In Paris around 1900, Arthur and Margaret are engaged to be married. Everyone approves and everyone seems to be enjoying themselves. Until Oliver Haddo appears. Sinister and repulsive, Haddo fascinates Margaret's spinster friend, Susie Boyd. Yet it is not Susie who ultimately falls prey to his peculiar charm. It is Margaret, and a fate worse than death awaits her in the fo
In Paris around 1900, Arthur and Margaret are engaged to be married. Everyone approves and everyone seems to be enjoying themselves. Until Oliver Haddo appears. Sinister and repulsive, Haddo fascinates Margaret's spinster friend, Susie Boyd. Yet it is not Susie who ultimately falls prey to his peculiar charm. It is Margaret, and a fate worse than death awaits her in the form of the evil Haddo. "The Magician" is one of Somerset Maugham's most complex and perceptive novels. Running through it is the theme of evil, deftly woven into a story as memorable for its action as for its astonishingly vivid characters.
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Paperback
,
200 pages
Published
November 1st 1992
by Penguin Classics
(first published 1908)
McKenzie
I am assuming you mean "Left Hand Path," and I found this author from the 1930's; Dennis Wheatley under a Google search of LHP.
Under Explore Tab at
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I am assuming you mean "Left Hand Path," and I found this author from the 1930's; Dennis Wheatley under a Google search of LHP.
Under Explore Tab at top menu of screen, drop down shows Listopia where can be found under the search box entry of Occult Fiction a few Categories of relevant lists of books:
1. Gurdjieff Work in Fiction,
2. The Dennis Wheatley Library of the Occult
3. Magical Fiction For Magicians
Arthur Burdon is due to marry his fiance, Margaret Dauncey. The pair have the misfortune of meeting Oliver Haddo, a self-styled magician and pompous ass. When Arthur assaults Haddo, the Magician hatches a plan to ruin Arthur's life in the most insidious of ways...
The Magician is a tale of revenge, seduction, and things of that nature, written by Maugham after he met Aleister Crowley. It's pretty much a horror novel, honestly.
Oliver Haddo is a revolting character that made my skin crawl and his
Arthur Burdon is due to marry his fiance, Margaret Dauncey. The pair have the misfortune of meeting Oliver Haddo, a self-styled magician and pompous ass. When Arthur assaults Haddo, the Magician hatches a plan to ruin Arthur's life in the most insidious of ways...
The Magician is a tale of revenge, seduction, and things of that nature, written by Maugham after he met Aleister Crowley. It's pretty much a horror novel, honestly.
Oliver Haddo is a revolting character that made my skin crawl and his seduction of Margaret was a little hard to read about. Arthur, Susie, and Margaret were also well drawn, flawed characters.
For a novel written in 1908, The Magician was surprisingly readable compared to many books of that era. The writing was lush and descriptive without being overly flowery and still felt pretty accessible. Haddon's occult knowledge and abilities were also very well done, not terribly flashy and somewhat believable. I have to think the way magic was depicted influence Susan Clarke's
Jonathan Strange & Mr Norrell
.
The only strike against the book that I can readily come up with is the ending. I felt it was a little on the anti-climatic side and kind of a downer.
The Magician is a surprisingly effective horror novel for being over one hundred years old. I may have to give old Maugham another shot some day soon. Four out of five stars.
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This review has been hidden because it contains spoilers. To view it,
click here.
I’m becoming increasingly fond of Maugham. There is something about the self-deprecation of the English that is so utterly appealing. It is worth even just reading the ‘Fragment of Autobiography’ that precedes the text and can be read here -
http://www.gutenberg.org/files/14257/...
- for a taste of his tone. Bits of this made me laugh out loud. Take: “I was looked upon as a promising young writer and, I think I may say it without vanity, was accepted as a member of the intelligentsia, an honoura
I’m becoming increasingly fond of Maugham. There is something about the self-deprecation of the English that is so utterly appealing. It is worth even just reading the ‘Fragment of Autobiography’ that precedes the text and can be read here -
http://www.gutenberg.org/files/14257/...
- for a taste of his tone. Bits of this made me laugh out loud. Take: “I was looked upon as a promising young writer and, I think I may say it without vanity, was accepted as a member of the intelligentsia, an honourable condition which, some years later, when I became a popular writer of light comedies, I lost; and have never since regained.” Isn’t that gorgeous?
I think this book could so easily have been much better than it ended up, but I still enjoyed it immensely and if I think that I would have written it differently, that in itself is fairly high praise – for a book to have me considering how I would re-construct it shows how interested in its themes and concerns I was.
The antagonist in this story is based on Aleister Crowley – someone who has an important role to play in
Of Human Bondage
too. He is a real person and sounds like quite a character. As you can see, I’m working on my understatement.
I kept thinking of Alan Bennett at the start of this book and his wonderful monologue,
A Lady of Letters
– where she says that in a book if someone says they are terribly alone and without love in their life and feel that nothing is ever going to change, that is a sure sign that things are about to completely change for them and happiness is about to come streaming into their life, whereas in life if you say that you are alone it is very likely that that is how your life will remain. A truth I’m more or less working on proving at the moment.
So at the start of this novel when the happy loving couple are gazing into each other’s eyes and say that they could not be more happy – and Suzie says of Margaret that she must be careful as she could make Arthur more unhappy than anyone else in the world, well, it is pretty obvious where this story is going. Not that I mind that. A storm is not made less frightening by our hearing it rumble in the distance as it approaches.
I’m going to have to spoil this book for you now. Haddo, the character based on Crowley, is a fat magician. Years ago I was thinking of having a car sticker made up that said, “Necromancers Raise Hell” – I thought it was very funny, but a dear friend of mine pointed out that what I take to be funny, many people take to be deadly serious. Haddo is that sort of magician.
Where Haddo is full of himself and terribly proud, Arthur is a doctor who is the essence of rationality and who is madly in love with Margaret. Margaret is in Paris having a bit of a holiday before marrying Arthur. She would rather have just married Arthur, but he insisted she have a bit of a holiday beforehand. She is accompanied by Suzie, who also falls in love with Arthur on first seeing him. Haddo, the magician, is fat and a revolting pig of a man, a fact that Arthur points out repeatedly at the start of the novel. No one is completely good, but Haddo is as near to completely evil as one could reasonably expect to get away with in a novel.
The turning point of the novel is an altercation in which Haddo is humiliated by Arthur – it is clear that Haddo plots to revenge himself on Arthur and he does this more than completely by stealing Margaret from him. Worse for Arthur, she goes from being a pure and sweet innocent to a debauched harlot – if one who remains a virgin can really be a harlot. There is no doubt that Haddo is both a cad and a bounder (how is it possible that either of those words could have been lost to the lexicon? Or Blackguard – pronounced blag-ard – as if the language wasn’t suffering enough with the loss of Zounds!)
But the book makes it clear that her conversion is due to Haddo’s black magic. You see, I’d not have had it so. I would have left that unclear – I’d have played with the desire of innocent young women to be debauched under the power of mystical men much more. But I guess the book is also a product of its time and for a ‘lady’ to make such a descent, well, black magic is the only possible explanation.
But how much more psychologically interesting this book could so easily have been!
All the same, it reminds me of
Of Human Bondage
in another sense too – in that idea of Maugham’s that there is no hope for a balance of love. Do you know that Joe Jackson song
Be My Number Two
? (A song my daughter Maddy hates more than any other) “Won’t you be my number two, me and number one are through. There won’t be that much to do, just smile when I feel blue”? Repeatedly he makes Suzie all too aware of her role as number two, the person who everyone can see is in love with Arthur and who must do what she can to re-unite him with his true love. Oh, love is a terrible and strange thing.
There are problems with this novel, as Maugham himself says, “The style is lush and turgid, not at all the sort of style I approve of now, but perhaps not unsuited to the subject; and there are a great many more adverbs and adjectives than I should use today.”
All the same, there are moments when the writing is breathtaking. The scene in the middle of the storm towards the end where Margaret returns is a fantastic piece of writing. I mean, just look at this: “Without a pause between, as quickly as a stone falls to the ground, the din which was all about them ceased. There was no gradual diminution. But at one moment there was a roaring hurricane and at the next a silence so complete that it might have been the silence of death.”
The other piece of writing that stood out was the whole scene between Haddo and Margaret in her apartment with him basically magically seducing her. The image of the burning water is etched into my memory now – though mostly the idea of him contemplating the end of the world as being in his power really stole my imagination at this point.
And as can be said of so much of female sexuality from this era – if not all eras – the loss of control is to be blamed elsewhere. This is also true in this scene. But Haddo's final words are “When you want me you will find me …” And you know what, I don’t think I could get someone out of my mind who said that to me as they left either.
