(www.nytimes.com/2005/11/13/books/review/13mcgrath.html?ex=1289538000&en=15790be72a14e07d&ei=5088&partner=rssnyt&emc=rss)
'Mother's Milk': The Last Marxists
By CHARLES McGRATH
Published: November 13, 2005
THE first
of the British novelist Edward St. AubynÕs books to be published here was
called ÒSome Hope,Ó and for many readers it kindled a good deal more than that.
St. Aubyn looked as if he might be the next Evelyn Waugh - a stylish, acerbic
satirist of the English upper crust, now in its dwindling, twilight days.
Clinging to their stately homes while frantically selling off the Poussins
(which as often as not prove to be fakes), they turn out to be the last
Marxists, as one character remarks - the last people to believe that class
explains everything.
ÒSome
HopeÓ - a trilogy, actually, repackaging three slender novellas that originally
appeared separately - examined from three vantage points the fortunes of one
Patrick Melrose, who, like the author, is so well born that his ancestors
watched the Norman invasion from the winning side. We see him as a muddled
5-year-old wandering around his parentsÕ estate in Provence while their
marriage crumbles, as a 22-year-old snob and smackhead on a drug binge in New
York while collecting his dead fatherÕs ashes, and as a rueful, recovering
30-year-old trying to make sense of himself and the hundreds of flickering
ghosts who constitute his family. The scene of these reflections is the bookÕs
great set piece, a country-house party right out of ÒVile Bodies,Ó featuring various
aristos, twits and poseurs and the guest of honor, an imperious and sublimely
out-of-it Princess Margaret.
Patrick
Melrose turns up again, roughly 10 years older, in St. AubynÕs new book,
ÒMotherÕs Milk,Ó which is less a sequel than a kind of alternate, stereoscopic
view, and suggests that St. Aubyn may not be the next Evelyn Waugh so much as
the next Anthony Powell, a chronicler of familial and generational change - or
lack of it - in the loftier reaches of British society.
In many
respects, the Patrick of this volume is barely recognizable. HeÕs married, with
two children and, having apparently burned through his inheritance (at one
point in ÒSome HopeÓ he goes through $10,000 in two days), heÕs now reduced to
working for a living as a barrister. His druggie past is never acknowledged in
ÒMotherÕs Milk,Ó but for a former heroin addict heÕs also perilously close to
tumbling off the wagon, popping larger and larger doses of Tamazepan and
frequently getting soused before lunch.
Churlish
and irritable, suffering through what he calls Òthis rather awkward mezzo del
camin thing,Ó Patrick is in fact just a notch or two from falling into ordinary
middle-classness, and fastens on the one vestige of his familyÕs more
distinguished past - the house in Provence. Even that proves to be a fragile
bulwark, however, as over the course of the novel itÕs slowly wrenched from his
grasp.
The story
takes place during four consecutive Augusts, from 2000 to 2003, the first three
in Provence, the last in the United States, where the Melrose family has gone
for a holiday on the cheap. And America, the reader is reminded more than once,
is not the South of France; itÕs a place where people are so fat itÕs as if
they Òhad decided to become their own air-bag systems,Ó and where the food is
Òmore like a police report on what they found in someoneÕs dustbin than a
dish.Ó (ItÕs also a place, the author seems to believe, where the World Series
takes place in August.)
The
person responsible for this sad decline in Melrose family vacationing is
PatrickÕs mother, Eleanor, who in ÒSome HopeÓ was a sodden, pill-popping
American heiress, married for her money by PatrickÕs father, David, and then
treated so badly that she spent much of her time alone in her car nursing a
bottle of Cognac. In the intervening years she has apparently turned into a
Mrs. Jellyby, devoting herself to all sorts of charitable causes, and at the
opening of ÒMotherÕs MilkÓ she has fallen under the sway of a twinkly-eyed
fraud named Seamus Dourke, a would-be shaman who wants to turn the house in
Provence into a center for new-age retreats, healing rituals and Òholotropic
breathwork.Ó
There is
a pattern here, we discover. Now in the process of sundering Patrick from his
birthright, Eleanor was herself stiffed of a far greater inheritance by a
mother who also married a creep for the sake of a pedigree. She may look rich
to some people, but by the standards of her family Eleanor is Òsurviving on
loose change.Ó This is the underlying and more or less serious message of the
novel - that the sins of the parents are cyclically revisited on the offspring.
MotherÕs milk turns out to be a bitter potion that dooms a child either to
become an imitation of the previous generation or - it amounts to the same
thing, almost - the exact opposite.
Patrick
helplessly watches himself becoming more and more like his father (though at
least he doesnÕt molest his son, as his own father used to), and his son,
meanwhile, 5-year-old Robert, more and more resembles Patrick at the same age.
HeÕs already a loner and a caustic mimic who does a lethal impression of his
middle-class nanny. PatrickÕs wife, on the other hand, has so repudiated the
parental model of her distant and withholding mother that she has banished her
husband from the marital bed so she can devote all her emotional energy to the
cosseting of their younger son, Thomas, who is rapidly becoming a creature some
readers may find insufferably precious and precocious.
The one
flaw in St. AubynÕs picture of generational decline, in fact, is that he
doesnÕt always have a firm grasp of what real children are really like. The
book comes encumbered with a sort of Wordsworthian scheme whereby we float into
this world trailing clouds of glory and are then corrupted and reduced. The
main witness to this process is Robert, who begins the novel, not entirely
convincingly, by recalling his own birth (Òawake for days, banging his head
again and again against a closed cervixÓ) and the subsequent traumas - the
sense of loss and exile, his early memories Òbreaking off, like slabs.Ó Not the
least of the insults he endures is the onset of that most common and vulgar of
faculties, language - Òthe greasy pack of a few thousand words that millions of
people had used before.Ó
And yet
language also proves to be RobertÕs consolation, just as it is for his father.
TheyÕre both snobs, as Thomas doubtless will be too, but theyÕre knowing,
clever snobs, whose ability to make fun of their own predicament and verbally
skewer fools like Seamus Dourke are the novelÕs main source of pleasure. You
canÕt help liking these people, even as you realize that if they met you in
real life theyÕd cut you dead. And among American readers the novel may give
rise to a kind of reverse snobbery: no matter how badly we behave, you realize,
we can always sweep it away and start over. Our histories are not forever
frozen in the crippling columns of DebrettÕs.