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Books : Fiction : Contemporary Fiction: 1970 Onwards : Authors A-Z : T : Trevor, William
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Chance is the central theme and malevolent force of William Trevor's The Story of Lucy Gault. In this haunting novel, suffused with melancholy, Trevor, a masterful chronicler of the sad, lonely and unfulfilled, recounts the tragic life story of a woman buffeted by fate.The book opens in County Cork in 1921 with the eponymous Lucy as a small girl oblivious to the changes sweeping across Ireland. The Gaults are a Protestant land-owning family: Lucy's father, Captain Everard, was an officer in the British Army and her mother Heliose is English. When three local lads attempt to set fire to their ancestral home Lahardane (a country house in the vein of Elizabeth Bowen's Bowen's Court) Everard shoots and wounds one of the intruders, Horahan. The shot proves to have disastrous and reverberating consequences for the family: consequences that might appear melodramatic if Trevor didn't unfurl them with such subtlety and poise.
Everard and Heloise opt to leave Ireland but just before they are about to depart Lucy runs away. Convinced that she has drowned, the Gaults reluctantly head off into exile. Lucy is discovered alive but attempts to contact her kin fail. As her parents mournfully journey across Europe, Lucy, raised by two faithful servants, whiles away the years reading and waiting for their return. Her isolated existence at Lahardane is finally broken when Ralph, a young teacher, accidentally stumbles upon the house. Slowly, a romance blossoms, although Lucy, plagued by guilt and the ghosts of the past, is simply unable to grasp this chance of happiness. She does eventually find a kind of redemption (kept tantalisingly until the final chapters) but her tale, told with extraordinary beauty, compassion and precision, is ultimately one of endless disappointments. --Travis Elborough
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The two lives of the title are brilliantly illuminated in a pair of short novels, Reading Turgenev and My House in Umbria, that exemplify the biting, tragicomic work of this Anglo-Irish master. The first novel is a sorrowful love story, the second a sort of thriller. Each of Trevor's two heroines is trapped in her life, one in Ireland and the other in Italy, and each has some experience of the transformational power of literature, a subject the author knows at first hand. Nobody can break your heart with such laconic precision. To be read with handkerchief in hand.
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William Trevor has established a trademark for beautifully crafted human sketches which depict powerful situations and sentiments with an extraordinary economy of detail and expression. The Hill Bachelors offers 12 such sketches, revealing a master at the very height of his powers. The merest tips of emotional icebergs break the placid surface of his prose. Yet, through gesture, half-formed thought or barely-articulated wish, he indicates the memories, traumas and desires that lie beneath, ennobling the ordinary with an often tragic grandeur. His theme is often "what might have been".The unrequited love of "A Friend in the Trade", the rejection of heroism in "The Mourning" or the renunciation of personal fulfilment, for familial or even national interests in "The Hill Bachelors" combine to establish pathos as the key tone of the collection. In the title story, 29-year-old Paulie returns to work the land of his fathers on a desolate hillside to the west of Ireland, full-knowing that this means he will never marry: "Enduring, unchanging, the hills had waited for him, claiming one of their own." Many of the stories are set in Ireland, and these have a richness of imagery and lyrical intensity that at times brings them close to prose poems. "Low Sunday, 1950," recalls Yeats' "terrible beauty" in its imagery of a landscape haunted by history; while "The Virgin's Gift" combines descriptive simplicity with religious allegory in a moving tale of a man's return to his parents after 40 years of self-imposed exile. --Robert Mighall
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A William Trevor novel offers the pleasures of a world so thoroughly imagined it makes real life seem murky and badly conceived. When, as in Death in Summer or in his previous novel, Felicia's Journey, his subtle vision meets the rigorous pacing of the thriller, the result chills to the bone. Like a mystery, Death in Summer begins with one premature demise and ends with another; in between, however, Trevor explores the darkest corners of the human heart with a subtlety and compassion rarely seen in works of suspense.Handsome Thaddeus Davenant has just buried his young, wildly generous wife Letitia--a rescuer of stray dogs and a champion of street drunks. In contrast, Thaddeus is a kind of emotional cripple, scarred by a childhood spent lonely and unloved in his ancestral Quincunx House. He married Letitia for her money, as is immediately clear. Yet he would have loved her, if he had been able, and after their child is born he feels for the first time "possessed by an affection he had been unable to feel for anyone since his own infancy". When Letitia dies, the victim of a freak accident, and none of the nannies interviewed prove suitable, her mother moves in to care for the baby. Mrs Iveson has always considered Thaddeus "shoddy goods", and their détente only gradually thaws into something resembling warmth. Meanwhile, Pettie, one of the rejected nannies, has "taken a shine" to Thaddeus--with increasingly ominous portents.
Pettie inhabits a world far removed from the genteel decay of Quincunx House. Reared in the nightmarish Morning Star home, where the only affection was the creepy kind dispensed by her "Sunday uncle", Pettie is poor, broken, and pathologically starved of love. Trevor chronicles her obsession with Thaddeus in a way that makes clear both Pettie's humanity and her capacity to do serious harm. Still, this is a hopeful book. Grim as Pettie's story may be, she causes stony-hearted Thaddeus to feel the first stirrings of human sympathy, "as the warmth of blood might miraculously seep into a shadow, or anesthesia be lifted by a jolt." Throughout William Trevor's long and feted career, his subject has been nothing less than the problem of evil, and in Death in Summer, he makes a convincing case for its origins in the absence of love. --Mary Park
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A William Trevor novel offers the pleasures of a world so thoroughly imagined it makes real life seem murky and badly conceived. When, as in Death in Summer or in his previous novel, Felicia's Journey, his subtle vision meets the rigorous pacing of the thriller, the result chills to the bone. Like a mystery, Death in Summer begins with one premature demise and ends with another; in between, however, Trevor explores the darkest corners of the human heart with a subtlety and compassion rarely seen in works of suspense.Handsome Thaddeus Davenant has just buried his young, wildly generous wife Letitia--a rescuer of stray dogs and a champion of street drunks. In contrast, Thaddeus is a kind of emotional cripple, scarred by a childhood spent lonely and unloved in his ancestral Quincunx House. He married Letitia for her money, as is immediately clear. Yet he would have loved her, if he had been able, and after their child is born he feels for the first time "possessed by an affection he had been unable to feel for anyone since his own infancy". When Letitia dies, the victim of a freak accident, and none of the nannies interviewed prove suitable, her mother moves in to care for the baby. Mrs Iveson has always considered Thaddeus "shoddy goods", and their détente only gradually thaws into something resembling warmth. Meanwhile, Pettie, one of the rejected nannies, has "taken a shine" to Thaddeus--with increasingly ominous portents.
Pettie inhabits a world far removed from the genteel decay of Quincunx House. Reared in the nightmarish Morning Star home, where the only affection was the creepy kind dispensed by her "Sunday uncle", Pettie is poor, broken, and pathologically starved of love. Trevor chronicles her obsession with Thaddeus in a way that makes clear both Pettie's humanity and her capacity to do serious harm. Still, this is a hopeful book. Grim as Pettie's story may be, she causes stony-hearted Thaddeus to feel the first stirrings of human sympathy, "as the warmth of blood might miraculously seep into a shadow, or anesthesia be lifted by a jolt." Throughout William Trevor's long and feted career, his subject has been nothing less than the problem of evil, and in Death in Summer, he makes a convincing case for its origins in the absence of love. --Mary Park
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