In the heartbreakingly funny follow-up to the Booker Prize shortlisted I’ll Go to Bed at Noon, Aldous Jones is an old man whose wife has died, his children have left home, but he still wants to live life to the full.
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Gerard Woodward was born in London in 1961. After studying painting and anthropology, he published three prize-winning collections of poetry and then turned to novel writing with an ambitious trilogy of novels based on the lives of his parents. The first, August, was shortlisted for the Whitbread First Novel Award, the second, I'll Go To Bed At Noon was on the shortlist of the 2004 Man Booker Prize. Since then he has published another collection of poetry, We Were Pedestrians (shortlisted for the 2005 T.S. Eliot Prize) and begun teaching Creative Writing at Bath Spa University in Bath, where he now lives.
Woodward's I'll Go to Bed at Noon and August were Man Booker and Whitbread finalists, respectively. In his warmly comedic latest, Aldous Jones, following the death of his wife, has retired as an art teacher and begun declining into a fetid self-imposed exile on London's Fernlight Avenue. Daughter Juliette's exasperated comment on Aldous's having failed when he gave up painting long ago rouses him to visit the National Gallery, where he makes a life-changing reacquaintance with a lusty Rembrandt portrait. Son Julian's seeming unraveling and Aldous's short hospital stay following a fall prompt Aldous to visit Julian in Ostend, Belgium; there, a madcap series of encounters ensue with much younger women, one of whom inspires him as the Rembrandt portrait does. Upon returning to London, an inspired Aldous enrolls in a language class, paints madly, travels the city with various odd companions and houses his son James and James's family, leading to further adventures. Persistent themes of aging, illness and art are seamlessly woven in via Woodward's slowly paced and beautifully written prose. Aldous is at once endearing, sad and inspiring, and he's given a vibrant set of foils in the flamboyant supporting cast. His subtle and understated deterioration is funny, haunting and human. (Mar.)
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