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Some Hope marks the U.S. debut of Edward St. Aubyn, highly acclaimed in the United Kingdom as one of the most original, intelligent, and acerbically witty voices of our time. From Provence to New York to Gloucestershire, through the savageries of a childhood with a tyrannical father and an alcoholic mother, to a young adulthood fraught with dissolute behavior, we follow Patrick Melrose's search for redemption amid a crowd of glittering social dragonflies whose vapidity is the subject of his most stinging and memorable barbs. At once hilarious and deeply moving, Some Hope originally published in England as three separate novels is a stunningly authentic depiction of a man's journey to and from the farthest limits of the human gamut.
About the Author
Edward St. Aubyn was born in London in 1960. He is the author of A Clue to the Exit and On the Edge, and of a series of novels about the Melrose family, the trilogy Some Hope and Mother’s Milk, which was shortlisted for the 2006 Man Booker Prize.
Read an Excerpt
Patrick walked toward the well. In his hand he carried a gray plastic sword with a gold handle, and swished it at the pink flowers of the valerian plants that grew out of the terrace wall. When there was a snail on one of the fennel stems, he sliced his sword down the stalk and made it fall off. If he killed a snail he had to stamp on it quickly and then run away, because it went all squishy like blowing your nose. Then he would go back and have a look at the broken brown shell stuck in the soft gray flesh, and would wish he hadn't done it. It wasn't fair to squash the snails after it rained because they came out to play, bathing in the pools under the dripping leaves and stretching out their horns. When he touched their horns they darted back and his hand darted back as well. For snails he was like a grown-up.
One day, when he was not intending to go there, he had been surprised to find himself next to the well and so he decided that the route he had discovered was a secret short cut. Now he always went that way when he was alone. He walked through a terrace of olive trees where yesterday the wind had made the leaves flick from green to gray and gray to green, like running his fingers back and forth over velvet, making it turn pale and dark again.
He had shown Andrew Bunnill the secret short cut and Andrew said it was longer than the other way, and so he told Andrew he was going to throw him down the well. Andrew was feeble and had started to cry. When Andrew flew back to London, Patrick said he would throw him out of the plane. Blub, blub, blub. Patrick wasn't even on the plane, but he told Andrew he would be hiding under the floor and would saw a circle around his chair. Andrew's nanny said that Patrick was a nasty little boy, and Patrick said it was just because Andrew was so wet.
Patrick's own nanny was dead. A friend of his mother's said she had gone to heaven, but Patrick had been there and knew perfectly well that they had put her in a wooden box and dropped her in a hole. Heaven was the other direction and so the woman was lying, unless it was like sending a parcel. His mother cried a lot when nanny was put in the box, she said it was because of her own nanny. That was stupid, because her own nanny was still alive and in fact they had to go and visit her on the train, and it was the most boring thing ever. She had horrible cake with only a tiny bit of jam in the middle and millions of miles of fluff on either side. She always said, "I know you like this," which was a lie, because he had told her he didn't the last time. It was called sponge cake and so he had asked was it for having a bath with and his mother's nanny had laughed and laughed and hugged him for ages. It was disgusting because she pressed her cheek next to his and her skin hung down loosely, like that chicken's neck he had seen hanging over the edge of the table in the kitchen.
Why did his mother have to have a nanny anyway? He didn't have one anymore and he was only five. His father said he was a little man now. He remembered going to England when he was three. It was winter and he saw snow for the first time. He could remember standing on the road by a stone bridge and the road was covered in frost and the fields were covered in snow and the sky was shining and the road and the hedges were blazing and he had blue woolen gloves on and his nanny held his hand and they stood still for ages looking at the bridge. He used to think of that often, and the time they were in the back of the car and he had his head in her lap and he looked up at her and she smiled and the sky behind her head was very wide and blue, and he had fallen asleep.
Patrick walked up a steep bank on a path that ran beside a bay tree and emerged next to the well. He was forbidden to play by the well. It was his favorite place to play. Sometimes he climbed onto the rotten cover and jumped up and down, pretending it was a trampoline. Nobody could stop him, nor did they often try. The wood was black where the blistered pink paint had peeled off. It creaked dangerously and made his heart beat faster. He was not strong enough to lift the cover himself, but when it was left open he collected stones and clumps of earth to throw down the shaft. They hit the water with a deep reverberating splash and broke into the blackness. Patrick raised his sword in triumph as he reached the top of the path. He could see that the cover of the well was pushed back. He started to search about for a good stone, the biggest one he could lift and the roundest he could find. He hunted in the surrounding field and unearthed a reddish stone which he needed both hands to carry. He placed it on the flat surface next to the opening of the well shaft and hoisted himself up until his legs no longer touched the ground and, leaning over as far as he could, looked down at the darkness where he knew the water was hiding. Holding on with his left hand, he pushed the stone over the edge and heard the plunging sound it made and watched the surface break and the disturbed water catch the light of the sky and gleam back at it unreliably. So heavy and black it was more like oil. He shouted down the shaft where the dry bricks turned green and then black. If he leaned over far enough he could hear a damp echo of his own voice.
