The Man Who was Thursday - MP3

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9781596440845: The Man Who was Thursday - MP3
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All that G. K. Chesterton’s critics and comrades labeled him - devotional, impious, confounding, intelligent, humorous, bombastic - he wove into The Man Who Was Thursday. This page-turner sends characters bobbing around a delightfully confusing plot of mythic proportions. There are so many twists and turns that soon you’ll be tangled in a story that you cannot put down...even if you’re not entirely sure why! // The Man Who Was Thursday begins when two poets meet. Gabriel Syme is a poet of law. Lucian Gregory is a poetic anarchist. As the poets protest their respective philosophies, they strike a challenge. In the ruckus that ensues the Central European Council of Anarchists elects Syme to the post of Thursday, one of their seven chief council positions. Undercover. On the run. Syme meets Sunday, the head of the council, a man so outrageously mysterious that his antics confound both the law-abiding and the anarchist. Who is lawful? Who is immoral? Such questions are strangely unanswerable in the presence of Sunday. He is wholly other. He is above the timeless questions of humanity and also somehow behind them. // G. K. Chesterton (1874-1936) was born in London. He matured into one of the great journalists, philosophers, novelists, and personalities of the twentieth century. Chesterton offered inspiration to many others, including his fellow Brit C. S. Lewis. His much-loved works include The Everlasting Man, Saint Francis of Assisi, Orthodoxy, and the Father Brown series of mystery novels.

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Review:

In an article published the day before his death, G.K. Chesterton called The Man Who Was Thursday "a very melodramatic sort of moonshine." Set in a phantasmagoric London where policemen are poets and anarchists camouflage themselves as, well, anarchists, his 1907 novel offers up one highly colored enigma after another. If that weren't enough, the author also throws in an elephant chase and a hot-air-balloon pursuit in which the pursuers suffer from "the persistent refusal of the balloon to follow the roads, and the still more persistent refusal of the cabmen to follow the balloon."

But Chesterton is also concerned with more serious questions of honor and truth (and less serious ones, perhaps, of duels and dualism). Our hero is Gabriel Syme, a policeman who cannot reveal that his fellow poet Lucian Gregory is an anarchist. In Chesterton's agile, antic hands, Syme is the virtual embodiment of paradox:

He came of a family of cranks, in which all the oldest people had all the newest notions. One of his uncles always walked about without a hat, and another had made an unsuccessful attempt to walk about with a hat and nothing else. His father cultivated art and self-realization; his mother went in for simplicity and hygiene. Hence the child, during his tenderer years, was wholly unacquainted with any drink between the extremes of absinthe and cocoa, of both of which he had a healthy dislike.... Being surrounded with every conceivable kind of revolt from infancy, Gabriel had to revolt into something, so he revolted into the only thing left--sanity.
Elected undercover into the Central European Council of anarchists, Syme must avoid discovery and save the world from any bombings in the offing. As Thursday (each anarchist takes the name of a weekday--the only quotidian thing about this fantasia) does his best to undo his new colleagues, the masks multiply. The question then becomes: Do they reveal or conceal? And who, not to mention what, can be believed? As The Man Who Was Thursday proceeds, it becomes a hilarious numbers game with a more serious undertone--what happens if most members of the council actually turn out to be on the side of right? Chesterton's tour de force is a thriller that is best read slowly, so as to savor his highly anarchic take on anarchy. --Kerry Fried

From the Inside Flap:

G. K. Chesterton's surreal masterpiece is a psychological thriller that centers on seven anarchists in turn-of-the-century London who call themselves by the names of the days of the week. Chesterton explores the meanings of their disguised identities in what is a fascinating mystery and, ultimately, a spellbinding allegory. As Jonathan Lethem remarks in his Introduction, The real characters are the ideas. Chesterton's nutty agenda is really quite simple: to expose moral relativism and parlor nihilism for the devils he believes them to be. This wouldn't be interesting at all, though, if he didn't also show such passion for giving the devil his due. He animates the forces of chaos and anarchy with every ounce of imaginative verve and rhetorical force in his body.

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