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A Seattle Times Best Book of 2012
When Catherine Gehrig, a museum conservator in London, falls into grief after her lover’s sudden death, her boss gives her a special project. She will bring back to “life” a nineteenth-century mechanical bird. As she begins to piece the automaton together, Catherine also uncovers the diaries of Henry Brandling, who, more than a hundred years prior, had commissioned the bird for his very ill son. Catherine finds resonance and comfort in Henry’s story. But it is the mechanical creature itself, in its uncanny imitation of life, that will link these two people across a century. Through the clockwork bird, Henry and Catherine will confront the mysteries of creation, the power of human invention, and the body’s astonishing chemistry of love and feeling.
- Sales Rank: #1095389 in Books
- Published on: 2013-02-12
- Released on: 2013-02-12
- Original language: English
- Number of items: 1
- Dimensions: 7.98" h x .72" w x 5.15" l, .53 pounds
- Binding: Paperback
- 240 pages
From Booklist
Carey (Parrot & Olivier in America, 2010) is a bewitching storyteller preternaturally attuned to our endless struggles over love and eccentric obsessions. In this fairy tale within a fairy tale rife with historical and literary allusions, Catherine, a horologist (an expert in the science and instruments of measuring time) on the staff of a London museum, is mad with grief after the sudden death of her married lover and struggles to focus on the new restoration project her sympathetic boss hopes will comfort her. She does become enthralled by the notebooks of Henry Brandling, a wealthy nineteenth-century Englishman who went to Germany to commission an automaton for his ailing son, only to come under the spell of Sumper, a hulking, vehement inventor who may be a thief, brute, genius, or all three. As she unfolds Henry’s mysterious ordeal, Catherine meticulously reconstructs Sumper’s elaborate, mechanized wonder, work complicated by her increasing fears about her possibly deranged assistant. Set during the Gulf oil crisis and reminiscent of The Invention of Hugo Cabret (2007) in its linkage of a rescued automaton and loneliness, Carey’s gripping, if at times overwrought, fable raises provocative questions about life, death, and memory and our power to create and destroy. HIGH-DEMAND BACKSTORY: Two-time Booker Prize winner Carey’s sterling reputation, a hefty first printing, and the novel’s echo of the book behind the Oscar-winning film Hugo make this a hot title. --Donna Seaman
Review
“Dazzling . . . encompasses heartbreak, the comfort of absorbing work, the transformative power of beauty and the soul of an old machine. . . . part historical, part fanciful, and completely wonderful.” —Heller McAlpin, NPR
“Ambitious, playful and engagingly strange.” —San Francisco Chronicle
“Touching and thought-provoking.” —The New York Times Book Review
“Deeply moving. . . tells the story of the essential human desire to return to the individual Edens that we inhabited. . . . Beautifully told.” —Nature
“Characters that beguile and convince, prose that dances or is as careful as poetry, an inventive plot that teases and makes the heart quicken or hurt, paced with masterly precision, yet with a space for the ideas to breathe and expand in dialogue with the reader, unusual settings of place and time: this tender tour de force of the imagination succeeds on all fronts.” —The Independent (London)
“Carey is one of the finest living writers in English. His best books satisfy both intellectually and emotionally; he is lyrical yet never forgets the imperative to entertain. . . . A wholly enjoyable journey.” —The Economist
“Carey is one of the most original novelists writing today.” —The New Republic
“Vividly rendered. . . . Carey has given each story the chaotic quality of hallucination. . . . He shapes the two madnesses with imaginative intensity.” —The Boston Globe
“A beautifully written, richly layered novel that includes treats like a meaningful, hidden message in Latin and a mysterious blue wooden block hidden inside the automaton. . . . Its graceful subtlety will keep you thinking long after you've closed the book.” —Vancouver Sun
“A short novel that bristles with ideas. . . . Carey is a master novelist.” —The Oregonian
“Heartbreaking. . . . [A] profoundly detailed study of love and grief. . . . Carey has built us a captivating replica of the most timeless piece of machinery of all—a broken heart.” —The Seattle Times
“Leave it to a protean virtuoso like Peter Carey to write a novel, The Chemistry of Tears, that draws compelling parallels between a Victorian-era automaton of a defecating duck and the 2010 BP oil spill in the Gulf of Mexico. And, what’s more, to make of it another delightfully recondite tour-de-force performance.” —The Toronto Star
“For his new, briskly paced novel, The Chemistry of Tears, he has pulled off a nifty trick, offering interconnected plots set in two distinct eras. . . . Carey’s deft, spare prose is full of striking images. . . . Carey explores a series of interconnected themes that are admirably complex for such a short book.” —Richmond Times-Dispatch
“A writer of such sustained flair that he has, only two years after his Man Booker–shortlisted Parrot and Olivier in America, delivered another stylish tour de force. . . . With typical dogged panache, Carey’s exploration of technology and tears indicates that emotion defies rationalism’s impositions.” —The Daily Telegraph (London)
About the Author
PETER CAREY is the author of eleven previous novels and has twice received the Booker Prize. His other honors include the Commonwealth Writers' Prize and the Miles Franklin Literary Award. Born in Australia, he has lived in New York City for twenty years.
