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Few writers have walked the line between farce and tragedy as nimbly as Evelyn Waugh, who employed the conventions of the comic novel to chip away at the already crumbling English class system. His 1934 novel, A Handful of Dust, is a sublime example of his bleak satirical style: a mordantly funny exposé of aristocratic decadence and ennui in England between the wars.
Tony Last is an aristocrat whose attachment to an ideal feudal past is so profound that he is blind to his wife Brenda's boredom with the stately rhythms of country life. While he earnestly plays the lord of the manor in his ghastly Victorian Gothic pile, she sets herself up in a London flat and pursues an affair with the social-climbing idler John Beaver. In the first half of the novel Waugh fearlessly anatomizes the lifestyles of the rich and shameless. Everyone moves through an endless cycle of parties and country-house weekends, being scrupulously polite in public and utterly horrid in private. Sex is something one does to relieve the boredom, and Brenda's affair provides a welcome subject for conversation:
It had been an autumn of very sparse and meagre romance; only the most obvious people had parted or come together, and Brenda was filling a want long felt by those whose simple, vicarious pleasure it was to discuss the subject in bed over the telephone.Tony's indifference and Brenda's selfishness give their relationship a sort of equilibrium until tragedy forces them to face facts. The collapse of their relationship accelerates, and in the famous final section of the book Tony seeks solace in a foolhardy search for El Dorado, throwing himself on the mercy of a jungle only slightly more savage than the one he leaves behind in England. For all its biting wit, A Handful of Dust paints a bleak picture of the English upper classes, reaching beyond satire toward a very modern sense of despair. In Waugh's world, culture, breeding, and the trappings of civilization only provide more subtle means of destruction. --Simon Leake
| AUTHOR: | Evelyn Waugh |
| CATEGORY: | Book |
| MANUFACTURER: | Back Bay Books |
| ISBN: | 0316926051 |
| TYPE: | Aristocracy (Social class), Brazil, British, Country homes, Fiction, Literary, Literature - Classics / Criticism, Literature: Classics, Fiction / Literary |
| MEDIA: | Paperback |
| # OF MEDIA: | 1 |
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Customer Reviews of A Handful of Dust
Discomforting view of humanity, with no comic relief Written by Evelyn Waugh in 1934, this British novel is a biting satire of the silly lives of the upper class. The author is master of the nuanced barb and he uses them with seeming delight and controlled rage. It is an unpleasant book to read and I know I would hate the author if I met him in person, and yet I can appreciate his skill in creating the discomforting atmosphere, his fascination with things that go wrong, and the dark side of human nature.
Tony Last, an aristocrat who devotes himself to the upkeep of his expensive ancestral home is blind to the infidelities of his wife Brenda, who parties in London with her sycophantic lover. There's a whole cast of vapid characters, each exquisitely developed with revealing detail. When tragedy strikes it's like a piece of chalk scraped upon a blackboard, and as the story continues to unfold, and Tony travels to the jungles of Brazil, the plot swerves into a painful absurdity. It's all one big farce and yet there is no comic relief. And by the end of the book, only sadness prevails.
I must give this book a high ranking however because of Mr. Waugh's skill and his uncanny ability to uncover some painful human truths that I'd rather not see. I can therefore only recommend it to students of human nature who are willing to be tormented in the same way the author torments his characters. Just be forewarned.
Black comedy that hurts
This is the second of Waugh's books that I have read, but there will be more. This book was thouroughly enjoyable, to say the least. While the characters in this book weren't overly developed, they were just flat enough to be believable. The book is full of absurdity, satire, and irony, but at the same time put me through an emotional ringer. The book centers around the wealthy Last family, none of whom seemed worthy of my empathy, but all of whom ended up stealing my sympathy. Lord Tony Last is an emotionally disconected aristocrat whose wife has an affair with the most shallow mooch she could find, while leaving her husband at the family estate to deal with their ill-fated son. The absurd situations of the book, from a death in the family, to a bizarre divorce premise, to a twisted ending that is wholly unexpected, kept my attention, made me laugh out loud, and made me angry all at the same time. This is a satirical smack to the face of blue bloods everywhere. If you found other books by Waugh to be enjoyable, or if you are a fan of dark humor, you should like this one too.
A note about those two endings...
This odd, clever, scathingly bitter satire seems a patchwork of various pieces of fiction--and, as its history attests, it is. A little over halfway through the novel, "A Handful of Dust" veers, rather unexpectedly, from a bitter reflection on an unfaithful wife and her upper-crust coconspirators to a Conradian parody of explorers in the Brazilian wilderness.
To explain this incongruity, The Everyman's Library edition of this fascinating work features a must-read introduction by William Boyd, but (as such introductions often do), it contains so many "spoilers" that readers are warned to wait until afterwards to peruse it. Boyd's essay does, however, summarize two salient aspects of the novel that are prerequisite to understanding (and perhaps enjoying) it.
Waugh's first marriage to Evelyn Gardner ended acrimoniously in 1929; four years later (and the year before he wrote "A Handful of Dust") his heart was broken a second time when Teresa Jungman turned down his proposal of marriage. Knowing this, it's hard not to read the fictional account of Tony and Brenda's marriage, as Boyd does, as "Waugh's own exploration of betrayal and sexual humiliation and . . . a form of revenge against the damage inflicted on his psyche by Evelyn Gardner. . . . It is an unyieldingly cruel and vicious portrait of a worthless woman. . . . The novel is full of hate and scorn, not just for Brenda, but also for the society in which she moves." There is no denying that the novel reads like an act of vengeance, and this contempt takes many forms: Brenda, at first charming and innocent, quickly and inexplicably devolves into vapidity and selfishness; Tony's closest friends hide from him their knowledge that Brenda is having an affair; and--at the book's most memorable, pivotal, venomous moment--Brenda shows more concern for her lover than for her only son.
Waugh published two entirely different endings, both of which are included in many editions. (Make sure you get a copy that has both versions.) Boyd explains: after writing "the first two-thirds of this novel at great speed," Waugh was unsure how to end it, knowing only that he wanted "a sad end." For the British edition, he appended, with minor alterations, an earlier short story, "The Man Who Liked Dickens," about an aristocrat trapped by a madman in Brazil. Yet he had to write a second ending for the serial publication for Harper's Bazaar in the United States, because he had previously published the "Dickens" story in a competing magazine. While the British ending is satisfying (and devious) on its own, it nevertheless seems out of place; readers who feel that they have suddenly picked up another story about a different character in the opposite hemisphere will feel some vindication learning that, in a sense, they have done exactly that.
I agree with Boyd that the American version, while simpler, is "truer to the novel's potent undercurrents than the short story Waugh recycled to finish off his sombre, disturbing tale of adultery." Other readers, obviously, disagree, and find the alternate ending too pat, too cynical, top predictable. (I, personally, enjoyed both endings for different reasons, but found both a little unsatisfying, each belying the book's claim to cohesiveness.) Yet the fact that Waugh could write two endings over which future readers and critics would war only attests to his brilliance.