Patrick decided to climb up the side of the well. His scuffed blue sandals fitted in the gaps between the rocks. He wanted to stand on the ledge beside the open well shaft. He had done it once before, for a dare, when Andrew was staying. Andrew had stood beside the well saying, "Please don't, Patrick, please come down, please don't." Patrick wasn't scared then, although Andrew was, but now that he was alone he felt dizzy, squatting on the ledge, with his back to the water. He stood up very slowly and as he straightened, he felt the invitation of the emptiness behind him, pulling him backwards. He was convinced that his feet would slip if he moved, and he tried to stop wobbling by clenching his fists and his toes and looking down very seriously at the hard ground around the well. His sword was still resting on the ledge and he wanted to retrieve it in order to make his conquest complete, and so he leaned over carefully, with an enormous effort of will, defying the fear that tried to arrest his limbs, and picked up the sword by its scratched and dented gray blade. Once he got hold of the sword, he bent his knees hesitantly and jumped over the edge, landing on the ground, shouting hooray and making the noise of clashing metal as he slashed about him at imaginary enemies. He whacked a bay leaf with the flat of his sword and then stabbed the air underneath it with a morbid groan, clutching his side at the same time. He liked to imagine an ambushed Roman army about to be smashed to bits by the barbarians, when he arrived, the commander of the special soldiers with purple cloaks, and he was braver than anybody and saved the day from unthinkable defeat.
When he went for a walk in the woods he often thought about Ivanhoe, the hero of one of his favorite comics, who cut down the trees on either side of him as he passed. Patrick had to walk around the pine trees, but he imagined he had the power to carve his own path, striding majestically through the small wood at the end of the terrace on which he stood, felling with a single blow each tree to his right and left. He read things in books and then he thought about them lots. He had read about rainbows in a soppy picture book, but then he had started to see them in the streets in London after it rained, when the petrol from the cars stained the tarmac and the water fanned out in broken purple, blue, and yellow rings.
He didn't feel like going into the wood today and so he decided to jump down all the terraces. It was like flying, but some of the walls were too high and he had to sit on the edge, throw his sword down, and lower himself as far as he could before he dropped. His shoes filled with the dry soil around the vines and he had to take them off twice and hold them upside down to shake out the earth and the pebbles. Nearer the bottom of the valley the terraces became wider and shallower and he could leap over the edge of all the walls. He gathered his breath for the final flight. Sometimes he managed to jump so far that he felt like Superman practically, and at other times he made himself run faster by thinking about the Alsatian dog that chased him down the beach on that windy day when they had gone to lunch at George's. He had begged his mother to let him go for a walk, because he loved looking at the wind when it exploded the sea, like smashing bottles against rocks. Everyone said not to go too far, but he wanted to be nearer the rocks. There was a sandy path leading to the beach and while he was walking down it a fat, long-haired Alsatian appeared at the top of the hill, barking at him. When he saw it move closer, he started to run, following the twists in the path at first and then jumping straight down the soft slope, faster and faster, until he was taking giant strides, his arms spread out against the wind, rushing down the hill onto the half circle of sand between the rocks, right up to the edge of the highest wave. When he looked up the dog was miles away upon the hill, and he knew it could never catch him because he was so fast. Later he wondered if it had tried.
Patrick arrived panting at the dried-up river bed. He climbed onto a big rock between two clumps of pale green bamboo. When he had taken Andrew there they had played a game that Patrick invented. They both had to stand on the rock and try to push each other off, and on one side they pretended there was a pit full of broken razor blades and on the other there was a tank full of honey. And if you fell to one side you were cut to death in a million places, and on the other you drowned, exhausted by a heavy golden swim. Andrew fell over every time, because he was so utterly wet.
Andrew's father was wet too, in a way. Patrick had been to Andrew's birthday party in London, and there was a huge box in the middle of the drawing room, full of presents for the other children. They all queued up and took a present out of the box and then ran around comparing what they'd got. Unlike them, Patrick hid his present under an armchair and went back to get another one. When he was leaning over the box, fishing out another shiny package, Andrew's father squatted down next to him and said, "You've already had one haven't you, Patrick?" Not angrily, but in a voice like he was offering Patrick a sweet. "It isn't fair on the other children if you take their presents, is it?" Patrick looked at him defiantly and said, "I haven't got one already," and Andrew's father just looked all sad and utterly wet and said, "Very well, Patrick, but I don't want to see you taking another one." And so Patrick got two presents, but he hated Andrew's father because he wanted more.
