Manual Heart of the Hill (The Summer of Magic Quartet)

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The many mirror-images could perhaps be seen as a reminder of the book's epigraph from Freud "the idea of regarding the sexual act as a process in which four persons are involved. When lovers speak in front of a mirror, we can see four faces two corporeal, two reflections , four lips moving. Or at least and here I have the benefit of knowledge gained from reading Balthazar there are more than two people.

Mirrors also tell us how to see and how to read. Early on, we get the following: "I remember her sitting before the multiple mirrors at the dressmaker's, being fitted for a shark-skin costume, and saying: "Look! Now if I wrote I would try for a multi-dimensional effect in character, a sort of prism-sightedness. Why should not people show one profile at a time? Mirrors distort.

The narrator isn't seeing the real person. Might it be true, as jamesgifford said , that "Justine never really was the woman [the narrator] was seeing" He sees only a cracked image and projection. Certainly, the narrator concedes that this is true of Pursewarden: "He was only to be seen now through the distorting mirror of anecdote or the dusty spectrum of memory.

So, mirrors tell us about memory too - and about its unreliability. Take this wonderful description:.

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The fact that this was our last meeting has invested it, in retrospect, with a significance which surely it cannot have possessed. Nor, for the purposes of this writing, has he ceased to exist; he has simply stepped into the quicksilver of a mirror as we all must — to leave our illnesses, or evil acts, the hornets' nest of our desires, still operative for good or evil in the real world — which is the memory of our friends.

The narrator may talk early on about "the iron chains of memory", but his links with the past are often loose at best. On this subject as is so often the case the ultimate clue isn't revealed to us in Justine at all. We have to wait until we reach the second book, Balthazar, where the narrator concedes: "I must, it seems, try to see a new Justine, a new Pursewarden, a new Clea … I mean that I must try and strip the opaque membrane which stands between me and the reality of their actions — and which I suppose is composed of my own limitations of vision and temperament.

My envy of Pursewarden, my passion for Justine, my pity for Melissa.

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Distorting mirrors, all of them…". So there you have it. When the narrator so vividly describes all those meetings and conversations held in mirrors, it's also worth remembering that he is not omnipotent, nor omnipresent. He is not there in those rooms. He is miles away and years ahead, remembering or at least, imagining that he is remembering these images from the isolation of his Mediterranean island.

He is not even looking at distorted reflections. He is conjuring them from his mind and his overactive imagination.

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A fact that will take on great significance as the books progress - and which will involve us in yet more mystery and confusion And all of which is a great deal of fun. On the subject of fun, I have another quick thing to say about how to read The Alexandria Quartet. Don't be fooled by the richness of the prose, the depth of the passions and the narrator's portentous voice. These books are also often wicked and funny. Always be on the alert for the sly joke, the one-liner and outright slapstick.

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