Most helpful customer reviews
23 of 26 people found the following review helpful.
Making the pieces fit together
By Susan Tunis
Upon reading the description of Peter Carey's The Chemistry of Tears, I couldn't help but think of Brian Selznick's The Invention of Hugo Cabret, and I know I'm not the only reader to make this connection. So much was that children's novel in my mind, that I just assumed the automaton in this novel was also a mechanical man. It is not. It is a duck (Or is it?) being manufactured at great expense to cheer (Cure?) an ailing child. (An ailing marriage?) We learn of these goings-on in 1854 from the extensive notebooks of Henry Brandling, the Englishman who commissioned the device from a dubious craftsman in rural Germany. And we explore those notebooks via Catherine...
Catherine Gehrig is a horologist at London's Swinburne Museum. She's a conservator who specializes in timepieces and clockwork mechanisms. As the novel opens, she has just learned that her colleague and married lover of the past 13 years has died suddenly. She is completely overcome with grief, but she's unable to show it due to the secret nature of their relationship. However, she's equally unable to hold it in. She breaks down in front of "the worst possible witness in the world." It's her boss, Eric "Crafty Crofty" Croft, and it seems her secret wasn't as well kept as she had thought.
Croft shows her the best kindness he is able. As a start, he gets her relocated to the museum's annex where she can work away from prying eyes. And, he gives her a complex and important project with which to distract herself. It is, in fact, the restoration of Henry Brandling's duck. And as she and her new assistant, Amanda Snyde, take on this challenging assignment, Catherine becomes increasingly consumed by the journals Henry left behind. They are each, in their own way, dealing with crushing grief. Thinks Catherine:
"It had been tantalizing to stare through a glass darkly, to see or intuit what had taken place in Furtwangen and Low Hall so long ago. Reading in this way did not require you interrogate the unclear world. In fact you soon learned that what was initially confusing would never be clarified no matter how you stared and swore at it. One learned to live with fuzziness and ambiguity in a way one never would in life.
Yet I was a horologist. I had to know how things fitted together."
The happenings in both nineteenth century Germany and contemporary England become somewhat fraught. Characters in both timelines appear to be pursuing their own mysterious and possibly harmful agendas. For such a brief novel, there is so much going on, and so many layers to consider. For instance, in Catherine's contemporary story, we learn that her lover died the day after 2010's BD oil spill. In her distracted state, it is weeks before Catherine even learns of this disaster which is preoccupying her countrymen. But with images of gushing oil providing a backdrop to her tale, it's hard not to see it as a commentary on industrialization when juxtaposed with Henry's narrative at mechanization's infancy.
Readers meet Catherine in extremis. She is more or less falling apart throughout this novel. It's not pretty and she's not all that likeable, though I did find her rather sympathetic. I found myself wishing to meet this woman under different circumstances. And I think that impulse gives you an idea of the life that Carey brings to his thorny, flawed, and frequently unknowable characters. Any opacity is deliberate, as the novel's language is both precise and poetic. The Chemistry of Tears is as intricate a construction as Brandling's automaton, and ultimately just as beautiful. Master craftsman that he is, Carey makes all the pieces fit together.
12 of 14 people found the following review helpful.
Entertaining but Rather Mediocre
By Nicola Mansfield
Reason for Reading: Peter Carey's True History of the Kelley Gang is one of my all time favourite books and I've always meant to read another by the author. With this latest book coming out, the time period and the automata piqued my interest enough to decide to give him another go at this time.
