Martha Peake: A Novel of the Revolution

by Patrick McGrath

Book Overview

Master storyteller Patrick McGrath--author of the critically acclaimed novelAsylumand a finalist for England's prestigious Whitbread Prize for fiction--once again spins a hypnotic tale of... This description may be from another edition of this product.

• Format: Hardcover
• Language: English
• ISBN: 0375500812
• ISBN13: 9780375500817
• Release Date: October 2000
• Publisher: Random House (NY)
• Length: 384 Pages
• Weight: 1.55 lbs.
• Dimensions: 1.3" x 6.6" x 9.5"

Customer Reviews

Stories within the Story

Unlike many of the other reviewers of this book, I was not a McGrath fan before I read Martha Peake, and I have not enjoyed any of his books to the same degree since. I should be honest that I prefer historical fiction, so this is likely the cause of my peculiar preference for Martha Peake out of McGrath's set of work. Simply put, this is a beautifully, intricately written book that, in the end, is almost as much about the creation of story and history as it is about the story itself. McGrath puts us in the room with the nephew as the uncle tells the story of Martha Peake, a device that, though some have disparaged it as an old trick or misuse of first person, is done marvelously well. It allows the creation of the story to take its place as a subplot, and a fascinating one at that. To my mind, the true climax of the ending is not the wrapping up of the literal plotline, but the climax of of story creation. If this sort of layering appeals to you, then this is sublime. Certainly, for the historical fiction snob, there are gaffes. Some of the clothing is off, some of the particulars are vague (likely pointing to a lack of definite research into details). This is trivial next to the atmosphere that McGrath creates in his writing, which is transporting. Perhaps calling it "A Novel of the Revolution" is misleading--it is not even set in the colonies until the second half, and even then it is a story during the war, not necessarily about the war. So be forewarned, but do not discount the book on the account of a poorly placed tag line.

A brooding, thoughtful but flawed tale

I like McGrath's gothic storytelling, and was looking forward to getting my hands on his first attempt at "historical fiction", as the novel is depicted on the jacket as a "novel of the revolution." Having just finished Martha Peake, I must say I was impressed with the ending and many early passages in London, but was frustrated at long passages of the novel.First, although promising to be about the American Revolution, the novel is about half way over before the action ever gets to Massachussets Bay. The first half of the novel has nothing at all to do with the battle for American independence, and in fact I think a good editor could've pared down the opening 140 pages to about 90. The story of Harry's tragic fall, the fire that destroyed his spine and devastated his family, etc. were very well told and moving. But his constant battles with gin got a bit tiring until his daughter Martha sought refuge in gloomy Drogo Hall, rising from grassy Lambeth Marsh within sight of the distant lights and smoke of London, where the story picked up steam again. The novel is narrated by Ambrose Tree, a young man called to Drogo Hall by his sick uncle William, from whom he hopes to inherit the manor. William tells an eager Ambrose the story of Harry and Martha Peake, and that story within a story is relayed to us in the course of the novel. As usual, McGrath is not content to simply use a third person narrator to tell his tale, and as usual his narrative tricks take their toll on the reader and present some problems.When Martha leaves England and moves in with her aunt in a town north of Boston, the narration of the novel hits a roadblack, since William knew little of Martha's activity there and the fragments of letters from her that supposedly survived told little of her story. Accordingly, Ambrose tells his reader that he is forced to supply the story of Martha Peake in America based on conjecture, which is oddly annoying even though I realize there are no "true facts" as the entire novel is a figment of McGrath's imagination. Still, you want to believe that what you are reading happened, at least in the imaginary world of the novel, and was not some educated guess by an imaginary storyteller. Anyway, happily Uncle William resumes the tale at the end, fitting in all the pieces nicely, and so a book that had many loose ends 3/4 into it is wrapped up quite nicely by the conclusion. Readers shouldn't expect much history in the book, aside from a cameo by Thomas Paine and some general discussion about Adams and Washington, the novel concentrates largely on the Peake and Rind families. There are also some aspects that make little sense to me. For example, the physical appearance of Martha's son struck me as odd, considering old Harry was injured in a house fire and was not born with a congenital deformity. However, overall the novel was moving and intellectually challenging. McGrath is a great storyteller and can portray a gloomy British marsh, a stinking Lo

