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Ingenious Pain
Alternate cover edition of ISBN 9780340682081
Born in the mid 18th century, James Dyer is unable to feel pain and becomes, in adulthood, a brilliant but heartless surgeon. On the way to St Petersburg he meets a woman with magical powers who enables him to feel pain and his whole life is changed.
Born in the mid 18th century, James Dyer is unable to feel pain and becomes, in adulthood, a brilliant but heartless surgeon. On the way to St Petersburg he meets a woman with magical powers who enables him to feel pain and his whole life is changed.
337 pages, Paperback
First published January 1, 1997
About the author
Andrew Miller
15 books679 followersAndrew Miller was born in Bristol in 1960. He has lived in Spain, Japan, Ireland and France, and currently lives in Somerset. His first novel, INGENIOUS PAIN, was published by Sceptre in 1997 and won the James Tait Black Memorial Prize for Fiction, the International IMPAC Dublin Literary Award and the Grinzane Cavour prize in Italy. His second novel, CASANOVA, was published in 1998, followed by OXYGEN, which was shortlisted for the Whitbread Novel Award and the Booker Prize in 2001, and THE OPTIMISTS, published in 2005.
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April 22, 2021
This is Andrew Miller's debut novel. It tells the story of a man in the 1700s who doesn't feel pain, who doesn't possess sensibility. As a child he is exploited by a travelling charlatan who sticks pins into his hands in market places to sell a bogus potion. Then he is kidnapped by a well-meaning aristocrat who, in the name of science, collects a kind of menagerie of misfits. As a man James Dyer becomes a surgeon where his insensibility facilitates his expertise.
There's not much plot in this novel. Not much anticipation to be had about what is going to happen next. James Dyer is dead in the first chapter and his story is told retrospectively. And as someone who doesn't possess feelings, he is not a sympathetic character, nor entirely believable. I suppose Miller is trying through him to imagine what life would be like without pain. And the answer is, sterile. As is always the case with Miller's novels, the quality of the writing is what principally holds the attention. There's often the wish with him that he was able to create more compelling central characters who in turn might engender a higher level of dramatic tension. I think this is why he isn't very well known as an author. He can certainly write better than many writers who enjoy greater fame.
There's not much plot in this novel. Not much anticipation to be had about what is going to happen next. James Dyer is dead in the first chapter and his story is told retrospectively. And as someone who doesn't possess feelings, he is not a sympathetic character, nor entirely believable. I suppose Miller is trying through him to imagine what life would be like without pain. And the answer is, sterile. As is always the case with Miller's novels, the quality of the writing is what principally holds the attention. There's often the wish with him that he was able to create more compelling central characters who in turn might engender a higher level of dramatic tension. I think this is why he isn't very well known as an author. He can certainly write better than many writers who enjoy greater fame.
September 15, 2024
درد نهفته روایت کودکی تا مرگ پسری که با یک ویژگی خاص بدنیا میاد، اون هیچ حس و واکنشی در مقابل درد و آسیب دیدگی نداره و حتی سرعت بهبودی ش شگفت انگیزه، اما این بی حسی فقط به جسمش محدود نمیشه، بلکه عواطف و احساساتش رو هم در بر میگیره..
"جیمز دایر" زندگی سخت و دردناکی رو میگذرونه و همین حوادث مختلف باعث میشه که در پی اونها صدمات جسمی و روحی زیادی رو متحمل بشه، هرچند که تاثیر اونها به هیچ وجه قابل درک و تشخیص نیست، اما فقط تا زمانی که مسیرش به سنت پترزبورگ نیفتاده...
اندرو میلر با تقسیم کردن زندگی جیمز به دو بخش عدم درک درد و احساسات و روبرویی با مفهوم درد و آوار شدن گذشته و حال، تاثیر، جایگاه و ماهیت این حس و به دنبال اون حس همدلی و انسانیت رو نشون میده...
اگرچه با این وجود باورش سخته که بگیم موجوداتی انسان نما همیشه در طول تاریخ و همچنین این کتاب پیدا میشن که حس درد رو خیلی خوب میفهمم و از قضا طاقتشون برای تحمل درد و زور هم خیلی کمه، اما خودشون همه جوره عامل ایجاد و تحمیل درد و رنج جسمی و روحی بر دیگرانن، اون ها رو نمیدونم با چه توجیهی میشه در درد و دردهای نهفته و پیدا گنجوند🫠
داستان در قرن ۱۸ میگذره و حتی ترجمه و انتخاب کلمه ها هم با همون سنگینی و سختی انتخاب شدن که کمی از روون بودن کتاب کم کرده، و دو سه بخش هم حداقل برای من درک خط سیر داستان کمی گنگ و گیج کننده موند.
"جیمز دایر" زندگی سخت و دردناکی رو میگذرونه و همین حوادث مختلف باعث میشه که در پی اونها صدمات جسمی و روحی زیادی رو متحمل بشه، هرچند که تاثیر اونها به هیچ وجه قابل درک و تشخیص نیست، اما فقط تا زمانی که مسیرش به سنت پترزبورگ نیفتاده...
اندرو میلر با تقسیم کردن زندگی جیمز به دو بخش عدم درک درد و احساسات و روبرویی با مفهوم درد و آوار شدن گذشته و حال، تاثیر، جایگاه و ماهیت این حس و به دنبال اون حس همدلی و انسانیت رو نشون میده...
اگرچه با این وجود باورش سخته که بگیم موجوداتی انسان نما همیشه در طول تاریخ و همچنین این کتاب پیدا میشن که حس درد رو خیلی خوب میفهمم و از قضا طاقتشون برای تحمل درد و زور هم خیلی کمه، اما خودشون همه جوره عامل ایجاد و تحمیل درد و رنج جسمی و روحی بر دیگرانن، اون ها رو نمیدونم با چه توجیهی میشه در درد و دردهای نهفته و پیدا گنجوند🫠
داستان در قرن ۱۸ میگذره و حتی ترجمه و انتخاب کلمه ها هم با همون سنگینی و سختی انتخاب شدن که کمی از روون بودن کتاب کم کرده، و دو سه بخش هم حداقل برای من درک خط سیر داستان کمی گنگ و گیج کننده موند.
November 29, 2014
James Dyer is dangerous man. He’s dangerous because he does not care. And such people are always dangerous. Endowed with special gift or maybe a curse he’s imperious to pain, both physical and emotional. And hence his lack of empathy, ordinary human kinship, a bit of compassion and concern . That something what makes us humans.
He was born in a small English village, as the result of not really romantic adventure on the rink and until the tenth year of life had never ever cried not even uttered a single word. In silence, unable to feel anything, watched the world.
As a young boy becomes an attraction of fairground shows, a freak, shown by the fraudster who unscrupulously uses him to trade miracle specifics, later comes to hand of the seemingly enlightened member of a scientific society and becomes, alongside the Siamese twins, another showpiece in his cabinet of curiosities to finally become a genius surgeon.
The action of The ingenious pain takes place in late eighteen century mainly in England, but also on the sea, in Paris, Berlin and on the Russian court. We visit markets, live in magnate’s residence, participate in sea battle, trudge through snowstorm somewhere in Russia, descend to hell’s reality of Bedlam hospital to finally find harmony on quiet vicarage, admiring beauty of English countryside.
Novel abounds in truly realistic descriptions, let’s remember it is eighteen century, Age of Reason but also age of ignorance. It reads like mélange of adventure novel with naturalistic one, magical realism freely interlace with mundaneness and ugliness.
Dyer is an ambiguous character. Ambitious and ruthless. Different. Unique. We rather sympathize with him than admire him. Because of his terrifying gift, since he knew neither fear nor hesitation he could become a great surgeon. But as he states much later, after his revival, people didn’t seek consolation in him. He only, like a magician, repaired their crushed bodies, not giving a damn about their later fate, seeing in them only blend of damaged bones and infected flesh.
Initially his insensitivity and arrogance arouses in us pity and disgust. But when he loses former power, when his body finally recalls all the injuries and fractures, when he’s shaking from pain and cold, when he becomes like the rest of us, then, do not be afraid to say that, when he finally becomes the human, we look fondly on his fragile, broken physique. Tough in fact, to the very end he remains an enigma and we, the readers, have to answer the question:
What does the world need most - a good, ordinary man, or one who is outstanding, albeit with a heart of ice ?
He was born in a small English village, as the result of not really romantic adventure on the rink and until the tenth year of life had never ever cried not even uttered a single word. In silence, unable to feel anything, watched the world.
