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No synopsis or comparison can convey the novel's lyric comedy or, indeed, its sinister power—sinister because of the strength of will Cyril exerts over his wife, his mistress, his wife's reluctant lover; lyric, since he is also a “sex-singer" in the land where music is the food of love.
"Need I insist that the only enemy of the mature marriage is monogamy? That anything less than sexual multiplicity . . . is naive? That our sexual selves are merely idylers in a vast wood?" Thus the central theme of John Hawkes's widely acclaimed novel The Blood Oranges is boldly asserted by its narrator, Cyril, the archetypal multisexualist. Likening himself to a white bull on Love's tapestry, he pursues his romantic vision in a primitive Mediterranean landscape. There two couples—Cyril and Fiona, Hugh and Catherine—mingle their loves in an "lllyria" that brings to mind the equally timeless countryside of Shakespeare's Twelfth Night.
- Sales Rank: #346970 in eBooks
- Published on: 1972-04-17
- Released on: 2013-05-15
- Format: Kindle eBook
Review
“The sixth and most accessible novel by, feasibly, our best writer. . . The book's principal attribute is its relentless originality.” (Thomas McGuane - The New York Times Book Review)
“Rich, evocative, highly original piece of fiction. It gilds contemporary American literature with real, not synthetic, gold.” (Anthony Burgess)
“John Hawkes here has written the mature work of a great artist. An artist finally accessible, whose language, images, and sounds present an astonishing vision.” (Jacques Cabau - L’Express (Paris))
About the Author
John Hawkes (1925–1998) was a postmodern novelist born in Stamford, Connecticut, and educated at Harvard University. He was noted for his unconventional style and views on the creation of literature and was admired by Flannery O’Connor, Robert Penn Warren, Saul Bellow, Anthony Burgess, Jeffrey Eugenides, and Donald Barthelme.
Most helpful customer reviews
22 of 25 people found the following review helpful.
A Blazing Imagination
By Robert Bezimienny
John Hawkes has created some of the most beautiful prose ever penned; the word surface in this book is as memorable and enjoyable as any I've read, at turns surprising, sensual, poetic, and often all of this and more. As an extended flight of the imagination 'The Blood Oranges' explores regions of desire, fidelity, and repression that many have gestured towards or illuminated in passing, but that few have mapped extensively. For me, it stands as tremendously courageous writing, and writing elevated by a pervasive and exciting humour. It's very funny, in the way that Beckett's or Kafka's prose can be - and Hawkes' deserves to be considered as a writer of their stature. I only wish I'd been exposed to his writing sooner. He's a genius.
15 of 17 people found the following review helpful.
Lyrical
By RLR
I found this book lyrical and somewhat surreal. It evoked memories of John Barth's End of the Road. The book was original, uninhibited, and rather melancholy. It presented an image of the idle rich who are hedonistic yet emotional. Jealousy plays a half-veiled and sinister role. I highly recommend this book to lovers of poetic prose (a la Barth or Toni Morrison).
4 of 4 people found the following review helpful.
Illyria Redux
By A Certain Bibliophile
I finished this book over a week ago, mostly in an effort to write a review that would give it the justice it deserves, but I feel that time might have been spent it in vain. This is a strange, lyrical book - an idyll, really - that takes place on a Mediterranean island named "Illyria." The name is obviously meant to evoke Shakespeare's "Twelfth Night" and its paradisiacal setting, but Hawkes plants something haunting and evil here that never lets the reader get too comfortable.
The plot is as unencumbered with passé concerns like pacing or character development as its characters are fascinated by their own sexual lives. Fiona is married to Cyril, and Catherine is married to Hugh. The novel traces the whole range of their interactions, from mundane conversations, but mostly is concerned with their complicated sexual entanglements. Everything is told through flashbacks, and opens with Cyril trying to console Catherine for some reason the reader has yet to ascertain. Hawkes bounces back and forth in time, telling how the two couples met (Fiona and Cyril look on as Catherine and Hugh are rescued from a bus that has fallen into a nearby waterway) to the whittling away of endless hours on the beach with Hugh and Catherine's children in the background.
Most of the action, such as it is, revolves around the eventual untangling of the formerly monogamous relationships of the two couples. Catherine initially stammers and hedges in her attraction toward Cyril, but Fiona is more open-minded and adventurous with Hugh. Hugh, on the other hand, tends to be slightly more cautious, and on several occasions voices his reservations to Cyril, only to be reassured that Fiona is perfectly okay with the arrangement. This is pretty much how things proceed, playing footsy in the sand, the sly unbuckling of a bikini strap in the white Greek sands. But Hugh eventually finds it to be too much, realizes that he's gone too far, and proceeds to take matters into his own hands.
Aside from the children that Hugh and Catherine have, none of the characters are bothered by anything approaching responsibility or are interrupted by growth or self-afflatus. It seemed like a big exercise is omphaloskepsis. But for those interested in something truly off the beaten narrative path, this is worth looking at. While the singular obsession of the characters seemed unrealistic, there is at least a rhythmic lyricism to the prose that makes it a unique reading experience.
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