Margaret’s last evening with Arthur shows just how cruel passion can be. Margaret’s whipping him into a sexual frenzy that can never be satisfied, and the irony of this scene is fully known to the reader. is a remarkable scene, all the more remarkable by the limits placed on Maugham’s ability to say more than is ‘within the bounds of decency’. That kiss is as painful as any I've ever experienced in life.
So, even though there were things about this book I didn’t particularly like and things I’d have done differently – I really did enjoy it and thought the bits that were good were very, very good.
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The Magician
may not be Maugham's most known work, but it's my favourite so far.
Arthur and Margaret are about to marry when the sinister Oliver Haddo comes into their lives. Haddo is known for practising ocultism and to deal with the dark arts. At first, Arthur doesn't take him seriously; when strange things concerned with Margaret start taking place, Arthur is forced to realize that maybe he should have taken care not to offend the man who is known as a magician.
After having read two of Maugham
The Magician
may not be Maugham's most known work, but it's my favourite so far.
Arthur and Margaret are about to marry when the sinister Oliver Haddo comes into their lives. Haddo is known for practising ocultism and to deal with the dark arts. At first, Arthur doesn't take him seriously; when strange things concerned with Margaret start taking place, Arthur is forced to realize that maybe he should have taken care not to offend the man who is known as a magician.
After having read two of Maugham's most popular books, I wouldn't have imagined he could write something this dark. And indeed this was one of his first works and has nothing to do with later ones.
Apart from the magic and obscure parts, there were elements common to
The Razor's Edge
and
Of Human Bondage
, such as Paris, art and medicine.
I really liked it and I'm glad to have given it a chance.
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"If I died tomorrow, every penny I have would be yours" – so spricht Arthur, gestandener Arzt, zu seinem Mündel Margaret, und unterstützt sie zustätzlich monatlich mit einer Summe, die der jungen Frau ein sorgloses Leben in Paris ermöglicht, jener Stadt, in der auch Maugham als junger Mann sich als Bohemien versucht hat. Ach, sagte das doch auch einmal jemand zu mir, aber so etwas geschieht vorzugsweise bei Courths-Maler und eben hier bei Maugham.
Arthur und Marg
IN THESE MATTERS ALL IS OBSCURITY
"If I died tomorrow, every penny I have would be yours" – so spricht Arthur, gestandener Arzt, zu seinem Mündel Margaret, und unterstützt sie zustätzlich monatlich mit einer Summe, die der jungen Frau ein sorgloses Leben in Paris ermöglicht, jener Stadt, in der auch Maugham als junger Mann sich als Bohemien versucht hat. Ach, sagte das doch auch einmal jemand zu mir, aber so etwas geschieht vorzugsweise bei Courths-Maler und eben hier bei Maugham.
Arthur und Margeret, ja passen die beiden denn zusammen? Eine schwierige Frage, denn Maugham beschreibt seine Protagonisten im MAGIER nur anhand von Äußerlichkeiten, Psychologie und Glaubwürdigkeit sucht man vergebens und fände sie eher in einem Pulproman. Margeret ist jung, hübsch und künstlerisch interessiert, wohingegen Arthur zwar ein renommierter Arzt ist, aber doch nicht so einer, wie wir ihn aus den Arztromanen kennen; vielmehr humorlos, ehrgeizig und in seinem Denken ganz der Wissenschaft verhaftet. Aber auch wenn er nicht gut aussieht – und hierfür findet sich eine der wenigen charmanten Beschreibungen bzw. Umschreibungen des Romans: "he did not photograph well (...) but he´s very paintable" – wenn Arthur also auch nicht gutaussehend ist, kein Mr Right, kein Prince Charming, so ist eine spätere Hochzeit doch nicht ausgeschlossen. Es wird doch nicht gar das Geld sein? Versuchen wir gar nicht erst, das zu verstehen, und werfen lieber einen kurzen Blick auf das weitere Romanpersonal:
Da ist Miss Susie Boyds, eine Art Gouvernante von Margaret, mit der das Schicksal es ebenfalls gut meint, seit sie eine kleine Erbschaft gemacht hat und sich endlich nicht mehr als Erzieherin verdingen muss, sondern fortan finanziell unabhängig sich in Paris dilettantisch aber froh den schönen Künsten widmen kann.
Der reiche Liebhaber für Margaret, die unverhoffte Erbschaft für Susie: hier können nur noch die Probleme der fuchsjagenden Klasse für Ungemach sorgen - oder aber:
MAGIE (Tusch)!
Es erscheint Haddo, dessen erster pompöser Auftritt an einem grauenhaft uninspiriert geschilderten Künstlerstammtisch ihn sofort als ausgemachtes *** qualifiziert und ihm schlicht einen Tritt in den Allerwertesten verdienen sollte.
Nun ist es ein offenes Geheimnis, dass Maugham Haddo an den englischen Exzentriker und Scharlatan Aleister Crowley angelehnt hat und der ganze Roman etwas von armseliger Abrechnungsprosa hat. Dass Crowley Maugham den Roman nicht sehr viel mehr verübelt hat als er es tat (er wies lediglich darauf hin, dass Maugham reichlich plagiierte, um den „magische Seite“ der Handlung auszuführen), mag unter anderem daran gelegen haben, dass Maugham von Magie so wenig wie von der psychologisch glaubwürdigen Gestaltung seines Personals verstanden hat und Haddo schlicht ein Popanz ist, eine arme klischeebeladene Kreatur, über die Crowley sich nicht aufregen musste, war sie doch auf den ersten Blick als harmlose Karikatur erkennbar.
Haddo also gebiert sich als enfant terrible, als Tier- und Kinderschreck, der allen auf die Nerven geht und aus unverständlichen Gründen doch ungestraft sein Unwesen treiben darf.
So platt kommt das alles daher, dass man den MAGIER ungestraft als Unterhaltungsliteratur ohne Anspruch einstufen darf; ja er fällt sogar hinter die meisten Schauer- und Gruselromane zurück, und das hat einen ganz einfachen Grund: Maugham kannte sich mit Magie nicht aus und exzerpierte ungeniert aus Quellen, die er fast unverändert in seinen Roman übernahm. Heute würde er sich mittels copy & paste an Wikipedia schadlos halten. Erschwerend muss man aber auch konstatieren, dass dieses Genre augenscheinlich einfach nicht sein Metier ist, so dass wirklich alles uninspiriert und blutleer wirkt. Die Autoren der Pulps hätten Maugham ein paar hilfreiche Tipps geben können, wie man spannende Szenen ökonomisch und mitreißend gestaltet. Denn Maugham will zu viel, und alle gelehrten Anspielungen verderben letztlich den erwünschten Effekt, pompös und langatmig kommt das daher, was den Leser umhauen muss. Selbst ein Drogenrausch gerät hier zu einer anspruchsvollen intellektuellen Reise durch die Welt der Mythologie und der Kunstgeschichte.
Der weitere Gang der Handlung sei nur kurz skizziert: Es kommt zum Konflikt zwischen Arthur und Haddo, der, um sich zu rächen, Arthur das Liebste nimmt, was dieser „besitzt“: Haddo bindet Margaret mit einem Zauberbann (so scheint es) an sich und entführt sie. Die sich daraus ergebende Frage ist tausendfach in Groschenromanen gestellt worden: Wird der Held die Damsel in Distress retten können oder wird Margaret den magischen Experimenten des Wahnsinnigen zum Opfer fallen?
Es sprengte den Rahmen, alle erzählerischen Sünden hier aufzulisten, die Maugham in seinem Jugendwerk unterlaufen, daher nur die fatalsten in Kurzfassung:
Maugham hat kein Gespür für den Rhythmus des Textes, was zu sinnfreien Spannungsabbrüchen führt - wenn ihm einmal so etwas wie Spannung überhaupt gelingt.
Über weiteste Strecken wird der Roman nicht erzählt, sondern es wird schlicht berichtet, was geschieht. Lebhafte Beschreibungen sind Mangelware und fast immer ist eine erzählerische Distanz präsent, die ein Mitfiebern unmöglich macht.
Die Figuren sind unscharf und unglaubwürdig konstruiert und die Erzählperspektive wechselt aus handwerklichen Gründen; denn im Grunde handelt es sich beim MAGIER um keinen Roman, sondern um eine Aneinanderreihung von Snapshots, sprunghaft anstatt substanziell berichtet, die Maugham der Mühe enthebt, zusammenhängend und romangemäß episch zu erzählen. Man sollte hier auf keinen Fall Faulheit als Ökonomie der Mittel missverstehen, und Maughams Nachlässigkeiten und eben die Faulheit sind die größten Mängel dieses Romans, der komplett überarbeitet vielleicht gerade das Zeug zu einer Kurzgeschichte hätte.
