Nick Urfe – young, middle class, self-loathing, classically educated prig and womanising misogynist finds escape, and half hearted employment teaching on a remote Greek Island. Here, he meets the wealthy recluse and aesthete Maurice Conchis who befriends him. Also living under Conchis’ protection is the mysterious and ever so winsome Lilly, with whom Nick falls in love. So far, so predictable then. But that’s your first mistake, and there will be many more if you try to second guess this outrageous labyrinth of a novel.
In short, Nick finds himself way over his head at the centre of a dark psychodrama in which he seems to be acting a part among a cast of other baffling, shape-shifting characters, with Conchis as director, manipulating him at every turn. Meanwhile Lilly transforms from one role to the next, becomes Julie, or her twin sister June, all of them leading Nick on, drawing him into deeper intimacy, then pushing him away. Does she really have feelings for him, or is she always simply acting the part Conchis has written for her? Who is the real Lilly/Julie/June anyway? Who is Conchis? Just when Nick begins to think he’s worked things out, and us with him, Conchis changes the narrative again,… reveals all that went before was a lie.
To what end are we playing this game is, of course, the question. Perhaps there is no end in the normal sense, and if we cannot trust the narrative why should there be a reliable end anyway?
As we, the reader, like the hapless Nick, are drawn ever more deeply into Conchis’s web we begin to wonder if the story is actually a psychological metaphor of the state of our own selves. Although at times inscrutable, like Conchis himself, this makes for an unsettling, disorientating and at times disturbing read. Hailed as an example of post-modern literature, The Magus shatters the accepted norms of story-writing where a protagonist works towards some goal and, in voyeuristic fashion, the reader simply follows along in the background to be gratified by a conclusion, neat or otherwise. Reading the Magus, Fowles drags us in with him, cautions us at every turn against trusting the story. Indeed, its occasionally ad-hoc nature has us wondering if he’s not just making it up as he goes along, that, like the Magus, he’s bamboozling us, with smoke and mirrors and none of it means anything other than what we project into it ourselves.
Peppered with psychological and mythological references, the story shifts from present to historical flashback, at times dramatic, erotic, horrific, and all of it quite possibly absurd. There is always the feeling here that if only I was as intelligent as the writer, and the critics who have lauded the story, I would know the difference; I would know, like Nick wants to know, if I was merely being taken for a ride, or if there was some point to the experience, that Conchis is more than simply a fraud at best, and at worst a dangerous psychopath.
Nick returns to England, penniless, disturbed by his experience, but seemingly also deepened by it. He’s more self-reflective, kinder to others, but like him we’re left wondering, waiting for a conclusion that never really comes, which suggest that if the story is indeed some kind of psychological experiment and we’ve come some way along the road to recovering our potential as a decent, self-aware human being, the final step is up to us. Nick is not the first young man to experience The Magus, and he won’t be the last,.. but who truly benefits? The subject, or Conchis?
Read as a straight novel, the main problem with the plot as “psychological experiment” is that nobody warrants that much elaborate attention, and former victims (or subjects) having been so abused and humiliated by Conchis in the process would probably be inclined to return to his island with a machine gun. Except angry loathing and a desire for revenge appear not to be a side effect of Conchis’ methods, just as the reader is left feeling disorientated, breathless and none the wiser, but rather more thoughtful and certainly not resentful of the time spent on this compelling, but ultimately bewildering labyrinth of a novel.
Read Full Post »
The Rivendale Review 