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A deeply observed story of love and separation, of disillusion and recovered humanity, marking the much-awaited return to fiction of Shirley Hazzard.
The year is 1947. The great fire of the Second World War has convulsed Europe and Asia. In its wake, Aldred Leith, an acclaimed hero of the conflict, has spent two years in China at work on an account of world-transforming change there. Son of a famed and sexually ruthless novelist, Leith begins to resist his own self-sufficiency, nurtured by war. Peter Exley, another veteran and an art historian by training, is prosecuting war crimes committed by the Japanese. Both men have narrowly escaped death in battle, and Leith saved Exley's life. The men have maintained long-distance friendship in a postwar loneliness that haunts them both, and which has swallowed Exley whole. Now in their thirties, with their youth behind them and their world in ruins, both must invent the future and retrieve a private humanity.
Arriving in Occupied Japan to record the effects of the bomb at Hiroshima, Leith meets Benedict and Helen Driscoll, the Australian son and daughter of a tyrannical medical administrator. Benedict, at twenty, is doomed by a rare degenerative disease. Helen, still younger, is inseparable from her brother. Precocious, brilliant, sensitive, at home in the books they read together, these two have been, in Leith's words, delivered by literature. The young people capture Leith's sympathy; indeed, he finds himself struggling with his attraction to this girl whose feelings are as intense as his own and from whom he will soon be fatefully parted.
A deeply observed story of love and separation, of disillusion and recovered humanity, The Great Fire marks the much-awaited return to fiction of an author whose novel The Transit of Venus won the National Book Critics Circle Award and, twenty years after its publication, is considered a modern classic.
Chapter One
Now they were starting. Finality ran through the train, an exhalation. There were thuds, hoots, whistles, and the shrieks of late arrivals. From a megaphone, announcements were incomprehensible in American and Japanese. Before the train had moved at all, the platform faces receded into the expression of those who remain.
Leith sat by a window, his body submissively chugging as they got under way. He would presently see that rain continued to fall on the charred suburbs of Tokyo, raising, even within the train, a spectral odour of cinders. Meanwhile, he was examining a photograph of his father. Aldred Leith was holding a book in his right hand -- not reading, but looking at a likeness of his father on the back cover.
It was one of those pictures, the author at his desk. In an enactment of momentary interruption, the man was half-turned to the camera, left elbow on blotter, right hand splayed over knee. Features fine and lined, light eyes, one eyelid drooping. A ...
National Book Awards
2003
A book that rewards the slow and thoughtful reader as the somewhat ephemeral writing style needs to be absorbed, and the nuances considered, before turning each and every page.
Ann Patchett
I wish there were a set of words like 'brilliant' and 'dazzling' that we, saved for only the rarest occasions, so that when I tell you The Great Fire is brilliant and dazzling you would know it is the absolute truth. This is a book that is worth a twenty-year wait. Joan Didion
Shirley Hazzard has written a hypnotic novel that unfolds like a dream Japan, Southeast Asia, the end of one war and the beginnings of another, the colonial order gone, and, at the center of it all, a love story. Michael Cunningham
Shirley Hazzard is, purely and simply, one of the greatest writers working in English today. Which makes me more grateful to have this long-hoped-for new novel.
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The good writer, the great writer, has what I have called the three S's: The power to see, to sense, and to say. ...
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