Ein Beispiel: Unter Haddos Einfluss erzählt Margaret in geselliger Runde eine ihr wesensfremde extrem peinliche Geschichte, die zu erzählen sie sozial ächtet und sie aus der Gesellschaft der Anwesenden herauskatapultiert. Alle Zuhörer sind furchtbar betroffen, so wird uns versichert, jedoch macht sich Maugham nicht die Mühe, den Leser mit dem Inhalt der Geschichte vertraut zu machen. Das nenne ich Faulheit! Was hätte hier funkeln können und ist doch gar nicht erst aus der Dunkelheit hervorgetreten.
Der Roman muss mit fünf erzählerisch unterentwickelten Personen auskommt, deren Unzulänglichkeiten Maugham mit behäbig gravitätischer Geschwätzigkeit aufzuwiegen versucht - ein verzweifeltes Unternehmen. Und so kommt´s, dass ich als Leser Arthur nicht als die "tragic figure" erlebe, zu der Susie / Maugham ihn stilisieren & reduzieren will, denn dazu ist er erzählerisch viel zu oberflächlich entwickelt, als dass Mitgefühl aufkäme. Und die alte romantische Vorstellung, dass Leid und Krankheit den Menschen veredele, ist pathetischer Mist und macht Arthur auch nicht zu einem „poor thing“: "She (=Susie natürlich, sie ist dafür oberflächlich genug) wondered what refinement of self-torture had driven him to choose that place to come to" - unerträglich!
Als Lehrbuch für junge Autoren mit dem Titel "Wie man einen Roman nicht schreibt" wäre der MAGIER jeden Cent wert, als Leser bedauere ich, mich auf dieses Unterfangen eingelassen zu haben.
Paris zu Beginn des 20. Jahrhunderts. Der junge Chirurg Arthur Burdon besucht sein Mündel Margaret, die gleichzeitig seine Verlobte ist. Sie wohnt mit ihrer ca. 10 Jahre älteren Freundin Susie Boyd zusammen, die wie sie selbst in Paris Kunst studiert. Es herrscht heile Welt, das Paar ist glücklich, die alleinstehende Susie durch ein Erbe gut versorgt. Auftritt Oliver Haddo, ein weitgereister, arroganter Zeitgenosse, der angeblich magische Kräfte besitzt. Doch inwiefern stellt er eine Bedrohung f
Paris zu Beginn des 20. Jahrhunderts. Der junge Chirurg Arthur Burdon besucht sein Mündel Margaret, die gleichzeitig seine Verlobte ist. Sie wohnt mit ihrer ca. 10 Jahre älteren Freundin Susie Boyd zusammen, die wie sie selbst in Paris Kunst studiert. Es herrscht heile Welt, das Paar ist glücklich, die alleinstehende Susie durch ein Erbe gut versorgt. Auftritt Oliver Haddo, ein weitgereister, arroganter Zeitgenosse, der angeblich magische Kräfte besitzt. Doch inwiefern stellt er eine Bedrohung für das junge Glück dar?
Dieses ist das erste Buch, das ich zusammen mit einer Lesegruppe gelesen habe, und ich habe mich aus diesem Grund, aber auch wegen der spannend klingenden Inhaltsangabe, sehr auf die Lektüre gefreut. Und mir hat das Buch auch am Anfang recht gut gefallen: das Setting in der Bohème-Szene, die Aussicht auf eine unheimlichen Weitergang der Geschichte und eine Identifikationsfigur für mich in Susie Boyd. Auch sprachlich war ich angetan, Maughams Stil ist anspruchsvoll, aber gut lesbar, mit häufig markierter Satzstellung.
Im weiteren Verlauf des Buchs musste ich jedoch häufiger die Stirn runzeln. Über eine in den Augen vieler Leser völlig misslungene Magieszene mit schwülstigen Beschreibungen von Halluzinationen konnte ich hinwegsehen, aber die Entwicklung der Geschichte selbst nimmt nun einen unglücklichen Weg. Zunächst schafft Maugham es zwar, Spannung aufzubauen, doch der folgende Showdown wirkte auf mich eher leicht komisch und das Ende des Romans schlicht und ergreifend banal. Zudem entwickelt Maugham seine Charaktere nicht weiter, sie bleiben sämtlichst flach und auch die zunächst so interessante Susie Boyd verblasst.
Die Plagiatsvorwürfe von Aleister Crowley, auf den Somerset Maugham die Figur des Oliver Haddo basiert, habe ich in dieser Rezension außen vor gelassen. Maugham weist in seinem Vorwort darauf hin, dass Crowley nie so düster und bösartig war wie Haddo in dem Roman, was den Vorwurf einer Abrechnung mit dem Vorbild abmildert.
So lässt dieses Frühwerk von Maugham mich enttäuscht zurück, es konnte meine Erwartungen nicht erfüllen. 2,5 Sterne.
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Mit Freude habe ich dieses Buch in einer Lesegruppe begonnen, soll die Hauptfigur ja dem legendären und spannenden Aleister Crowley nachgezeichnet sein. Nach Beendigung der Lektüre bin ich mehr als enttäuscht und muss mir hier durchaus den Hinweis verkneifen, der sicher als goldene Regel jedem Jungautor auf dem Weg mitgegeben wird: "Junge schreib über Sachen, die Du verstehst bzw. die Du selbst erlebt hast."
Die Hauptakteure erinnern fast ein bisschen an Dostojewskis Adeligensalons - Bürgerliche,
Mit Freude habe ich dieses Buch in einer Lesegruppe begonnen, soll die Hauptfigur ja dem legendären und spannenden Aleister Crowley nachgezeichnet sein. Nach Beendigung der Lektüre bin ich mehr als enttäuscht und muss mir hier durchaus den Hinweis verkneifen, der sicher als goldene Regel jedem Jungautor auf dem Weg mitgegeben wird: "Junge schreib über Sachen, die Du verstehst bzw. die Du selbst erlebt hast."
Die Hauptakteure erinnern fast ein bisschen an Dostojewskis Adeligensalons - Bürgerliche, die finanziell abgesichert und nicht mehr von Erwerbsarbeit abhängig ohne substantielles Talent zu irgendwas, das sinnentleerte herumphilosophieren des Pariser Adels imitierend und ein bisschen auf Kunst und Kultur machend. Als Romanfiguren sind sie leider so flach wie ihr mangelnder Geist. Dann kommt die Handlung des Romans zwar in Schwung, wird aber meist nur durch Hörensagen Getratsch und Geklatsch vermittelt.
Ereignen sich mal direkte Szenen, so versteigt sich Maugham in schwülstige intellektuell überfrachtete Schwachsinnsbeschreibungen, dass die Szenen komplett unwirklich werden. Beispielsweise das krampfhaft "intellektuell-anspruchsvolle" Hallizunieren in einem Drogenrausch ist derartig lächerlich - ich glaube nicht, dass die Drogenräusche vergangener Jahrhunderte derartig von Malern, Schriftstellern und mythologischen und anderen Figuren aus Literatur und Geschichte bevölkert waren - selbst im Horrortrip will sich Maugham noch als Gehirnwichser präsentieren. Auch im Bereich der magisch-alchimistischen Szenen, wird sofort klar, dass Maugham Crowley nur entfernt vom Sehen gekannt hat und nie bei einer alchimistischen Sitzung dabei war, das versucht er mit schwülstigen Beschreibungen, die er mit angelesenem Alchimie-Wissen zusätzlich vollstopft, peinlich zu kompensieren. Irgendwie ist der ganze Roman so konzipiert, wie sich Klein-Somerset überheblich dozierend so die Welt abseits seiner Komfortzone vorstellt, obwohl er nicht die geringste Ahnung hat.
Die Figuren sind meist nicht nur hohl im Hirn, sondern auch als Persönlichkeit vom Autor viel zu oberflächlich gezeichnet. Nie erfährt man aus Innensicht, was die Personen bewegt und in welcher Form sie wirklich leiden, sich fürchten, ihre Fassung verlieren, sich beeinflussen lassen. Meist hört man nur dieses widerliche intrigante Geschwätz der feinen Gesellschaft übereinander, zu dessen Wortführer sich Maugham offensichtlich den ganzen Roman über aufgeschwungen hat. So etwas interessiert mich auch heute noch überhaupt nicht in meiner Kleinstadt, geschweige denn in gehobener Literatur.
Den 2. Stern gibt es diesmal tatsächlich für den primären Plot also die eigentliche Handlung - nur müsste man den Roman drumherum nochmals komplett neu schreiben.
Fazit: Es existiert auch sehr schlechte "klassische" Literatur.
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This is certainly a novel worth persevering with. The beginning is dare I say dull, and for a little while it drags, but then suddenly it develops into a truly gripping read. The awfully sinister Oliver Haddo is a sly practitioner of the occult, who appears to use his skill to ruin the lives of a couple of good and innocent souls. An excellent read.
