I've always been curious to read Australian author Patrick White so plunged into his epic “The Vivisector”, the longest of his novels. A few years after it was published White won the Nobel Prize for Literature and this novel was posthumously chosen as one of the six books shortlisted for the “Lost Man Booker Prize” of 1970. It describes the life and creative journey of Hurtle Duffield who is born to a poor Australian household, adopted by a wealthy family and rises to become a highly successful artist. The title refers to his often cruel ability to artistically dissect his subjects and his general emotional distance from people in general. Though he is an often cold and contemplative individual, he encounters a range of charismatic personalities who are vibrantly detailed throughout the story. Some of his most crucial connections are with his adoptive sister Rhoda who has a physical deformity and, later in his life, Kathy Volkov, a musical child prodigy. The story poignantly considers whether it's possible to dedicate oneself to an artistic life while also living as a fully rounded human. In doing so, White captures the perilous loneliness which is endemic amongst those who devote themselves with fervour to a meaning beyond their own circumscribed existence.
It's intriguing how the story initially feels akin to “Great Expectations” as the boy finds an opportunity to make his fortune and rise out of the meagre circumstances he's born into. Though Dickens' protagonist is eminently likeable and “good”, Hurtle is much spikier and I believe the reader is intentionally meant to criticise his demeanour as he ages and establishes himself as an artist. His aloof and haughty attitude is understandably hurtful to many around him who only want to enhance his life and wellbeing. It's as if Hurtle believes that he can't maintain his objectivity and artistic integrity if he allows himself to become emotionally close to anyone (especially those he's most drawn to.) In doing so, he refuses to engage in the common practice of kindly looking past the less savoury aspects of human nature. Instead he lays them mercilessly bare in his artwork. Is this a radical way of confronting the truth of existence or a brutal inability to love people with all their so-called flaws? I don't think the novel seeks to give an answer but offers a sustained meditation on this question. It also poignantly considers the meaning of success since Hurtle takes little satisfaction in his monetary gain or heightened reputation.
One of the most poignant images the novel offers early on is the chandelier Hurtle discovers in the Courtney's grand house. He comes to feel this form of glass and light within himself like an expression of the spirit. Some of the more comedic and enjoyable aspects of the novel come with the wealthy couple who adopt him. Mr Courtney makes him read out smut to test his literacy and despite Mrs Courtney's heartfelt concern for the downtrodden of the world she's unable to take much practical action so frequently feigns busyness. There are some particularly wonderful scenes involving a Planchette which Mrs Courtney believes connects them to the spirit world. While being frequently funny, this couple and their feisty daughter also come across as very sympathetic. The same is true for a prostitute named Nance whose diatribes express her emotionally volatile sensibility. Though he has a longterm affair with her and she serves as an important muse to Hurtle, he's incapable of valuing her beyond this purpose. As his life progresses, the author increasingly keys us into commentary about Hurtle from those around him adding to his sense of isolation. While following this artist's long life I kept recalling Mrs Courtney's remark that “There’s nothing so inhuman as a human being”. It's a chilling sentiment which this novel explores with a hard-edged and sustained dedication.