Patrick had to play the rock game on his own now, jumping from one side of the rock to another, challenging his sense of balance with wild gestures. When he fell over, he pretended it had not happened, although he knew that was cheating.
Patrick looked doubtfully at the rope François had tied for him to one of the nearby trees so that he could swing over the river bed. He felt thirsty and started to climb back up to the house along the path where the tractor worked its way among the vines. His sword had become a burden and he carried it under his arm resentfully. He had heard his father use a funny expression once. He said to George, "Give him enough rope and he'll hang himself." Patrick did not know what that meant at first, but he became convinced, with a flash of terror and shame, that they were talking about the rope that François had tied to the tree. That night he dreamt that the rope had turned into one of the tentacles of an octopus and wrapped itself around his throat. He tried to cut it, but he could not because his sword was only a toy. His mother cried a lot when they found him dangling from the tree.
Even when you were awake it was hard to know what grown-ups meant when they said things. One day he had worked out a way of guessing what they were going to do: no meant no, maybe meant perhaps, yes meant maybe and perhaps meant no, but the system did not work, and he decided that maybe everything meant perhaps.
Tomorrow the terraces would be crowded with grape pickers filling their buckets with bunches of grapes. Last year François had taken him on the tractor. His hands were very strong and hard like wood. François was married to Yvette who had gold teeth you could see when she smiled. One day Patrick was going to have all his teeth made of gold, not just two or three. He sometimes sat in the kitchen with Yvette and she let him taste the things she was cooking. She came up to him with spoons full of tomato and meat and soup and said, "ça te plait?" And he could see her gold teeth when he nodded. Last year François told him to sit in the corner of the trailer next to two big barrels of grapes. Sometimes when the road was rough and steep he turned around and said, "ça va?" And Patrick shouted back, "Oui, merci," over the noise of the engine and the bumping and squealing of the trailer and the brakes. When they got to the place where the wine was made, Patrick was very excited. It was dark and cool in there, the floor was hosed with water, and there was a sharp smell of juice turning into wine. The room was vast and François took him up a ladder to a high ramp that ran above the wine press and all of the vats. The ramp was made of metal with holes in it and it was a funny feeling being so high up with holes under his feet.
When they got to the wine press Patrick looked down and saw two steel rollers turning in opposite directions with no space in between them. Stained with grape juice, they pressed against each other, spinning loudly. The lower railing of the ramp only came up to Patrick's chin and he felt very close to the wine press. And looking at it, he felt that his eyes were like the grapes, made of the same soft translucent jelly and that they might fall out of his head and get crushed between the two rollers.
As Patrick approached the house, climbing as usual the right-hand flight of the double staircase because it was luckier, he turned into the garden to see if he could find the frog that lived in the fig tree. Seeing the tree frog was very lucky indeed. Its bright green skin was even smoother against the smooth gray skin of the fig tree, and it was hard to find it among the fig leaves which were almost the same color as itself. In fact, Patrick had only seen the tree frog twice, but he had stood still for ages staring at its sharp skeleton and bulging eyes, like the beads on his mother's yellow necklace, and at the suckers on its front feet that held it motionless against the trunk and, above all, at the swelling sides which enlivened a body as delicate as jewelry, but greedier for breath. The second time he saw the frog, Patrick stretched out his hand and carefully touched its head with the tip of his index finger, and it did not move and he felt that it trusted him.
The frog was not there today and so he climbed wearily up the last flight of steps, pushing against his knees with his hands. He walked around the house to the kitchen entrance and reached up to open the squealing door. He had expected to find Yvette in the kitchen, but she was not there. Bottles of white wine and champagne jostled and clinked as he opened the refrigerator door. He turned back into the larder, where he found two warm bottles of chocolate milk in the corner of the lower shelf. After several attempts he opened one and drank the soothing liquid straight from the bottle, something Yvette had told him not to do. Immediately after drinking he felt violently sad and sat for several minutes on the kitchen counter staring down at his dangling shoes.
He could hear the piano music, muted by distance and closed doors, but he did not pay any attention to it, until he recognized the tune his father had composed for him. He jumped off the counter and ran down the corridor that led to the hall, crossed the hall, and broke into a kind of cantering motion as he entered the drawing room and danced to his father's tune. It was wild music with harsh flurries of high notes superimposed on a rumbling military march. Patrick hopped and skipped between the tables and chairs and around the edge of the piano, only coming to rest when his father ceased to play.