What a surprising, interesting book. After reading all of W. Somerset Maugham's most celebrated works several times over, and delving eagerly into his lesser-known (though not necessarily lesser in quality) material afterwards, this is the first one to completely surprise me.
The book is preceded, happily, by a foreword, "The Fragment of Autobiography," in which Maugham admits that the character of Oliver Haddo is indeed based on Aleister Crowley. He pulls no punches in his assessment of the real
What a surprising, interesting book. After reading all of W. Somerset Maugham's most celebrated works several times over, and delving eagerly into his lesser-known (though not necessarily lesser in quality) material afterwards, this is the first one to completely surprise me.
The book is preceded, happily, by a foreword, "The Fragment of Autobiography," in which Maugham admits that the character of Oliver Haddo is indeed based on Aleister Crowley. He pulls no punches in his assessment of the real Crowley, whom he knew peripherally, and the more you know about Crowley going into this book, the more scathing a portrayal it is. At any rate, the foreword is hilarious, humble, and charming in its English understatement, like all of Maugham's essays. Among other things, he admits that he hates to reread, or even talk about his novels once they're finished.
The book itself, as I stated up there, is surprising and utterly unique among Maugham's work (at least that I've read so far) in that it has the whiff of the supernatural. The reader is left to guess, for most of the length of the book, whether Haddo is truly a magician, or simply a cunning, manipulative charlatan. I won't spoil anything for you by saying which is the case, but by the time the reader is sure, it's Act III and the rest of the book is a breathless chase to the end. In this,
The Magician
is also rather unique among Maugham's novels, because nonstop action is not his normal style. Here, he pulls it off with aplomb, showing himself to be one of the most versatile writers in the history of English literature.
I would recommend this book to anyone who's read at least Maugham's big three -
Of Human Bondage
,
The Razor's Edge
, and
The Moon And Sixpence
, and maybe
Cakes and Ale
or
Up at the Villa
to boot. To read it before those might give you a mistaken impression of W. Somerset Maugham as a writer. In my opinion, the best time to read
The Magician
is when I did: as a longtime fan who thought he knew the old master's style forwards and backwards, and was ripe for having his assumptions blasted. This book did that for me and I was delighted for it.
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This book has a very slow start but then picks up into something horrifying. I just wanted it all to be over. It's so dark and freaky. The descriptions have you holding your breathe for it to end quickly. If you like horror then highly recommend. If you are squeamish then may not be of your liking. First time reading this author and he can make your skin crawl. One of the nastiest antagonist in literature.
Kein Schriftsteller beherrschte sein Handwerk besser
steht auf der Rückseite meine Ausgabe, die in der Bibliothek der Süddeutschen Zeitung erschienen ist. Allerdings meinte Raymond Chandler damit sicherlich nicht den Verfasser des Magiers, denn diese von ein paar schwächlichen eigenen Einfällen zusammengehaltene Montage taugt nicht einmal als Gesellenstück und verhält sich zu seinen späteren Romanen wie Haddos Homunculi zu echten Menschen. Im Hinblick auf das Gesamtwerk gibt es zwar gewisse stru
Kein Schriftsteller beherrschte sein Handwerk besser
steht auf der Rückseite meine Ausgabe, die in der Bibliothek der Süddeutschen Zeitung erschienen ist. Allerdings meinte Raymond Chandler damit sicherlich nicht den Verfasser des Magiers, denn diese von ein paar schwächlichen eigenen Einfällen zusammengehaltene Montage taugt nicht einmal als Gesellenstück und verhält sich zu seinen späteren Romanen wie Haddos Homunculi zu echten Menschen. Im Hinblick auf das Gesamtwerk gibt es zwar gewisse strukturelle Ähnlichkeiten, aber vieles ist noch nicht oder nur verkrüppelt ausgebildet. Keine Ahnung, was die Kommission der SZ dazu bewogen hat, ausgerechnet diesen weit daneben gegangenen Übungsschuss des späteren Stilisten gleich in eine erste Auswahl von 50 Romanen oder längeren Erzählungen mit hinein zu nehmen.
Die Handlung passt auf den sprichwörtlichen Bierdeckel, gutmütiger reicher Arzt, sorgt für eine Waise und zieht sich auch eine hübsche Braut heran, deren beste, aber unscheinbare Freundin sich ebenfalls in ihn verliebt. Doch sobald der magische Eindringling dazu kommt, entsteht ein anderer Dreieckskonflikt. Erst recht als der Arzt den Scharlatan Oliver Haddo wegen einer Überreaktion auf einen Hundebiss verprügelt. Unmittelbar zuvor gab es schon den Brief mit der Warnung, sich diesen Mann auf keinen Fall zum Feind zu machen. Die nur zu vorhersehbare Rache des Magiers besteht darin, dem Arzt das Liebste zu nehmen, was er hat: seine Verlobte, die er im weiteren Verlauf erst als jungfräulichen Glücksbringer am Roulettetisch, dann als Nährboden für seine Homunculi ausnutzt. Der Umstand, dass Margaret nicht gerettet werden kann, spricht, meiner Ansicht nach sogar für Maugham, auch wenn ein Magier von Haddos Format bei sämtlichen anderen Kollegen schon bei der Beschwörung in seinem Park das Eindringen fremder Energien gespürt und im eigenen Hinterhof zugeschlagen hätte, statt sich auf einen albernen Ringkampf auf fremdem Terrain im Gästezimmer der Ortskneipe mit Arthur einzulassen. Der Showdown ist also so enttäuschend wie der gesamte Roman, den ich vermutlich in der ersten Phase meiner Maugham-Begeisterung (um 1980) gelesen und gleich wieder vergessen habe.
Maughams Personal und dessen Macken
Lediglich die Charakterisierungen der Modenärrin Susie und die Mimik Arthurs sorgten für ein Wiedererkennen, es sei denn, Maugham hat sie später anderweitig recycelt. Von der Magie hat Maugham später die Finger gelassen, von der Romanschreiberei auch für einige Zeit, seine Domäne sind die auf ein oder zwei zentrale Wendepunkte oder den Konflikt von unterschiedlichen Temperamenten gegründeten Short Stories, sogar sein sieben Jahre nach dem Magier veröffentlichter autobiographischer Bildungsroman (Of human Bondage/Des Menschen Hörigkeit), in dem er seine eigene Behinderung abgearbeitet hat, verhält sich im Vergleich zu Anton Reiser oder dem grünen Heinrich wie eine naive Lehrlingsarbeit.
Trotz zahlreicher magischer Plagiate und unverkennbaren Schwächen bei der Entwicklung seiner Charaktere, verrät der Magier mehr über die Macken seines Verfassers als die geläuterten Meisterwerke, in denen zahlreichen Konstellationen wieder und wieder auftauchen. Autoren, die sich der Rückschau auf das eigene Schaffen verweigern, sind nun mal dazu verdammt unausgesetzt ihre Klischees zu wiederholen, aber immerhin tun sie es mit dem guten Gewissen der Ahnungslosigkeit.
Ein Haupttopos ist der spontane, oft nur unzureichend erklärte Umbruch im Leben der Hauptperson, so lässt z.B. der Bankier Strickland sein bürgerliches Leben hinter sich, um Maler zu werden und in der Südsee zu sterben (Silbermond und Kupfermünze, 1918), die Anglisierung Gauguins ist auch eher ein ziemlich blamables Plagiat, denn eine kreative Meisterleistung, bringt aber den mit vielen anderen Personen vertrauten Erzähler, der am Ende sogar mit dem Autor gleichgesetzt wird. Doktor Porhoet rückt gewissermaßen in diese Funktion auf.
Auch im Gipfelwerk
Auf Messers Schneide (1944)
, in dem Maugham eine geradezu ideale erzählerische Balance gelingt, ist der allwissende Autor und Vertraute immer auf der Höhe des Geschehens. Held Larry Durell lässt unter dem Trauma des ersten Weltkriegs sein altes Leben und seine Verlobte Isabel hinter sich und kehrt nach erfolgreicher Sinnsuche am Himalaya nach Paris zurück, wo er mittels Hypnose großartige Heilerfolge erzielt. Ein positiver Magier also, dem es sogar gelingt seine in Alkohol, Drogen und Promiskuität abgerutschte Jugendfreundin Sophie zu kurieren. Rettung gibt es hier so wenig wie im Magier, denn der einst verschmähten Verlobten, die ihre zweite Chance wittert, wenn die Rivalin erst aus dem Weg ist, reicht eine Flasche Wodka, um Sophie zurück in die alten Gleise zu bringen. Als der Leichnam der ermordeten Sophie in Toulon gefunden wird, hat sie neben einem Buch von Baudelaire (siehe auch Nachsatz zum Thema Drogenkultur) und Rimbaud, auch signiertes Exemplar von Maugham bei sich.
