It?s quite frightening to hear that Peter Carey?s 2006 novel
Theft: A Love Story is not his best work. It is frightening because it is such an extraordinary success on almost every level.
Theft manages to do so much in so few pages and yet it succeeds in never sounding convoluted or dense. It?s is a funny, suspenseful read, a book sure to appeal to almost every reader. In it, Carey manages to craft a story steeped in Australian history and culture, in art and art history, a book that tells a fast,
noir-ish tale, and is linguistically sophisticated and inventive, reaching as far into theory as Deleuze. Sure, there are slow moments in the book now and then, but they are an exception. Sure, too, it lacks plausibility in many places, but despite the realistic varnish and the
noir genre borrowings,
Theft isn?t supposed to be plausible anyway. There are other minor flaws, but the good aspects dominate the reader?s impressions of
Theft.
Among these, two achievements in particular stand out. The first is Carey?s treatment of othered speech, by which I mean the speech of a character marked as ?slow?. The speech and the character attached to it are finely tailored to convey to the readers the complexities of having a mind that is regarded as deviant by your compatriots, without lapsing into exploitative and exotic exaggeration. The second success in
Theft is Carey?s thorough and inspired discussion of art, originality and forgery. One of his protagonists speaks of art at great length, delivering several long rants. Peter Carey is not afraid to be precise and explicit about the techniques of creating and selling art, yet we never feel lectured to.
Theft is evidence of impressive insights into art, artistic inspiration and the accompanying frustrations. The result of all this is a book that I?d easily recommend to anyone interested in the topic, or, well, anyone, really.
Theft: A Love Story is a very, very good novel.
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