As a young boy becomes an attraction of fairground shows, a freak, shown by the fraudster who unscrupulously uses him to trade miracle specifics, later comes to hand of the seemingly enlightened member of a scientific society and becomes, alongside the Siamese twins, another showpiece in his cabinet of curiosities to finally become a genius surgeon.
The action of The ingenious pain takes place in late eighteen century mainly in England, but also on the sea, in Paris, Berlin and on the Russian court. We visit markets, live in magnate’s residence, participate in sea battle, trudge through snowstorm somewhere in Russia, descend to hell’s reality of Bedlam hospital to finally find harmony on quiet vicarage, admiring beauty of English countryside.
Novel abounds in truly realistic descriptions, let’s remember it is eighteen century, Age of Reason but also age of ignorance. It reads like mélange of adventure novel with naturalistic one, magical realism freely interlace with mundaneness and ugliness.
Dyer is an ambiguous character. Ambitious and ruthless. Different. Unique. We rather sympathize with him than admire him. Because of his terrifying gift, since he knew neither fear nor hesitation he could become a great surgeon. But as he states much later, after his revival, people didn’t seek consolation in him. He only, like a magician, repaired their crushed bodies, not giving a damn about their later fate, seeing in them only blend of damaged bones and infected flesh.
Initially his insensitivity and arrogance arouses in us pity and disgust. But when he loses former power, when his body finally recalls all the injuries and fractures, when he’s shaking from pain and cold, when he becomes like the rest of us, then, do not be afraid to say that, when he finally becomes the human, we look fondly on his fragile, broken physique. Tough in fact, to the very end he remains an enigma and we, the readers, have to answer the question:
What does the world need most - a good, ordinary man, or one who is outstanding, albeit with a heart of ice ?
May 30, 2010
I recently heard an interview with Andrew Miller on the radio - he was speaking about his last book, Pure, which was just published here in translation. He was an interesting and eloquent speaker and got me interested in reading his book, but then I remembered about Ingenious Pain - and that I've had this book on my shelf for over four years.
I'm glad that I heard this interview, as it reminded me of why I became interested in this author and why I bought this book in the first place. Ingenious Pain is Andrew Miller's debut, but you wouldn't guess it from reading it. This is a very well written novel, even lyrical at moments, and does a great job at conveying the atmosphere and language of the eighteenth century in which it is set, and the mood of its various locales - with the developing ideas of science and the quietly present belief in magic.
Ingenious Pain begins at the end - with an autopsy of its main character, James Dyer. Through a post-mortem dissection of his body, his former friends want to understand his curious and incredible condition - the total inability to feel physical pain. The novel then backtracks in time, non-linearly, through Dyer's life - from his strange and disturbing conception, his beginnings as a freak who is immune to pain - his own and that of others, and his rise as a surgeon. Dyer is cold and indifferent towards and uncaring for his patients, but talented and and effective in his work, which gains him an international renown and will lead him through the murky and cold lands of central and eastern Europe to the depths of Russia - where he will serve the Empress herself, and will meet a woman who will prove to be his ultimate curse - and salvation.
What does the world need most - a good, ordinary man, or one who is outstanding, albeit with a heart of ice? is asked by one of Dyer's friends late in the book and stands at its center - what makes a man? How can a person be more than a total sum of their organs? Ingenious Pain is a lingering, evocative book, and one I'm glad to have finally read, and now I look forward to reading more of Andrew Miller's work.
I'm glad that I heard this interview, as it reminded me of why I became interested in this author and why I bought this book in the first place. Ingenious Pain is Andrew Miller's debut, but you wouldn't guess it from reading it. This is a very well written novel, even lyrical at moments, and does a great job at conveying the atmosphere and language of the eighteenth century in which it is set, and the mood of its various locales - with the developing ideas of science and the quietly present belief in magic.
Ingenious Pain begins at the end - with an autopsy of its main character, James Dyer. Through a post-mortem dissection of his body, his former friends want to understand his curious and incredible condition - the total inability to feel physical pain. The novel then backtracks in time, non-linearly, through Dyer's life - from his strange and disturbing conception, his beginnings as a freak who is immune to pain - his own and that of others, and his rise as a surgeon. Dyer is cold and indifferent towards and uncaring for his patients, but talented and and effective in his work, which gains him an international renown and will lead him through the murky and cold lands of central and eastern Europe to the depths of Russia - where he will serve the Empress herself, and will meet a woman who will prove to be his ultimate curse - and salvation.
What does the world need most - a good, ordinary man, or one who is outstanding, albeit with a heart of ice? is asked by one of Dyer's friends late in the book and stands at its center - what makes a man? How can a person be more than a total sum of their organs? Ingenious Pain is a lingering, evocative book, and one I'm glad to have finally read, and now I look forward to reading more of Andrew Miller's work.
September 18, 2026
Very, very clever. Very, very good.
January 13, 2020
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درد از شیطان است. درد، لمس و نوازش اوست. آغوشِ مسموم اوست. چه کسی فریاد آدمی را نشنیده که از فرط درد به زمین و زمان فحش می دهد؟ یا زنی را که موقع زایمان گوش بچه متولد نشده اش را با جیغ و هوار پاره نکند؟ مادر دلسوز، تبدیل به عفریته می شود. درد، آدم خوب را از خوبی بیزار می کند. درد یعنی عذاب جهنم بر روی زمین! ما را زنده زنده کباب می کند و دکترها، خود می دانیم که معالجه آنها چگونه دردمان را دوبرابر می کند و موقعی که مریض و علیل هستیم متوجه نیستیم که آنها چگونه جیب ما را خالی می کنند. مرگ یعنی رهایی از درد. کمی به سخت ترین دردها فکر کنید، به یک روز یا شبی که درد دندان یا یک دل درد امانتان را می برد، یا سوختن جایی از بدن یا شکستن یک استخوان یا یکی از بسیار درد و مرض های موجود، به یاد بیاورید که وقتی دچار این دردها می شوید حاضرید هرکاری بکنید، حتی به پست ترین فرد مبدل شوید ولی اندکی یا لحظه ای دردتان ساکت شود.
درد دستمایه بسیاری است برای رسیدن به هدفشان، چه جنگ هایی که با وارد کردن درد و زخم و جراحت سر نگرفت، چه جیب هایی که برای مداوای این دردها پرپول نشد، چه فرصت طلبانی که درد را بهانه ای کردند برای سوء استفاده از فرصت ها.
در اینجا منظور از درد، همان درد جسمانی است. وقتی خود درد نکشیده باشی، رنج ندیده باشی، چگونه میتوانی درک و فهم درستی از واژه "درد" داشته باشی؟ همین باعث عدم وجود حس همدردی و عاطفه می شود. وقتی ندانی درد چیست چگونه برای یک دردمند دل می سوزانی؟ حال تصور کنید پزشک باشید و هدف و وظیفه تان التیام بخشیدن به درد و آلام مریضان تان باشد، چگونه می توان به فهم و درک درست و مناسبی از بیمار رسید؟ انسانی که درد نکشد می شود یک ماشین، یک ربات، یک وسیله که هدفی مشخص دارد و هیچ چیز دیگری برایش مهم نیست.
نه عشق را می فهمد و نه عاشقی می داند چیست. نه عذاب وجدان را می فهمد و نه درکی از انسانیت دارد. البته این مسئله راه حلی دارد. آن هم روح آدمی است. تا زمانی که روح و روان و احساسات درونی وسوسه نشود و تکانی نخورد تغییری حاصل نخواهد شد. به یکباره و ناخواسته زنی می آید و روح را به تسخیر در می آورد و همین عامل باعث تغییر در فرد می شود. حال درد را حس می کند، با آن کلنجار می رود و زندگی اش را تحت تاثیر قرار می دهد. بعد از این اتفاقات است که محبت را در فرد می بینیم. مهربانی و همدلی و عشق هم کم کم خود را نشان می دهند. گذشته از روایت پر فراز و نشیبِ شخصیت اصلی، بُعد و دیدگاه روانشناسانه نویسنده در فصول کتاب روشن و مبرهن است.
کتاب روایتگر قرن هجدهم است، کشورها و فرهنگ های متفاوت را درگیر م ی کند، از انگلستان تا گرجستان، از فرانسه تا روسیه و سن پطرزبورگ، دوره و زمان کشفیات مهم علمی و وجود دانشمندانی بزرگ. دورانی که ساده ترین بیماریها خاندانی را نابود می کرد.