Gothic master successfully turns to historical novel

I recently had the great privilege of hearing Mr. McGrath perform a reading from Chapters 5 & 6 of "Martha Peake". Wonderful! Why he doesn't do his own audio books - with his cultured yet mercurial British accent, clear tones, dramatic presentation and emotive voice - is beyond me. After the reading, he was most gracious, signing books and chatting with all of us individually in an unhurried manner that suggested he enjoyed every minute of the event.Now, to "Martha Peake". McGrath told us that this was his first attempt at an "historical" novel. Being a Civil War buff myself, I found it refreshing that he set it during the American Revolution, a period about which I read shockingly little. The first half of the novel takes place in England and McGrath told us that in order to capture the feeling of London's public houses and pubs, as well as the characters who inhabited them, he'd spent a great deal of time studying the novels of Charles Dickens and examining prints and artworks depicting the period. His efforts were well-rewarded in scenes set in crowded pubs filled with people from all walks of life - from footpads to the aristocratic and sinister Lord Drogo. You can smell the smoke from their pipes, taste the stale beer and ale and hear the customers' raucous laughter and the strident tones of the barmaids heaving libatious mugs onto long, wooden tables while getting pinched in the rear by way of reward.Harry Peake, Martha's father and the focal point of the first half of the book, is so clear a character as to warrant his own novel. One could well compare him in depth to the evil butler, Fledge, of McGrath's "The Grotesque" (later made into the movie "Grave Indiscretion" starring Sting and Alan Bates). Fledge is pure evil. Harry is not evil, but a victim - of himself. McGrath shows Harry performing his dramatic poems in stinking, crowded London pubs, with his horrifically twisted spine unveiled and displayed for the audience to see. His later disintegration and violence toward himself and his beloved daughter, Martha, inspire not disgust so much as sympathy. Perhaps not "sympathy" for WHAT he does to Martha, but sympathy for WHO the man he has become by that time: a gin-sodden tragedy only inches from oblivion and death, a fate which in Harry's condition could only be considered merciful.Martha Peake herself illustrates how seldom we know the facts behind all those popular legends which we accept as truth. Her actions once she arrives in America are simplified by others for the cause of those who wish to keep the flame of the Revolution alive before the onslaught of the British Redcoats. It has little to do with Martha's personal tragedy or the real truth behind her actions and prompts the question, "If a 'distortion' of the truth (or, in some cases, an outright lie) brings about a positive end, is that distortion or lie justified?"The answer is yours to decide in Patrick McGrath's "Martha Peake". In the end, I came away

Gothic Genius

Not since Sheri Holman's The Dress Lodger, have I read a novel so wonderful in form, characterization, and setting. McGrath, who writes neo-Gothics, has written his best novel in Martha Peake. While some readers may find his narrations taxing, it is precisely those narrations that give this novel its genius. The heroine of this dark story is one Martha Peake. Slowly her life is revealed, and we see Martha's fate approaching with an aching horror. I cannot tell you the plot here [too intricate], but if you liked Wuthering Heights, you will love this novel. It has the same kind of narration, the same darkness of setting and soul, the same intensity of fate. Martha is plagued with her own strange Heathcliff, one Harry Peake, only he reminds me more of Mary Shelley's Frankenstein. What more can I say? It's a brilliant novel formed out of collected fragments and memories, a powerfully written story that you won't ever forget. It's the kind you expect to hear "told by firelight." It will definitely leave you with a delightful shiver. History, love, death, courage, fate -- you will find them all here!

Excellent! McGrath's Richest and Most Complex Novel Yet

I've loved all of McGrath's books, and this one is definitely his most intricate and -- along with Dr. Haggard's Disease-- one of his best. McGrath is probably the finest neo-gothic writer around, and his novels are among the most evocative, engaging, and thrilling I've read. In addition, his preference for the unreliable narrator always adds a new dimension of complexity to the reading experience. This, his latest novel, is deeply engaging, and the finale -- a thrilling maelstrom of misdirection -- is a true tour-de-force of storytelling. If you like your stories by the fireplace, with a strong wind outside, I highly recommend this, and all of McGrath's books.