"How are you today, Mr. Master Man?" asked his father, staring at him intently.
"All right, thank you," said Patrick, wondering if it was a trick question. He was out of breath, but he knew he must concentrate because he was with his father. When he had asked what was the most important thing in the world, his father had said, "Observe everything." Patrick often forgot about this instruction, but in his father's presence he looked at things carefully, without being sure what he was looking for. He had watched his father's eyes behind their dark glasses. They moved from object to object and person to person, pausing for a moment on each and seeming to steal something vital from them, with a quick adhesive glance, like the flickering of a gecko's tongue. When he was with his father, Patrick looked at everything seriously, hoping he looked serious to anyone who might watch his eyes, as he had watched his father's.
"Come here," said his father. Patrick stepped closer.
"Shall I pick you up by the ears?"
"No," shouted Patrick. It was a sort of game they played. His father reached out and clasped Patrick's ears between his forefingers and thumbs. Patrick put his hands around his father's wrists and his father pretended to pick him up by his ears, but Patrick really took the strain with his arms. His father stood up and lifted Patrick until their eyes were level.
"Let go with your hands," he said.
"No," shouted Patrick.
"Let go and I'll drop you at the same time," said his father persuasively. Patrick released his father's wrists, but his father continued to pinch his ears. For a moment the whole weight of his body was supported by his ears. He quickly caught his father's wrists again.
"Ouch," he said, "you said you were going to drop me. Please let go of my ears."
His father still held him dangling in the air. "You've learned something very useful today," he said. "Always think for yourself. Never let other people make important decisions for you."
"Please let go," said Patrick. "Please." He felt that he was going to cry, but he pushed back his sense of desperation. His arms were exhausted, but if he relaxed them he felt as if his ears were going to be torn off, like the gold foil from a pot of cream, just ripped off the side of his head.
"You said," he yelled, "you said."
His father dropped him. "Don't whimper," he said in a bored voice, "it's very unattractive." He sat down at the piano and started playing the march again, but Patrick did not dance.
He ran from the room, through the hall, out of the kitchen, over the terrace, along the olive grove and into the pine wood. He found the thorn bush, ducked underneath it, and slid down a small slope into his most secret hiding place. Under a canopy of bushes, wedged up against a pine tree which was surrounded by thickets on every side, he sat down and tried to stop the sobs, like hiccups, that snarled his throat.
Nobody can find me here, he thought. He could not control the spasms that caught his breath as he tried to inhale. It was like being caught in sweaters, when he plunged his head in and couldn't find the neck of the sweater and he tried to get out through the arm and it all got twisted and he thought he would never get out and he couldn't breathe.
Why did his father do that? Nobody should do that to anybody else, he thought, nobody should do that to anybody else.
In winter when there was ice on the puddles, you could see the bubbles trapped underneath and the air couldn't breathe: it had been ducked by the ice and held under, and he hated that because it was so unfair and so he always smashed the ice to let the air go free.
Nobody can find me here, he thought. And then he thought, what if nobody can find me here?
Table of Contents
What People are Saying About This
Drugs, deliberate cruelty, withering snobbism‹these are just some of the vices of David Melrose, one of the great villains of contemporary literature. His malign effect on his son Patrick is traced out not over vast summarized periods of time but in tight, funny scenes set at strategic points in the boy¹s difficult destiny. Edward St. Aubyn can write dialogue as amusing as Waugh¹s and narrative even more deft than Graham Greene¹s, since St. Aubyn switches quickly from one point of view to another and even to several more while never occluding the lucidity of his disturbing design. This is a long overdue debut on these shores.
Speedballs, incest, and royalty are just a few of things that make Some Hope exquisitely harrowing entertainment. Beyond the high-born squalor, though, is a saga of genuine wit and heartache.
With his savage wit and scalpel-sharp prose Edward St. Aubyn is the ideal writer to dissect the bloated corpse of the English upper classes. Mordant, acute, and ultimately deeply moving, this trilogy establishes him as one of the preeminent English writers of his generation.
Edward St. Aubyn¹s trilogy combines the ferocious wit of the best English comedy with the terror and pity of Greek tragedy. It is a stunning accomplishment.
A masterpiece. Edward St. Aubyn is a writer of immense gifts. His wit, his profound intelligence, and his exquisite control of a story that rapidly descends to the lower depths before somehow painfully rising again all go to distinguish the trilogy as fiction of a truly rare and extraordinary quality.
Most Helpful Customer Reviews
An interesting trilogy. Full of people behaving badly. Full of people who kind of care, but not really, about each other. Lots of witty, tiresome language (too reminiscent of Oscar Wilde for my taste) - certainly well-written, though, which saves it from being a total, disastrous waste of time.