نثر و لحن کتاب هم متاثر از همان دوران است، کمی کلاسیک و سخت که مترجم تمام تلاش خود را برای بهتر برگرداندن آن به فارسی قدیم کرده است. ولی ایرادی که به ترجمه می شود گرفت نبود پانوشت برای اسامی خاص موجود در کتاب است که به کرّات اسامی خاص و متفاوتی در کتاب نامبرده می شود ولی ناشر و مترجم صرفا با ایتالیک(مورب) کردن آن اسامی سعی در نشان دادن تفاوت آنها با متن اصلی کرده.
خود را متصور شوید که هیچ گونه درد جسمانی و روحی را حس نمی کنید. زندگیتان چگونه خواهد شد؟؟؟
درد از شیطان است. درد، لمس و نوازش اوست. آغوشِ مسموم اوست. چه کسی فریاد آدمی را نشنیده که از فرط درد به زمین و زمان فحش می دهد؟ یا زنی را که موقع زایمان گوش بچه متولد نشده اش را با جیغ و هوار پاره نکند؟ مادر دلسوز، تبدیل به عفریته می شود. درد، آدم خوب را از خوبی بیزار می کند. درد یعنی عذاب جهنم بر روی زمین! ما را زنده زنده کباب می کند و دکترها، خود می دانیم که معالجه آنها چگونه دردمان را دوبرابر می کند و موقعی که مریض و علیل هستیم متوجه نیستیم که آنها چگونه جیب ما را خالی می کنند. مرگ یعنی رهایی از درد. کمی به سخت ترین دردها فکر کنید، به یک روز یا شبی که درد دندان یا یک دل درد امانتان را می برد، یا سوختن جایی از بدن یا شکستن یک استخوان یا یکی از بسیار درد و مرض های موجود، به یاد بیاورید که وقتی دچار این دردها می شوید حاضرید هرکاری بکنید، حتی به پست ترین فرد مبدل شوید ولی اندکی یا لحظه ای دردتان ساکت شود.
درد دستمایه بسیاری است برای رسیدن به هدفشان، چه جنگ هایی که با وارد کردن درد و زخم و جراحت سر نگرفت، چه جیب هایی که برای مداوای این دردها پرپول نشد، چه فرصت طلبانی که درد را بهانه ای کردند برای سوء استفاده از فرصت ها.
در اینجا منظور از درد، همان درد جسمانی است. وقتی خود درد نکشیده باشی، رنج ندیده باشی، چگونه میتوانی درک و فهم درستی از واژه "درد" داشته باشی؟ همین باعث عدم وجود حس همدردی و عاطفه می شود. وقتی ندانی درد چیست چگونه برای یک دردمند دل می سوزانی؟ حال تصور کنید پزشک باشید و هدف و وظیفه تان التیام بخشیدن به درد و آلام مریضان تان باشد، چگونه می توان به فهم و درک درست و مناسبی از بیمار رسید؟ انسانی که درد نکشد می شود یک ماشین، یک ربات، یک وسیله که هدفی مشخص دارد و هیچ چیز دیگری برایش مهم نیست.
نه عشق را می فهمد و نه عاشقی می داند چیست. نه عذاب وجدان را می فهمد و نه درکی از انسانیت دارد. البته این مسئله راه حلی دارد. آن هم روح آدمی است. تا زمانی که روح و روان و احساسات درونی وسوسه نشود و تکانی نخورد تغییری حاصل نخواهد شد. به یکباره و ناخواسته زنی می آید و روح را به تسخیر در می آورد و همین عامل باعث تغییر در فرد می شود. حال درد را حس می کند، با آن کلنجار می رود و زندگی اش را تحت تاثیر قرار می دهد. بعد از این اتفاقات است که محبت را در فرد می بینیم. مهربانی و همدلی و عشق هم کم کم خود را نشان می دهند. گذشته از روایت پر فراز و نشیبِ شخصیت اصلی، بُعد و دیدگاه روانشناسانه نویسنده در فصول کتاب روشن و مبرهن است.
کتاب روایتگر قرن هجدهم است، کشورها و فرهنگ های متفاوت را درگیر م ی کند، از انگلستان تا گرجستان، از فرانسه تا روسیه و سن پطرزبورگ، دوره و زمان کشفیات مهم علمی و وجود دانشمندانی بزرگ. دورانی که ساده ترین بیماریها خاندانی را نابود می کرد.
نثر و لحن کتاب هم متاثر از همان دوران است، کمی کلاسیک و سخت که مترجم تمام تلاش خود را برای بهتر برگرداندن آن به فارسی قدیم کرده است. ولی ایرادی که به ترجمه می شود گرفت نبود پانوشت برای اسامی خاص موجود در کتاب است که به کرّات اسامی خاص و متفاوتی در کتاب نامبرده می شود ولی ناشر و مترجم صرفا با ایتالیک(مورب) کردن آن اسامی سعی در نشان دادن تفاوت آنها با متن اصلی کرده.
خود را متصور شوید که هیچ گونه درد جسمانی و روحی را حس نمی کنید. زندگیتان چگونه خواهد شد؟؟؟
June 10, 2020
I was not impressed. I did not like any of the characters…which I guess is not a problem in and of itself if they are all supposed to be bad. I thought some of the events in the book that were quite important to James Dyer, the major protagonist in the novel, were fantastical and dealt with so briefly that I was not “sold”…, and dampened by enthusiasm for this book. The premise was interesting….a person who could not feel pain. And those people do exist in real life — it’s a curse…they die at an early age.
I just don’t have anything really positive to say about this book. I am so damn stubborn and cannot do a DNF — this would have been the book to do it.
It won the James Tait Black Memorial Prize for Fiction (1997), the International Dublin Literary Award (1999) and the Italian Premio Grinzane Cavour prize for a foreign language novel (1999). The novel was also listed on the New York Times "Notable Books of the Year" for 1997. So I guess I am an outlier. ☹ Nothing new there!
Reviews:
https://archive.nytimes.com/www.nytim...
https://www.independent.co.uk/arts-en...
I just don’t have anything really positive to say about this book. I am so damn stubborn and cannot do a DNF — this would have been the book to do it.
It won the James Tait Black Memorial Prize for Fiction (1997), the International Dublin Literary Award (1999) and the Italian Premio Grinzane Cavour prize for a foreign language novel (1999). The novel was also listed on the New York Times "Notable Books of the Year" for 1997. So I guess I am an outlier. ☹ Nothing new there!
Reviews:
https://archive.nytimes.com/www.nytim...
https://www.independent.co.uk/arts-en...
November 19, 2022
I love Andrew Miller's writing.I love his stories,and I love that he respects the reader.
November 26, 2012
قالت لي أمي ذات حنان أنها كانت تود لو تضعني وأخي في بيت زجاجي لا يدخل لنا منه حزن أو ألم نستمتع منه بالعالم دون أن نتوجع...لو تعرفين يا أمي.. هذا الألم هو عين إنسانيتنا ولعله الأمانة التي جفلت منها السماوات والأرض وحملناها طوعاً فكانت صليبنا ومخلصنا معاً...الألم هو قصة الحياة والفرح والحب والأمل والصبر والصمت والحلم...الألم هو يد الحكمة ونبرة الإيمان وشفا الجنون وعصف الضجر والغضب.،،الألم هو أن نكون نحن ..لا الآلة التي يحاول الزمن الحديث أن ينقلنا إلى عالمها ويجردنا من إرثنا المترامي الذي ورثناه عن أبينا البعيد الذي يجلس هناك ينظر إلينا من عل وهو مازال يشعر بماشعر به يوم وضع قدمه لأول مرة على الأرض من الغربة والوحدة والضياع وألم الفقد...الألم هو منحة الرب الخالصة لصلصاله وفخاره لينضجهم ويجعلهم أقدر على (استساغة مذاق) السعادة..والأمل...سعيدة أنا بتلك الرواية العبقرية..بجيمس ديير الذي عبر النفق المظلم بعد أن كان لا يعرف متى يخرج منه ومتى يتحول من نصف إنسان لإنسان كامل ذي روح وقلب وشعور...شكراً للهيئة المصرية العامة للكتاب أن جعلت تلك الكنوز قريبة منا لهذه الدرجة
February 11, 2010
SJC Review: 5.44
This is a sublime achievement for a debut novel as Miller has not only created a tour-de-force of historical fiction, but has also captured the essence of the period of the Enlightenement with on the one hand, its heady mix of scientific enquiry and heightened awareness of the wider world to be explored, and on the other, the underlying cruelty and barbarity which still anchored society to the superstitions and practices of gthe past. James Dyer is a masterful creation with which to vividly bring the contradictions of this age to life. As such, the singular capacity of being insensate to pain, with which he is either blessed or cursed, is shrouded in the shadowy details surrounding his birth, and yet enables him to distinguish himself in the pursuit of medical advancement. Thus, the reader is able to accompany him through the fantastic and ghoulish worlds of the travelling quack and private collector of freakish curiosities; the bawdry colourful atmosphere of eighteenth century Georgian England; the blood and gore faced by the naval surgeon; the anatomical and surgical practices of the medical professionals of the day, and the court of Catherine the Great of Russia. His clinical detachment has allowed him to become so renowned that he is invited to participate in a cross-continent race to be the first to treat the magisterial Russian empress. At the end of this odyssey, Dyer meets the mysterious Maria with magical healing powers who teaches him love and therefore pain. As he experieneces the passions and torments he was once shielded from, he becomes mortal and capable of redemption.