Eitelkeit ist sicherlich eine der wesentlichen Antriebsfedern in Maughams Leben und Werk, die schlanke Linie, für die er bis ins hohe Alter knallharte Diäten durchhielt, immer wieder ein unabdingbares Erfolgsrezept. So wird die altbackene Landpomeranze Jane, nachdem sie in die Hände eines jungen Modeschöpfers gefallen ist und unter dessen Anleitung etliche Pfunde abgenommen hat, zum Topmodell mit einer unvergleichlichen Eleganz, das seinen Schöpfer am Ende abserviert um einen Admiral zu heiraten, der auch vom Alter besser zu ihr passt.
Maughams Moral in Werk und Alltag
Undiszipliniertheit ist gleich Fettleibigkeit, Hurerei, Fehlverhalten auf einer Gesellschaft, unanständige Wortwahl und Suff/Drogen auf diese Formel lässt sich Moralkanon von Maugham bringen, bei dem Verstöße gegen diese Ordnung das Böse markieren oder ein unglückseliges Ende ankündigen. Das klingt schwer nach Karl May, auch wenn der spätere Maugham, der seine besten Romane (Auf Messers Schneide, 1944, Damals und heute 1946) erst in hohem Alter schrieb, über ein weiter gefächertes stilistisches Repertoire verfügte. Karl Mays Werk ist von Spaltprodukten geprägt, neben den Edelmenschen Kara ben Nemsi/Old Shatterhand und Winnetou, gibt es die von zahlreichen menschlichen Schwächen geplagten Gestalten von Halef bis Old Wabble, die sich entweder bessern oder vom lieben Gott gerichtet werden, den Maugham zwar nicht mehr bemüht, auch wenn es seinem Personal letztendlich nicht besser ergeht.
Die persönliche Lebenspraxis liefert übrigens eine reizvolle Fußnote:
Der Erfolgsautor leistete sich übrigens einen jüngeren Diener und Liebhaber, der stellvertretend für ihn soff, rauchte, fluchte und auch kahl und dicker wurde, ehe in sein Herr und Meister überleben durfte. Haddo ist also nicht mehr als ein früh formulierter Fetisch unter negativen Vorzeichen und bei jungen Mädchen hatte der Stotterer Maugham erst kein Glück und wohl auch nicht allzu viel Interesse, von daher wundert mich die Flachheit Margarets, die schon früh mit einem Kunstwerk gleichgesetzt wird, nicht wirklich.
Die künstlichen Paradiese
Die Schilderung ihres Drogenrauschs ist sicherlich nicht aus erster Hand, sondern eher ein Exzerpt aus Baudelaires
Künstlichen Paradiesen
,
dass man dergleichen besser machen kann, steht außer Frage. Die Inhalte würde ich allerdings nicht so sehr in Frage stellen, was kann diese Kunststudentin schon viel anderes im Kopf haben als unzählige Bilder mit antiken und biblischen Gestalten? Als heutige Leser verfügen wir über einen medialen Vorsprung von über 100 Jahren Drogenkultur, die verzerrten Trompeten erinnerten mich übrigens sehr das Spiel von Miles Davis in
Bitches Brew
.
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Maugham's novel
The Magician
is an aesthetic disaster. From the fumbling realism at the beginning of the novel to the childishly Gothic fable that it turns into, the book seems to lack structure, design and well developed characters.
Maugham himself, on reading the book later, described it as
“lush and turgid.”
Cluttered with adjectives, the writing, bordering on being kitschy, does little to gloss over a story that is formulaic and shallow.
The plot is facile and it is no surprise that it was m
Maugham's novel
The Magician
is an aesthetic disaster. From the fumbling realism at the beginning of the novel to the childishly Gothic fable that it turns into, the book seems to lack structure, design and well developed characters.
Maugham himself, on reading the book later, described it as
“lush and turgid.”
Cluttered with adjectives, the writing, bordering on being kitschy, does little to gloss over a story that is formulaic and shallow.
The plot is facile and it is no surprise that it was met with derision from literary circles.
The plot in one sentence is that this novel’s eponymous antihero, Oliver Haddo, bewitches the young beauty Margaret Dauncey into marrying him to avenge his public humiliation at the hands of Arthur Bourdon, Margaret's fiance. What Maugham seems to be doing in the magician is playing a bullying schoolboy, ridiculing Aleister Crowley, self-publicist, occulist and an acquaintance of Maugham's on whom the sordid character of Oliver Haddo is based.
The ostensibly fantastic story seems to draw inspiration from the spectacularly disastrous marriage of Crowley to Rose Edith Kelly, who was later institutionalized for alcoholic dementia. Crowley, a square and plump man, slightly round in the face is caricatured into an man a with a
“vast bulk and a savage, sensual face.”
Crowley, however, would not let this pass. What followed was a war of words, Crowley wrote a critique of the book, under the pen name of Olive Haddo, which was published in the Vanity Fair Magazine. He would later summarize this review in his
Confessions (1929)
:
“Maugham had taken some of the most private and personal incidents of my life, my marriage… my magical opinions, ambitions and exploits and so on. He had added a number of the many absurd legends of which I was the central figure. He had patched all these together by innumerable strips of paper clipped from the books which I had told Gerald to buy. I had never supposed that plagiarism could have been so varied, extensive and shameless.”
Maugham, for his part, denied having read the review, adding his own bit of sizzling sarcasm, saying,
“I daresay it was a pretty piece of vituperation, but probably, like his poems, intolerably verbose.”
The characters seems schmaltzy and uni-dimensional. The heroine Margaret is effectively a child and Arthur and Susie supervise her existence, the former paying her bills and the latter choosing her clothes. Margaret’s empty life and feeble character leave her hopelessly vulnerable to Haddo’s attack upon her psyche. Unable to concede the fact that someone like Margaret(Rose) would accede to Haddo(Crowley)'s proposal of marriage out of he own free will, Maugham lavishes upon him magical powers which he ruthlessly uses to make her marry him.
The righteous surgeon Arthur Burdon is an ambassador from our purely rational world who finds himself trapped in a novel where the supernatural is possible. His staid attempts at upholding sanity in a world which seems to be caught in a Gothic vortex are pitiable. He is doomed to irrationally insist upon the rational in the face of all incoming evidence. We may suspect that Haddo is squandering his infernal genius upon a man who is too daft to appreciate it.
Susie Boyd is more evolved that the rest, but Maugham diagnoses her as “plain,” a condition as apparently debilitating as leprosy, for her
"own stock of enthusiasms was run low"
.
Arthur is “not handsome” and he has a “large” nose, but he can compensate for this plainness with his masculine character.
Maugham repeatedly dwells on Haddo's obesity with appalling vapidity and insolence.
“she saw that in the last six months he was grown much balder; and the shiny whiteness of his naked crown contrasted oddly with the redness of his face. He was stouter, too, and the fat hung in heavy folds under his chin; his paunch was preposterous. The vivacity of his movements made his huge corpulence subtly alarming. He was growing indeed strangely terrible in appearance. His eyes had still that fixed, parallel look, but there was in them now at times a ferocious gleam.”
He even makes a “Yo-Mama's so fat” joke in his own inimitable style. Margaret visits Haddo’s mother in a lunatic asylum and finds
“a woman of… revolting, excessive corpulence,”
weltering in brown flannel. Crowley’s own mother was a devout evangelist and he had fallen out with her fairly early in life. Singling out Crowley’s disaffection from his mother for mockery seems, in some scintillantly, malicious way, to get to the bottom of his devilry.
In 1956, Maugham’s publishers reissued the novel and Maugham added an explanatory
“Fragment of Autobiography”
. What would be truly interesting would be to read Crowley’s review alongside Maugham’s
“Fragment,”
to know the two different sides of the story.
But history is written by the victors and
The Magician
is today remembered more as a
roman à clef
about Crowley than as the starting point of a spectacularly juvenile altercation that threatened to drown Maugham's career in the infamy of plagiarism. Crowley died in squalor in 1947 whilst Maugham lived on, sunning himself in the south of France.
For a book based on magic, the writing is horribly lacking in any of Maugham's literary wizardry. Disappointed.
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Margaret is engaged to Arthur, a well-off English surgeon. Margaret shares a Paris flat with Susie. One evening, they meet Oliver Haddo, a very large, very odd man, around whom the most unusual stories swarm.
Basically, Oliver is a magician, who uses his powers to lure Margaret away from Arthur, which pisses everyone off, and leads to a showdown.
When "The Magician" was published, Aleister Crowley wrote a review, contending that Maugham had plagiarized the st
"The Magician" is a captivating story.
