Introduction
When A.S. Byatt penned the final words of Possession one wonders whether she, like her characters, knew what an impact her writing would make on those that came after. Evidently there is little debate surrounding whether this text (or rather collection of texts) is worthy of praise. The question is rather why? A loaded question to say the least and one that requires careful navigation between the complexities of both theme and form. Byatt’s central preoccupation hides in plain sight: Possession, the title itself carries what is central to any understanding of the text. It is the fulcrum that is not only responsible for the start of the narrative but also what underpins almost every action of every character. A novel, simply put, of two parts. A contemporary half that focuses on the lives of two academics who wrestle with the work of Victorian writers: Roland and Maud. The other half is the subject of their respective studies. The characters of R.H. Ash and Christabel Le Motte. These four are central to the narrative and all of them are intertwined in some way or another. Byatt uses the fulcrum of poetry to balance her ultimate narrative which sits cozily in the arms of romance with her more hard hitting criticism of the academic (as well as British) landscape. The most apt way to describe Possession is through the use of Christabel’s Melusina, The fairy queen that has found her new home as the face of coffee in the 21st century. Much like Melusina this novel is rife with dichotomy of both beauty and repulsion- light and darkness.
The review
The academics of the modern day which Byatt depicts are obsessed with the possession of understanding and in that corruption of Byatt’s “possession” she very clearly implies how we fall victim to the pursuit of knowledge. To some degree The characters of Roland and Maud remind me of Adam and Eve committing the original sin. However, this microcosm of allusion pales in comparison to what is perhaps the novels most striking quality (and why I would so daringly called it a collection of texts) is its use of multiple forms of writing. Byatt punctuates the narrative with verse. This element of her writing is not only what makes it stand out from the conventional novel but it is also central in any attempt to understanding the characters. Whether it be the rendition of Melusina by Christabel, which is used as both a tool to highlight what is known as feminine writing but also a tool which exposes the inner workings of the poets deepest feelings of self and how she, to some degree, feels like the fairy queen - doomed to a metamorphosis. However, Byatt seems uses what is perhaps best described as a ritualistic chanting in her representation of character as there seems to be a consistent quality about them. It would seem almost like the qualities of one infects another (much like the writing of Ash and Christabel become influenced by one another and how at some point they mirror a phrase. This single moment along with the understanding of poetry’s function in this novel one quickly begins to see the commentary Byatt delivers on the human experience. If poetry is the mirror which reflects our deepest self then the shared verse would imply that we are the sum of our experiences and while some aspects of our person might be crafted others are a shared experience. Furthermore, the complexity of her preoccupations continue to share a bed as we once more see the titular theme re-appearing as the idea of possession intersects with this dissection. However, the true strength in Byatt’s inclusion of this development is only truly appreciated when it misapplied to the modern aspect of this story. Byatt depicted our academic Adam and Eve as possessive over the knowledge that was found (in fact all the academics contained herein adopt a possessive quality over knowledge and one could go as far as to say that some of them even believe that they alone are entitled to these boons) however as the story progresses so does our pair in their understanding of possession. There is a constant question lingering in the air of Byatt’s tale and that is: who does the work belong to? Ultimately the question is resolved by a conclusion that seemingly bridges the timelines. Maud fulfils the role of a cornerstone in the overall narrative.
Evidently, Byatt has crafted a narrative that manages to fill every page with its own unique experience and a reader may not be able to consume every aspect of this novel with a singular read but what is bound to happen is that something is guaranteed to grab onto the thoughts and whether one likes it or not, it will worm its way into your daily life. Further more, it becomes evident that from the endearing romance to the expertly crafted Victorian poetry one thing is for sure: whatever you stumble across you’ll want to possess. You’ll become so intimately entangled with an aspect of this novel that you’ll understand some aspect of Roland’s initial actions that drive the whole narrative forward. Byatt is a master of the post-modern novel and her masterful pastiche stands as a monument to what the modern era brings to the literary canon.
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