This is a sublime achievement for a debut novel as Miller has not only created a tour-de-force of historical fiction, but has also captured the essence of the period of the Enlightenement with on the one hand, its heady mix of scientific enquiry and heightened awareness of the wider world to be explored, and on the other, the underlying cruelty and barbarity which still anchored society to the superstitions and practices of gthe past. James Dyer is a masterful creation with which to vividly bring the contradictions of this age to life. As such, the singular capacity of being insensate to pain, with which he is either blessed or cursed, is shrouded in the shadowy details surrounding his birth, and yet enables him to distinguish himself in the pursuit of medical advancement. Thus, the reader is able to accompany him through the fantastic and ghoulish worlds of the travelling quack and private collector of freakish curiosities; the bawdry colourful atmosphere of eighteenth century Georgian England; the blood and gore faced by the naval surgeon; the anatomical and surgical practices of the medical professionals of the day, and the court of Catherine the Great of Russia. His clinical detachment has allowed him to become so renowned that he is invited to participate in a cross-continent race to be the first to treat the magisterial Russian empress. At the end of this odyssey, Dyer meets the mysterious Maria with magical healing powers who teaches him love and therefore pain. As he experieneces the passions and torments he was once shielded from, he becomes mortal and capable of redemption.
May 28, 2009
Very Interesting Premise, Interesting Characters, Historically Well Written. But the ending and the relationships between the characters were a bit disappointing to me.
There were parts of this novel that I really enjoyed, the author is clearly talented. He creates vivid images, some memorable characters and moves the story along at a brisk pace. It was only in the fleshing out of the emotional relationships between his characters that I found myself wanting for more.
James Dyer cannot feel pain, can not empathize with others' pain. When James is very young he leaves his home and travels with Marley Gummer duping country folk into buying what they don't need and what won't help them.
He eventually becomes a successful surgeon, never distracted by his own emotions or those of his patients. He travels to Russia and meets the Empress Catherine and a woman who changes him. Mary is rumored to be a witch and James changes after he meets her, he suddenly feels disappointment, pain, suffering and love.
For the most part I thought it was well done, interesting and an enjoyable read but it wasn't the most satisfying read. I wished more happiness for James and I would have liked greater insight into the relationship between James and Mary.
It reminded me of other dark stories; 'A Prayer For the Dying' by Stuart O'Nan, 'Asylum' by Patrick McGrath, and 'House of Sight and Shadow' by Nicholas Griffin. There is a certain similar flavor among those novels. If you liked any of those you might like this as well.
There were parts of this novel that I really enjoyed, the author is clearly talented. He creates vivid images, some memorable characters and moves the story along at a brisk pace. It was only in the fleshing out of the emotional relationships between his characters that I found myself wanting for more.
James Dyer cannot feel pain, can not empathize with others' pain. When James is very young he leaves his home and travels with Marley Gummer duping country folk into buying what they don't need and what won't help them.
He eventually becomes a successful surgeon, never distracted by his own emotions or those of his patients. He travels to Russia and meets the Empress Catherine and a woman who changes him. Mary is rumored to be a witch and James changes after he meets her, he suddenly feels disappointment, pain, suffering and love.
For the most part I thought it was well done, interesting and an enjoyable read but it wasn't the most satisfying read. I wished more happiness for James and I would have liked greater insight into the relationship between James and Mary.
It reminded me of other dark stories; 'A Prayer For the Dying' by Stuart O'Nan, 'Asylum' by Patrick McGrath, and 'House of Sight and Shadow' by Nicholas Griffin. There is a certain similar flavor among those novels. If you liked any of those you might like this as well.
September 1, 2013
I think I was first alerted to Andrew Miller as a novelist when I read admiring reviews of Ingenious Pain, his first novel, but I somehow didn’t get round to reading the book; instead, I read a couple of his later books, Oxygen and the highly-acclaimed Pure.
On the basis of these, I was developing a notion of Miller as someone who promises much but somehow doesn’t quite deliver. Pure has outrageously good subject-matter for a historical novel, and would make a memorable elevator pitch; it also contains some superb writing and evokes the grisly world of Les Innocents in a manner that I found simultaneously ghostly and visceral—not an easy combination to pull off. It sticks in my mind eighteen months or so after I read it, which is why I decided finally to give Ingenious Pain a try. Yet I finished Pure with a feeling of slight frustration. I felt Miller had created a truly wondrous novelistic scenario and then not quite known what to do with it. None of the characters really engaged or convinced me, and there was a great deal in both plot and characterization that seemed contrived.
Ingenious Pain I liked much more. I didn’t think it was flawless—what novel is?—but it’s a wonderful read. Some critics have pointed out that it is derivative of Suskind’s Perfume: The Story of a Murderer in respect of its setting and subject-matter, but I don’t have any problem with that. Novels don’t have to be absolutely original thematically. They just have to be good.
Ingenious Pain has a somewhat picaresque quality, recalling novels in the period it is set (mid-eighteenth century). We follow its hero or anti-hero, James Dyer, born without the capacity for feel pain, through a series of successive life episodes each with a more or less distinctive cast-list of surrounding characters: his childhood in a small Somerset village; his time as a fairground freak, exploited by a conman; his time as the captive of a wealthy collector with sinister scientific interests; a period as a fashionable doctor in Bath, etc. Only fairly late in the novel, when we recoup a set of characters from the opening sequence, set after Dyer’s death, does this linear, paratactic structure yield to something more unified and integrated.
This can be a tricky structure to manage for a modern novelist, since there’s always the danger that he will lose his readers along the way, while making the transition to a new episode or scenario. Ingenious Pain avoids this risk, though—or I found it did—since the quality of the writing is so consistently excellent that it waltzes you through the transitions. It is almost miraculous at points; I tend towards the fast and furious as a reader, but there were all kinds of sentences that stopped me in my tracks. There’s also an element of suspense, as the older version of the Dyer character we meet at the beginning of the novel is so different from his younger incarnation that we are lured into reading on to discover how this metamorphosis is realized. Both these factors took me through the only part of the novel that I found less convincing: a brief epistolary episode constructed to whisk us through a portion of Dyer’s life Miller clearly did not want to narrate in detail (I wasn’t a great fan of a later episode set in Bedlam, but that was more a matter of personal taste than a drop in the quality of the writing).
Although there is some magnificent writing in the childhood episode and in a tour de force description of Catherine the Great’s palace in St Petersburg, I think the parts of the novel I liked best were those set in Devon at the beginning and the end of the novel. The character of Julius Lestrade is quite wonderful; he’s an effective foil to Dyer, as ‘sensible’ (in the eighteenth-century sense) as Dyer is insensible, but, to my mind at least he transcended his role in the novel’s play of ideas. I wouldn’t have thought on the basis of the other novels I had read by Miller that he was capable of creating such a believable and engaging figure.
I’m not always enraptured with metaliterary jokes, but there’s a very good one at the end of this one about the difficulty of ending a novel, which may also be something of a literary ‘true confession’, if Pure is anything to go by. I found myself wondering whether there was something metaliterary going on also in the Lestrade-Dyer relationship. Do novelists need to possess both the cold, forensic eye of (pre-crisis) Dyer, and the warm, empathizing sensibility of Lestrade? If so, I think Miller has the balance near-perfect in this first novel. I wonder whether he has ever found it since?
