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September 12, 2002
The essential theme of this book is acceptance; acceptance racially and sexually. New York City serves as the backdrop as Rufus is tormented by his place in the white man's world. His best friend is white. The woman he loves is white. Yet the strange pale faces on the street always remind him that he doesn't belong. Rufus is also struggling with the question of his own sexuality. Does his relationship with Leona become destructive due to his resentment of her race or because he's unable to find peace with a woman? Rufus is by no means the only conflicted character. Vivaldo, Rufus' best friend, finds himself in a racial dilemma of his own when he falls in love with Rufus' younger sister, Ida. Then there's Richard and Cass Silenski, friends of both Rufus and Vivaldo who seem to represent the ideal married couple. Appearances can be deceiving. Mix in Eric, a gay actor with whom Rufus had a brief affair, and it certainly makes for a volatile cocktail of passions. Perhaps in another country their problems would be easily resolved. At times, "Another Country" comes dangerously close to being a soap opera. People are slipping in and out of each other's beds with such alarming frequency that one is thankful no one owns a dog. There's also the repetition of certain literary devices, while inspiring at first view, are rendered all too obvious upon a second trip. Of course, if their initial employment doesn't speak to the reader in any unique way, then this would be a trifle flaw at best. Although this book doesn't carry the weight of Mr. Baldwin's masterpiece, "Go Tell It on the Mountain", it remains an interesting read for no other reason than the joy of his prose. The work is extremely well crafted. The way Mr. Baldwin introduces his characters and brings their varied storylines together is a lesson for all those willing to study. Its structure is brilliant. His command of the language is dazzling. There are times while reading this book that I actually pitied all future writers for their futile attempts to capture a skill that Mr. Baldwin had so clearly mastered and made his own. While not perfect and far from a classic, "Another Country" is a worthy example of Mr. Baldwin's genius.
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When Marian arrives at Gaze Castle, her new home, she discovers that there are no children for her to teach. Instead, she was hired to act as a female companion for Mrs. Hannah Crean-Smith, the castle's mistress and prisoner. It seems that Hannah was imprisoned on the castle grounds some seven years ago when her husband, Peter, found her having an affair with a mutual acquaintance. There's also the little matter of Hannah trying to kill Peter by pushing him off a cliff, but that's neither here nor there. Peter, a horribly mean and violent man to begin with, wasn't real chipper upon surviving the fall. Judgement was passed. Peter installed a handful of trusted associated to oversee Hannah's sentence and then fled to America. Left behind as chief warden was Gerald Scottow, an old friend of Peter's who hides his own furry behind a charming smile and persuasive nature. Gerald is every bit as slick as Peter is brutish. Violet Evercreech keeps the house running, managing its servants and seeing to Hannah's daily needs. Violet is a cold woman. Any colder and she could make her own ice. Her younger brother, Jamesie, doesn't really have a defined role. An impish youth, he seems to just drift about worshipping Gerald. Denis Nolan is the quiet grounds keeper with a fondness for fish and injured animals. Marian finds herself a stranger in their secluded world of intrigue. The remaining four players are found at the nearby estate of Riders. The estate's owner, Max Lejour, is an aging scholar and writer that takes solace in his own reclusive nature. Max's children, Pip and Alice, have both come to spend an extended stay with their father. Pip is the mutual acquaintance with which Hannah had her now infamous affair. He spends much of his time at Riders with binoculars trained on Gaze, hoping to catch sight of his former love. Alice's heart belongs to one Effingham Cooper, a former star pupil of her father's. Effingham has likewise come to visit Max, although his affection for Alice is found wanting when compared to his desire for the mysterious woman of Gaze. And it's around Hannah Crean-Smith that all these bodies revolve. Hannah is a remarkably beautiful, gentle woman, seemingly incapable of the slightest wrong doing, let alone murder. Marian is quick to befriend Hannah and begins to figure ways to remove her from confinement. But it's not as simple as just walking Hannah through the gates into the free world. There are no physical restraints keeping Hannah in place. She sees her situation as her rightful fate. Her open acceptance of it, and her spiritual approach to dealing with it, only serve to elevate her in the eyes of admirers, allowing each to transform the woman into precisely what they need. Of course, Hannah's imprisonment at Gaze is symbolic of the role guilt plays in all our lives. There's nothing keeping us confined in the past, yet all too often we wallow in guilt, forsaking even the most obvious routes of escape. Freedom is everywhere but in our hearts. "The Unicorn" is solid. It can't match the significance of Ms. Murdoch's exceptional "Under the Net", but few books can. It's only in comparison with absolute greatness that it falls short. Put it near the top of all three-shot efforts.
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