Amazon.co.uk Review
Oscar Hopkins is a high-strung preacher's kid with hydrophobia and noisy knees. Lucinda Leplastrier is a frizzy-haired heiress who impulsively buys a glass factory with the inheritance forced on her by a well-intentioned adviser. In the early parts of this lushly written book, author Peter Carey renders the seminal turning points in his protagonists' childhoods as exquisite 19th-century set pieces. Young Oscar, denied the heavenly fruit of a Christmas pudding by his cruelly stern father, forever renounces his father's religion in favour of the Anglican Church. "Dear God," Oscar prays, "if it be Thy will that Thy people eat pudding, smite him!" Lucinda's childhood trauma involves a beautiful doll bought by her struggling mother with savings from the jam jar; in a misguided attempt to tame the doll's unruly curls, young Lucinda mutilates her treasure beyond repair. Neither of these coming-of-age stories quite explains how the grown-up Oscar and Lucinda each develop a guilty passion for gambling. Oscar plays the horses while at school, and Lucinda, now an orphaned heiress, finds comfort in a game of cards with an odd collection of acquaintances. When the two finally meet, on board a ship bound for New South Wales, they are bound by their affinity for risk, their loneliness and their awkwardly blossoming (but unexpressed) mutual affection. Their final high-stakes folly-- transporting a crystal palace of a church across (literally) godforsaken terrain--strains plausibility, and events turn ghastly as Oscar plays out his bid for Lucinda's heart. Yet even the unconvincing plot turns are made up for by Carey's rich prose and the tale's unpredictable outcome. Although love proves to be the ultimate gamble for Oscar and Lucinda, the story never strays too far from the terrible possibility that even the most thunderstruck lovers can remain isolated in parallel lives.
--This text refers to an out of print or unavailable edition of this title.
Review
The 1988 Booker Prize Winner. Oscar and Lucinda tells the story of a 19th-century love affair, lyrically related over 110 very short chapters. Set in Australia in the early 19th century, and granted a Victorian scope but a modern sensibility, the plot focuses on the relationship between a gambling priest who gives his winnings to the poor and a businesswoman who rebels against the constraints of society. A wager ensues over the building of a glass church in the outback in this naturalistic but fantastical novel which won both popular and critical acclaim on publication. (Kirkus UK)
As he demonstrated in Bliss (1981) and Illywhacker (1985), Carey is partial to eccentrics. Here, he provides a splendid array of cranks and monomaniacs - with two of them, the title characters, living out an odd and tender love story. Yet theirs is only the central plot in an astonishingly complex literary performance that moves between England and Australia in the 1860's. There are dozens of characters and at least five important storylines, two set in the Old World and three in the New. Mostly, though, this is a leisurely and witty fable about the two great enthusiasms of the 19th century - religion and science. Many great schemes were hatched to try to harmonize the two, and so it is here. Lucinda, an Australian heiress, consults Joseph Paxton, architect of London's Crystal Palace, and then she and Oscar, a clergyman, set out to erect a glass church - in darkest New South Wales. The whole book is also a literary parody. Here, the results are uneven, largely because Carey has made some errant choices. His first targets are Fielding and Sterne. But these were 18th-century writers who expressed the energy of a particular moment: the last gasp of Merrie Olde England, about to be submerged by piety, industrialism, and red plush draperies with ball fringe. Carey is off the mark here. He fares better when he begins to parody Trollope. His style then becomes more appropriate to the material; also less facetious and digressive. Oscar and Lucinda (582 pp.) is sometimes too slow, and its energetic whimsicality can be grating. Against that, though, set writing that is far more often lucid and fine, beautifully drawn characters, and a remarkably clever narrative scheme. A brave and original novel. (Kirkus Reviews)
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