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More than twenty years after the classic The Transit of Venus, Shirley Hazzard returns to fiction with a novel that in the words of Ann Patchett "is brilliant and dazzling..."
The Great Fire is an extraordinary love story set in the immediate aftermath of the great conflagration of the Second World War. In war-torn Asia and stricken Europe, men and women, still young but veterans of harsh experience, must reinvent their lives and expectations, and learn, from their past, to dream again. Some will fulfill their destinies, others will falter. At the center of the story, a brave and brilliant soldier finds that survival and worldly achievement are not enough. His counterpart, a young girl living in occupied Japan and tending her dying brother, falls in love, and in the process discovers herself.
In the looming shadow of world enmities resumed, and of Asia's coming centrality in world affairs, a man and a woman seek to recover self-reliance, balance, and tenderness, struggling to reclaim their humanity. The Great Fire is a story of love in the aftermath of war by "purely and simply, one of the greatest writers working in English today." (Michael Cunningham)
The Great Fire is the winner of the 2003 National Book Award for Fiction.
- Sales Rank: #495631 in Books
- Brand: Picador
- Published on: 2004-07-01
- Released on: 2004-07-01
- Original language: English
- Number of items: 1
- Dimensions: 8.22" h x .91" w x 5.56" l, .65 pounds
- Binding: Paperback
- 326 pages
Features
From The New Yorker
Hazzard is nothing if not discriminating. Hierarchies of feeling, perception, and taste abound in her writing, and this novel—her first in more than twenty years—takes on the very notion of what it means to be civilized. The fire of the title refers primarily to the atomic bombing of Japan, but also to the possibility of transcendent passion in its aftermath. In 1947, a thirty-two-year-old English war hero visiting Hiroshima during the occupation finds himself billeted in a compound overseen by a boorish Australian brigadier and his scheming wife. He is immediately enchanted, however, by the couple's children—a brilliant, sickly young man and his adoring sister—who prove to be prisoners in a different sort of conflict. In the ensuing love story, Hazzard's moral refinement occasionally veers toward preciosity, but such lapses are counterbalanced by her bracing conviction that we either build or destroy the world we want to live in with our every word and gesture.
Copyright � 2005 The New Yorker
From Booklist
Despite this Australian writer's absence from the world's fiction stage--since the 1981 publication of The Transit of Venus, which earned her great acclaim, including the National Book Critics' Circle Award--her readers have continued to hold hands in devotion and anticipation. Their thrill over her new novel will be completed; the long days and nights of waiting will be forgotten. Time and place have always been exactly evoked in Hazzard's fiction, and such is the case here. The time is 1947-48, and the place is, primarily, East Asia. Obviously, then, this is a locale much altered--by the events of World War II, of course, and, as we see, physical destruction and psychological wariness and weariness lay over the land. Our hero, and indeed he fills the requirements to be called one, is Aldred Leith, who is English and part of the occupation forces in Japan; his particular military task is damage survey. He has an interesting past, including, most recently, a two-year walk across civil-war-torn China to write a book. In the present, which readers will feel they inhabit right along with Leith, by way of Hazzard's beautifully atmospheric prose, he meets the teenage daughter and younger son of a local Australian commander. And, as Helen is growing headlong into womanhood, this novel of war's aftermath becomes a story of love--or more to the point, of the restoration of the capacity for love once global and personal trauma have been shed. Brad Hooper
Copyright � American Library Association. All rights reserved
Review
“Beauty is felt in almost every line of this austerely gorgeous work.” ―Chicago Tribune
“So majestic in scope and so sophisticated in diction it evokes a rhapsodic gratitude in the reader...Calls to mind the writerly command of A.S. Byatt, Lawrence Durrell, Nadine Gordimer, and Graham Greene.” ―The San Diego Union-Tribune
“The last masterpiece of a vanished age of civility.” ―The Wall Street Journal
“[The Great Fire] sails into port like a magnificent ship of fiction from another era.” ―Entertainment Weekly
“The Great Fire is about both the destructive conflagrations of war and the restorative conflagrations of the heart. Hazzard's moving, generous story paints love as the greatest rescuer of all--as apt today in our troubling, troubled world as it was 55 years ago.” ―San Francisco Chronicle
“Hazzard writes with an extraordinary command of geography and time.... Flashes of violence cut through the contemplative narrative, but in her exquisitely cut sentences, hazzard concentrates on the subtler movements of these hearts cauterized by violence.” ―The Christian Science Monitor
“A hypnotic novel that unfolds like a dream: Japan, Southeast Asia, the end of one war and the beginning of another, the colonial order gone, and at the center of it all, a love story.” ―Joan Didion, author of Where I Was From
Most helpful customer reviews
80 of 87 people found the following review helpful.
A Labor of Love, from both author and reader - and worth it!
By Grady Harp
One expected the long awaited novel from Shirley Hazzard to meet with adulation. Hazzard enjoys the reputation of writing award winning books over a considerable period of time. She also is her own person and defies classification as a novelist, so unique is her style. THE GREAT FIRE was twenty years in the writing and reading it reveals why that is so. Hazzard writes with thick, pungent, fragmented prose. Her manner is one of revealing bits and pieces of a story in non-linear fashion: at times within one page she has covered several decades of reference without even a demarcation of a paragraph or inserted space. This technique demands total concentration from the reader and at least with this reader requires retrograde reading, reviewing previous paragraphs and sentences to assure that the story is intact!
