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Three Novels: Hordubal, Meteor, An Ordinary Life by Karel Capek
Book Summary InformationAuthor: Karel Capek Translator: M. Weatherall Edition: Paperback Audio: English (Original Language); English (Unknown); English (Published) Published: 1990-02-01 ISBN: 0945774087 Number of pages: 480 Publisher: Catbird Press
Book Reviews of Three Novels: Hordubal, Meteor, An Ordinary LifeBook Review: Engaging Epistemology -- Searching for the Self and Finding Others Summary: 5 Stars For the reader only familiar with Capek as an early "science fiction" writer (e.g., R.U.R and War With the Newts) the narrative and literary qualities of this trilogy, as well as the differing authorial voices and tones spread across the three short novels, will probably come as quite a surprise. Capek's reputation as a twentieth century novelist should rest as firmly on this work as well as on the above-mentioned better-known play and novel (i.e., they are better known to their English-translation readers; as for Czech readers and readers in other languages, I cannot say. It is quite possible that the trilogy is considered there to be the peak achievement of his career.) Here is a brief summary of the stories.
Hordubal: Think of the memorable character Moosbrugger from Musil's Man Without Qualities, but a very benign Moosbrugger rather than a psychotic one. That is, we have the story of an uneducated, illiterate man - a farmer become miner become farmer again -- who wishes for very little and in spite of his diligence and good intentions cannot get even that. As a result of his prolonged absence he has become a lost soul - the townsmen, his wife, and his daughter are now strange to him, and he is strange to them. The language and style do justice to the confusion, turbidity and fluctuations of his thinking. There is a murder and a solution of the crime, with some entertaining policemen's by-play. I will not reveal who did it or why, or whether the punishment meted out is just.
Meteor: Years before most readers or viewers had been exposed to the multiple point-of-view retelling of a story, as in Durrell's Alexandria Quartet or the film Rashomon, Capek did it and did it well in this novel. A man is dying in a hospital after a plane crash. Absolutely nothing is known about him. Three hypothetical reconstructions of the man's life are recounted: one by his caretaker, a nun-nurse who gleans her story from disturbingly real dreams; one by a patient who is a clairvoyant; and one by another patient who is a poet. Somehow, although different in their details, all three stories converge (while making sense of the history of the man's diseases and accidents that is inferred by his physicians.) But is this three-fold version of his life a true one, or merely one based on convenience, self-consistency and the need for something instead of nothing, for pretending to have knowledge rather than professing an unbearable ignorance? I won't tell you (because I don't know.)
An Ordinary Life: Very ordinary, and a touch poetic. A retired train station-master of the old Habsburg Imperial realm and the new Czechoslovakian republic spends his last weeks on earth writing his own biography, although he thinks that such an ordinary life is perhaps not worthy of the effort. But he is close to death and wishes to memorialize goodness and steadfastness, so he goes ahead, creating a loving homage to his parents and to the small country town where he was born and raised. And he notes his manly achievements as a train-master and even a brief moment as a "hero". Although he records his own (minor) character defects and occasional wayward actions as a child and young man, the overall pattern and the daily routines and settings, as he recollects and presents them, add up to a very admirable and idyllic picture of a life well spent. In this part of the book the language sometimes verges on the dithyrambic. It is a picture that is perhaps too good to be true. In the end he can't even accept it himself, and in a surprising reversal his "inner critic" starts to tear apart his autobiography, finding its depiction of his and others' motives and intentions to be very questionable. Now the language becomes fittingly analytic, cold, sarcastic. He discovers buried "selves" that he has ignored - the "man with elbows" (a schemer and careerist), the hypochondriac (who is also a manipulator of others' feelings), the young poet who fled the implications of his work like a coward and therefore condemns that part of his life as wasteful and trashy. And he finds other selves as well, one of them so detestable that it is buried the deepest. And then ... the work takes another turn, as the language becomes dithyrambic again in a final celebration of the idea of multiple selves which leads to a conclusion that each person could very well be any other person, therefore pressing upon us (as a goal and a recommendation) the fraternity of all human beings.
Cooler readers may shy away from the last part of this story, which is something of a coda for the trilogy and which appears to have its "lessons" reinforced in a postscript by the author. I resist his conclusions while finding my resistance irrelevant to my judgment of the high literary quality of the work. Had Capek lived another ten or fifteen years (he died late in 1938, mournful and perhaps even morbid after seeing his country abandoned to Hitler by its allies) his optimism about the attractions and inevitability of an expanding humanism might have been totally crushed by the events of those years during which great crimes were committed in the name of brotherhood and social solidarity.
While the above apercus are accurate, you won't know the beauty and interest of these stories until you take the time to read them. And although each work could be read separately, they benefit by being read in series and close together in time, as the author intended, since they are linked together by a set of related philosophical themes: the difficulty of knowledge, and even more so of self-knowledge, leading to the possibility that the well-defined, singular "self" is something of an illusion and certainly not a necessary inevitability.
I should add here that this edition of the book has an odd "Hegelian" introduction, academically dry and possibly misdirected. It schematizes the recurring "three-fold" portraits and self-portraits of the stories into a thesis of the isolated individual (who yearns for collective belonging) versus its antithesis of a renegade who wishes to both flee and despise society, and then resolves the conflict in the synthesis of an idealized "social man." If this were all there is to it, then we wouldn't need novelists. Another interpretation is that philosophers are always in desperate need of story-tellers to convey their messages in a more palatable form. After all, reading Hegel is often soporific and self-punishing, while reading Capek is pleasurable and stimulating.
Summary of Three Novels: Hordubal, Meteor, An Ordinary LifeThis trilogy of novels was the culmination of Karel Capek's career. The novels share neither characters nor events; instead, they approach the problem of knowing people-of mutual understanding-in a variety of ways. Detectives faced with a murder reconstruct the crime, but not the character of the man who was murdered. Three people tell stories about a dying pilot they know almost nothing about; each story is as full of truth as it is devoid of facts. And one man looks back on his life and discovers all the people he might have been. Together, these three short novels form a readable philosophical novel unique in world literature.
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