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Atonement
Cover of Atonement
Atonement
A Novel
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The novel opens on a sweltering summer day in 1935 at the Tallis family's mansion in the Surrey countryside. Thirteen-year-old Briony has written a play in honor of the visit of her adored older...
The novel opens on a sweltering summer day in 1935 at the Tallis family's mansion in the Surrey countryside. Thirteen-year-old Briony has written a play in honor of the visit of her adored older...
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Description-

  • The novel opens on a sweltering summer day in 1935 at the Tallis family's mansion in the Surrey countryside. Thirteen-year-old Briony has written a play in honor of the visit of her adored older brother Leon; other guests include her three young cousins -- refugees from their parent's marital breakup -- Leon's friend Paul Marshall, the manufacturer of a chocolate bar called "Amo" that soldiers will be able to carry into war, and Robbie Turner, the son of the family charlady whose brilliantly successful college career has been funded by Mr. Tallis. Jack Tallis is absent from the gathering; he spends most of his time in London at the War Ministry and with his mistress. His wife Emily is a semi-invalid, nursing chronic migraine headaches. Their elder daughter Cecilia is also present; she has just graduated from Cambridge and is at home for the summer, restless and yearning for her life to really begin. Rehearsals for Briony's play aren't going well; her cousin Lola has stolen the starring role, the twin boys can't speak the lines properly, and Briony suddenly realizes that her destiny is to be a novelist, not a dramatist.

    In the midst of the long hot afternoon, Briony happens to be watching from a window when Cecilia strips off her clothes and plunges into the fountain on the lawn as Robbie looks on. Later that evening, Briony thinks she sees Robbie attacking Cecilia in the library, she reads a note meant for Cecilia, her cousin Lola is sexually assaulted, and she makes an accusation that she will repent for the rest of her life.

    The next two parts of Atonement shift to the spring of 1940 as Hitler's forces are sweeping across the Low Countries and into France. Robbie Turner, wounded, joins the disastrous British retreat to Dunkirk. Instead of going up to Cambridge to begin her studies, Briony has become a nurse in one of London's military hospitals. The fourth and final section takes place in 1999, as Briony celebrates her 77th birthday with the completion of a book about the events of 1935 and 1940, a novel called Atonement.

    In its broad historical framework Atonement is a departure from McEwan's earlier work, and he loads the story with an emotional intensity and a gripping plot reminiscent of the best nineteenth-century fiction. Brilliant and utterly enthralling in its depiction of childhood, love and war, England and class, the novel is a profoundly moving exploration of shame and forgiveness and the difficulty of absolution.

    From the Trade Paperback edition.

 

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Excerpts-

  • Chapter ONE The play, for which Briony had designed the posters, programmes and tickets, constructed the sales booth out of a folding screen tipped on its side, and lined the collection box in red crepe paper, was written by her in a two-day tempest of composition, causing her to miss a breakfast and a lunch. When the preparations were complete, she had nothing to do but contemplate her finished draft and wait for the appearance of her cousins from the distant north. There would be time for only one day of rehearsal before her brother arrived. At some moments chilling, at others desperately sad, the play told a tale of the heart whose message, conveyed in a rhyming prologue, was that love which did not build a foundation on good sense was doomed. The reckless passion of the heroine, Arabella, for a wicked foreign count is punished by ill fortune when she contracts cholera during an impetuous dash towards a seaside town with her intended. Deserted by him and nearly everybody else, bed-bound in a garret, she discovers in herself a sense of humour. Fortune presents her a second chance in the form of an impoverished doctor -- in fact, a prince in disguise who has elected to work among the needy. Healed by him, Arabella chooses judiciously this time, and is rewarded by reconciliation with her family and a wedding with the medical prince on 'a windy sunlit day in spring'.

    Mrs Tallis read the seven pages of The Trials of Arabella in her bedroom, at her dressing table, with the author's arm around her shoulder the whole while. Briony studied her mother's face for every trace of shifting emotion, and Emily Tallis obliged with looks of alarm, snickers of glee and, at the end, grateful smiles and wise, affirming nods. She took her daughter in her arms, onto her lap -- ah, that hot smooth little body she remembered from its infancy, and still not gone from her, not quite yet -- and said that the play was 'stupendous', and agreed instantly, murmuring into the tight whorl of the girl's ear, that this word could be quoted on the poster which was to be on an easel in the entrance hall by the ticket booth.

    Briony was hardly to know it then, but this was the project's highest point of fulfilment. Nothing came near it for satisfaction, all else was dreams and frustration. There were moments in the summer dusk after her light was out, burrowing in the delicious gloom of her canopy bed, when she made her heart thud with luminous, yearning fantasies, little playlets in themselves, every one of which featured Leon. In one, his big, good-natured face buckled in grief as Arabella sank in loneliness and despair. In another, there he was, cocktail in hand at some fashionable city watering hole, overheard boasting to a group of friends: Yes, my younger sister, Briony Tallis the writer, you must surely have heard of her. In a third he punched the air in exultation as the final curtain fell, although there was no curtain, there was no possibility of a curtain. Her play was not for her cousins, it was for her brother, to celebrate his return, provoke his admiration and guide him away from his careless succession of girlfriends, towards the right form of wife, the one who would persuade him to return to the countryside, the one who would sweetly request Briony's services as a bridesmaid.