On the basis of these, I was developing a notion of Miller as someone who promises much but somehow doesn’t quite deliver. Pure has outrageously good subject-matter for a historical novel, and would make a memorable elevator pitch; it also contains some superb writing and evokes the grisly world of Les Innocents in a manner that I found simultaneously ghostly and visceral—not an easy combination to pull off. It sticks in my mind eighteen months or so after I read it, which is why I decided finally to give Ingenious Pain a try. Yet I finished Pure with a feeling of slight frustration. I felt Miller had created a truly wondrous novelistic scenario and then not quite known what to do with it. None of the characters really engaged or convinced me, and there was a great deal in both plot and characterization that seemed contrived.
Ingenious Pain I liked much more. I didn’t think it was flawless—what novel is?—but it’s a wonderful read. Some critics have pointed out that it is derivative of Suskind’s Perfume: The Story of a Murderer in respect of its setting and subject-matter, but I don’t have any problem with that. Novels don’t have to be absolutely original thematically. They just have to be good.
Ingenious Pain has a somewhat picaresque quality, recalling novels in the period it is set (mid-eighteenth century). We follow its hero or anti-hero, James Dyer, born without the capacity for feel pain, through a series of successive life episodes each with a more or less distinctive cast-list of surrounding characters: his childhood in a small Somerset village; his time as a fairground freak, exploited by a conman; his time as the captive of a wealthy collector with sinister scientific interests; a period as a fashionable doctor in Bath, etc. Only fairly late in the novel, when we recoup a set of characters from the opening sequence, set after Dyer’s death, does this linear, paratactic structure yield to something more unified and integrated.
This can be a tricky structure to manage for a modern novelist, since there’s always the danger that he will lose his readers along the way, while making the transition to a new episode or scenario. Ingenious Pain avoids this risk, though—or I found it did—since the quality of the writing is so consistently excellent that it waltzes you through the transitions. It is almost miraculous at points; I tend towards the fast and furious as a reader, but there were all kinds of sentences that stopped me in my tracks. There’s also an element of suspense, as the older version of the Dyer character we meet at the beginning of the novel is so different from his younger incarnation that we are lured into reading on to discover how this metamorphosis is realized. Both these factors took me through the only part of the novel that I found less convincing: a brief epistolary episode constructed to whisk us through a portion of Dyer’s life Miller clearly did not want to narrate in detail (I wasn’t a great fan of a later episode set in Bedlam, but that was more a matter of personal taste than a drop in the quality of the writing).
Although there is some magnificent writing in the childhood episode and in a tour de force description of Catherine the Great’s palace in St Petersburg, I think the parts of the novel I liked best were those set in Devon at the beginning and the end of the novel. The character of Julius Lestrade is quite wonderful; he’s an effective foil to Dyer, as ‘sensible’ (in the eighteenth-century sense) as Dyer is insensible, but, to my mind at least he transcended his role in the novel’s play of ideas. I wouldn’t have thought on the basis of the other novels I had read by Miller that he was capable of creating such a believable and engaging figure.
I’m not always enraptured with metaliterary jokes, but there’s a very good one at the end of this one about the difficulty of ending a novel, which may also be something of a literary ‘true confession’, if Pure is anything to go by. I found myself wondering whether there was something metaliterary going on also in the Lestrade-Dyer relationship. Do novelists need to possess both the cold, forensic eye of (pre-crisis) Dyer, and the warm, empathizing sensibility of Lestrade? If so, I think Miller has the balance near-perfect in this first novel. I wonder whether he has ever found it since?
July 6, 2011
Not exactly a title that says "pick me up and buy me," but nevertheless a very richly detailed novel set in 18th century England, one that really made me feel what it must have been like to be alive then. Too many beautifully worded descriptions to repeat here, but here's one on a new-born calf: "A glorious sight! The cow's expanse of tongue licking the calf, and the calf itself, trembling, delicately stunned by its passage into the air." The story is about a man who is born without the ability to feel pain, and who has absolutely no empathy for others. He is extremely intelligent. As a young boy he leaves what is left of his family after a smallpox epidemic, becomes a side-show freak, then part of a collection of freaks assembled by an important scientist, then a ship's surgeon in the navy, then a highly successful doctor, and finally a madman and a tramp, after meeting a mysterious "gypsy" woman who somehow makes him like everyone else. The book opens with a grotesque autopsy on his corpse; the rest is back-story. Some very sympathetically drawn characters, but I never really got where the story was going or understood why it was written in the first place. There were some solecisms--using "lie" instead of "lay" (the reverse of the usual mistake) and "sit" instead of "set." Miller also used "discomforted" when I'm almost certain he meant "discomfited." On the other hand, thanks to his (to me) odd usage, I looked up "pragmatic" in Johnson's dictionary and found that in the 18th century it meant "meddling, busy in other peoples' business without leave." Hard to imagine that in only 75 years it developed its present meaning. But Miller's sometimes beautiful, sometimes grotesque, always rich descriptions never added up to a whole for me.
May 11, 2009
A little disappointing. The first half or two thirds is quite engrossing, and it's very well written (although I wouldn't go so far as to say "dazzling" or "extraordinary", as the critics on the cover proclaim), but it just didn't do enough for me. I don't think the characters in general and the main character in particular are fleshed out enough, and the story doesn't do an awful lot. It doesn't impart much in the way of wisdom or insight or offer any fresh or surprising perspectives. If I'd discovered it by accident I might have liked it more, but as I found it through the Guardian's list of 1000 books you have to read, as the praise for it is so high and as the concept holds so much promise, my expectations were very high. Unfortunately they weren't quite met.
July 5, 2024
English version below
*********************
In diesem im 18. Jahrhundert spielenden Roman wird in England ein Junge geboren, der keinen Schmerz spürt. Dem Leser wird bald klar, dass das Kind auch bar aller anderen Emotionen ist. Schon beginnende mit seiner Zeugung ist das Leben des kleinen James voller wechselhafter Episoden, aber selbst diese extremen externen Stimulationen sind nicht in der Lage seine Empfindungsfähigkeit anzuregen. Bereits in sehr jungem Alter wird James zu einem erfolgreichen Chirurgen.
An dieser Stelle taucht dann die Frage auf, die mich an dieser Geschichte interessiert. Kann ein Mensch, der keinen Schmerz empfinden kann, genug Empathie entwickeln, um ein guter Arzt zu sein? Aus meiner Sicht eben nicht und auch in dieser Geschichte weist nichts darauf hin.
Der Protagonist bzw. die Charaktere eines Buches müssen ja nicht unbedingt positive Gefühle beim Leser hervorrufen, um die Lektüre des Romans interessant zu gestalten, aber es hilft dann doch oft ganz erheblich. In diesem Buch mochte ich jedoch nicht nur den Protagonisten überhaupt nicht, sondern konnte auch für keinen anderen Charakter Sympathien entwickeln.
Daher konnte mich der Roman trotz eines abwechslungsreichen Plots nicht übermäßig begeistern.
Daher bewerte ich mit 2,5 Sternen, abgerundet.
------------------
In this novel set in 18th century England, a boy is born who feels no pain. The reader soon realises that the child is also devoid of all other emotions. From the moment of his conception, little James' life is full of changing episodes, but even these extreme external stimuli are unable to stimulate his capacity for sensation. At a very young age, James becomes a successful surgeon.
At this point, the question that interests me in this story arises. Can a person who cannot feel pain develop enough empathy to be a good doctor? From my point of view, no, and there is nothing in this story to suggest this.
The protagonist or the characters in a book don't necessarily have to evoke positive feelings in the reader to make the novel interesting to read, but it often helps quite a lot. In this book, however, not only did I not like the protagonist at all, but I couldn't develop any sympathy for any of the other characters either.
Therefore, despite a varied plot, I wasn't overly enthusiastic about the novel.
I therefore rate it 2.5 stars, rounded down.
*********************
In diesem im 18. Jahrhundert spielenden Roman wird in England ein Junge geboren, der keinen Schmerz spürt. Dem Leser wird bald klar, dass das Kind auch bar aller anderen Emotionen ist. Schon beginnende mit seiner Zeugung ist das Leben des kleinen James voller wechselhafter Episoden, aber selbst diese extremen externen Stimulationen sind nicht in der Lage seine Empfindungsfähigkeit anzuregen. Bereits in sehr jungem Alter wird James zu einem erfolgreichen Chirurgen.