Margaret is engaged to Arthur, a well-off English surgeon. Margaret shares a Paris flat with Susie. One evening, they meet Oliver Haddo, a very large, very odd man, around whom the most unusual stories swarm.
Basically, Oliver is a magician, who uses his powers to lure Margaret away from Arthur, which pisses everyone off, and leads to a showdown.
When "The Magician" was published, Aleister Crowley wrote a review, contending that Maugham had plagiarized the story from both other works, and from Crowley's own life. In a later edition (including the one I read), Maugham admits that he knew Crowley, but that Crowley is a delusional jackass.
There does seem to be a lot of Crowley in Oliver Haddo. Maugham also takes every opportunity to describe how fat, garish, and boorish Oliver is. I don't think Crowley minded being used in the story so much as he got tired of Maugham calling him a corpulent douchebag.
The story here is brilliant, but the writing is uneven. Imagine you're going for a drive in the country. You have the top down, your sunscreen on, and a full tank of gas. Then you get stuck in gridlock traffic before you can get out of town.
That's how I found "The Magician." In the beginning, it was agonizingly slow. Once we got moving, though, the story flowed nicely.
Maybe Maugham borrowed a little, here and there (including a good bit from Dracula, I thought), but "The Magician" is a lovely yarn. If only the writing were more even, it would be a 5 star treasure.
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I hadn't read this for some time, on this latest reading I have downgraded it to 2 stars. It's really just a piece of poor Victorian Gothic horror. Perhaps Maugham was amusing himself. It could be considered a piece of camp humour in the vein of the Hammer House and Carry On films.
“Yet magic is no more the art of employing consciously invisible means to produce visible effects. Will, love, and imagination are magic powers that everyone possesses; and whoever knows how to develop them to their fullest extent is a magician. Magic has but one dogma, namely, that the seen is the measure of the unseen.”
I think this is my favourite Maugham, a book about the creepy figure that was Oliver Haddo aka Aleister Crowley, in the early 1900's, between London and Paris.( Also, am I the
“Yet magic is no more the art of employing consciously invisible means to produce visible effects. Will, love, and imagination are magic powers that everyone possesses; and whoever knows how to develop them to their fullest extent is a magician. Magic has but one dogma, namely, that the seen is the measure of the unseen.”
I think this is my favourite Maugham, a book about the creepy figure that was Oliver Haddo aka Aleister Crowley, in the early 1900's, between London and Paris.( Also, am I the only one that got a "
Frankenstein
" vibe?)
This review has been hidden because it contains spoilers. To view it,
click here.
Magician Oliver Haddo seduces Margaret and runs away to Paris to marry her, this leaves her fiancé Authur Burdon totally confused, and with the help of her friend Susie Boyd and his mentor Dr. Porhoët he goes to Paris to get to the root of Margaret's uncanny change...
(Some elements of this novel remind me of The Wizard by Rider Haggard and Island of Dr. Moreau by Wells)...
I'm not entirely sure what to make of The Magician. It's written beautifully, it is unsettling at times, sometimes it drags and other times it's rushed, but altogether it's very good.
Unfortunately, a large plot point was spoiled for me by another review, so I knew what to expect. Thankfully, the whole novel is saturated with mystery, so there was more to be enjoyed.
The character of Oliver Haddo truly is repulsive, and Maugham manages to communicate his cruelty effectively without ever really sho
I'm not entirely sure what to make of The Magician. It's written beautifully, it is unsettling at times, sometimes it drags and other times it's rushed, but altogether it's very good.
Unfortunately, a large plot point was spoiled for me by another review, so I knew what to expect. Thankfully, the whole novel is saturated with mystery, so there was more to be enjoyed.
The character of Oliver Haddo truly is repulsive, and Maugham manages to communicate his cruelty effectively without ever really showing it, which only adds to his mystery. He is masterfully written, a character that you learn about largely through hearsay, and you never know how much of what you learn is true.
I disliked the ending, which felt far too rushed and unlikely, but the book as a whole is well worth a read.
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An astonishing gothic story written by Somerset Maugham.
Location 122:
Dr Porhöet knew that a diversity of interests, though it adds charm to a mans personality, tends to weaken him.
Location 140:
One of my cherished ideas is that it is impossible to love without imagination.
Location 277:
She had learnt long ago that common sense, intelligence, good-nature, and strenght of character were unimportant in comparison with a pretty face.
An astonishing gothic story written by Somerset Maugham.
Location 122:
Dr Porhöet knew that a diversity of interests, though it adds charm to a man´s personality, tends to weaken him.
Location 140:
One of my cherished ideas is that it is impossible to love without imagination.
Location 277:
She had learnt long ago that common sense, intelligence, good-nature, and strenght of character were unimportant in comparison with a pretty face.
Location 384:
I shall not have lived in vain if I teach you in time to realize the rapier of irony is more effective an instrument than the bludgeon of insolence.
Location 480:
Yet magic is no more than the art of employing consciously invisble means to porduce visible effects. Will, love, and imagination are magic powers that everyone possesses; and whoever knows how to develop them to their fullest extent is a magician. Magic has but one dogma, namely, that the seen is the measure of the unseen.
Location 504:
You should be aware that science, dealing only with the general, leaves out of consideration the individual cases that contradict the enormous majority.
Location 741:
Man can know nothing, for his senses are his only means of knowledge, and they can give no certainty. There is only one subject upon which the individual can speak with authority, and that is his own mind, but even here he is surrounded with darkness.
Location 1002:
We should look for knowledge where we may expect tp find it, and why should a man be despised who goes in search of it?
Location 1053:
Fools and sots aim at happiness, but men aim only at power. The magus, the sorcerer, the alchemist, are seized with fascination of the unknown; and they desire a greatness that is inaccessible to mankind.
5* The Razor's Edge
5* Of Human Bondage
4* The Painted Veil
4* The Narrow Corner
4* The Moon And Sixpence
3* Liza of Lambeth
3* Ashenden
3* The Magician
TR Cakes and Ale
TR The Circle - A Comedy in Three Acts
Kim
Travel safely, Laura. It's all relative, I know, but to me a 12 hour flight sounds relatively short! I hope you can get some sleep on the plane.
Jun 05, 2013 01:20PM
Laura
Kim wrote: "Travel safely, Laura. It's all relative, I know, but to me a 12 hour flight sounds relatively short! I hope you can get some sleep on the
Kim wrote: "Travel safely, Laura. It's all relative, I know, but to me a 12 hour flight sounds relatively short! I hope you can get some sleep on the plane."
Yes indeed Kim. When we wen to Nz, it was almost 22 hours traveling there. We couldn't sleep since we left Amsterdam early in the morning.
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Jun 07, 2013 10:23AM
Das Buch hat eine sehr düstere Atmosphäre, die mich ein wenig an 'Dracula' von Bram Stoker erinnert. Das Vorbild zu dem Magier lieferte Aleister Crowley.
Не съм доволна от тази история на Моъм. Един магьосник прави експерименти за създаване на хора. За целта прецаква всичко живо по пътя си. Доста противни неща имаше и като цяло не беше интересно, нито силно психологическо. Силата на Моъм е в историите, където може много да се научи за взаимоотношенията между хората в различни житейски етапи и ситуации. Това ми липсваше. И макар да не е съвсем зле тази книга ѝ давам 2 звездички, защото Моъм винаги ме е карал да немея и да го чета с кеф и нетърпени
Не съм доволна от тази история на Моъм. Един магьосник прави експерименти за създаване на хора. За целта прецаква всичко живо по пътя си. Доста противни неща имаше и като цяло не беше интересно, нито силно психологическо. Силата на Моъм е в историите, където може много да се научи за взаимоотношенията между хората в различни житейски етапи и ситуации. Това ми липсваше. И макар да не е съвсем зле тази книга ѝ давам 2 звездички, защото Моъм винаги ме е карал да немея и да го чета с кеф и нетърпение, каквито сега ми липсваха.
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I adored this book. I could visualize every scene and when you realize that Maugham had actually lived with Aleister Crowley it makes the book even more terrifying. The scene toward the end of the book with the hommunculi was completely prescient. It perfectly predicted our fears of human clones.
Nicht wirklich was für mich. Es hat mich nicht berührt, eher gelangweilt.
Der MAGIER wird als Witzfigur dargestellt, der Inhalt ist mir zu dramatisch und schwülstig. Hier ein kleiner Auszug, was mir z.B nicht gefällt:
"Es war eine Musik, wie Margaret sie nie gehört hatte, wild, mit einem unheimlichen Unterton der Klage, der in ihrer Phantasie mondhelle Nächte in Wüstengegenden, reglose Palmen in windstiller Luft und braungelbe Fernen heraufbeschwor. Sie schien von engen Straßen zu wissen, von weiß
Nicht wirklich was für mich. Es hat mich nicht berührt, eher gelangweilt.
