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As Patrick confides in Johnny and comes to a theoretical understanding of forgiveness—if only arising from a need to free himself from the prison that his life has been so far—something more than forgiveness, more than even redemption arrives in the figure of Bunny Warren. It is the herald of grace. Bunny explains that David saved his life by taking care of him after his wife died. To Patrick, the account is so out-of-character, so unlike the father who ruined his life, that he first responds with a caustic rejoinder.
Later, Patrick meditates on this thread of salvation in his father and, in some of the most soul-searching pages of the quartet, comes to the realization that the restoration of his self must center not on forgiveness or even understanding, nor on whatever residue of affection and admiration for his father he can excavate from his past.
Only by embracing the rivenness in his life—by keeping the dualisms in his head in a precarious balance—can he achieve redemption:.
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In a measure of how much redemption has been achieved, there is an astonishing, hopeful ending to the novel by the side of a frozen lake where swans take wing, and the dazzling metaphorical reaches of the prose come to rest on the last word, and the last feeling, of the book: Aubyn follows an elegant and stylized time arc: The first three are at the property in Provence where Patrick spent his childhood summers and which was the setting of the first novel; the final one in the United States and London.
Patrick, forty-two when the book opens, is married to Mary and is father to two children, Robert and baby Thomas. What money and property Eleanor had to her name, she has given away to various charities. The same is true of her last remaining possession, this house and surrounding land in Southern France, which has been given away in a typically misguided philanthropic move. The intergenerational and familial destructiveness is now transposed into different keys, but the emotional calculus between parents and children works out with all the variables in their right if that word can be allowed in this situation , predictable places.
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If the first three novels were about a father and son, then this final volume is about mothers and sons, seen mostly through the point of view of a son and father. Mary is a moving example of how one can become a loving and kind person by cleaving rigorously to one principle: Most importantly, there is the relationship between Eleanor and Patrick.
Aubyn always implied, was a deeply unsuitable role foisted on Eleanor and one she played badly. Think of the savage irony in Never Mind when little Patrick stands outside her bedroom door, hours after being raped, waiting for her to call him in while she sits at her desk writing a large check to the Save the Children Fund.
Jellyby of Bleak House. Now in her dotage, Eleanor is so dependent on Patrick that even his formidable reserves of scathing irony tumble to rage. Eleanor wants him to help her with assisted suicide. That seems an apt description of the Patrick Melrose quartet. The drama of personal redemption runs in tandem with the forward movement of satire.
Their concurrence leads to the intimate flow of the meanings and effects of each into the other: Quite apart from the brilliance of its prose style, the quartet will come to be seen as a seminal work in English fiction for having fashioned an ethical style, pressed into the service of an emotional and moral truthfulness, using yet transcending its vertiginous displays of mere cleverness or self-regarding irony. You might have noticed the absence of paywalls at Boston Review. We are committed to staying free for all our readers. Now we are going one step further to become completely ad-free.
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