‘Written with an imaginative intensity that takes it to the borders of hallucination. A man and a woman, both in thrall to their idea of themselves, play out their drama in a northern landscape like a bad dream. The nearest in our literature to The Parson is Rhys’s Wide Sargasso Sea, which has something of the myth or ur-tale. This is a fine example of that ancient tale, the predatory femme fatale and the puritan man.’ — Doris Lessing, Times Literary Supplement Books of the Year 2001
The Parson was not published in Anna Kavan’s lifetime, but found after her death in manuscript form. Thought to have been written between the mid 50s and early 60s, it presages, through its undertones and imagery, some of Kavan’s last and most enduring fiction (such as Ice).
The Parson of the title is not a cleric, but an upright young army officer so nicknamed for his apparent prudishness. On leave in his native homeland, he meets a rich and beguiling beauty, the woman of his dreams. The days that the Parson spends with Rejane, riding in and exploring the wild moorland have their own enchantment. But Rejane grows restless in this desolate land; doubtless in love with the Parson, she discourages any intimacy. Until that is, she persuades him to take her to a sinister castle situated on a treacherous headland . . .
The Parson is less a tale of unrequited love than exploration of divided selves, momentarily locked in an unequal embrace. Passion is revealed as a play of the senses as well as a destructive force. There have been valid comparisons to Poe, Kafka and Thomas Hardy, but the presence of her trademark themes, cleverly juxtaposed and set in her risk-taking prose, mark The Parson as uniquely Kavan.
‘A writer of such chillingly matter-of-fact, unself-pitying vigor that her vision transcends itself.’ — New Yorker ‘Few contemporary novelists could match the intensity of her vision.’ — J.G. Ballard
ANNA KAVAN (1901–1968) is one of the greatest unsung enigmas in twentieth-century British literature. Born Helen Ferguson, a fraught childhood and two failed marriages led her to change her name to that of one of her characters. Despite struggling with mental illness and heroin addiction for most of her life she was still able to write fiction that was as powerful and memorable as any English female writer of the last 150 years.
|Date Published||9th August 2001|