Der MAGIER wird als Witzfigur dargestellt, der Inhalt ist mir zu dramatisch und schwülstig. Hier ein kleiner Auszug, was mir z.B nicht gefällt:
"Es war eine Musik, wie Margaret sie nie gehört hatte, wild, mit einem unheimlichen Unterton der Klage, der in ihrer Phantasie mondhelle Nächte in Wüstengegenden, reglose Palmen in windstiller Luft und braungelbe Fernen heraufbeschwor. Sie schien von engen Straßen zu wissen, von weißen, schweigenden Häusern mit seltsamen Mondschatten, von dem Glühen gelben Lichtes darinnen, dem Klimpern unbekannter Instrumente und scharfen Düften östlicher Parfüms." Nicht mein Stil.
Zum Ende hin kommt noch ein Hauch von Spannung auf, aber das reißt es auch nicht mehr raus.
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Maugham's caricature of Aleister Crowley (Oliver Haddo) is brilliant and, no doubt, accurate. Maugham says in his preface that Crowley recognised himself. I'm sure he did. He was probably even flattered in spite of Maugham's blatantly unflattering portrait. Maugham says he never read the review by 'Oliver Haddo' (Aleister Crowley) in Vanity Fair and wishes he had. I have read it and enjoyed it immensely. I love it when two very smart men clash. Maugham has definitely researched his subject and g
Maugham's caricature of Aleister Crowley (Oliver Haddo) is brilliant and, no doubt, accurate. Maugham says in his preface that Crowley recognised himself. I'm sure he did. He was probably even flattered in spite of Maugham's blatantly unflattering portrait. Maugham says he never read the review by 'Oliver Haddo' (Aleister Crowley) in Vanity Fair and wishes he had. I have read it and enjoyed it immensely. I love it when two very smart men clash. Maugham has definitely researched his subject and gets the occultists right. It doesn't matter that Maugham, as Crowley asserts, stole some material from other sources. His sources were impeccable. After all, Crowley knew them almost by heart. All the magicians of the Golden Dawn would have made a wonderful subject for a novel but Maugham has narrowed his focus here and concentrated on one isolated drama in which Haddo, the magician, steals away the fiancée of a man who has humiliated him. Maugham spins his yarn deftly, shifting points of view with practised ease, sticking always to pertinent details and glossing over irrelevancies. He is strong on sexual passion and the interaction of the personalities. The middle of the book is the best, where these are to the fore. The conclusion of the story seemed a little rushed to me. Haddo turned into a ghoulish mix of Victor Frankenstein and Count Dracula and the plot drifted sloppily into melodrama. It was quite fast-paced melodrama and exciting to read but the final scenes spoiled what had otherwise been a fascinating study of vengeance and sexual charisma.
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This simple little novel was inspired by Maugham's brief acquaintance with the notorious occultist
Aleister Crowley
in Paris in 1907. And it is unlike anything else of his that I've read. It begins in typical Maugham territory by describing the bohemian art community in Paris, but it gradually mutates into pulp horror territory ending up with scenes more reminiscent of
H.P. Lovecraft
. Along the way there is much fascinating discussion of the principles and history of occultism. How much of this
This simple little novel was inspired by Maugham's brief acquaintance with the notorious occultist
Aleister Crowley
in Paris in 1907. And it is unlike anything else of his that I've read. It begins in typical Maugham territory by describing the bohemian art community in Paris, but it gradually mutates into pulp horror territory ending up with scenes more reminiscent of
H.P. Lovecraft
. Along the way there is much fascinating discussion of the principles and history of occultism. How much of this is based on real people and actual literature I don't know, but it certainly held my attention. And there are long, beautifully written, passages describing the process by which Oliver Haddo (the Crowley figure) contaminates another with his unspeakable evil, full of Apocalyptic visions and hints at things which cannot be named. All very Lovecraftian. I was particularly impressed by this sentence :
"The dead rise up and form into ominous words the night wind that moans through their skulls."
I was really looking forward to this book as it is set in 'bohemian cafe society of Paris' at the end of 19th century, and everyone who knows me knows that I adore nothing more than Paris and it's people. I was also interested in how the book was going to deal with the occult and magic. But this book failed to catch my interest and actually took me 3 month to read.
The start was bit slow but it was quite nice as you got to meet all the characters and were introduced to the time and era. The chara
I was really looking forward to this book as it is set in 'bohemian cafe society of Paris' at the end of 19th century, and everyone who knows me knows that I adore nothing more than Paris and it's people. I was also interested in how the book was going to deal with the occult and magic. But this book failed to catch my interest and actually took me 3 month to read.
The start was bit slow but it was quite nice as you got to meet all the characters and were introduced to the time and era. The characters dissapointed me a lot. I was expecting bohemian, open minded artists but instead I got a bunch which blushed when someone said the word 'prostitute'. I dislike Arthur for his snobishess and stubborness, and Margaret, well I dont even nkow why I didnt like her. My favourite character was Dr. Porhoët who was featured in the book for the shortest amount of time out of all the characters.
The best part of the book was when Haddo enchanted Margater and she secreatly started seeing him. The ending was quite good aswell but it was bit obvious and expected.
(view spoiler)
[ Margarete's death was unexpected but added substance to the story and made it better.
(hide spoiler)
]
But the rest of the book lacked action and left me completely uninterested and unsatisfied. The writing was unclear in some parts
(view spoiler)
[ For example when Artur killed Haddo. I got bit confused and wasnt comletaly sure what happened. The climaz of the story therefor became a comlete anti-climax
(hide spoiler)
]
The book was written in a very sophisticated language but draggeded on too much. The idea of the book was very interesting but I feel that it could have been mastered in a better way.
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This was so worth reading, flawed as it is, in order to get a glimpse into a historic moment when neo-Jeckyll-Hyde-ish sciencey ghost stories were so popular that a writer wishing to "sell out" would choose the Victorian culture surrounding the idea one can manipulate soul/spirit/science for genre/setting. S Maugham does a fine job impersonating any genre, even if it's not the one he writes in most authentically. Also to see Maugham's span, between this v early book and, say, Razor's Edge, is to
This was so worth reading, flawed as it is, in order to get a glimpse into a historic moment when neo-Jeckyll-Hyde-ish sciencey ghost stories were so popular that a writer wishing to "sell out" would choose the Victorian culture surrounding the idea one can manipulate soul/spirit/science for genre/setting. S Maugham does a fine job impersonating any genre, even if it's not the one he writes in most authentically. Also to see Maugham's span, between this v early book and, say, Razor's Edge, is to witness someone whose life and writing style has bridged Victorianism and Modernism. Kind of a tour de force. So, Maugham here is playing with magic (in the intro he admits he's doing so because it's a popular genre). The plot is based on A Crowley's life and persona. THe narration is skeptical but also, as was the popular opinion at that moment, open to the idea that hosts and supernuminous events could actually exist/occur. It's spooky weird and a little kitsch, but very skilled and a bit ironic.
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The Magician is one of Maugham's early works. Even though it contains some marvelous features of Maugham, it stands away from most of his other works. The descriptive language that marks Maugham's style is as good as any other of his books. In fact, by choosing a doctor as his protagonist, he achieves a higher level in vivid descriptions.
(view spoiler)
[The descriptions excel throughout the book. The reader gets an impression that Maugham actually suffocated someone to death. The well described
The Magician is one of Maugham's early works. Even though it contains some marvelous features of Maugham, it stands away from most of his other works. The descriptive language that marks Maugham's style is as good as any other of his books. In fact, by choosing a doctor as his protagonist, he achieves a higher level in vivid descriptions.
(view spoiler)
[The descriptions excel throughout the book. The reader gets an impression that Maugham actually suffocated someone to death. The well described homonculi might be coming from Maugham's extensive knowledge of human body and his practice as a doctor.
(hide spoiler)
]
One of the themes in the book is familiar as well: dysfunctional triplets. Our Oliver, Margaret, Arthur triplet reminds us Larry, Isabel, Sophie in the Razor's Edge or Phillip, Mildred, Sally in Of Human Bondage, and they are almost as sophisticated as the triplets in his famous books. Another similar theme is the supernatural elements. Dr. Porhoet, who most probably represents Maugham himself keeps an open mind about supernatural elements, as he does in the Razor's Edge or in the Pacific Stories. However, the plot is not as solid as his other books. The climax was not clear and the transitions between the scenes were not smooth.
(view spoiler)
[We do not know why Oliver came to the hotel where Arthur killed him, and here the story ended quite abruptly. The romantic tone where Arthur felt the death of Margaret was contradictory to Maugham's regular realist/naturalist tone, as well. This may be due to the fact that he did not have a proper style while he completed this work, as the Magician was one of his earliest works.