    She was one of those children possessed by a desire to have the world just so. Whereas her big sister's room was a stew of unclosed books, unfolded clothes, unmade bed, unemptied ashtrays, Briony's was a shrine to her controlling demon: the model farm spread across a deep window ledge consisted of the usual animals, but all facing one way -- towards their owner -- as if about to break into song, and even the...

About the Author-

  • "It caused me a lot of anxiety," McEwan has said of this, his ninth novel, which he had been waiting years to write. He is a careful writer, with a tendency to worry about how his books will turn out. This one emerged slowly; only after 14 months of 'doodling' did he have a paragraph and a half with which to begin the book, now the start of the second chapter: Cecilia standing in the doorway with a bunch of flowers, and Robbie outside.
    McEwan likes to take a particularly potent, decisive event bringing the protagonists together — the snatching of a three-year-old girl in The Child In Time, a tragic ballooning incident at the start of Enduring Love — and let the emotions develop from there. Atonement is his most deeply emotional book to date, and he is pleased that it turned out a moving love story; he has more often been seen as a master of the gruesome, the disturbing and the morbid after his early novels in the 1970's. His first collection of stories, First Love, Last Rites, was published in 1975 and immediately won him the nickname Ian Macabre. The sense of menace is present from the beginning of his latest novel, and darkness continues through the 1940 sections, but there is a warmth not usually associated with McEwan's work. "At my age," he says, "there is an obligation to celebrate the good things in life."
    He found his own way towards a love of fiction; there weren't many books at home when he was growing up. His father was an Army NCO, and the family moved from London at times to North Germany, North Africa, and Singapore, where as a teenager he would find himself engrossed in novels by Iris Murdoch and Graham Greene. Attending a state-run boarding school, he was the first in his family to get a university education; he was also the first applicant to the creative writing course run by Malcolm Bradbury and Angus Wilson at the University of East Anglia. Now in his mid-fifties, he has published nine novels and two books of short stories. He lives in Oxford with his two sons.
    His father, who died in 1996, was a dispatch rider with the Highland Light Infantry and was wounded by shrapnel in both legs during the retreat from Dunkirk; McEwan always knew he would write about it, and he is sorry he wasn't able to show this novel to his father, who became obsessed with his experiences at Dunkirk in his last years. "He found another man wounded in both arms and together they managed to ride a Harley-Davidson to safety." The author's mother, who worked as a cleaning lady, is also present in places in the book; she suffers from vascular dementia, a disease that erases the memory, which afflicts Briony late in life.
    McEwan feels Briony is the best fictional character he has created yet. Her mistake in telling a lie is the turning point that pulls her from the childhood world of innocence, a theme he has often touched upon. Her shaky claim provides a focus for the class prejudices of her elders, and becomes destructive. "I was haunted by the witch-hunts of the recovered memory syndrome in the Eighties and Nineties. Children were prompted by leading questions from earnest social workers and court officials." The situation he created allowed him to address this in an oblique way.
    Atonement is about storytelling, and the dangers of applying fictional form to real life, of imposing order and drama on life's confusions; as the Financial Times put it, "the power of narrative to create and manipulate truth". If McEwan likes to play with perspective and describe the same experience from several points of view, this is partly because he feels novels are "about showing the possibility of what it is like to...

Reviews-

  • Publisher's Weekly

    September 2, 2002
    British actress Bailey delivers a superb reading of Booker Prize–winning author McEwan's (The Child in Time; Amsterdam) ninth novel. Told in three parts—before, during and after World War II—the novel follows the son of the Tallis family's housekeeper, Robbie Turner, who grew up with the Tallis children. Now a Cambridge graduate, he suddenly finds his childhood friend, Cecilia Tallis, enchanting in ways he has never before noticed. As this romance blooms, Briony, Cecilia's younger sister, flits around the fringe, observing from a distance and drawing confused conclusions that will have an overwhelming impact on the rest of their lives. Bailey's crisp, clear, yet soft voice is a good match for this morality tale. Her delivery carries a sense of innocence throughout her performance but changes subtly for each section, establishing the appropriate atmosphere for each scenario. Her gentle reinforcement of the tone and pace set by McEwan provide the listener with a first-class audiobook experience. Based on the Doubleday hardcover (Forecasts, Nov. 19, 2001).

  • Esquire

    "A tour de force.... Every bit as affecting as it is gripping." --The New York Times"Lush, detailed, vibrantly colored and intense." --San Francisco Chronicle"A beautiful and majestic fictional panorama." --John Updike, The New Yorker"Luminous.... Atonement is brilliant." --Newsweek"No one now writing fiction in the English language surpasses Ian McEwan." --The Washington Post Book World"McEwan could be the most psychologically astute writer working today, our era's Jane Austen."

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