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"I love him and I'll do anything if you'll make him alive... I'll give him up forever, only let him be alive with a chance... People can love each other without seeing each other, can't they, they love You all their lives without seeing You".Bendrix, as evidenced by his ability to tell the story, is not dead, merely unconscious, and so Sarah must keep her promise. She breaks off the relationship without giving a reason, leaving Bendrix mystified and angry. The only explanation he can think of is that she's left him for another man. It isn't until years later, when he hires a private detective to ascertain the truth, that he learns of her impassioned vow. Sarah herself comes to understand her move through a strange rationalisation. Writing to God in her journal, she says:
"You willed our separation, but he [Bendrix] willed it too. He worked for it with his anger and his jealousy, and he worked for it with his love. For he gave me so much love, and I gave him so much love that soon there wasn't anything left, when we'd finished, but You".It's as though the pull toward faith were inevitable, if incomprehensible--perhaps as punishment for her sin of adultery. In her final years, Sarah's faith only deepens, even as she remains haunted by the bombing and the power of her own attraction to God. Set against the backdrop of a war-ravaged city, The End of the Affair is equally haunting as it lays forth the question of what constitutes love in troubling, unequivocal terms. --Melanie Rehak --This text refers to an out of print or unavailable edition of this title.
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Here, Greene recasts himself as the dolorous writer Bendrix, who, without even realising it until it is too late, has fallen into a passionate and illicit affair with Sarah, the wife of his meek (and perhaps impotent) friend and associate Henry. Greene juggles the perspectives so that each of this troika get to express their feelings (which are actually the varied conscious voices of the author), in order to further the story, as well as acting as something of an essay into infidelity, obsession, guilt and bereavement. The story could have easily fallen into the realms of melodrama, prefiguring those turgid disease-of-the-week films like Love Story (and so on), but Greene is able to break down the melancholy with elements of a detective story, with Bendrix involving himself in unravelling an affair that turns out to be nothing but an after shock.
There are also elements of black comedy, an intelligent analysis of catholic-angst and an interesting use of character perspective, as Greene changes the view of the story mid-way from Bendrix to Sarah (then later, back again!) in order to tell the story from both points-of-view... a device that allows Greene to look at the two disparate sides of the tale, and also, to further develop the subtle nuances of the characters. The writing is fantastic throughout, with Greene ably conjuring the decaying embers of Post World War II London; whilst the blitz-set love scenes burn with a passion and intensity that few British writers (of Greene's generation) could equate (for more genius, see Brighton Rock!).
The End of the Affair is a great book that still manages to convey that all-important sense of loss, guilt and sadness with a vitriol that seems fierce enough to tear through a brick wall, whilst screaming in the face of pious notions of reminisce and forgiveness (in a typically 50's 'very-English' sort-of-way, of course). As others have said before, certain notions in regards to the politics and sociology of the piece have dated in the decades that have passed since the book's first publication, but this is hardly cause for despair. The book's reason for being has always been about the relationship between the three characters, the notions discussed above and the emotional connection created between the story, the characters and the reader. On these counts, The End of the Affair is a relevant today as it was when first created.
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