by Edward Carey
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by Richard Yates
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by Richard Flanagan
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by Taichi Yamada
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by Edward Gorey
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Amazon.co.uk Review
Edward Carey's debut novel Observatory Mansions has a touch of Gormenghast about it. A "small and peculiar group of people" live together in a decaying four storey cube in neo-classical design. It was once magnificent, set in beautiful grounds, but has now been transformed into flats, an island within a surge of traffic. The people themselves are anchored in disassociation, set apart from the rest of the busy city by their histories, their memories, their relationships with the other seven inhabitants of the flats. 37-year-old Francis Orme is telling the story of Observatory Mansions. He earns his living by becoming "a statue of whiteness" in the park. He wears white gloves to ensure that he never touches anything with his skin; this includes the items he picks for his museum of significant objects (there is an intriguing list of all 996 of them at the end of the novel), a collection that he guards zealously from the other house dwellers. The other occupants include his father, sweaty Peter Bugg, and bedridden mother, Claire Higg, who has "created for herself an alternative time frame called fiction". She lives through her television: "such beautiful lives, such beautiful lives."
Edward Carey's debut novel Observatory Mansions has a touch of Gormenghast about it. A "small and peculiar group of people" live together in a decaying four storey cube in neo-classical design. It was once magnificent, set in beautiful grounds, but has now been transformed into flats, an island within a surge of traffic. The people themselves are anchored in disassociation, set apart from the rest of the busy city by their histories, their memories, their relationships with the other seven inhabitants of the flats. 37-year-old Francis Orme is telling the story of Observatory Mansions. He earns his living by becoming "a statue of whiteness" in the park. He wears white gloves to ensure that he never touches anything with his skin; this includes the items he picks for his museum of significant objects (there is an intriguing list of all 996 of them at the end of the novel), a collection that he guards zealously from the other house dwellers. The other occupants include his father, sweaty Peter Bugg, and bedridden mother, Claire Higg, who has "created for herself an alternative time frame called fiction". She lives through her television: "such beautiful lives, such beautiful lives."
The house and its people are self-contained. Order and a vague harmony are maintained by a careful routine. But then along comes Anna Tap, half-blind and vulnerable. She is sympathetic, resourceful and slowly the residents begin to open up their long-closed hearts. The delicate balance of Observatory Mansion begins to shift and Francis finds himself having to protect the secrets of his past and the sanctity of his collection, while growing emotionally closer to Anna.
The novel is a haunting comedy of mental and physical dislocation. Carey's writing is poised and oddly precise: the characters are eccentric but compelling. Observatory Mansions is strangely hopeful, a tale about how love and lists can transform your life. --Eithne Farry
--This text refers to an out of print or unavailable edition of this title.
Product Description
Observatory Mansions was once the Orme family's ancestral home. Now, it is a crumbing apartment block, stranded on a traffic island and peopled with eccentrics. Alice Orme never stirs from her bed, her husband lives in his old armchair, and Francis, their son, practises his own art of stillness as a human statue in the centre of the decaying city. He lives by his Law of White Gloves, never touching anything without their protection, and collects items for his secret exhibition - items stolen, not because of any monetary worth, but because they are treasured by the owners. Edward Carey's debut is a novel of immense originality - a strangely haunting landscape occupied by compelling and unforgettable characters. 'Edward Carey has an imagination of tremendous range and power. He transforms the familiar stuff of life in shapes utterly strange and marvellous. This is a novel of truly startling originality' - Patrick McGrath. 'A striking debut, not simply for the skill with which it conjures its bizarrerie but for the way it wrings pity from an incredible setting' - "Times Literary Supplement".
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