Product Description

`Fould's exceptional novel is like a lucid dream... the word-perfect fruit of a poet's sharp eye and novelist's limber reach.'

Product Details

• Amazon Sales Rank: #1431 in Books
• Published on: 2009-05-07
• Original language: English
• Binding: Hardcover
• 272 pages

Review
" The language is simple, sometimes adorned with fleeting and apt images: the sky is `cloud-breeding', summer clouds are `curds' --Literary Review

`a vividly sympathetic exploration of poetry, madness and identity.'
--The Week

`It's a work of strikingly beautiful, unforced writing'
--Daily Express

Foulds was becoming the pin-up boy of contemporary poets...this beautifully described novel suggests he's equally a master of prose'. --Radio Times

'rich in its understanding and representation of the mad, the sane, and that large overlapping category in between' --Guardian

'a profoundly imagined historical novel, with a gripping plot and some memorably beautiful scenes' --Times Literary Supplement

Review
'The world he evokes...is conjured up with remarkable intensity and economy of means'

Review
`impressive ... this success is the concentration of Fould's writing, both simultaneously poised and flowing in its urgency'

Customer Reviews

Poetical style of writing suits this novel about John Clare. Shortlisted for the Booker Prize 2009
This fictionalised story of the Northamptonshire poet John Clare is beautifully written in a lyrical prose form, which suits the maze of insanity which is John Clare's mind from the time of his voluntary incarceration at High Beach Private Asylum in Epping Forest (1837).

John Clare is not the most well known of nineteenth century poets but if you have heard of him you may know him as the Northamptonshire peasant poet, best-known for his down-to-earth poems of the natural world, influenced by folk songs, folklore and ballads. He undoubtedly had a physically hard life, labouring at various times in an inn, as a gardener, a lime burner, and in the militia. Poetry however was his passion and at the age of twenty-seven his first book of poems was published, `Poems Descriptive of Rural Life and Scenery'. Poetry alone, however, was not enough for he and his family to live on and Clare's state of mind suffered from the conflict between his need to write poetry and his need to feed and clothe his growing family (he and his wife Patty had seven children).

Although the story is fictionalised and the time spans are imaginatively played with, The Quickening Maze is historically accurate about John Clare, High Beach Asylum, Tennyson and so on. Where the novel lets itself down a little is in the assumption of a prior level of knowledge by the reader. For the book to have had a broader appeal a touch of editing and perhaps some notes on the historical background, either as a Prologue, an Epilogue or as notes would have been a useful background. Without the background knowledge I can see how, pretty poetical writing aside, this could potentially fall quite flat on the reader. Hence my 4 stars.

I personally enjoyed the novel very much and can recommend it, but to gain the most from this novel I suggest reading some background about John Clare first, and some of his poetry - one of my favourites is `Little Trotty Wagtail' but there are many more delightful poems to choose from.

An insightful recreation, beautifully written
From 1837 to 1841, John Clare, the peasant poet, was a patient in a private asylum in the Epping Forest. Clare and his wife Patty had six children and life was proving increasingly burdensome to Clare, who began to suffer bouts of severe depression, leading to alarmingly erratic behaviour and serious delusions. In The Quickening Maze, Adam Foulds has written an imaginative recreation of Clare's years in the High Beech Asylum, and while the result is firmly fictional, the picture presented is realistic and consistent with the known history.

The book is sparsely written. Foulds does not write lengthy descriptive or scene-setting passages, but each small vignette contributes to a rich picture of the cloistered life of a 19th century private asylum. This is no mad-house. The asylum is run on orderly lines by Dr Matthew Allen, a thoughtful man who likes to get to know his patients. However, the finances of the asylum are precarious and Foulds describes Allen's attempts to mix the cure of souls with mechanical invention and patents. Poor Allen finds his time increasingly spent trying to "diversify his business", but without success.

In the meantime, the patients are allowed a relative freedom, and for a while John Clare is allowed a day-pass from his confinement, a privilege he abuses by staying overnight with gypsies and returning much the worse for wear. I found the section where Clare is with his gypsy friends particularly well-written, showing the considerable research Foulds has put into this book. The detailed description of how to prepare a hedgehog for the pot is particularly enlightening.

Alas, despite his occasional forays beyond the asylum, John Clare's mind is far from peace. When not inhabiting his real persona as the gentle poet of hedgerow and field, he becomes a belligerent prize-fighter, Jack Randall, who picks fights wherever he goes (and the injuries to go with them - perhaps not surprising in view of Clare's five-foot stature and his poor physical health). At other times he becomes Lord Byron and in his more lucid moments actually re-writes some of Byron's poems.

Adam Foulds has cleverly inter-leaved the appearance of another poet into his narrative: Alfred Tennyson, who accompanies his mentally-ill brother during his stay at High Beech. Tennyson lives in a nearby cottage and becomes the focus of attention of the Matthew Allen's 17 year-old daughter Hannah who manages to inveigle Tennyson into conversations as at attempt at forcing his interest in her as a potential fiancée. The two poets, Clare and Tennyson, do not really meet up in the novel other than "in passing", and of course, Tennyson would not have been particularly impressed by Clare's rustic verse, for it took many years after his death before Clare's heritage was fully appreciated.

This is a fine book. Adam Foulds captures atmosphere well and we also get a fine sense of the depths of 19th century Epping Forest - a place holding many secrets and where it was easy to become lost. Readers will gain a strong sense of the secluded little community on the edge of the forest. Foulds has researched the 19th century treatment of mental illness and we gain insight into how one of the more humane asylums operated. Rather than the horrors of the Victorian Bedlam, we get glimpses of a far more compassionate and humane institution built around a domestic world created by a real family and their friends.

Not a novel but a series of disjointed paragraphs
Other reviewers have expanded on the "plot" of this, so I shan't trouble to do so.

The book is broken into a series of chapters or seasons. Within each chapter are paragraphs written from the perspective of characters in the book. I am not a fan of the Richard and Judy type of recommended reads, where the plot seamlessly travels in linear fashion towards a predictable outcome - but Foulds' device is confusing; frequently the protagonist is not obvious, not least because some are seriously mentally ill and deluded as to whom, exactly, they are (John Clare/Lord Byron, Margaret/Mary). Trying to ascertain who is telling their story on a paragraph by paragraph basis rapidly becomes irritating and, as the characters are curiously unfleshed and unsympathetic, one is reluctant to do so.

There is no plot - the story, such as it is, is fragmented and has no weight. Added to this are the author's gratuitous and repeated scatological references which I found tiresome and repellent.

In summary, this would have benefited from a good editor and not being published until the author had a distinct idea of what he was trying to write. This is not a novel, but a series of disjointed paragraphs. I would have awarded it one star, but awarded it two as there are several lyrically written descriptive passages (unsurprising perhaps from a poet).

As an afterword I would also add that this book - along with many others recently published - would also have benefited from a good proof-reader as there are a number of glaring errors; at one point Abigail runs with her arms ousretched (sic).