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An English horse race, the Golden Bowl at Aldington, provides the background for John Hawkes' exciting novel, The Lime Twig, which tells of an ingenious plot to steal and race a horse under a false name.
But it would be unfair to the reader to reveal what happens when a gang of professional crooks gets wind of the scheme and moves to muscle in on this bettors' dream of a long-odds situation. Worked out with all the meticulous detail, terror, and suspense of a nightmare, the tale is, on one level, comparable to a Graham Greene thriller; on another, it explores a group of people, their relationships fears, and loves. For as Leslie A. Fiedler says in his introduction, "John Hawkes.. . makes terror rather than love the center of his work, knowing all the while, of course, that there can be no terror without the hope for love and love's defeat . . . ."
- Sales Rank: #561363 in eBooks
- Published on: 1961-01-17
- Released on: 2013-05-15
- Format: Kindle eBook
Review
“You suffer The Lime Twig like a dream. It seems to be something that is happening to you, that you want to escape from but can't. The reader even has that slight feeling of suffocation that you have when you can't wake up and some evil is being worked on you. This . . . I might have been dreaming myself.” (Flannery O'Connor)
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
31 of 36 people found the following review helpful.
Oddly surrealist little mystery.
By Robert Beveridge
John Hawkes, The Lime Twig (New Directions, 1960)
A friend of mine once said of the film Eraserhead that it was as close as cinema came to capturing a nightmare onscreen. (I disagree, but the parallel is useful.) The Lime Twig, in that sense, is the rough literary equivalent of Eraserhead; it's a Dick Francis novel edited by Jean-Paul Sartre with finishing touches added by Aime Cesaire. The whole contains a marked nightmarish quality; for once, I was actually grateful for the blurb writer at New Directions explaining some of the basics to me as I went along.
The story revolves around one of the oldest plots in horse racing; a team of small-time crooks buy an old racehorse to enter in a stakes race, the Golden Bowl at Aldington Race Course (being a Neanderthal American, I've no idea whether there actually is an Aldington Race Course in England). The horse in question won the race a number of time previously, but in the days before lifetime past performances, few bettors had memories stretching back five and six years. The crooks alone are enough to make the nameless rabble in Reservoir Dogs look like competent professionals, but things get worse when a big-time operation decides it wants in on the deal. (This is the part where the blurb on the back saved me; I figured out that others were getting in on the action, but they seem just as disorganized as the first lot, only more savage about it.)
Everything is presented as a kind of pointillist painting; pieces float in and out, some disappearing altogether, some being tied up at the end. Hawkes relies on the reader perhaps more than any other mystery writer here to fill in some blanks. This is in no way a bad thing; when has an author been criticized for OVERestimating the intelligence of his audience? However, readers of more mainstream mystery novelists may feel as if pieces are still missing by the end. (Jessica Fletcher Mr. Hawkes is not. There are no neat pages of explanation at the end.) A couple of re-reads of the most relevant passages will suffice to tie things up, and unlike most mystery authors, Hawkes does very little in the way of stopping the reader from recognizing the major foreshadowing or clue-dropping as it happens. And yes, despite all that, the book still reads as if the reader has taken a rather large dose of laudanum before sitting down.
As with most New Directions books, there is a core of critics who feel John Hawkes is the best thing for the mystery genre since, and perhaps before, sliced bread. This may well be the case. There's no denying the effectiveness of Hawkes' literary style and his ability to keep the reader turning pages despite it. However, it's one of those cases where it almost seems too much of a good thing. To draw another film parallel, Alejandro Jodorowsky, who holds much the same core-of-critics role in film as Hawkes does in letters, created a few masterpieces of exactly this sort. His most famous film, El Topo, just goes way over the edge, and its style eclipses its substance too far. I got that feeling more than once while reading The Lime Twig, and while I'd certainly recommend it for fans of the ubiquitous British Horse Racing Mystery™, it should probably come with a "warning: literary writing ahead" sticker. *** ½
4 of 4 people found the following review helpful.
Style if not Substance
By KasaC
In the introduction to the 1968 New Directions edition, Leslie Fielder calls this "a dangerous book of the past." While I am not on my knees in praise of this book, I am in awe of its style and prose. This is naturalistic writing at its most descriptive. A small example: "...smells that were never killed by cleaning nor destroyed by rain." That kind of sentence, and myriad others like it, deserve a better story. The plot that this writing is hung on is feeble, using that old war horse (oops) of a fixed race and the scoundrels, ne'er do wells and innocents that inhabit such a world. Every other reviewer has compared this deceptively slender volume as hallucinogenic, nightmarish, an example of pointillistic plotting. I agree. The motivations of characters are at times obscure, and how some would arrive from point a to point b is sometimes downright baffling. But if the trip means more to you than the destination, this is a great book. A side note, the introduction referred to earlier should be read after not before the novel since it reveals far too many plot points than it should.
0 of 0 people found the following review helpful.
MEETS ALL EXPECTATIONS - GOOD AND BAD
By Margaret A-C Lawrence
Yes, John Hawkes' novel is an impressionistic hallucination-inducing piece of writing that you wade through in slow motion and gradually have an idea of the story he's telling. But the story, the plot, is clearly secondary to his style. Some will feel superior for "getting it" and others will slam the book shut with a cluster of cartoon question marks above their heads. I'm in the camp that appreciates the beauty of his writing - there are an awful lot of "smells" in this book, and how adroitly he sketches in one disconnected scene after another - but I also found it slow going and occasionally annoying.
I went to the trouble to get this book and read it because Flannery O'Connor, whom I adore, was one of his few great admirers. And if she liked it, I knew it had to be good. She did say, though, that it's like a bad dream you can't escape from. To that I say "amen." Worth the experience for people who consider themselves ecclectic readers.
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