An dieser Stelle taucht dann die Frage auf, die mich an dieser Geschichte interessiert. Kann ein Mensch, der keinen Schmerz empfinden kann, genug Empathie entwickeln, um ein guter Arzt zu sein? Aus meiner Sicht eben nicht und auch in dieser Geschichte weist nichts darauf hin.
Der Protagonist bzw. die Charaktere eines Buches müssen ja nicht unbedingt positive Gefühle beim Leser hervorrufen, um die Lektüre des Romans interessant zu gestalten, aber es hilft dann doch oft ganz erheblich. In diesem Buch mochte ich jedoch nicht nur den Protagonisten überhaupt nicht, sondern konnte auch für keinen anderen Charakter Sympathien entwickeln.
Daher konnte mich der Roman trotz eines abwechslungsreichen Plots nicht übermäßig begeistern.
Daher bewerte ich mit 2,5 Sternen, abgerundet.
------------------
In this novel set in 18th century England, a boy is born who feels no pain. The reader soon realises that the child is also devoid of all other emotions. From the moment of his conception, little James' life is full of changing episodes, but even these extreme external stimuli are unable to stimulate his capacity for sensation. At a very young age, James becomes a successful surgeon.
At this point, the question that interests me in this story arises. Can a person who cannot feel pain develop enough empathy to be a good doctor? From my point of view, no, and there is nothing in this story to suggest this.
The protagonist or the characters in a book don't necessarily have to evoke positive feelings in the reader to make the novel interesting to read, but it often helps quite a lot. In this book, however, not only did I not like the protagonist at all, but I couldn't develop any sympathy for any of the other characters either.
Therefore, despite a varied plot, I wasn't overly enthusiastic about the novel.
I therefore rate it 2.5 stars, rounded down.
April 28, 2023
Andrew Miller's Ingenious Pain is beautifully written. It is the chronicle of a man's life - his unique physiological condition where he doesn't feel physical pain, his alienation from the society due to the condition, his journey to finding his place in this world and his adventures.
This book made me rethink a few things - how does our physical ability to feel pain define our ability to navigate emotions? How does pain feed into our sense of empathy?
The book is slightly difficult to get into because it switches time zones. The years mentioned on the top of the page are important anchors to the plotline. It took me about 50 pages to really get into the plot. But once I did I enjoyed it.
This book made me rethink a few things - how does our physical ability to feel pain define our ability to navigate emotions? How does pain feed into our sense of empathy?
The book is slightly difficult to get into because it switches time zones. The years mentioned on the top of the page are important anchors to the plotline. It took me about 50 pages to really get into the plot. But once I did I enjoyed it.
September 25, 2016
Zwei junge Ärzte werden zur Leiche eines Mannes geführt. Sie schneiden seinen Körper auf, auf der Suche nach seinem Geheimnis. Man erkennt, dass sie nicht nur von Erkenntnisdrang getrieben sind, sondern mindest ebenso sehr von Ruhmessucht und Voyeurismus. Respekt oder Mitgefühl scheint ihnen fremd. Einer der Ärzte trägt den Namen Burke und diese Namensverwandtschaft zu einem der Bodysnatcher, die Robert Louis Stevenson zu einer Erzählung inspirierten, ist sicher kein Zufall. Diese Obduktion gleicht einem Gemetzel, man kann das Blut und das Gedärm beim Lesen fast riechen.
Wir schreiben das Jahr 1772 und die Leiche gehört zu James Dyer, der lange Zeit seines Lebens komplett schmerzunempfindlich war (körperlich wie emotional) und der – vielleicht gerade deshalb – ein exzellenter Arzt wurde.
Die Handlung setzt nach dieser Einführung zu einem früheren Zeitpunkt ein. Man erfährt von der Familie, in die Dyer 1739 hineingeboren wird, von seiner angeborenen Schmerzunempfindlichkeit, die ihn zu einem Außenseiter macht und schließlich in die Dienste eines Quacksalbers treibt. Spätestens als er von einem Arzt in dessen Haus, einer Art lebendes Kuriositätenkabinett (bevölkert von siamesischen Zwillingen, einer Meerjungfrau, einem Hermaphroditen), entführt wird, eröffnet sich ihm der Weg zu Bildung. Und immer deutlicher wird, wovon dieser Roman handelt: Von der Zeit, in der die Aufklärung die Wissenschaften beflügelt; die Zeit, der wir viele Gedanken und Erfindungen verdanken, die den modernen Menschen ausmachen. Die Zeit, die wir geneigt sind mit dem Aufbruch in eine menschlichere Welt zu assoziieren. Doch sind diese Fortschritte mit unendlicher Grausamkeit erkauft und der Ruhm der Wissenschaftler ist hier stets wichtiger als das Leid der Menschen. Bezeichnend ist eine Operation, bei der versucht wird siamesische Zwillinge zu trennen. Während des Eingriffs lässt sich der Chirurg von einem Orchester musikalisch begleiten und in dem eigens errichteten Saal ist Publikum anwesend. Die kaum wirksame Betäubung, die Qualen der Patienten, das Gemetzel und der erfolglose Ausgang des Unterfangens lassen den Operateur völlig ungerührt.
Und dann ist es auch eine Zeit, in der neben den neuen Wissenschaften der alte Aberglauben munter weiterexistiert. Man vertraut Quacksalbern und sammelt Meerjungfrauen. Isaac Newton ist zur Zeit des Geschehens erst wenige Jahre tot und in seinem Werk findet man eben auch diese beiden Sphären: bis heute gültige Entdeckungen neben okkulten Theorien. Kein Wunder, dass Newton bis heute die Fantasy-Literatur beflügelt.
Und neben diesen historischen Aspekten, handelt es sich auch um einen Abenteuerroman: Wie es Dyer und einige andere Protagonisten über Paris, Berlin und Königsberg nach St. Petersburg verschlägt, wo sich Katharina die Große gegen die Pocken impfen lässt, ist mehr als spannend zu lesen. Auch das Leben an Bord eines Schiffes jener Zeit wird eindrücklich geschildert.
In St. Petersburg kommt es zu einer Wende. Durch eine seltsame Begegnung lernt Dyer Schmerzen zu empfinden. Und das jahrelang „versäumte“ Pensum an Schmerzen überwältigt ihn, bringt ihn fast um den Verstand. Und so findet er sich in der berühmten Irrenanstalt Bedlam in London (oder korrekter: Bethlem Royal Hospital) wieder. Jetzt steht er auf der anderen Seite, ist selbst Opfer einer wenig mitfühlenden Behandlung.
Neben diesem wirklich spannenden Plot ist die Sinnlichkeit der Sprache hervorzuheben. Miller versteht es Gerüche zu beschreiben, wie ich es selten gelesen habe (und natürlich lassen dieser Umstand, ebenso wie das 18. Jahrhundert als Setting und das Außenseiter-Motiv an Patrick Süskinds Das Parfum: Die Geschichte eines Mörders denken). Ob der Gang zum Nachttopf, der Geruch von Kohl und Zwiebeln, der Gestank von Tieren, Krankheit und Tod, als auch der Duft von Rosmarin und Lavendel; alles ist hier präsent.
Hinzu kommen die Lichtverhältnisse, die an die Malerei der Zeit, genauer gesagt die Chiaroscuro-Malerei, erinnern. Einige Szenen vermitteln wirklich die Stimmung eines Caravaggio. Die Dunkelheit der Nächte, Kerzenlicht, Kaminfeuer, Mondschein sind immer präsent, ohne dass man je den Eindruck hat, dass es aufgesetzt und gewollt ist.
Nicht alle Fragen werden am Ende beantwortet. Wie ist nun das Verhältnis von Rationalismus und alten magischen Vorstellungen? Und ist ein Arzt besser, wenn er emotionslos arbeitet? Muss er das vielleicht sogar? Wie sieht ein gutes Leben am Ende aus? Diese Gedanken beschäftigen einen auch nach dem Lesen weiter.
Spannend, sprachlich großartig, inspirierend – mehr kann man von einem Roman nicht erwarten!
Wir schreiben das Jahr 1772 und die Leiche gehört zu James Dyer, der lange Zeit seines Lebens komplett schmerzunempfindlich war (körperlich wie emotional) und der – vielleicht gerade deshalb – ein exzellenter Arzt wurde.
