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India, 1943: In a regimental hill station, the ladies of Pankot struggle to preserve the genteel façade of British society amid the debris of a vanishing empire and World War II. A retired missionary, Barbara Batchelor, bears witness to the connections between many human dramas; the love between Daphne Manner and Hari Kumar; the desperate grief an old teacher feels for an India she cannot rescue; and the cruelty of Captain Ronald Merrick, Susan Layton's future husband.
- Sales Rank: #613654 in Books
- Published on: 1998-05-22
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x 1.10" w x 5.50" l, 1.06 pounds
- Binding: Paperback
- 399 pages
Review
“Paul Scott’s vision is both precise and painterly. Like an engraver crosshatching I the illusion of fullness, he selects nuances that will make his characters take on depth and poignancy.” (Jean G. Zorn New York Times Book Review)
“One has to admire Mr. Scott’s gifts as a buttonholing storyteller, and his rich, close-textured prose; his descriptions of action and of certain kinds of relationships are superb.” (Guardian)
“What has always astonished me about The Raj Quartet is its sense of sophisticated and total control of its gigantic scenario and highly varied characters. The four volumes constitute perfectly interlocking movement of a grand overall design. The politics are handled with an expertise that intrigues and never bores, and are always seen in terms of individuals.” (Peter Green New Republic)
From the Publisher
13 1.5-hour cassettes
About the Author
Paul Scott (1920-78), born in London, held a commission in the Indian army during World War II. His many novels include Johnnie Sabib, The Chinese Love Pavilion, and Staying On.
Most helpful customer reviews
0 of 0 people found the following review helpful.
A MUST read for all readers who love meeting their characters and become entirely captivated by their ...
By Amazon Customer
A MUST read for all readers who love meeting their characters and become entirely captivated by their stories. The mental pictures the author paints are beautiful and the love story is heart breaking. I will read these again in the future.
9 of 10 people found the following review helpful.
The Chamber Novel
By Penner
The four volumes of the Raj Quartet overlap and complement one another, while at the same time forwarding the main storyline of the slow twilight of the British ascendancy in India, always with the rape of a white girl by Indian men as the central lodestone everpresent in the background, the nightmare which is seldom mentioned but which none can drive from their minds. Events occur, are discussed, witnessed as newspaper reports, court documents, interviews, vague recollections from years later, or perceived directly by the main characters. Then the next volume will take two or three steps back into previous events, and these same events will be perceived from another angle, perhaps only as a vague report heard far away across the Indian plain, or witnessed directly by another character, or discussed in detail long after their occurrence over drinks on a verandah. This may at times seem like rehashing, indeed as one reads the four volumes one will be subjected to the account of the rape in the Bibighar Gardens many times over; but what will also become apparent is that additional details, sometimes minor variations in interpretation and sometimes crucial facts, are being added slowly to the events discussed, as though the window to the past were being progressively wiped cleaner and cleaner with successive strokes of Scott's pen. In this way he draws the picture of the last days of the Raj not in a conventional linear fashion, but recursively, and from multiple angles. One gets the clear impression of life in India during the first half of the 20th century as similar in nature: Fragmented, multifaceted, largely dependent upon perspective and experience and never perceived whole or all at once.
Book 3 is the shortest of the four volumes, and may almost be termed a "chamber novel," focusing as it does on the peripheral character of Barbie Batchelor, a retired missionary and lodger at the Laytons' ancestral home. Barbie is an instantly recognizable character: The kind of person who always lurks about the edges of society, awkward, embarrassing, barely tolerated by her peers. Book 3 covers much of the same time period as Book 2, this time from Barbie's point of view and also from that of Teddie Bingham, Susan Layton's husband. Teddie meets Ronald Merrick while on duty and more of Merrick's character and history is filled in. Book 3 then moves beyond the point at which Book 2 ended and continues Barbie's story, her eventual ouster from the Layton's home and slow descent into illness and madness.
4 of 4 people found the following review helpful.
The individual as the entry point into history
By Martin Zook
A key to unlocking The Towers of Silence, Paul Scott's third installment of the Raj Quartet, is none other than the American philosopher Ralph Waldo Emerson, who assayed that the individual is the portal to history.
That is unless the reader would rather choose entry through the towers of silence used by the Parsees (a Zoroastrian community that fled Muslim conquering of Persia) during their funeral rights to lay their deceased out for the vultures to feast on.
Either way, the infinite land of Scott's work serves as the silent backdrop from which violent events arise.
So, for the sake of our sanity, let's not enter through the towers of silence. Gruesomeness aside, the individual offers a more accessible portal. But all ends up receding into the same silence from whence it came anyway in the world Scott paints.
As was the case in the second volume Day of the Scorpion, the women continue to dominate center stage, especially the visionary Barbara Batchelor, Barbie to her friends, and to Scott. Barbie is a missionary on the periphery of Raj society. She is taken in by Mabel Muir, herself an outsider who senses well ahead of her fellow Brits the ebb of the Raj's tide.
And, Mabel runs counter to the herd. When unarmed civilians are slaughtered at Amristar by troops led by Brigadier Reginald Dyer, the Raj community rallies around their general and sets up a defense fund. But Mabel makes a sizable contribution to the fund the Indians set up for families of the victims.
It is largely through the individual characters of Barbie and Mabel - both alluded to as towers of silence, by the bye - that Scott examines the Raj during the end of World War II as fundamental shifts shake things up in the emerging Indian nation. But other characters also serve as portals into history.
Barbie and her visions are shaped by Emerson's essays, including: "'There is a relation between the hours of our life and the centuries of time.'" Her dreams - some of which accurately anticipate events and understand unexplained occurrences - conjure "the figure of an unknown Indian: dead in one aspect, alive in another. And after a while it occurred to her that the unknown Indian was what her life in India had been about."
The fact is that much of her life has been frittered away on failed attempts to teach children in a missionary school that is adrift in India, neither sanctioned by the Raj, nor embraced by Indians. And this failure runs parallel to much of the Raj's tenure in the subcontinent.
The difference is that Barbie has the courage to explore the failings of the Raj, something that never occurs to mainstream Raj society whose energies are devoted to maintaining the myth of the Raj. In the words of one of the military matrons, "There would be no chain of trust if there were no chain of command." Mabel, on the other hand, already knows.
This review, as any review of the Raj quartet is bound to be, is just a sliver of the pie. The characters are the action as they evolve and mutate, pinging off one another and reacting.
Mildred, Mabel's daughter in law, deserves a brief mention. She is the third of the many triangles signaling a "danger zone" among shifting characters. She herself, like all the characters, has a quality that alienates her from others, yet she is very much a player in the Raj's Pankot society.
The characters also are bestowed a mix of qualities that not only make them difficult to pin down for those who inclined to pass judgment, but also make for interesting exchanges with others. This is especially true for the villain/hero Reginald Merrick, a police official whose qualities simultaneously border on the psychopathic and all that is virtuous about the Raj.
On the one hand, he is accused of torturing Indian suspects brought in for questioning, or suspected of wrongdoing, in his eyes. At the same time, he is lauded for keeping a lid on things in a way that is judged fair, even by those who are in a position to criticize him.
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