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His Natural Life (The World's Classics)
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One of the greatest 19th-century Australian novels and the grand epic of the transportation system, this novel charts the misfortune of Richard Divine, falsely accused of murder, through the worst Australian penal settlements, while retaining his humanity and spiritual dignity. So powerful is Clarke's representation of the brutality of transportation that more than a century later historians still struggle to disentangle fact from tragic fiction.
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Product details
Series: The World's Classics
Paperback: 528 pages
Publisher: Oxford University Press (May 22, 1997)
Language: English
ISBN-10: 019282418X
ISBN-13: 978-0192824189
Product Dimensions:
4.5 x 0.9 x 7.2 inches
Shipping Weight: 7.2 ounces (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
7 customer reviews
Amazon Best Sellers Rank:
#3,893,921 in Books (See Top 100 in Books)
This is a plot-driven novel if ever there was one. I'm not going to leak any of the story, which involves an improbable set of coincidental identities -- improbable even by the standards of Victorian fiction, improbable enough to make Charles Dickens's hair stand up straight. The tale is set in the penal colonies of Australia (Van Diemen's Land and Norfolk Island) in the 1830s-1840s, a "world of pain" so sadistic that GWB's Guantanamo looks like summer camp in the Pokonos by comparison. But author Marcus Clarke did not exaggerate; names were changed, but the real historical figures upon whom the characters of the novel were based can all be recognized, and the astounding horrors of Clarke's penal colonies are amply documented in "The Fatal Shore: The Epic of Australian's Founding" by Robert Hughes.I'm not going to explain the odd title of this review, either. If it intrigues you, you'll have to read the book. But here's a hint: Richard Wagner's opera "Tristan und Isolde" premiered in 1865, while "His Natural Life" was published in 1870. Wagner and Marcus Clarke were contemporaries. Romantic excess was the air they breathed. "His Natural Life" is a romance adventure, in effect a genre novel. If it were published today, I have no doubt that with a modicum of editorial up-dating it would be a best seller, marketed to the readers of Patrick O'Brian or Cormac McCarthy. It's bloody enough to please the latter and lore-laden enough to excite the former. The model for Marcus Clarke's style may have been the popular sea adventures of Captain Marryat, but Clarke was more than half way to Joseph Conrad in his transformation of the over-civilized Victorian novel-of-manners into something surprisingly modern in sensibility, a 20th C "man's novel". Even the syntax is 'Victorian lite"; there are rather few ponderous passages of portentous rhetoric, easily skimmed while the reader rushes toward the next flogging or villainy. The tangy Aussie convict slang is readily understood from context. On most levels, "His Natural Life" is 'popular' rather than 'literary' fare. What elevates it to classic stature is the intense realism of the characters (most of them) and the setting, despite the absurdity of the plot.
This was without question one of the most gripping novels I've read in many a day. I first ran across this work in a brief mention by British travel writer/popular historian James Morris, where he thought it akin to the gulag novels of post-Stalinist Russia in subject matter and philosophical content. Add to that a wealth of striking narrative detail, immensely memorable characters (Maurice Frere, Sarah Purfoy, and particularly James North leap to mind), some truly transporting (no pun intended) and incredibly creepy passages, mind-blowing plot twists and turns, and a persistent refusal to provide too pat solutions to characters' problems... Clarke wasn't better than Dickens or Eliot, but neither of the latter could have written this book. Clarke's masterpiece was published in 1874, after being serialized in 1870-72. Critics have lambasted a few of the less believable elements and some of the pat characterization of a number of supporting characters, but these are flaws to be found in most novels of that time (and ours). Clarke redeems himself by taking the cliches and mannerisms of the nineteenth-century English novel and using them to illuminate a whole new society, one practically mythical to the metropolitan consciousness of the Victorian Anglophone world. This work is a great counterpoint to all those English novels of the day where the hero or villain gets packed off to the antipodes and returns mysteriously changed. The main thrust of the novel, though, was the need to tell the true story of (white) Australian society's beginnings. Clarke, in telling the story of the unjustly convicted Rufus Dawes (aka Richard Devine), provides a panoramic view of early Victorian Australia, from the hellish convict settlements of Macquarie Harbor and Norfolk Island to the nascent frontier towns of Hobart and Melbourne, from the aging memories of the "First Fleeters" (the original convicts who arrived in 1788) to the controversial Eureka Stockade Uprising of 1854. The narrative frequently moves at a deliciously whirlwind pace to accomodate the exciting interaction of characters and history. Clarke's novel is generally cited as nineteenth-century Australia's greatest and points the way towards more nuanced examinations of the colonial experience in the twentieth century (Peter Carey's JOE MAGGS, about the "off-stage" life of Dickens antihero Abel Magwitch, is apparently very much in this vein). Don't read it just for this reason, though. Please be sure to find the longer, original version, as I was fortunate enough to do. Clarke was forced to produce a revised, shortened version for the original publication, one dictated by his editors that turned the novel into a much more "conventional" Victorian literary production (and has a longer title--FOR THE TERM OF HIS NATURAL LIFE). I understand a TV series was made in the mid-80s with Anthony Perkins as North. If this was the case, then it badly needs to be remade on celluloid, because I can't seem to find the series. It's a magnificent novel whose flaws, I think, are amply counterbalanced by its unexpected joys.
The well-known phrase 'for the term of his natural life' is used by Marcus Clarke to bring home the horrors of transportation and the Tasmanian penal system in the 19th century.Richard Devine, an innocent man (under an assumed name of Rufus Dawes) convicted of a crime he did not commit, is sent for transportation and assumed killed in a shipwreck. In reality, he is heir to a vast estate (unbeknown to him) and the convolutions of the tale that evolve from this are wonderfully written; the gradual demolishing of Dawes, the unspeakable duality of Frere, the calculating guile of Sarah and the gullible innocence of Sylvia are woven together in a plot that does not end happily ever after. This I think, serves to underline the barbarism and futility of the transportation system.Based on actual events, Clarke uses his 'hero' to illustrate the depravation and privations that prisoners (and their guards) had to endure. Graphically showing how degradation degrades and power corrupts, the narrative never dwells on gruesome details, instead it relies for effect on the imagination of the reader, which can be more terrifying.A book that deserves a wider readership.
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