(hide spoiler)
]
Overall, this book is a good read, however not the best start for Maugham's works.
Here is a note for non-native English readers, as most of you might have realized that English is not my mother tongue. The language in the book is not hard, especially if the reader would be content to understand the plot. However in order to enjoy the book in a further level, readers might have to reread the descriptive parts and occasionally use a dictionary.
The book is available as a part of GutenMark project so Kindle users can access it freely.["br"]>["br"]>["br"]>["br"]>
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The Penguin edition is not being reviewed here. This is the Vintage Edition. The only difference in practice is that this does not have Calder’s introduction but has a short and somewhat languid autobiographical sketch from Maugham himself.
Written around 1907 before he began to make serious money as a playwright, this exhibits all the strengths and weaknesses of Maugham.
The strengths are (in general and allowing for a few moments where he shifts in to the purple-conventional) his exceptional abi
The Penguin edition is not being reviewed here. This is the Vintage Edition. The only difference in practice is that this does not have Calder’s introduction but has a short and somewhat languid autobiographical sketch from Maugham himself.
Written around 1907 before he began to make serious money as a playwright, this exhibits all the strengths and weaknesses of Maugham.
The strengths are (in general and allowing for a few moments where he shifts in to the purple-conventional) his exceptional ability to use language, create believable character and tell a story. The weakness lies in his callous detachment.
The book famously draws on his acquaintanceship with Alastair Crowley in Paris. He uses this base line of experience to build a remarkable picture of manipulative psychopathic evil in the character of Oliver Haddo.
From a rather conventional group of hero, heroine and two second fiddles who have to deal with Haddo’s vengeance for a slight, Maugham constructs a tale of manners that descends (after a rather obviously literary-decadent interval when Haddo magicaly ‘seduces’ the heroine) into horror.
The horror is of two types – an emotional horror at the fate of the heroine (on which I shall comment no further to avoid spoilers) and a more Gothic tale that has moments of genuine cosmic horror worthy of Hope Hodgson or even Lovecraft with a clear willingness to deal with the visceral.
Maugham strikes out quite radically in this novel – he over-turns the conventional requirement for the happy ending and he is quite prepared to make his horrors physical. The story is undoubtedly indebted at one remove to both Poe and Mary Shelley.
Unfortunately, the book is, as one might expect of the era, unreflective because the question soon arises in the modern reader just who is being evil here. Maugham always writes for money and so for an audience as much as for himself.
In the story, Oliver Haddo is undoubtedly thoroughly evil but, in real life, there is a kind of evil as well in Maugham’s appropriation of another man (Crowley) and his recasting (for literary effect) in a cold detached way, in caricatured terms, that give him little benefit of the doubt.
In the autobiographical fragment, Maugham has the goodness to emphasise that Haddo is a literary creation and that Crowley had qualities (and, indeed, the fact that Haddo is not a charlatan is a sort of back-handed compliment to his model) but this was written many years later.
Perhaps no harm was done since Crowley apparently signed himself Oliver Haddo in a review of the book. The man could certainly look after himself in his self-destructive, wilful way but it raises a question about evil.
Is it the flamboyant offense to society or a detached knife job on those who offend society that represents the most dark in the individual? High imperial society has an interest in assuming that the first is far worse but we need not.
Maugham is a complex character who must be understood as a master of detached observation with some experience of security work but also as a man hiding his true nature both as homosexual and social critic (from his days as a South London doctor) under a veneer of country house conformity.
If he observed to cure as a doctor, that detachment made persons simply material for the tales and plays that kept him in the style he required to protect himself and to hold together a sexual and private life that required a social standing that needed to be maintained to allow his pleasures.
If Haddo is modelled on Crowley, Maugham’s morality, or lack of it, is based on sub-conscious fears resulting from the vicious destruction of another writer, Oscar Wilde, during his youth.
This excellent and readable story, at one level Gothic nonsense and at another level exceptionally fine genre writing, does make one think about the nature of evil. The ‘grand guignol’ of Crowley/Haddo pales into insignificance against the detached and cold cruelty of a literary doctor.
But this is a problem for literature in general – are the people around a writer rightfully mere objects for re-interpretation to pleasure hundreds of thousands of others?
Perhaps not, if it is an appropriation of a whole personality in order to create a monster. There is something as evil as Haddo in that.
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The Magician
describes the relationships between two women and a man, and how these relationships are affected by their meeting with the magician of the title.
Margaret and Susie share rooms in Paris. Arthur Burdon is Margaret's fiance. Burdon is a renowned surgeon; his mentor is the retired doctor and occult scholar Dr. Porhoët. Porhoët introduces Oliver Haddo to his friends; Haddo is an occultist, a magician - loosely based on Aleister Crowley, "the wickedest man in the world", whom Maugham ha
The Magician
describes the relationships between two women and a man, and how these relationships are affected by their meeting with the magician of the title.
Margaret and Susie share rooms in Paris. Arthur Burdon is Margaret's fiance. Burdon is a renowned surgeon; his mentor is the retired doctor and occult scholar Dr. Porhoët. Porhoët introduces Oliver Haddo to his friends; Haddo is an occultist, a magician - loosely based on Aleister Crowley, "the wickedest man in the world", whom Maugham had met in Paris - and over the next few days, Haddo makes claims about the powers he can conjure. He appears to demonstrate such powers, but Burdon is a man of reason, and rejects Haddo's claims.
Burdon finds Haddo overbearing and obnoxious, and they brawl after Haddo kicks Margaret's dog. Burdon comes out on top, but this is the trigger for Haddo to use his
powers
to manipulate Margaret into leaving Burdon and eventually marrying Haddo.
Burdon is a broken man. Susie also loves Burdon, and tries to help him. She hears stories about Margaret and her marriage to Haddo that distress her. Susie sees Margaret fading, and becomes worried. Burdon returns, determined to regain Margaret's love but reconciliation is impossible. Margaret has been literally charmed by Haddo, she is enraptured by him, and there is thus no escape, even if she wanted it.
There are hints that Haddo uses Margaret in his rituals and other occult practices, that her energy is being given up to them. What will become of Margaret; can her friends Burdon and Susie arrest her dissolution? And what can they do about Haddo?
The novel moves from a story of relationships, manners and ideas through to a climactic, gothic ending, similar to a horror-story from M R James or Algernon Blackwood. It is one of Maugham's earlier novels, but is nonetheless well-crafted, with finely-wrought sentences. My one complaint is that the novel is, perhaps, a little
slow
in places. Still,
The Magician
is an enjoyable read.
I would love for independent game developers to produce a Castlevania-themed "port" of this book, because it's basically just Dracula with Aleister Crowley. It even ends with Crowley's evil castle CRUMBLING TO DUST, REVEALING THE SUNSHINE. Good descriptions of fancy clothes and some fun hijinx early on with Oliver Haddo, but the characters are laughably thin, description is vague or absurd (Haddo's magickal laboratory has ordinary lab equipment, EXCEPT IT'S GIANT, as mages use), and by the end,
I would love for independent game developers to produce a Castlevania-themed "port" of this book, because it's basically just Dracula with Aleister Crowley. It even ends with Crowley's evil castle CRUMBLING TO DUST, REVEALING THE SUNSHINE. Good descriptions of fancy clothes and some fun hijinx early on with Oliver Haddo, but the characters are laughably thin, description is vague or absurd (Haddo's magickal laboratory has ordinary lab equipment, EXCEPT IT'S GIANT, as mages use), and by the end, the sense that the author is trying to finish very quickly in order to collect some kind of advance payment starts to become all-pervasive. It's fun in the sense that all juvenalia is fun but jeez
William Somerset Maugham was born in Paris in 1874. He spoke French even before he spoke a word of English, a fact to which some critics attribute the purity of his style.
His parents died early and, after an unhappy boyhood, which he recorded poignantly in
'Of Human Bondage'
, Maugham became a qualified physician. But writing was his true vocation. For ten years before his first success, he alm
William Somerset Maugham was born in Paris in 1874. He spoke French even before he spoke a word of English, a fact to which some critics attribute the purity of his style.
His parents died early and, after an unhappy boyhood, which he recorded poignantly in
'Of Human Bondage'
, Maugham became a qualified physician. But writing was his true vocation. For ten years before his first success, he almost literally starved while pouring out novels and plays.
During World War I, Maugham worked for the British Secret Service . He travelled all over the world, and made many visits to America. After World War II, Maugham made his home in south of France and continued to move between England and Nice till his death in 1965.
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“Yet magic is no more the art of employing consciously invisible means to produce visible effects. Will, love, and imagination are magic powers that everyone possesses; and whoever knows how to develop them to their fullest extent is a magician. Magic has but one dogma, namely, that the seen is the measure of the unseen.”
—
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