Die Handlung setzt nach dieser Einführung zu einem früheren Zeitpunkt ein. Man erfährt von der Familie, in die Dyer 1739 hineingeboren wird, von seiner angeborenen Schmerzunempfindlichkeit, die ihn zu einem Außenseiter macht und schließlich in die Dienste eines Quacksalbers treibt. Spätestens als er von einem Arzt in dessen Haus, einer Art lebendes Kuriositätenkabinett (bevölkert von siamesischen Zwillingen, einer Meerjungfrau, einem Hermaphroditen), entführt wird, eröffnet sich ihm der Weg zu Bildung. Und immer deutlicher wird, wovon dieser Roman handelt: Von der Zeit, in der die Aufklärung die Wissenschaften beflügelt; die Zeit, der wir viele Gedanken und Erfindungen verdanken, die den modernen Menschen ausmachen. Die Zeit, die wir geneigt sind mit dem Aufbruch in eine menschlichere Welt zu assoziieren. Doch sind diese Fortschritte mit unendlicher Grausamkeit erkauft und der Ruhm der Wissenschaftler ist hier stets wichtiger als das Leid der Menschen. Bezeichnend ist eine Operation, bei der versucht wird siamesische Zwillinge zu trennen. Während des Eingriffs lässt sich der Chirurg von einem Orchester musikalisch begleiten und in dem eigens errichteten Saal ist Publikum anwesend. Die kaum wirksame Betäubung, die Qualen der Patienten, das Gemetzel und der erfolglose Ausgang des Unterfangens lassen den Operateur völlig ungerührt.
Und dann ist es auch eine Zeit, in der neben den neuen Wissenschaften der alte Aberglauben munter weiterexistiert. Man vertraut Quacksalbern und sammelt Meerjungfrauen. Isaac Newton ist zur Zeit des Geschehens erst wenige Jahre tot und in seinem Werk findet man eben auch diese beiden Sphären: bis heute gültige Entdeckungen neben okkulten Theorien. Kein Wunder, dass Newton bis heute die Fantasy-Literatur beflügelt.
Und neben diesen historischen Aspekten, handelt es sich auch um einen Abenteuerroman: Wie es Dyer und einige andere Protagonisten über Paris, Berlin und Königsberg nach St. Petersburg verschlägt, wo sich Katharina die Große gegen die Pocken impfen lässt, ist mehr als spannend zu lesen. Auch das Leben an Bord eines Schiffes jener Zeit wird eindrücklich geschildert.
In St. Petersburg kommt es zu einer Wende. Durch eine seltsame Begegnung lernt Dyer Schmerzen zu empfinden. Und das jahrelang „versäumte“ Pensum an Schmerzen überwältigt ihn, bringt ihn fast um den Verstand. Und so findet er sich in der berühmten Irrenanstalt Bedlam in London (oder korrekter: Bethlem Royal Hospital) wieder. Jetzt steht er auf der anderen Seite, ist selbst Opfer einer wenig mitfühlenden Behandlung.
Neben diesem wirklich spannenden Plot ist die Sinnlichkeit der Sprache hervorzuheben. Miller versteht es Gerüche zu beschreiben, wie ich es selten gelesen habe (und natürlich lassen dieser Umstand, ebenso wie das 18. Jahrhundert als Setting und das Außenseiter-Motiv an Patrick Süskinds Das Parfum: Die Geschichte eines Mörders denken). Ob der Gang zum Nachttopf, der Geruch von Kohl und Zwiebeln, der Gestank von Tieren, Krankheit und Tod, als auch der Duft von Rosmarin und Lavendel; alles ist hier präsent.
Hinzu kommen die Lichtverhältnisse, die an die Malerei der Zeit, genauer gesagt die Chiaroscuro-Malerei, erinnern. Einige Szenen vermitteln wirklich die Stimmung eines Caravaggio. Die Dunkelheit der Nächte, Kerzenlicht, Kaminfeuer, Mondschein sind immer präsent, ohne dass man je den Eindruck hat, dass es aufgesetzt und gewollt ist.
Nicht alle Fragen werden am Ende beantwortet. Wie ist nun das Verhältnis von Rationalismus und alten magischen Vorstellungen? Und ist ein Arzt besser, wenn er emotionslos arbeitet? Muss er das vielleicht sogar? Wie sieht ein gutes Leben am Ende aus? Diese Gedanken beschäftigen einen auch nach dem Lesen weiter.
Spannend, sprachlich großartig, inspirierend – mehr kann man von einem Roman nicht erwarten!
This entire review has been hidden because of spoilers.
December 20, 2025
Andrew Miller is virtually a fixture in the shortlist selections for the James Tait Black prize, and The Walter Scott Prize for Historical Fiction. In a crowded field that takes some doing, and is evidence of Miller’s skill, conveying the thoughts, and language of men and women living in a wholly different age.
This debut novel, set in the late c.18th, transports the reader to the period in question with undeniable authenticity.
The central character, James Dyer, is cold, distant, and unknowable to all who encounter him. The reader keeps thinking there may be a breakthrough as something or somebody touches his heart, or soul.
James Dyer is fascinating to those who encounter him, and he’s undeniably extremely able. Think of him as a sort of Dracula figure without the blood. (Dracula was at large one hundred years later).
I heard Miller at a speaking event, and he pointed out how Ingenious pain was written in a period before the ubiquitous internet search and research, and I think it holds up very well in its feel for the time.
Centuries before television, and any sort of mass access to information or entertainment, the travelling circus was attended far and wide as troupe’s travelled the country. James Dyer has ‘weird’ talents (this is what circus’s featured), and he is of interest to shysters, tricksters and extortionists.
(Dyer’s conception is a marvel in its own right!)
In similar vein the early global travellers, on foot, were of great interest. A race to St. Petersburg, Russia, and the empress Catherine, is undertaken. Ships on the high seas are at the mercy of all manner of nightmarish encounters.
Dyer’s friend Mary- the only person who knows him well is a thrilling character. She files her teeth, she strips off to escape pursuers, and hides in the snow. She’s mute.
This writing is what Miller does so well.
As the book moves towards its conclusion there’s a dramatic change in the context as Dyer’s mental health becomes the central feature of the story. The same impetus that led people to gawp at circus ‘freakery’ were evident in the treatment of psychological torment.
Miller ends the book as Dyer achieves a sense of self assessment, and even peace. But as the book reaches its conclusion Miller chooses to end with a most curious, and intriguing, sign off.
Not Miller’s best book in my opinion, but its got plenty to offer.
This debut novel, set in the late c.18th, transports the reader to the period in question with undeniable authenticity.
The central character, James Dyer, is cold, distant, and unknowable to all who encounter him. The reader keeps thinking there may be a breakthrough as something or somebody touches his heart, or soul.
James Dyer is fascinating to those who encounter him, and he’s undeniably extremely able. Think of him as a sort of Dracula figure without the blood. (Dracula was at large one hundred years later).
I heard Miller at a speaking event, and he pointed out how Ingenious pain was written in a period before the ubiquitous internet search and research, and I think it holds up very well in its feel for the time.
Centuries before television, and any sort of mass access to information or entertainment, the travelling circus was attended far and wide as troupe’s travelled the country. James Dyer has ‘weird’ talents (this is what circus’s featured), and he is of interest to shysters, tricksters and extortionists.
(Dyer’s conception is a marvel in its own right!)
In similar vein the early global travellers, on foot, were of great interest. A race to St. Petersburg, Russia, and the empress Catherine, is undertaken. Ships on the high seas are at the mercy of all manner of nightmarish encounters.
Dyer’s friend Mary- the only person who knows him well is a thrilling character. She files her teeth, she strips off to escape pursuers, and hides in the snow. She’s mute.
This writing is what Miller does so well.
As the book moves towards its conclusion there’s a dramatic change in the context as Dyer’s mental health becomes the central feature of the story. The same impetus that led people to gawp at circus ‘freakery’ were evident in the treatment of psychological torment.
Miller ends the book as Dyer achieves a sense of self assessment, and even peace. But as the book reaches its conclusion Miller chooses to end with a most curious, and intriguing, sign off.
Not Miller’s best book in my opinion, but its got plenty to offer.
February 16, 2010
"And did you get what you wanted from this life,even so. I did.
And what did you want? To call myself beloved, to feel myself beloved on earth" - Raymond Carver.
I have to agree with a few other people and say that it's a combo of historical fiction and fantasy. The ending was a bit sudden and disappointing, but overall I enjoyed it. Lyrical and sometimes grim.
And what did you want? To call myself beloved, to feel myself beloved on earth" - Raymond Carver.
I have to agree with a few other people and say that it's a combo of historical fiction and fantasy. The ending was a bit sudden and disappointing, but overall I enjoyed it. Lyrical and sometimes grim.
