The Man in the Wooden Hat

by Jane Gardam

Book Overview

Second in the Old Filth trilogy. "An astute, subtle depiction of marriage . . . absolutely wonderful" (The Washington Post).

Acclaimed as Jane Gardam's masterpiece, Old Filth is a lyrical novel that recalls the fully lived life of Sir Edward Feathers. The Man in the Wooden Hat is the history of his marriage told from the perspective of his wife, Betty, a character as vivid and enchanting as Filth himself.
They met...

• Format: Paperback
• Language: English
• ISBN: 1933372893
• ISBN13: 9781933372891
• Release Date: October 2009
• Publisher: Europa Editions
• Length: 240 Pages
• Weight: 0.70 lbs.
• Dimensions: 0.9" x 5.3" x 8.2"
• Age Range: 18 years and up
• Grade Range: Postsecondary and higher

Customer Reviews

Wonderful even without Old Filth

I am certain that reviewers urging people to read Old Filth first have a point, and I will read Old Filth as soon as I can get a copy purchased. But for those of you out there, like me, who find yourself holding in hand The Man in the Wooden Hat (with no immediate access to Old Filth), the book is still a treat. Go ahead and read it; I loved it even though I had not read Old Filth. The characterization of both Betty and Edward is marvelous, but equal attention is paid to the minor characters, a mark of the rich story Gardam develops. As a further bonus, the novel is delightfully short (I started--and finished it--on a plane from San Fran to Dallas).

A fine piece of literary fiction that will resonate with readers

Establishing oneself a successful business person is easy, but romance is something else. "The Man in the Wooden Hat" is a follow up to the celebrated Old Filth novel, following Edward Feathers as he tries to get himself an English wife in Betty. A story that is wide in scope and has many memorable characters, "The Man in the Wooden Hat" is a fine piece of literary fiction that will resonate with readers.

Illusive love

This is true literature - moving, thought-provoking, oddly humorous, utterly riveting - and the strangest love story I've ever read. A technical tour de force as well, the novel is the backstory of Gardam's earlier book, OLD FILTH. That book describes a marriage from the point of view of the husband (Sir Edward Feathers). Here, we get the story from his wife Betty's perspective. Both have had shocking experiences early in life, he a Raj orphan abandoned by his father and otherwise mistreated, she a survivor of a Japanese internment camp in Shanghai. Betty agrees to marry Edward because he's a brilliant advocate, getting richer every day, wildly handsome and thoroughly good. An hour later she meets his arch rival, advocate Terry Veneering, and falls passionately in love. Ironies abound as their lives unfold from this point. The man in the wooden hat is Edward's best friend - eccentric Chinese dwarf and mysterious power in international law who becomes a kind of terrifying manifestation of Betty's conscience. Gardam perfectly captures the poignant imperfection of humankind. Her characters develop under the sensuous influence of exotic places and the chilling influence of the very best British society. Awash in guilt and unspoken conflicts, Sir Feathers and his wife often manage to be happy. Anyone who has ever had a contrary impulse should find this book rather cheering. I'd recommend reading OLD FILTH first, then quickly leaping into THE MAN WITH THE WOODEN HAT.

"Oh, stuff it, Edward."--Betty

Esteemed novelist Jane Gardam follows up on the success of Old Filth, her highly successful 2005 novel about the life and marriage of Sir Edward Feathers, with the companion story of Sir Edward's wife, Betty. Each novel benefits from the other, the sum being significantly greater than the combination of the parts, and together they are a stunning study of a marriage--not ideal, but "workable." Feathers grew up unloved in Malaya, where his father was stationed. A Raj orphan by the age of six, he was sent back to England, where he went on to school, began a law career, and lived up to the old adage: "Failed in London, Tried Hong Kong," hence his nickname of "Filth." He never knew what it was like to be loved and cherished for who he was, and he always felt that he was an "outsider." Betty, someone we really see for the first time in this novel, is also a product of the same time, place, and class. Living in Hong Kong, she sees Edward as "So pure...[though] there's something missing." More importantly, however, she believes, "He's very nice. And he needs me." Her friends all argue against her engagement to him, at least at this point, and even Betty has some doubts. After exploring the possibilities of real passion with someone more exciting, she finally decides that marriage to Edward "will not be romantic, but who wants that," a compromise which she believes will result in an overall improvement in her life. Though neither Edward nor Betty is "in love" when they get married, they manage to form a good relationship and strong bond, considering the limitations of each. Betty demands a great deal of freedom within the marriage to pursue interests of her own, and Edward is so busy with his career that he hardly misses her--or the opportunities for happiness that have vanished from their lives with their separations. The parallels between the end of the British Empire, with its withdrawal from Hong Kong, and issues in the marriage between Edward and Betty are obvious. The sophisticated and subtle style of Old Filth, appropriate for a novel about Edward, yields here to a more down-to-earth and overtly emotional style, more typical of Betty, with coincidence and fateful intervention playing a part. Edward's friend Albert Ross, sometimes referred to as "Abatross," symbolizes the stunted love and the guilt Edward feels about his life and inability to love fully, and the reader is constantly reminded of a line from "The Rime of the Ancient Mariner,"--"Alone, alone, alone on a wide, wide sea/," which could be Edward's mantra. The use of the supernatural, signs, and portents broaden the scope, while Betty's firm grounding in reality put these other-worldly motifs into perspective. The often hilarious (and ironic) dialogue combines with a wry satiric sense to produce a conclusion which is everything that such a novel deserves. Gardam's brilliance is best seen if this is read following Old Filth, a novel which, itself, becomes more "huma