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Amazon.co.uk Review
When she is taken up by a wealthy man, the perfumer William Rackham, her wings are clipped and she must balance financial security against the obvious servitude of her position. The physical risks and hardships of Sugar's life (and the even harder "honest" life she would have led as a factory worker) contrast--yet not entirely--with the medical mistreatment of her benefactor's wife, Agnes, and beautifully underscore Faber's emphasis on class and sexual politics.
In theme and treatment, this is a novel that Virginia Woolf might have written, had she been born 70 years later. The language, however, is Faber's own--brisk and elastic--and, after an awkward opening, the plethora of detail he offers (costume, food, manners, cheap stage performances, the London streets) slides effortlessly into his forward-moving sentences. When Agnes goes mad, for instance, "she sings on and on, while the house is discreetly dusted all around her and, in the concealed and subterranean kitchen, a naked duck, limp and faintly steaming, spreads its pimpled legs on a draining board." Despite its 800-plus pages, The Crimson Petal and the White turns out to be a quick read, since it is truly impossible to put down. --Regina Marler, Amazon.com --This text refers to an out of print or unavailable edition of this title.
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It's a hefty commitment at well over 800 pages, but apart from the sheer weight of it straining my wrists, it couldn't have been less of a chore to read. From the opening pages, in which a sly, conspiratorial narrator invites the reader to spy, voyeur-like, on the characters, to the ambiguous, startling conclusion, I was gripped by this dark Victorian tale.
The apparently cold-hearted prostitute Sugar, largely unloved, frequently unlovely and often unlovable, is a dream of a character. She is complicated, ambiguous and contradictory, and yet I found it impossible not to cheer her on even at the height of her scheming. William Rackham, the weak-willed perfume manufacturer who 'buys' her from her increasingly terrifying mother and madam, Mrs Castaway, is absurd and dangerous by turns. In fact, William is a living embodiment of the saying 'a little knowledge is a dangerous thing'. His position as a wealthy man in a 19th century patriarchy - a position he only reaches in the first place with Sugar as both his motivation and unofficial assistant - means that his snap decisions and capricious whims can have a horrifying effect, sometimes unwitting and sometimes deliberate, on the women around him. Casually neglecting his disappointingly female offspring and simultaneously idolising and despising his disturbed young wife Agnes, he often professes to be in love with Sugar - but will he tire of her one day and put her to one side, just as he shuts away his inconvenient wife and child?
Written in the style of a Victorian novel and exploring a number of Victorian themes and structural devices, The Crimson Petal and The White has numerous subplots, among them the touching but tragic story of William's pious, sexually-frustrated brother Henry and his unrequited love for charity worker Mrs Fox, whose sturdy pragmatism and refusal to be beaten something as trifling as tuberculosis makes her the antithesis of the naive, fragile Agnes Rackham and her obsession with 'the Season'. There is also Agnes' slowly-revealed back-story, through which we learn that her genteel, pampered upbringing has in its own peculiar way been just as harmful as Sugar's miserable early years with her abusive mother.
Despite being crammed with details, some of them uncomfortably grubby and visceral, some of them comic and some of them quietly domestic, The Crimson Petal and the White is never boring and never once feels over-written. Perhaps this is because every one of those details, no matter small, is significant and revealing. There isn't a line in the novel from which we don't learn something important and not a line that didn't draw me in just that little bit further. By the end, I cared desperately about Sugar, despite her ambiguity, despite her dubious choices, despite that little streak of nastiness that still sometimes surfaced in her. A brilliant must-read, not just for the engrossing story and the three-dimensional characters, but for its fascinating exploration of Victorian life and society.
"Watch your step. Keep your wits about you; you will need them. This city I am bringing you to is vast and intricate, and you have not been here before. You may imagine, from other stories you've read, that you know it well, but those stories flattered you, welcoming you as a friend, treating you as if you belonged. The truth is that you are an alien from another time and place altogether."
So opens this novel set in the dark, dirty streets of Victorian London. The story follows a headstrong young man-hating prostitute called Sugar as she progresses through the rigid social structure of the times thanks to a liaison with William Rackham, gentleman and newly crowned head of Rackham Perfumeries. At home he has a daughter and a wife - his wife is confined to her bed, hysterical in the way that only Victorian women could be. She is, perhaps, his madwoman in the attic.
This is a chunky book - my paperback edition weighs in at 835 (very good quality) pages - but my word I zipped through it. The beauty of it is that Faber is a genius at character. Every single person, no matter how inconsequential, pops out of the page a fully formed human being, elliciting sympathy or derision or hatred as appropriate. And London herself becomes as much as character as any person in the book - the city is perfectly etched with no details left out. No dim corner is too dirty or deprived for our eyes, and this means that the social inequality of the Victorian class system is laid bare for all to see. We watch Sugar as she drags herself from 'The Streets' to 'The World at Large', but then what happens to her?
The ending of the book caused some controversy with readers when the book was published in 2000 because it... no, I can't tell you. All I shall say is that Michel Faber had enough letters (both pleading and admonishing) to write a follow up book of short stories called The Apple in 2006. I can tell you that when I closed The Crimson Petal and the White, I was bereft, and it remains one of the best books I have ever read. It, like the London, and like the characters it is populated by, is "vast and intricate", and leaves quite the indelible print on the memory.
I read that there is to be a film adaptation. I could see it working as a film, but I'm not sure I would want to see the film itself. I think I'm too attached to the book to be able to let go of the mental picture I have of the characters. *Sigh*. Wonderful book. Wonderful, wonderful book.
Its very difficult to express the novel's quality and density. Undoubtedly it is Faber's "magnum opus" to date, a startling 800+ page tome rather than his usual slick, moderate volumes. Furthermore, not a single page is superfluous - it surrenders to compelling detail and atmosphere, while still conveying a developing sense of character and an adequate pace of plot - the marriage of which is rarely accomplished with the good grace that "Crimson Petal" displays.
The story is at once convuluted, in that it follows a number of sensational and shocking individuals over one year of their lives, and incredibly simple, in that nothing resembling a contrived plotline is evident. The principals under examination are without exception well rounded protagonists - centred around William Rackham, the up-and-coming heir of a booming perfume manufacturer, they include his disturbed wife Agnes; the enigmatic Sugar, a prostitute who becomes his mistress and his ascetic, pious brother Henry. All of them undergo the painful, and wonderful, events demanded by the movement of time, and the changes of the Victorian social environment.
The Victorian era is deliciously invoked by Faber, who appears to have conducted exhaustive research both into the social and economic realities of the period. Equally, the experiences of his characters are realistically approached and at no time does the novel require a leap of imaginative faith. Meanwhile their complexifying relationships with one another provide good amounts of dramatic and personal tensions.
Some have found "Crimson Petal"'s content distasteful, even disturbing, and yes, it is a novel in which sex, violence and abuse feature prominently, but I would argue that this is no more than is properly required. At no point is Faber gratuitous or pornographic - harsh and disconcerting some scenes may be, they are hardly unrealistic or unwarrented.
Overall, a glorious triumph in the name of period fiction writing and a tour de force of style and character formulation well deserving of five stars and its international acclaim.
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