next flight, from Moscow, was not for two hours. The previous one, from Belgrade, had been and gone an hour ago. The airport was a place of perpetual lull, perpetual betweenness, as transitional as the plane we had just left behind. But it's the transitional places that hold us all the longer and enclose us all the more.

'Welcome to Romania,' read a tricolour billboard. The Romanian flag, blue, yellow and red with a Party crest in the centre, drooped on its pole and trembled in the faintest of drafts. Militia outnumbered civilians by two to one. Women in knee-high, lace-up sandals pushed dry mops along floors, redistributing butt ends and sweet wrappers over the marble. Great tubular ashtrays overflowed with crushed cigarettes and a miasma of blue smoke wrapped itself around what remained of the air.

The customs officers operated with malign lethargy, deriving so little satisfaction from the misery they inflicted that it seemed hardly worth it. Up ahead, through the glass walls, I saw the black Dacias already clear, coursing down Otopeni Boulevard towards the city that was to be my home.

When my turn came I was made to unpack and account for the little I had. The two customs officers were well balanced. One had a face without a trace of expression, the other a face on which different expressions slugged it out for supremacy, inconclusively. The first spoke ragged English while the second, smoking US cigarettes, spoke fluently in an American accent. If the Romanian police had a fast stream, he was it – expressionless, lean, unreadable.

'What welcomes you to Romania?'

It was a good question, and called out for a witticism, but this was no time to test the national sense of humour. He took my coffee and two chocolate bars and pocketed them with a flourish. His eyes never leaving mine, he added the batteries from my Walkman while his colleague, by some pre-arranged system of equalisation, confiscated my carton of duty-free cigarettes.

'Tax.' Deadpan.

My taxi, a white Dacia with tiger stripes of rust and an ill-fitting blue driver's door, was driven wordlessly by a man whose face I couldn't see and who didn't turn once to look at me.

Coming over Bucharest you noticed the city's contrasts immediately: a rigid geometry of avenues with new housing blocks, high-rise flats and public follies skewering the skyline. Around and between them, a shambles of old churches, winding roads, houses and small parks. As from the air, so from the ground: the old town revealed itself to you in layers; the new town came at you in lines.

Bucharest was not a city that tapered away, suburb by suburb, into countryside; nor did the countryside intensify, street by street, into a central urban hub. There were simply two miles of bad roads and fields; then suddenly apartment blocks reared up, the bumpy track flattened out beneath the tyres, and a city had materialised under and around you.

The flat that awaited me was surprising in its size and elegance: the whole second floor of a large nineteenth-century house on Aleea Alexandru, in Herastrau, a part of old Bucharest which remained for now untouched by Ceausescu's great 'modernisation' project. It was where Party apparatchiks, diplomats and foreigners lived; where I now lived, for as long as I could take it, or as long as they let me. All over town churches were being torn down, old streets obliterated and concreted over. Here it was possible to imagine otherwise, though the noise of building and demolition was always there.

On the front door the previous occupant's name was still on a card in a small metal frame: 'Belanger, Dr F.' Mine was written on an envelope containing a key and a note inviting me to make free with whatever goods remained. The phone was connected, the fridge and cupboards stocked. The wardrobes were full of clothes that fitted, and there were books and records I might have bought myself, along with a video recorder and TV. My predecessor must have left in a hurry. Or known I was coming. A poster on the wall advertised the 13th Party Congress: Ceausescu's face rose like the sun behind a gleaming tractor, over which it emitted munificent rays. Beside it was a small, intricate icon of an annunciation scene. It looked old and weathered, the gilt worn, the figures faceless and eroded, yet the golds and the reds inside it smouldered like a fire in the undergrowth. It was dated 1989, this year, and signed 'Petrescu' with a small orthodox cross scratched into the paint with a matchstick.

It was 6 pm. I went to the fridge for one of Belanger's beers, then out onto the balcony. The tiles were hot underfoot and I settled into a frayed wicker armchair to watch the street below.

I must have slumbered because when the doorbell rang it was fully dark and the tiles were cold. In the shadows of the flat, a phone I had not yet seen rang three times, paused, then rang again. I lifted the heavy Bakelite receiver but the caller had gone. There was a tiny click and then the flat tone of a dead line.

The electricity across town had cut out, though here in Herastrau we were spared the worst of the power stoppages. I was conscious, now that traffic had died down, of a constant noise of clattering metal, drilling and thrumming engines. I stumbled through the darkness, unable to find the light switches, only gauging the position of the front door from the repeated buzzing.