And of course it is. Any time spent re-reading Hazzard's luminous prose is time twice blessed. Few other authors can bathe in phrases so articulate and wise that not only are they descriptive and additive, but they also can be read as isolated poems. "Our pleasures. He and I have killed, hand to hand, and have absorbed it. Can recall it, incredulous. Our pleasures were never taken that way, as by some in battle. Once, after a skirmish in the desert, a fellow officer whom he had never considered vicious had remarked. 'A man who hasn't killed is incomplete, analogous to a woman who has never given birth.' Embracing the primitive; even gratified."
The story: "The Great Fire" references the global devastation of WW II with particular empahsis on the nuclear attack on Japan. The year is 1947 and the characters are two men forever bonded by their experiences in battle. One is writing a book on the effects of the war on Asia and the other is trying Japanese war criminals. The lives tie and untie in the most fascinating ways. There is a family spilt asunder by the times - a brother and sister cling together, he with a degenerative nerve disease, she with the commitment to caring for him. There is a love story; no, there are love stories, and each fragment of story unveils the damage inflicted upon bodies and souls by a War without equal. Hazzard captures the post-war fallout that has become all too familiar in the past century as well as the present one. And it is this weaving together of disparate souls in a tapestry of fire and smoke and eventual vacuum that is the driving force of this novel. Romance has never been written so bittersweet. "As she walked, she put her hand to her mouth to hold his kiss, and to her breast to enclose his touch. The man, instead went to his own room and to his table - to those papers where the ruined continents and cultures and existences that had consumed his mind and his body for years had given place to her story and his. He could not consider this a reduction - the one theme having embroiled the century and the world, and the other recasting his single fleeting miraculous life. Having expected, repeatedly, to die from the great fires into which his times had pitched him, he had discovered a desire to live completely; by which he meant, with her."
No, this is not a novel for a quick read on a plane or to keep in the car for unexpected delays. This is a rare gem that deserves full attention. The rewards are inestimable. Think Virginia Woolf. Think Reliquary.
27 of 28 people found the following review helpful.
Superb writing
By Eric
No, this is not the Da Vinci Code. Or John Grisham's The Firm. But here's the good news: I enjoyed both the Da Vinci Code and The Firm, and I loved The Great Fire. You don't need to be a snob to enjoy this book. It's a great story with great characters. But you're more likely to enjoy it if you really love writing (not just a good story, but also how language is used to get the story across). It is true that you will be challenged at times. When I started reading the book, I had the feeling that I didn't really know what was going on or who was who--Hazzard's style is not very linear. But in time everything starts making perfect sense, and you can't help being fascinated by the extraordinary command of the English prose that Hazzard has. With one sentence she can convey a place, a time, a feeling, an emotion in a way that you'll think you're there and it's happening to you. I believe she's one of the most talented writers I have ever encountered, and I've read a lot. I recommend this book to anyone who truly loves both great fiction and the English language.
67 of 76 people found the following review helpful.
The novel is even more poignant given Iraq
By Rockdoc
As an English teacher, I am depressed to read that an author's having access to a sophisticated vocabulary is a drawback. Yet Shirley Hazzard's novel is an old-fashioned book--despite her elliptical style--for though the book is slender, the characters are fully rendered, and the theme of the novel--the absurdity and necessity of having a personal life in light of the destructive forces of war and politics--comes through clean and clear. There is so much mean-spiritedness in some of the reviews that it is difficult to know what to address first. Ben and Helen are old beyond their ages, first, because they read deeply and widely; second, because of the coldness of their family which has made it necessary for them to turn inward to books and to each other; and, third, because Ben is dying (look up the age at which Keats was writing his wonderful poetry or a biography of Sylvia Plath). Apparently, too, not one of the negative reviewers has ever actually been in love. One suspects that they took resumes from prospective mates! This story is also particularly poignant as a reminder of the cost of war.
I think reviewers and critics often miss the role taste plays in our evaluations of books. What I would like to see, in reading as in life, is a touch more humility before discouraging someone else from reading a book. I can't imagine that everyone associated with the Book Critics Circle is illiterate, despite the accusations of some of Amazon's reviewers. I thought Hazard's novel a beautifully written, fully realized novel and was disappointed to come to the end of it. However, I must confess that often, I don't get Borges. Does that make those that find his work valuable wrong? Is my denseness Borges' fault or my own?
Unfortunately, many of the reviewers remind me of (a few of) my eighteen-year-old students--oh, the weight of so much critical accumen and the wonder of being an age at which everyone is "stupid" except, perhaps, oneself. I'm sorry some of the readers were disappointed. Perhaps they should stick with the classics, and thereby not have to feel diminished by reading (gasp!) a love story (despite the number of love stories in classical literature, it is some comfort to read what is already vetted) or with the quick reads that do not demand much of the reader. There is nothing wrong with either approach to reading, only with trashing what one has not taken the time to understand or perhaps does not have an affinity for.
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