July 27, 2021
Doğuştan fiziksel acıyı hissetmeyen James'in hayata tutunarak adım adım yükselişi ve en sonunda acı ve sevgiyi keşfi.
June 29, 2012
This isn't technically a review, because I'm afraid I abandoned the book about a third of the way through. I just couldn't finish it. I bought it on the strength of the author's novel "Pure" which I thoroughly enjoyed, and which fascinated me on a intellectual level and moved me emotionally. There was a main character I could identify with and a plot that had tension. For me, both of those were missing from this book.
This book has won prizes. I can see that it does have beautiful prose, but I wanted something more. I can see too that it does portray aspects of C18th life, and for some, that may be interest enough. For me, neither of these aspects can compensate for a non-compelling story. I can see that if you take the book as a whole (which I can't, but I've read the reviews so I know how it ends) there is a major degree of development in the character and plot towards the end - but, there wasn't enough plot in the foreground to keep me reading and I got bored waiting.
Apart from the flatness of the story, I have problems with the main character. He is strange. He is conceived in a strange way. His strangeness is stated, but never explained (at least, in the parts I managed to read). I was unwilling to accept this. I wanted more convincing. And I can see that the character's emotional isolation and lack of engagement may have been a deliberate ploy on behalf of the author to reflect his separation from the society around him - but it also had the effect of me being able to keep him at arms' length. Without a gripping plot I was content to leave the C18th detail, and the beautiful prose, and let him be.
This book has won prizes. I can see that it does have beautiful prose, but I wanted something more. I can see too that it does portray aspects of C18th life, and for some, that may be interest enough. For me, neither of these aspects can compensate for a non-compelling story. I can see that if you take the book as a whole (which I can't, but I've read the reviews so I know how it ends) there is a major degree of development in the character and plot towards the end - but, there wasn't enough plot in the foreground to keep me reading and I got bored waiting.
Apart from the flatness of the story, I have problems with the main character. He is strange. He is conceived in a strange way. His strangeness is stated, but never explained (at least, in the parts I managed to read). I was unwilling to accept this. I wanted more convincing. And I can see that the character's emotional isolation and lack of engagement may have been a deliberate ploy on behalf of the author to reflect his separation from the society around him - but it also had the effect of me being able to keep him at arms' length. Without a gripping plot I was content to leave the C18th detail, and the beautiful prose, and let him be.
March 18, 2021
I seriously believe that this is the best novel I've ever read. I read it when it first came out, nearly a quarter of a century ago, and I have reread it probably once a year (sometimes more) ever since.
I love novels that have impeccable prose. This novel gets 11 out of 10 for that. I would urge you to read each line at talking speed or slower. Savour the prose like it's a fine wine. There's not a single word or construction or image that could be improved, in my opinion.
I love novels that explore the human condition. This novel gets 11 out of 10 for that. I won't post any 'spoilers', but I've never known anyone explore what it is to be human as thoroughly and deeply and movingly and hauntingly as Miller does in this novel.
I've read all his other books and they've been fine, but 'Ingenious Pain' is his masterpiece, in my opinion.
For what it's worth, I think his only other novel to come even close is 'Now We Shall Be Entirely Free'.
I love novels that have impeccable prose. This novel gets 11 out of 10 for that. I would urge you to read each line at talking speed or slower. Savour the prose like it's a fine wine. There's not a single word or construction or image that could be improved, in my opinion.
I love novels that explore the human condition. This novel gets 11 out of 10 for that. I won't post any 'spoilers', but I've never known anyone explore what it is to be human as thoroughly and deeply and movingly and hauntingly as Miller does in this novel.
I've read all his other books and they've been fine, but 'Ingenious Pain' is his masterpiece, in my opinion.
For what it's worth, I think his only other novel to come even close is 'Now We Shall Be Entirely Free'.
October 31, 2008
Ingenious Pain is one of the best historical novels I ever read. It's the first work of British writer Andrew Miller. And what a first novel. It's extremely well written and tells the story about a boy/man/doctor who can't feel pain, neither his own or others' . Wow! I repeat, Wow!
February 6, 2012
One of the books that inspired me the most. I was a little disappointed at first, because I wanted more out of it. But then I realized that what I love the most about that book is that I long for more of it. Definitely leaves room for the reader to use his/her imagination and get creative.
September 29, 2012
James Dyer as the hero of the book is a little hard to feel sympathy for. Probably this is due to the coldness of his character, hard to like someone with little emotion.
The story of his life however is interesting, from his birth to him travelling to Russia to innoculate Catherine the Great.
The story of his life however is interesting, from his birth to him travelling to Russia to innoculate Catherine the Great.
October 24, 2014
andrew miller's debut novel, historical 1700's england and europe and russia, an md who cannot feel pain, but he meats our plenty. author won james tait black award and impac award for this. prose as cold as ice, and burning too.
February 25, 2021
هى حكاية چيمس ديير حلوة أوى وجذبت إنتباهى ف حاجات كتير ونهايته محزنة فعلا بس كان ممكن تخلص ف ٢٠٠ صفحة يعنى مش ٥٨٢ صفحة يا كفرة😒 إحنا مالنا إحنا ليستراد بعت جواب لأخته ديدو قالها فيه ايه! كان ناقص يتكتب بيخشوا الحمام يعملوا ايه
November 4, 2019
لماذا تكتب رواية في 600 صفحة وحكايتها لا تستحق أكثر من 200 صفحة؟ ألا تعمل أن الوقت قد ضاق بشدة وبالكاد نجد وقت للقراءة؟
February 22, 2020
What does the world need most - a good, ordinary man, or one who is outstanding, albeit with a heart of ice ?
Дивна книга. Дивна в тому плані, що читати її легко та цікаво, але варто задуматися, про що вона, і опиняєшся в глухому куті. Головна думка з неї, мабуть, саме та, що вказана в цитаті вище, але метод, обраний автором, щоб її донести, мені все-таки здається не дуже вдалим.
Перша частина книги - про життя Джеймса без болю, однак ця його здатність має значення тільки на самому початку, коли хлопчика використовують як підсадну качку для продажу "чудодійного" знеболювального засобу. Більше вона особливої важливості для історії представляти і не буде. Потім епізод із поїздкою до Росію, зустріч із загадковою "шаманкою" на засніжених просторах Литви (чорт його знає, хто ця жінка насправді, абсолютно нічого автор не пояснює про неї) і, нарешті, позбавлення від "прокляття".
І ось ти піди зрозумій, для чого Ендрю Міллер побудував свою історію саме так: чому Джеймс міг бути відмінним хірургом тільки не відчуваючи нічого як фізично, так і емоційно, а варто лише йому було втратити цю свою здатність, як він в буквальному сенсі зійшов з розуму. Чи всі ми трохи божевільні через наші відчуття та емоції і чи саме це робить нас... людьми? Та користь, якщо можна так висловитися, Джеймс все одно приніс, подарувавши свою любов одній самотньої душі в останні її дні і, можливо, подарувавши їй хоча б надію на порятунок.
Як двом лікарям, які проводили розтин на початку книги, не вдалося збагнути таємницю Джеймса, так і у мене не вийшло до кінця розібратися в задумці автора, у відносинах Мері і Джеймса, зрозуміти, що ж так змінило його.
Ми все приховуємо свої почуття до тих пір, поки не зустрінемо ту саму людину? Хто знає.
January 30, 2022
Η κρίσιμη καμπή για την ιστορία του δυτικού πολιτισμού, ο 18ος αιώνας των Φώτων, της Κριτικής Σκέψης, της Έρευνας και του Επιστημονικού Πνεύματος, αναδεικνύεται με περιγραφική ενάργεια και κριτικό πνεύμα, στο πρώτο αυτό μυθιστόρημα του Andrew Miller, που σε καμιά περίπτωση δεν μπορεί να χαρακτηριστεί πρωτόλειο. Παρών και ο Λώρενς Στερν με το περιλάλητο Τρίστραμ Σάντι και την εξής φράση που κατ' εμέ θα μπορούσε να αποτελέσει και το κλειδί του περιπετειώδους βίου του James Dyer: "...αρκετά ετερόκλητα στοιχεία ώστε να διατηρηθεί η ισορροπία σοφίας και αφροσύνης, χωρίς την οποίαν ένα βιβλίο δε θα μπορούσε να καταγράψει ρεαλιστικά ούτε καν το διάστημα ενός μόνον έτους..."
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