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The 18th Variation
Dutch/South African author John van den Berg’s psychological thriller looks at a case of sexual assault and murder in a small South African farming community.This often hair-raising thriller brings to life a cast of complex, multi-sided characters, several of whom one would readily wish off the face of the earth. The murder-plot unfolds with unexpected twists and turns and the narrative contains interesting references to Freud and Jung and their conception of myths and dreams, a subject about which the author clearly is knowledgeable.
The book confronts us with our decadent side and explores possible motives and the question whether evil is inborn or acquired as we grow up. The following excerpt from the author's introductory note puts that theme in a nutshell: 'Psychoanalysts know, however, that myths contain symbolical truths. We tend to forget, in addition, that we are the descendants of primitive savages amongst whom the fittest, the ablest, and the most aggressive fighters were the ones who survived. Some of those ancestors were sexual predators and natural-born killers. Both Freud and Jung believed that we carry the memory traces of those primitive forbears within us.'
The book confronts us with our decadent side and explores possible motives and the question whether evil is inborn or acquired as we grow up. The following excerpt from the author's introductory note puts that theme in a nutshell: 'Psychoanalysts know, however, that myths contain symbolical truths. We tend to forget, in addition, that we are the descendants of primitive savages amongst whom the fittest, the ablest, and the most aggressive fighters were the ones who survived. Some of those ancestors were sexual predators and natural-born killers. Both Freud and Jung believed that we carry the memory traces of those primitive forbears within us.'
398 pages, Paperback
First published January 1, 2012
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Displaying 1 - 3 of 3 reviews
October 21, 2013
This is an enjoyable and at the same time, daring book, a journey into psychoanalysis, quite challenging and full of uncomfortable truths. I would suggest that the book would be ideal for Book Clubs as there are many paths to follow and unravel.
Sean Dumont, who narrates most of the story, starts a new chapter of his life after nearly losing all, including his good name. He escapes from his youthful indiscretions of blindly storming into an unfortunate marriage and from his flirtation with serious white-collar crime. In his past he was also guilty of the passive bystander act, something that gnaws at him a bit. But all is soon forgiven by the reader as Sean’s gentle-but-firm nature is established. Sean starts over and is pulled into the happenings in a quiet little town with far too many secrets.
Sean’s own account of the events starts with the memory of a point made by his lecturer, Martin, during his student days. This outwardly controlled and serious Mr Chips-type professor brought home the point that love can also be destructive. This concept forms a line of thought that is woven through the chapters.
Sean lands up in Kruindal, which soon becomes a temporary home as he becomes involved in trying to solve the complicated murder case of victim Anneke Mouton. He forms a relationship with Roxy and tries to clear the name of her father, the presumed suicide-suspect in the murder case. The mountain, called Kathedraalberg (fictitious name) plays a central role in everything that unfolds.
The pace is good, and the dialogue makes for a lively read. The timing of events keeps the reader on his toes.
This is a list of questions I would suggest to dedicated readers:
THE ROLE OF FATHERS
What is a father, and how is the “good father/ bad father” theme woven through the contents? How is it that one daughter (Maria) will always sidle up to an abusive father, trying to win his favour although he is unreliable, while another daughter (Wanita/Nita/Juanita) fights her way out of the situation to put distance between her and her whole background? Was Sylvie’s plot of her life written by a dad who had indulged her and shared secrets with her, while ignoring his wife? Do certain women repeat the pattern established by their fathers with other older men? Can we speak of the Elektra Complex? Roxy and Sean both had good fathers, is that a reason for their normality? Does Martin’s theme come into it? And last but not least, who fathered whom in this closely-knit community?
THE ROLE OF THE MOUNTAIN
The mountain is not a mere object. It has a “mensa”, a presence, it is nurturer, enemy, keeper of secrets. There is constant interaction between mountain and man. This is slowly brought home to the reader as the fact sinks in, that the author Van Den Berg, the hero Dumont, and heroine Roxy all have names that mean “mountain”. The mountain even has a micro-climate of its own! It also in a way limits the lives of the town occupants. See how Sean and Roxy “had to” get distance between themselves and the mountain. What feelings do the mountain evoke in the reader? And what do the links to pre-historic times tell us about the age of the mountain?
THE ROLE OF LITERATURE
How do the stories of Cymbeline, Titus Andronicus and all those paragraphs in the beginning of chapters, even the piece from Sherlock Holmes, link with the main theme? Do not miss certain references in the body of the manuscript, by Jung, Freud, Philip Roth, Totius and Eugene Marais, (the last two are South African poets). Look up the tragic legend of Marais “Diep Rivier”. The book club readers can look up these references and explain their relevance to the story.
