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The Go-Between (New York Review Books Classics) Paperback – March 12, 2002
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Summering with a fellow schoolboy on a great English estate, Leo, the hero of L. P. Hartley's finest novel, encounters a world of unimagined luxury. But when his friend's beautiful older sister enlists him as the unwitting messenger in her illicit love affair, the aftershocks will be felt for years. The inspiration for the brilliant Joseph Losey/Harold Pinter film starring Julie Christie and Alan Bates, The Go-Between is a masterpiece—a richly layered, spellbinding story about past and present, naiveté and knowledge, and the mysteries of the human heart. This volume includes, for the first time ever in North America, Hartley's own introduction to the novel.
- Print length326 pages
- LanguageEnglish
- PublisherNYRB Classics
- Publication dateMarch 12, 2002
- Dimensions4.96 x 0.85 x 7.97 inches
- ISBN-100940322994
- ISBN-13978-0940322998
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Editorial Reviews
Review
"Exuding such a sense of summer the pages might be warm to touch, Hartley's coming-of-age tale is set during the heatwave of 1900. It all ends in tears, but not before there have been plenty of cucumber sandwiches on the lawn." —The Observer
"The first time I read it, it cleared a haunting little spot in my memory, sort of like an embassy to my own foreign country. . . . I don't want to spoil the suspense of a well-made plot, because you must read this, but let's just say it goes really badly and the messenger (shockingly) gets blamed. Or he blames himself anyway. And here the mirror cracks; the boy who leaves Brandham is not the one who came. Indeed the narrator converses with his old self as though he were two people. That was the powerful gonging left by my first read: What, if anything, bundles us through time into a single person?" —Ann Brashares, "All Things Considered," NPR
"I can't stop recommending to anyone in earshot L.P. Hartley's The Go-Between. . . . One of the fabled opening lines in modern literature: 'The past is a foreign country: They do things differently there.' The NYRB paperback has a superb new introduction by Colm Tóibín, but don't read it until after you've read the book itself." —Frank Rich, New York Magazine
About the Author
Colm Tóibín is the author of six novels, including The Master (a novel based on the life of Henry James) and Brooklyn, and two collections of stories, Mothers and Sons and The Empty Family. He has been a visiting writer at Stanford, the University of Texas at Austin, and Princeton, and is now Mellon Professor in the Humanities at Columbia University.
Product details
- Publisher : NYRB Classics; Reprint edition (March 12, 2002)
- Language : English
- Paperback : 326 pages
- ISBN-10 : 0940322994
- ISBN-13 : 978-0940322998
- Item Weight : 12.6 ounces
- Dimensions : 4.96 x 0.85 x 7.97 inches
- Best Sellers Rank: #77,323 in Books (See Top 100 in Books)
- #781 in Contemporary Literature & Fiction
- #1,536 in Coming of Age Fiction (Books)
- #6,325 in Literary Fiction (Books)
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The Go-Between (1953) is considered to be writer L. P. Hartley's (1895-1972) finest novel.
With Leo as his narrator, Hartley gives readers a captivating and utterly believable portrayal of innocence and naïveté in The Go-Between. Unfortunately, it is also a story of betrayal on more than one level. Eager to please and certainly more sensitive than he is willing to admit, Leo is grossly taken advantage of by both Marian and Ted who are quick to see the advantages of Leo serving them as an intermediary, delivering secret messages between the two, arranging clandestine meetings. They are equally swift and effective in winning the boy over, appealing to his needs and seductively acquiring his confidence in a matter that he little understands and which he does little to try to comprehend. Hartley pulls off the almost impossible in that readers, fully aware of what is going on and cognizant of how Leo is being used, should detest the two adults for what they do. However, Marian and Ted prove to be almost as beguiling and charming to the reader as they do to Leo. Although readers never see them as two distraught, frustrated lovers, since the couple are shown only through Leo's eyes, they are seen in somewhat sympathetic light and in his Introduction to his novel, Hartley even admits "as the story went on I softened towards them."
In The Go-Between Hartley not only spins his enthralling tale of Leo, Marian, Ted, and the others gathered at Brandham Hall, but spends a great deal of time bringing the summer of 1900 and life of the upper class to life. Hartley's style in the novel is to write using considerable detail--detail that is quite evocative and appealing to the senses be it sight, smell, taste, or the feel of anything from textures to heat and humidity. Readers are treated to a picture of the calm before the storm--before the evils of World War I would forever change Britain and the rest of the world with its unlimited horrors. Dinners and an almost endless menu of entertaining guests, shopping extravaganzas (especially for clothing that is both appropriate and worthy of the status of the wearer--something that is totally foreign to Leo), and games of cricket are portrayed in detail and as each event comes and goes readers watch with some degree of horror as Leo begins to change, adopting the ways of the privileged. Leo accurately sums up his own evolution stating, "I was in love with the exceptional, and ready to sacrifice all normal happening to it."