I'm not even going to try and analyze just what the hidden, under the surface meanings are in this story, there are plenty but it gives me a headache looking at this book that way. I just want to read it and enjoy a good story. Read it I did but I only found a mediocre story. We start off on the first page meeting the main character, an adulteress, with no redeeming qualities. Her married lover has just died and she is totally wrapped up in herself. She has no cares for his children, whom he loved dearly and we learn that she often was jealous of them. She is quite younger than this man and her life seems to have existed for their relationship together, and her job as an horologist at a museum secondly. That's all, no friends, no family. Catherine, or Cat, as she is commonly called is given a project to restore to help her with her grief by the only person at the museum who knew about her affair.
The text alternates between Catherine in the present dealing with her grief, possessiveness and selfishness as she becomes somewhat obsessive over the automata that she and a young assistant, whom she dislikes and distrusts, are working on. Cat is also reading through the ledgers/journals that came packed with the assemblage which gives us the other view. Henry Blanding tells his story set in the 1850s of how he came to a strange little German town and had an even stranger man build his clockwork duck for him. His journal is written to his young son whom he promised this prized possession in hopes that it would make him well, as he is a sickly boy, most likely consumptive. Henry also is not a rather likable fellow. His wife has refused relations with him, denied to care for their son, since their first child, a daughter died the same way. She is loveless to them and Henry is pathetic in his attempts to be all and do all for this cold woman who brings in an artistic crowd to their house to have her portraits painted. Henry is eventually persuaded to leave the house, his search to make the automata his pretence for leaving. While unlike Catherine, Henry does slowly change throughout the book, for the most part he is a weak man, easily taken advantage of, of superior mind of course being an Englishman, and emotionally volatile.
There is more to say, but I shan't go on. The basic plot of the two stories was entertaining to read, the writing naturally superb, and I had no problem getting though the book quickly; I'm sure its short length helped matters though. But I had no connection to any of the characters, not liking them, nor caring what happened to them in the end. Not everyone is sane in this story and it's up to the reader to decide who is or isn't sane. Perhaps they are all off their rockers. The ending does little to satisfy this reader.
5 of 5 people found the following review helpful.
The Power of Grief
By Sam Sattler
Already twice a winner of the prestigious Booker Prize, Peter Carey now offers his readers The Chemistry of Tears, a complexly constructed study of grief and self-identity set in contemporary London. Despite its modern-day setting (2010), however, the novel can also legitimately be called historical fiction as much of its story is lifted directly from the pages of a nineteenth century Englishman's personal diary.
Catherine Gehrig is a conservator at the Swinburne Museum whose thirteen-year affair with a married colleague is still a mostly well-kept secret. As far as she knows, no one at the museum suspects that she and Matthew Tindall, one of the museum's head curators, have a relationship of that sort. Their secret is so successfully kept, in fact, that when Matthew dies suddenly, Catherine is among the last of the museum employees to get the news. Now, her whole world in turmoil, she must pretend that she has not been emotionally crippled by her devastating grief.
Fortunately for Catherine, her boss - the one man who now seems to have been aware of the affair - places her on immediate sick leave before transferring her to a more isolated museum annex to work on the unusual project he has chosen for her. There Catherine finds eight boxes filled with the diagrams and mechanical parts needed to restore and assemble what appears to be a160-year-old duck automation. It is when she discovers a series of notebooks relating to the origin of the automation that Catherine becomes obsessed with her new assignment.
Carey will, from this point, alternate accounts of Catherine's life with pages taken from the notebooks of Henry Brandling, the Englishman who originally commissioned the amazing automation she is working to reconstruct. Brandling, a man completely devoted to his sickly young son, hopes that the boy will be so taken with the mechanical duck that he will somehow find the will to conquer the disease that is slowly killing him. Brandling's willingness to do whatever it takes to keep his son alive brings him to a tiny German village where he falls into the hands of a strange clockmaker who will drive him closer and closer to despair.
The Chemistry of Tears tackles complex human emotions, emotions that probably have to be personally experienced for one to comprehend their full impact on the human psyche. Catherine's entire identity, the person she believed herself to be, was defined by her affair with Matthew Tindall. When Matthew died, the old Catherine Gehrig died with him, and now she is working just as hard to reconstruct a self-identity for herself as she is on rebuilding the antique mechanical duck. Whether or not she can succeed with either project is the question.
The Chemistry of Tears is a moving novel, one that will especially speak to those readers who have suffered a level of grief similar to Catherine's. While it is not a long novel, it does suffer a bit from an overabundance of mysterious side plots pertaining to the tribulations suffered by the automation's original owner. Readers, however, should not be overly discouraged by this because The Chemistry of Tears is well worth the effort required - and each of the side plots contributes to the book's atmosphere or depth of the Henry Brandling character.
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