From the double Man Booker prize-winning author of `Wolf Hall', this is a dark fable of lost faith and awakening love amidst the moors.Fetherhoughton is a drab, dreary town somewhere in a magical, half-real 1950s north England, a preserve of ignorance and superstition protected against the advance of reason by its impenetrable moor-fogs. Father Angwin, the town's cynical priest, has lost his faith, and wants nothing more than to be left alone. Sister Philomena strains against the monotony of convent life and the pettiness of her fellow nuns. The rest of the town goes about their lives in a haze, a never-ending procession of grim, grey days stretching ahead of them.Yet all of that is about to change. A strange visitor appears one stormy night, bringing with him the hint, the taste of something entirely new, something unknown. But who is Fludd? An angel come to shake the Fetherhoughtonians from their stupor, to reawaken Father Angwin's faith, to show Philomena the nature of love? Or is he the devil himself, a shadowy wanderer of the darkest places in the human heart?Full of dry wit, compassionate characterisations and cutting insight, Fludd is a brilliant gem of a book, and one of Hilary Mantel's most original works.
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Fetherhoughton, the shabby and provincial village of Hilary Mantel's fifth novel, Fludd, possesses a charm that is, at best, latent. The surrounding moorland is foreboding, the populace is querulous and ill-educated, and the presiding priest is an atheist. It's 1956, and drabness is general to this English backwater. Until, that is, the appearance of a disarming young priest who, apparently, has been dispatched to wrest Fetherhoughton out of its superstitious stupor. One of the novel's several wonders is that Fludd surpasses all expectations.
Father Angwin, Fetherhoughton's disbelieving priest, has--much to the displeasure of his superiors--grown comfortable with the entrenched, misapprehending devoutness of his flock. Fludd, who may or may not be the curate sent to deliver the wayward, exerts an immediate, if unexpected, influence. He intrigues the townspeople, flusters the church's gaggle of nuns, kindles a welcome self-examination in Father Angwin, and arouses the passion of the young and yearning Sister Philomena. A charge of possibility suddenly animates the village, accompanied by several incidents that seem midway between coincidence and miracle. Fludd, however, remains beset by an insistent disillusionment--his clarity, it seems, arcs outward only.
Mantel's cramped and pliant village is a marvel. Fetherhoughton "wrestles not against flesh and blood but against principalities, against powers, against the rulers of the darkness of this world," insists the dour headmistress, Mother Perpetua. A local tobacconist, not so trivially, just might be the devil in human garb. Fludd's gift lies in unearthing all the lovely and fearsome truths buried just beneath the surface. "The frightening thing is that life is fair," he observes, "but what we need... is not justice but mercy." The fruits of this conviction, in Fetherhoughton, are rebellion, self-assertion, and even scandal; but Mantel's lovely tale suggests that difficult possibility is fair compensation for a sloughed predictability. --Ben GutersonAbout the Author:
Hilary Mantel is the author of thirteen books , including A PLACE OF GREATER SAFETY, BEYOND BLACK, and the memoir GIVING UP THE GHOST. Her two most recent novels, WOLF HALL and its sequel BRING UP THE BODIES, have both been awarded The Man Booker Prize - an unprecedented achievement.
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