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And yet, like for all the other parts, although the ingredients are very Victorian (including the gothic part) the narrative is absolutely not.On one hand, the narrator plays ad libitum with the temporal line, which has the appearance of a broad street that, the more it sinks into the story, the narrower it is, both in events and words.The plots of the dark couple will be revealed by the narrator’s alter ego, Walter Moody, the witness who sees what he has to see, who hears what he has to hear in order to be able to make sense of the story and bring justice, exposing the criminals and saving the victims.It is a part he realizes that it is written for himself early enough in the narrative, anticipating with a certain resignation the narrator’s intentions: However, even though the script respects all the thriller and mystery rules, they fail to create a true suspense, for neither of the characters is truly consistent, they fail to come close enough to the reader either to scare him or to be loved by him.On the other hand, the characters only simulate the Victorian typology (the politician, the banker, the crook, the whore, the Madam, etc.), for, as Kirsty Gunn said in maybe the best review of the book I’ve read until now, they lack consistency, they are created only to challenge the reader’s attitude in front of fiction:“But it is also a massive shaggy dog story; a great empty bag; an enormous, wicked, gleeful cheat.For nothing in this enormous book, with its exotic and varied cast of characters whose lives all affect each other and whose fates are intricately entwined, amounts to anything like the moral and emotional weight one would expect of it.Din punct de vedere istoric, China lui Mao Tze Dun este reconstituită prin mici scene semnificative pentru repercursiunile comunismului asupra celor trei clase sociale: țăranii, muncitorii și intelectualii.Pitorescul lugubru al satului comunist este surprins impecabil de ochii unui narator care și-a pierdut poate naivitatea, dar nu și simțul umorului.

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In any case, as the rendition of a Victorian novel, the narrative ostentatiously uses many well-known tools: the summary at the beginning of each chapter (and what a delightful summary it always is: “VENUS IN PISCES In which the chaplain loses his temper, and the widow loses a fight.”), the gathering of the characters at the beginning of the story in order to be presented at the same time to the reader (the smoking room of the Crown Hotel), the precise recreation of the town (we already know about the researches of the author to reconstruct the atmosphere of the 19th-century Hokitika), the detailed (and savurous) descriptions of clothes, houses, food and drinks, etc.: Balfour, who was always very happy to play the role of the munificent host, ordered three bowls of clear soup, a round of bread, a fat black pudding, a hard cheese, sardines in oil, hot buttered carrots, a pot of stewed oysters, and a demijohn of stout.Ceea ce face dintr-un roman care abia depășește suta de pagini o operă remarcabilă este construcția narativă ca să zic așa filmografică (că nu degeaba autorul este dublat de cineast): printr-o serie de stop-cadre care elimină de minune orice balast explicativ, cititorul este pus simultan în fața unui roman istoric, a unui bildungsroman și a unui roman de dragoste, unificate de supratemă: rolul cărților în viața omului.Mai mult, procedeul stilistic fundamental, evadarea în ironie, nivelelează cele trei planuri, atenuînd atît caracterul sumbru al peisajului exterior cît și accentele tragice ale celui interior.Una dintre perlele de gîndire ale marelui conducător Mao Tze Dun suna cam așa: „Clasa capitalistă este pielea; intelectualii sunt firele de păr care cresc pe piele.Cînd pielea moare, nu mai există păr.”Care va să zică, intelectualii sînt parte integrantă a capitalismului, tot atît de firesc asociați cu el cum este iarba cu pămîntul sau obrazul cu barba și prin urmare trebuie epilați temeinic, ca elemente destabilizatoare pentru un popor care n-are timp de gîndit.

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