LANGUAGE
The author never falls into Bulpin-like overreaching into the English vocabulary to leave the reader with lovingly embroidered and endlessly boring descriptions of landscape. How are we made aware of the surroundings in this book? One reader can search for the instances of onomatopoeia throughout.
The writing creates the mood in just the right way: “Inside her shop she began to feel better. Olde Worlde was like a familiar cocoon where even the creaking floorboards sounded reassuring. All around her she could look at the things she liked, reminding her of her childhood”
A large amount of interesting knowledge, from art, music, the sciences, history, literature, is worked into the script, without giving it a “10 research assistants” feeling like we get in many novels nowadays.
DEEP PSYCHOLOGICAL ISSUES, SEX AND VIOLENCE
As hinted at in the first chapter, the book contains some basic psychoanalytical concepts. Did the reader find them understandable and interesting?
Is there relevance in the discovery of rituals from primitive times, many of which meant that maidens had a bad time altogether?
Discuss Sylvie, who is not truly a wife from hell, but rather a harmless kitten who has been terribly conditioned and manipulated. In my opinion, some reviews that made her out as “a weird slut” missed the tragic Marilyn Monroe innocence in this girl. Like Lisbeth Salander (The Girl with the Dragon Tattoo) she survived a traumatic childhood. What does her use of jealousy in an act of sex, tell us about her? And all her other irrational acts? What made her at times so neurotic and in fear of knives, what does she remember? Does the knife in Sylvie’s story point to the knife of Anneke’s murder? Would the reader, if given a choice, remove Sylvie from the book, or is she relevant to the story line?
Is Frank, the good cop, also Franksie of Sylvie’s nightmares? The reader is held in suspence until the truth emerges. Frankel can be associated with Ferenci, who was in Freud’s bad books for kissing his patients.
Hidden between these pages is also the perfect, undetectable murder executed by Ella Cloete. Clever! There are many undetectable murders in fiction. Remember the idea the angel friends of a murdered girl came up with in “The Lovely Bones”(Alice Sebold), where a very sharp icicle was “loosened” at just the right moment? And in “Deception Point”(Dan Brown), where snow was hosed into a victim’s throat to fill the lungs with water?
Finally we must discuss the cruel and terrible murder, which forms such a horrible contrast to the melodic title of “The 18th Variation”. How did the youth and childhood of the murderer produce such a monster? How does the murderer continue to live with the deed? How does the gentleness of Sean contrast with this person’s behaviour?
Sean Dumont, who narrates most of the story, starts a new chapter of his life after nearly losing all, including his good name. He escapes from his youthful indiscretions of blindly storming into an unfortunate marriage and from his flirtation with serious white-collar crime. In his past he was also guilty of the passive bystander act, something that gnaws at him a bit. But all is soon forgiven by the reader as Sean’s gentle-but-firm nature is established. Sean starts over and is pulled into the happenings in a quiet little town with far too many secrets.
Sean’s own account of the events starts with the memory of a point made by his lecturer, Martin, during his student days. This outwardly controlled and serious Mr Chips-type professor brought home the point that love can also be destructive. This concept forms a line of thought that is woven through the chapters.
Sean lands up in Kruindal, which soon becomes a temporary home as he becomes involved in trying to solve the complicated murder case of victim Anneke Mouton. He forms a relationship with Roxy and tries to clear the name of her father, the presumed suicide-suspect in the murder case. The mountain, called Kathedraalberg (fictitious name) plays a central role in everything that unfolds.
The pace is good, and the dialogue makes for a lively read. The timing of events keeps the reader on his toes.
This is a list of questions I would suggest to dedicated readers:
THE ROLE OF FATHERS
What is a father, and how is the “good father/ bad father” theme woven through the contents? How is it that one daughter (Maria) will always sidle up to an abusive father, trying to win his favour although he is unreliable, while another daughter (Wanita/Nita/Juanita) fights her way out of the situation to put distance between her and her whole background? Was Sylvie’s plot of her life written by a dad who had indulged her and shared secrets with her, while ignoring his wife? Do certain women repeat the pattern established by their fathers with other older men? Can we speak of the Elektra Complex? Roxy and Sean both had good fathers, is that a reason for their normality? Does Martin’s theme come into it? And last but not least, who fathered whom in this closely-knit community?