At the same time as he chronicles the good life, Hartley gives subtle clues that nothing will or can stay the same. There is tension between the classes, the haves and the have nots, and Marian and Ted's affair certainly is nothing that either the Maudsley family or society is likely to find acceptable. Hartley's almost obsessive references to the weather of the summer of 1900 and its growing heat and discomfort serves as a beautiful metaphor for what is to come both on the personal level for the mismatched trio of characters as well as to the world as a whole. When Leo accidentally discovers how he is being used (although he never really comprehends fully what Marian and Ted are doing), he is left feeling "utterly defeated and let down," deep with "disappointment and disillusion" with the need to regain his "self-respect." Soon, Britain as a nation would experience much of the same.
The final portion of The Go-Between is a spellbinding rendering of the death of innocence. Leo is torn between loyalties, especially when it comes to Marian who he deems "combined the roles of both fairy and mother: the magical benevolence of the one, the natural benevolence of the other." Wishing, hoping, and waiting for things to work themselves out does not pay off for Leo and neither does turning to subterfuge. Desperate to set things right, Leo reverts to what appeared to have led him to success in school with the invention of a "spell" involving some deadly "nightshade" (belladonna) which weaves in and out of the story like an ominous portent. Ironically, just as before, his curse is followed by a drastic change of events, but they are nothing attributable to Leo's "magic" or anything the child could ever wish to happen. Instead, he is brought face-to-face with real life and its tragic possibilities and he comes to the realization that he "had been playing a part, which seemed to have taken in everybody, and most of all myself."
In an Epilogue (which Hartley admits he was chastised for writing), the author skips forward fifty years, allowing Leo to make some final discoveries about that special summer in 1900 as well as about himself which ironically shows readers that time and experience has not truly altered Leo Colston all that much. Paradoxically, in this Leo is not alone. He and the reader also learn the fates of some of the people with whom he spent time, and a not altogether surprising twist about the fate of Marian.
The Go-Between is an unexpectedly thoughtful and stimulating story; not necessarily what a reader might expect from a novel about a child's loss of innocence in a time of innocence. It is also an expressive work of art and a delight to read.
If possible, read this novel before you see the 1970 film version starring Julie Christie as Marian Maudsley, and Alan Bates as Ted Burgess. The now classic movie is unforgettable and will color your perceptions and expectations of the novel. Nonetheless, the novel does what the film cannot: Hartley gives us the fine detail of the development of a boy's moral discernment, his awareness that major questions don't always have clear answers.
The story line is simple enough. A precocious 12-year-old school boy, Leo Colston, gets the incredible opportunity to spend summer vacation at the home of a fellow student, Marcus. The residence just happens to be a large manor house in the steamy Norfolk, England, countryside. There Leo comes under the spell of his friend's much older sister; she is engaged to be married to the 9th Viscount Trimingham while she is still maintaining a passionate love affair with a local farmer, a man of a much lower social status. Leo carries rendezvous messages between Marian and Ted until Leo's increasing reluctance becomes unbearable. Leo's developing consciousness--as well as Marian's mother's suspicions--force the affair into the open.
The continuing success of this novel is due to the engaging quality of the boy's personality, the progression of his boy-like but serious love of Marian (as he nears his 13th birthday that summer), his admiration for Ted, and his respect for the young Lord Trimingham. The key to the believability of the plot is the affection between Leo and Marian: "My sister is very beautiful," Marcus said to me one day. He announced it quite impersonally . . . and I received it in the same spirit," Hartley writes, "but when I saw her next I studied her in the light of Marcus's announcement" (50). In carefully crafted senses, Hartley maps out Leo's emotional education: "So that is what it is to be beautiful, I thought, and for a time my idea of her as a person was confused and even eclipsed by the abstract idea of beauty that she represented." Marian enables Leo to see and feel new things; at the manor house, she is the adult who is able to connect with the serious young man in the boy Leo. Marian takes Leo shopping in the cathedral city, Norwich: "My spiritual transformation took place in Norwich: it was there that, like an emerging butterfly, I was first conscious of my wings" (63-64). Later, Leo's sense of betrayal is easy to understand, but there's more to it than that; one must read the entire novel.
The Prologue and Epilogue are like bookend chapters, but also absolutely necessary to the craft of this novel; the narrator, Leo, as an older man, shows us the intersection of human psychology, and the background of tragedy that was The Boer War and World War I. Both these sections are exquisitely written, nuanced illustrations of human feeling and philosophical discernment. Also, this is a novel of place: the waterways, flat farmlands and fields of the Norfolk, East Anglia, countryside are the canvas upon which the characters act.
Fascinating read, smoothly written with passion
Top reviews from other countries
Vocabulary, as it was then, is delightful to read now, and the author's perfect phrases never jerk the reading flow. Perfect grammar, very satisfying. A valuable piece of writing to take the reader back to 1953. Amazingly the book still has a (scruffy) dust jacket.