At the door stood a short, overweight, lopsidedly upright man with a face full of mischief and an alcohol flush. I knew who he was, though I had never seen him before. I motioned him in with an easeful proprietorial gesture that suggested I had been here longer than a few hours. But I felt at home in Belanger's flat, and even his things, foreign as they were, seemed to confirm me.

'Leo O'Heix. Remember me?' said the new arrival with a mock-military click of the heels, a rolled-up copy of Scînteia, the Party newspaper, in his jacket pocket. He jabbed a hand at me but elbowed past before I could shake it. 'From the interview?'

I had not been to any interview. I had applied for a dozen postings, been interviewed for six, and failed to get any. When the Romania job came up I was too disheartened even to turn up to the interview. When, two days later, I received a letter 'pleased to inform' me I had been selected, I thought it was a joke. When the visa followed a week later I realised it wasn't, or that at any rate the punchline was yet to come. 'You were probably the only applicant – everyone else got the good postings and you got what was left,' my father had said. He was unable to piss or shit or even eat unaided by then, but he could still rouse himself for the occasional sally of malice. But in this case, and for the first time in his life, he was giving me too much credit: I had dramatically improved my employability by not even attending.

Nursing my father through the last months was a test of endurance for both of us. I wheeled him through the wards as he fulminated about bad spelling, poor grammar and grocers' apostrophes on the laminated hospital noticeboards. The habits of work remained with him: twenty years in Fleet Street, he had manned the newspapers' hot metal printing presses, setting the pages by hand, learning his trade and learning, as he went, a way with words that a less unhappy man would have put to better use. When they sacked him, along with six thousand other print workers three years before, he stood on picket lines for a few weeks and threw bricks at police cars before one morning going back to work in a reinforced strikebreaker bus, its windows painted over and layered with wire mesh, protected by one of the new private security firms. My father liked his politics intense but changeable.

As he died slowly we kept reconciliation at bay by talking only about trivia. In those last few days of delirium he asked for her, my mother – complained she wasn't there to visit him. Even at the end he was still finding new ways to be angry. The doctor was baffled by the way he fought the illness inch by inch, holding his ground when by rights the cancer should have claimed him months before: 'trench warfare' the doctor called it. I knew what it was that kept my father going: anger.

Leo turned on the lights and made for the drinks cabinet with a manner yet more proprietorial than my own. Pouring a glass of gin, topping it off with a symbolic shake of the tonic bottle, he went to the freezer and tipped in a couple of ice cubes. This done, he sat on the sofa, crossed his legs, and looked up at me. My move.

Leo wore a sweaty flat cap that looked screwed on, leaving circles of red indented grooves on his forehead, and his skin was the texture of multiply resurfaced tarmac. His trousers were the colour of blotchy mushrooms, and though his legs were the same length, theirs were not. His shirt was that special shade of streaky grey that comes from having started out white and having spent years sharing washing machines with blue underpants.

Still dozy, I found it hard to composemyself. But composure was unnecessary: before I could say anything, Leo finished his drink and leapt up.

'We're going for dinner.'

He pushed me out of the flat and into the hallway. The phone rang behind me, but Leo had already shut the door.

'Welcome to the Paris of the East,' he said. Leo is the only person I have known who could be both sincere and sarcastic about the same things, and simultaneously.

The Paris of the East ... it was an epithet I'd heard before. Second-string cities are always described as the somewhere of somewhere else. But Bucharest was like nowhere else; that was its sorrow.

Chapter Two

Leo was drink-driving, not that it mattered here, thanks to petrol shortages and the seven-year wait for a car from the state car plant. With Leo at the wheel it was like riding dodgems in a ghost town, especially with the CD – Corps Diplomatique – badge he'd bought on the black market and affixed to the back of his Skoda. The cranes and diggers that dominated the streets gave Bucharest the look of a deserted funfair. Some of them were still desolately working, half-manned and on half power, hauling the shades of labourers up towards a smoky moon.


Excerpted from The Last Hundred Days by Patrick McGuinness Copyright © 2011 by Patrick McGuinness. Excerpted by permission of BLOOMSBURY. 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.

Meet the Author

Patrick McGuinness was born in Tunisia in 1968 and lived in Bucharest in the years leading up to the Romanian revolution. He is a professor of French and comparative literature at Oxford University and a fellow of St. Anne's College. As a poet, he has won an Eric Gregory Award and Poetry magazine's Levinson Prize. His latest collection, Jilted City, was a Poetry Book Society Recommendation. McGuinness lives between Oxford and North West Wales. His web site is www.patrickmcguinness.org.uk.

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The Last Hundred Days 5 out of 5 based on 0 ratings. 2 reviews.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
I admit to thinking this couldn't be a novel, that it had to be an acctual account of sorts. The story is amazingly well written.