THE ROLE OF THE MOUNTAIN
The mountain is not a mere object. It has a “mensa”, a presence, it is nurturer, enemy, keeper of secrets. There is constant interaction between mountain and man. This is slowly brought home to the reader as the fact sinks in, that the author Van Den Berg, the hero Dumont, and heroine Roxy all have names that mean “mountain”. The mountain even has a micro-climate of its own! It also in a way limits the lives of the town occupants. See how Sean and Roxy “had to” get distance between themselves and the mountain. What feelings do the mountain evoke in the reader? And what do the links to pre-historic times tell us about the age of the mountain?
THE ROLE OF LITERATURE
How do the stories of Cymbeline, Titus Andronicus and all those paragraphs in the beginning of chapters, even the piece from Sherlock Holmes, link with the main theme? Do not miss certain references in the body of the manuscript, by Jung, Freud, Philip Roth, Totius and Eugene Marais, (the last two are South African poets). Look up the tragic legend of Marais “Diep Rivier”. The book club readers can look up these references and explain their relevance to the story.
LANGUAGE
The author never falls into Bulpin-like overreaching into the English vocabulary to leave the reader with lovingly embroidered and endlessly boring descriptions of landscape. How are we made aware of the surroundings in this book? One reader can search for the instances of onomatopoeia throughout.
The writing creates the mood in just the right way: “Inside her shop she began to feel better. Olde Worlde was like a familiar cocoon where even the creaking floorboards sounded reassuring. All around her she could look at the things she liked, reminding her of her childhood”
A large amount of interesting knowledge, from art, music, the sciences, history, literature, is worked into the script, without giving it a “10 research assistants” feeling like we get in many novels nowadays.
DEEP PSYCHOLOGICAL ISSUES, SEX AND VIOLENCE
As hinted at in the first chapter, the book contains some basic psychoanalytical concepts. Did the reader find them understandable and interesting?
Is there relevance in the discovery of rituals from primitive times, many of which meant that maidens had a bad time altogether?
Discuss Sylvie, who is not truly a wife from hell, but rather a harmless kitten who has been terribly conditioned and manipulated. In my opinion, some reviews that made her out as “a weird slut” missed the tragic Marilyn Monroe innocence in this girl. Like Lisbeth Salander (The Girl with the Dragon Tattoo) she survived a traumatic childhood. What does her use of jealousy in an act of sex, tell us about her? And all her other irrational acts? What made her at times so neurotic and in fear of knives, what does she remember? Does the knife in Sylvie’s story point to the knife of Anneke’s murder? Would the reader, if given a choice, remove Sylvie from the book, or is she relevant to the story line?
Is Frank, the good cop, also Franksie of Sylvie’s nightmares? The reader is held in suspence until the truth emerges. Frankel can be associated with Ferenci, who was in Freud’s bad books for kissing his patients.
Hidden between these pages is also the perfect, undetectable murder executed by Ella Cloete. Clever! There are many undetectable murders in fiction. Remember the idea the angel friends of a murdered girl came up with in “The Lovely Bones”(Alice Sebold), where a very sharp icicle was “loosened” at just the right moment? And in “Deception Point”(Dan Brown), where snow was hosed into a victim’s throat to fill the lungs with water?
Finally we must discuss the cruel and terrible murder, which forms such a horrible contrast to the melodic title of “The 18th Variation”. How did the youth and childhood of the murderer produce such a monster? How does the murderer continue to live with the deed? How does the gentleness of Sean contrast with this person’s behaviour?
May 17, 2014
I wouldn’t classify 'The 18th Variation' as a crime novel per se, although the death of a young woman in a village becomes the common factor joining the lives of the characters. It seems so simple at first: the author is doing research about a painter who disappeared a decade ago – presumably after murdering the girl whose portrait he’d painted – but doubts soon arise whether the artist had really been guilty. If not, the village where the tragedy occurred might still harbour an unidentified killer. The possible motives are tantalisingly ambiguous and the strength of this author, other than the realism of his writing, is evident in the complexity and analytical depth of the plot. The line between love and hate is hard to pin down and the memories of the narrator often evocative. The end is both unexpected and hard to forget.
October 30, 2013
I was expecting more of a murder mystery from this book. I think the description is more fantastic than the book.
The book is interesting but not what is promised.
It weighs down a little in the middle.
It’s less a murder mystery than a dissection of a relationship.
Interesting enough though.
The book is interesting but not what is promised.
It weighs down a little in the middle.
It’s less a murder mystery than a dissection of a relationship.
Interesting enough though.
Displaying 1 - 3 of 3 reviews